Lloyd Comedy Collection on DVD is "Must See 3-D™"
Harold Lloyd Comedy Collection on DVD is "Must
See 3-D™!" New Line Cinema has gone all out to
bring together this seven-disc definitive collection of "The
King of Daredevil Comedy." This is the way a DVD box
set should be released. This set was authorized and endorsed
by the Lloyd Estate. The quality shows it was crafted with
love, care and respect. The wealth of films and bonus materials
allow today's audiences to rediscover the classic comedies
of this huge box-office star of the Roaring Twenties as well
as his life beyond the movies.
Of interest to 3-D enthusiasts is the bonus
disc, only available in the DVD box set. Harold Lloyd was
the first president of The Hollywood Stereoscopic Society.
He captured over 300,000 stereo images with his Stereo Realist
camera. Many of those 3-D images have been published in books
such as Hollywood 3-D and Harold
Lloyd's Hollywood Nudes in 3-D. The DVD includes
some 3-D images that have never been published, including
several 3-D photos of Marilyn Monroe that Lloyd took at his
Greenacres estate in the Hollywood hills. For the most part,
the images are presented in anaglypic (red/blue) 3-D, but
there are some surprises. There are several vintage stereoviews
taken behind the scenes during filming during the silent film
days featuring Lloyd dressed in a golfers outfit. The DVD
has several mini-bios of silent film actors and filmmakers
who worked with Lloyd. There is a publicity still showing
Lloyd and leading lady Jobyna Ralston with a stereoscope and
stereoviews in the mini-bio about Ralston.
of the interesting featurettes on the disc, Keep 'Em Rolling,
explains how silent films were made. According to some
of the film historians interviewed on the feature, two motion
picture cameras were used at the same time to film some silent
movies. The second camera was not there as a back up in case
something was wrong with the film in the other camera. The
second camera was there so that another negative could be
made for international audiences. This presents an exciting
possibility for the 3-D community. If the negative for the
U.S. audience could be reunited with the negative made for
the international audience, the side-by-side exposures could
be in 3-D. This means that some silent films could actually
have 3-D versions.
The behind the scenes looks at Harold Lloyd's
life are a real treat. The DVD bonus disc contains some of
Lloyd's home movies, which were filmed using 35mm and sound.
The Shriners video shows Lloyd along with other Hollywood
stars including Red Skelton and Roy Rogers at a Shriner's
Convention. Lloyd was Imperial Potentate of the Shrine and
was instrumental in creating The Shriner's Hospitals for Crippled
Children. There is even a short clip taken at Lloyd's funeral.
Easy to use navigation allows you five different
viewing modes including a media vault to access materials
by category, timeline, search and even favorites. The disc
features tributes and interviews with family, friends and
legendary celebrities including Debbie Reynolds, Robert Wagner,
Tab Hunter and director John Landis. There are video biographies
of many of Harold Lloyd's collaborators and stars of the golden
age of cinema. Video of Harold Lloyd's Academy Award®
speech, radio shows and much more.
Editor's Note: I particularly enjoyed seeing
the photo of Lloyd with director Blake Edwards and actor Jack
Lemmon on the set of one of my favorite films, The Great
Race, which was a tribute to the kind of comedies that
Lloyd created so masterfully. The bonus disk gallery holds
more treasures that you will enjoy discovering and revisiting.
Lloyd Comedy Collection DVD Variety Advertising Supplement
Line Cinema published a special 26-page glossy Variety advertising
supplement to promote its release of The Harold Lloyd
Comedy Collection on DVD. The Harold Lloyd Comedy Collection
was released on DVD on Nov. 15, 2005.
The special publication contains a pair of 3-D
glasses shaped like Harold Lloyd's trademark round glasses.
There are 3-D photographs published in red/blue anaglyphic
format on pages 13 and 19.
Well known movie historian Leonard Maltin serves
as a host and commentator for The Harold Lloyd Comedy Collection
on DVD. Maltin contributed the article, A Funnyman for
"There is magic, as well as genius, in
the work of Harold Lloyd," writes Maltin. "Not only
does his comedy play to any audience of any age in any country,
but it's just as funny today as it was in the 1920s. That's
no small achievement. I base this statement on considerable
fieldwork. I've attended screenings of Lloyd's comedies in
many different cities over the past few decades, and I've
never seen him lay an egg. His movies aren't just funny, they're
"The irony is that Lloyd didn't make his
films for posterity. He was as much a creature of his own
time as any comedy star of the 21st Century. But unlike some
performers who rely on topical gags, the source of his comedy
was timeless: He was a student of human nature. He wanted
audiences to identify with him; that's why he discarded his
original clownish screen character and became the likable
boy-next-door. He also knew the public loves to root for an
underdog. No wonder his best films still speak so eloquently
to moviegoers young and old."
Articles in the supplement include
- A funnyman for all seasons
- New Line Entertainment Introduces Harold Lloyd on DVD
- All-American Boy Makes Good - The Life of Harold Lloyd
- It's Not a Competition - From Silent to Sound: Conquering
the Entertainment Universe
- The Father of Romantic Comedy and the Grandfather of the
- How Grandma's Boy changed the Face of Comedy
- After the films: Harold Lloyd's other life
- The Boy with the Glasses
- The Lloyd Gag
- Harold Lloyd's Family of Comedy
- The Public is the Doctor
- Greenacres: The Estate built by Laughter
- Daddy's Little Girl: Growing up with Harold Lloyd in the
- The Mentor: Harold Lloyd and his circle of influence
- Lloyd in Variety
- Fun with Harold Lloyd and Preserving his films on DVD
- The Extraordinary Skill of Harold Lloyd
- The Lloyd Legacy Lives On
As the digital-cinema era looms, so perhaps does a
new era of 3-D
by Anne Gilbert - Reprinted with permission
Focus Magazine © The National Association of
Even critics who liked The Adventures of Shark
Boy and Lava Girl In 3-D disliked its 3-D.
“An innocent and delightful children’s tale that
is spoiled by a disastrous decision to film most of it in
lousy 3-D,” is how the Chicago Sun-Times’
Roger Ebert described the film. “Fully three quarters
of [‘Shark Boy’] is in 3-D, which looks
more like 1-D to me, removing the brightness and life of the
movie’s colors and replacing them with a drab, listless
palette, which is about as exciting as looking at a 3-D bowl
[‘Shark Boy’] was shot in the relatively
primitive anaglyphic process, which requires the audience
to watch action through cardboard glasses outfitted with red
and green filters,” noted Variety’s Joe Leydon.
“The tinted filters seriously compromise, and in many
cases dim, the bright colors of Planet Drool. While the plot
pivots on the threat of encroaching darkness, some scenes
are too murky by half.”
“The audience is still stuck with 50-year-old, red-and-blue
tinted glasses that strain the eyes and cause headaches,”
groused the Seattle Post-Intelligencer’s Sean
Axmaker. “(Note to [‘Shark Boy’
director Robert] Rodriguez: Please learn to pace your 3-D
sequences and give our eyes a rest!)”
Rodriguez likely won’t feel obliged to heed Axmaker’s
advice, as the filmmaker appears to have already embraced
a newer, better type of 3-D. “Shark Boy,”
in fact, may turn out to be the last 3-D entertainment mainstream
moviegoers will ever have to watch through red-and-blue eyewear.
The age of digital cinema looks likely to usher in a new
era of bright, full-color 3-D that is already winning praise
from the same critics who disdain the muddy images that dominate
Shark Boy and the earlier Rodriguez effort Spy
Kids 3-D: Game Over.
And this new digital-cinema 3-D (or DC-3D) is getting positive
notices not only from critics, but from exhibitors, studio
heads and filmmakers as well.
Starts and New Players
active glasses (n.) battery-powered
3-D eyeware, which uses rapidly changing liquid-crystal
anaglyph (adj.) 3-D using glasses
with red and blue filters
big d (adj.) high-end digital projection
equipment on which the major studios allow their features
to be exhibited
circular polarized (adj.) “passive
glasses” that facilitate full-color 3-D without
requiring viewers to keep their heads from listing from
side to side.
DC-3D (adj.) 3-D process using digital-cinema
Digital Cinema Initiative (DCI) (n.)
consortium of seven major movie studios formed in March
2002 and charged with establishing technical standards
for “big d” digital cinema
In-Three (n.) Agoura Hills-based
company whose 3-D process uses typical cinema screens
and “active glasses”
linear polarized (adj.) “passive
glasses,” which facilitate full-color 3-D as long
as viewers do not let their heads list from side to
passive glasses (n.) 3-D eyeware
that does not use rapidly changing liquid-crystal displays
Real D (n.) Beverly Hills-based company
whose 3-D process uses “silver screens”
and “circular polarized” glasses
silver screens (n.) special movie
screens, actually made with aluminum, designed to reflect
DC-3D is designed to overcome shortcomings that doomed 3-D
experiments of earlier decades The anaglyph (or red/blue)
process was introduced commercially in the early 1950s, era
of Bwana Devil, Creature From The Black Lagoon and
House of Wax. Recently revived for Spy Kids 3-D
and Shark Boy, the process produces purplish, almost
monochromatic images that seemed less out-of-place in an era
when black-and-white movies were still the norm.
In the early 1980s, movies like Friday The 13th Part
3: 3-D, Jaw s 3-D, Spacehunter: Adventures
in the Forbidden Zone and Metalstorm: The Destruction
of Jared-Syn were released with a process that traded
the red-blue anaglyph glasses for clear “linear polarized”
specs, and a revolutionary system that required only a single
projector to create full-color 3-D. The downside to the 1980s
process? The 3-D really didn’t work unless it was projected
on specially designed, expensive “silver” (actually
aluminum) screens. And if audience members tilted their heads
(and audience members will almost always tilt their heads
during the course of a feature), the on-screen images evaporated.
The new full-color DC-3D benefits from, among other things,
glasses that do not require moviegoers to refrain from lolling
James Cameron’s 2003 full-color 3-D documentary short
Ghosts of the Abyss was released on celluloid, Mark
Collins, manager of projection services at Marcus Theatres,
remembers it employed a 3-D process that wasn’t particularly
economical or convenient.
“The cost to have the Ghosts of the Abyss
movie was tremendous,” he explains. “At that time,
the producers helped pay for the conversion. That means a
silver screen, a special lens, a higher-wattage bulb to get
it to work correctly.
“Now, with digital, it will be fairly slick to say,
‘OK, I want to run a 3-D movie this week and a 2-D movie
next week.’ It’s not going to be as much of an
undertaking to get that conversion done.”
DC-3D benefits from digital cinema’s ability to project
significantly more frames per second than the 24fps utilized
by conventional celluloid projectors. A DLP Cinema digital
projector in 3-D mode “accepts 48fps material (24fps
per eye), and flashes it to each of our eyes at a 48fps rate,
for a total of 96fps,” says NATO digital-cinema consultant
Michael Karagosian. “The result is a much smoother appearance
with motion, and a more believable 3-D experience.”
So the question arises: Given the hurdles that appear to
have been overcome, is big-screen 3-D finally here to stay?
At this writing, mere weeks after the finalization of Hollywood-backed
Digital Cinema Initiative’s three years-in-the-making
technical standards, at least two separate companies are offering
The two Southern California firms, In-Three, based in Agoura
Hills, and Real D, headquartered in Beverly Hills, each offer
variations on how they create, install and project DC-3D images.
Both operate strictly on “big-d” (or Hollywood-compliant)
digital platforms, as bolt-on systems for auditoria that have
already made the move to digital projection.
Both companies say their systems are compatible with the
specifications for 2K digital projection and are also able
to make the leap to the 4K systems that have very recently
begun rolling out into the marketplace.
In-Three and Active Glasses
In-Three made a splash at ShoWest last March with a demonstration
that featured the participation of not only Rodriguez and
Cameron but fellow blockbuster directors Robert Zemeckis (The
Polar Express), and George Lucas (the Star Wars
series), all expressing their excitement about and commitment
primary business is post-production; it takes the digital
files of a completed film and “dimensionalizes”
them, transforming conventional 2-D images into 3-D ones.
In-Three offers equipment that enables digital projectors
to exhibit DC-3D films. Upon installation, the In-Three attachment
allows a projector to cast upon a standard cinema screen a
layered image outputting at 48 frames per second (a standard
capability of digital-cinema projectors).
The In-Three system allows audiences to view DC-3D images
through a pair of specially designed “shutter glasses.”
These battery-powered specs, synchronized to on-screen images
via infrared signals, are lightweight and sturdy (but have
no hinges, to help prevent patrons from folding them up and
walking off with them after the show). They contain liquid-crystal
display (LCD) screens in the lenses which alternate at a rate
of 96 frames a second, twice as fast as the projected image.
The LCD screens allow the right and left eye to view separate,
discrete images at a rapid rate to create for the viewer the
illusion of three dimensions.
At the end of each showing, these “active glasses”
are collected by cinema employees, who take them to be cleaned
for re-use (part of the In-Three package is a special washer
– a sort of customized, free-standing dishwasher –
that requires no plumbing hook up).
With the In-Three system, exhibitors purchase the projector
bolt-on, the washer and enough glasses to meet their needs.
Though many specifics have not yet been worked out, there
are plans in the works to institute an exchange program for
the glasses, as they wear out from repeated use and their
batteries need to be replaced.
Real D and Passive Glasses
The other new DC-3D company, Real D, is strictly in the business
of providing and installing equipment for exhibitors.
The Real D system works with polarized “passive glasses”
which do not have the built-in LCD or shuttering systems.
These far simpler spectacles are designed, and priced, to
be thrown out after each showing.
D’s passive glasses differ from the “linear polarization”
glasses of the 1980s in that the new glasses do not filter
light at a 45-degree angle. The Real D glasses use “circular
polarization” that filters light in spiral patterns.
clockwise for the right eye; counterclockwise for the left.
When wearing circular-polarization glasses, moviegoers do
not lose the 3-D effect when they cock their heads.
As with the polarized systems of the 1980s, however, Real
D systems must still project their images onto a pricey, specially
coated “silver” screen that Real D says works
for both 2-D and 3-D projection. (Normal cinema screens tend
to de-polarize projected light, obliterating the 3-D effect.)
The special screen, the bolt-on projection equipment and
the glasses are included in the package licensed by Real D.
Exhibitors lease the Real D system rather than buy its equipment
outright. Cinema owners pay a monthly fee or a percentage
of profits on ticket sales for DC-3D shows, whichever is higher.
Exhibitors who have been privy to demonstrations by either
In-Three or Real D tend to agree that the DC-3D is markedly
superior to 20th century 3-D. They laud, for example, DC-3D’s
“rock-steady” image, which eliminates the headaches
and eye fatigue that can accompany celluloid-based 3-D.
This is not to say that DC-3D does not face its share of
downsides and unknowns, as it is still an emerging. and therefore
largely untested. technology.
- In-Three’s process of rendering 2-D movies into
3-D is time-consuming. In order to allow for the availability
of a steady stream of product, In-Three is currently working
to reduce the length of time it takes to dimensionalize
a feature, with a target goal to eventually achieve “a
turnaround time of four months for a two-and-a-half hour
feature,” says In-Three CEO Michael Kaye. “We
are not at that point yet,” he adds.
- Active eyewear is not cheap. NuVision, the manufacturer
of the active eyewear used by In-Three’s system, continues
to refine the design of its glasses in an effort to reduce
per-piece price points and elongate the lifespan of each
pair, hopefully to about a year and a half.
- Though both companies report no evidence of eye fatigue
or other harmful effects precipitated by their systems,
neither company has yet conducted any formal long-term studies
on test groups.
- Some question whether Real D’s silver screen is
able to reflect standard 2-D images with the same quality
as a conventional screen can.
- Troubling to many exhibition executives is the fact that
Real D proposes to be a long-term partner of theatre companies,
instead of an equipment vendor.
- Some express concern also about Real D’s current
status as a DC-3D “gate-keeper.” Exhibitors
currently lack the in-house capability to engineer the “pre-process”
necessary to exhibit product created for the Real D system.
“It will take substantial (research and development)
to develop the in-theatre solution,” says Karagosian.
“The pre-processing can only be performed by Real
D, which requires them to re-master every 3-D movie to be
shown on their system.”
- Until refinements are made, exhibitors may be uncertain
as to which system they’ll want to implement. Millard
Ochs, president of Warner Bros. International Cinemas, says
it comes down to a glasses-or-screen decision: “If
you use an active glass, then you don’t have to change
the theatre screen, but the unit cost of the active glass
is much higher than the passive glass.”
Outlooks on the future role of DC-3D range from confident
Dave Ballew, construction technician at Wallace Theatres,
says he was “blown away” by the In-Three show
at ShoWest, but still wonders about DC-3D’s drawing
power. “If you get a movie that is genuinely good quality
that people want to see, and add 3-D to that, it could be
a home run. But it will be a hard sell. Without having seen
the demo, people will be skeptical, as I was.”
Ochs seems more optimistic. He mentions the potential for
DC-3D “to create a ‘want-to-see’ to bring
people back into theatres.” DC-3D is something, he says,
that audiences “simply cannot get at home.”
At least a few major distributors are bullish. Warner Bros.
distribution chief Dan Fellman touts DC-3D as something that
“enhances and eventizes” projects. “I think
it should have a very meaningful effect on what we do in the
future,” he predicts.
Disney has announced plans to release a DC-3D version of
its computer-animated Chicken Little in some markets
this fall. Sony revealed a similar plan for its computer-animated
Monster House, which hits cinemas next July. Both
releases are expected to make use of Real D systems.
In-Three, meanwhile, is in the process of dimensionalizing
the original three Star Wars films for special 30th
anniversary re-releases in 2007.
Exhibitors are generally encouraged that the upcoming DC-3D
features seem perhaps less gimmicky than recent 3-D efforts
Bill Menke, director of facilities for Wehrenberg Theatres,
notes that “many of the more recent 3-D titles have
used 3-D as a hook to try and get more attendance while the
movie content was weak.”
“I would hate to see people make 3-D movies for the
sake of 3-D only,” says Marcus’ Collins. “That’s
usually a disaster. Is it a 3-D movie that people would still
watch in 2-D? Then I would say it’s great, the 3-D effect
really helps the way this film is done.”
Retro and Pre-Show, Ballplayers and Pirates
One great promise of the DC-3D era is its potential to transform
any old movie into something new, and the “Star Wars”
movies aren’t the only 2-D films being eyed for 3-D
Ochs was impressed with Warner Bros.’ recent experiment
with scenes from Singing in the Rain. “Think,”
he says, “of the library of stuff that could be done
and brought back in a 3-D platform.”
Ballew says it was In-Three’s presentation of a scene
from Casablanca that stuck with him. Seeing it in
DC-3D, he says, “made it seem new again.”
Real D, meanwhile, is keen on the idea of DC-3D pre-shows,
and plans to license its systems to pre-show companies such
as Screenvision and National CineMedia.
The Real D principals say DC-3D pre-show ads could be created
with a very short turnaround time, eventually as little as
24 hours. A Real D reel demonstrates how an ad for a local
car dealer could feature three-dimensional cars, graphics
and text. Creating such an ad is reportedly a simple process
that incurs little additional cost.
Real D is also looking ahead to advancements in digital cameras
that will allow the instantaneous creation of DC-3D. Live
DC-3D transmissions of sporting events and concerts, say Real
D’s execs, could potentially be piped into cinemas.
Both Real D and In-Three also stand firm on the assertion
that DC-3D films are significantly harder to pirate, noting
that any onscreen image camcorded from a 3-D screening would
be difficult to transform into a watchable bootleg.
An End To 2-D?
If DC-3D does catch on in a big way, could it herald the extinction
It certainly couldn’t happen before significantly more
auditoria are equipped with digital-cinema projectors, most
agree. Fewer than 100 public U.S. auditoria currently utilize
big-d equipment and, though that number is expected to increase
significantly in the coming months and years now that DCI
has completed its technical specifications, few are yet willing
to predict that 2-D’s days are numbered.
“There are some projects that don’t actually
work well in 3-D,” says Warner Bros.’ Fellman,
“so there will be plenty of room for everybody.”
Ochs says the relationship between 2-D and DC-3D could be
defined by release windows. There is much speculation as to
how, or whether, the release of a film in DC-3D devalues the
same film in 2-D.
“Maybe the thing to do,” Ochs speculates, “is
release in 2-D and then, four weeks, five weeks, six weeks
later, release the same film again in 3-D, giving it more
hype. And then, a month after 3-D, it goes to DVD, so you’re
talking about a whole new window set-up: 2-D, 3-D, DVD. Or
do you go 3-D and then 2-D? That’s what will have all
the business guys scratching their heads to figure out.”
Most imagine that DC-3D screenings will remain fairly rare
in the early going, with perhaps one or two DC-3D screens
While interested in pursuing DC-3D, Wehrenberg’s Menke
says he would initially look to install DC-3D in one auditorium,
for “test market/special venue application, eventually
moving up to a site feature for each complex.” Wallace’s
Ballew, too, foresees DC-3D as “more of a special occasion
In-Three’s Kaye acknowledges that a DC-3D rollout might
start slowly, but says a major DC-3D blockbuster would likely
lead to “a major push.” He imagines a day when
90 percent of the nation’s auditoria could be equipped
Ochs, who spearheaded the outfitting of Grauman’s Chinese
Theatre in Hollywood with a Real D system, admits to even
higher hopes. “Five years from now,” he says,
“I would love to see every theatre showing 3-D, or capable
of showing 3-D.”
He likens the potential move to DC-3D to the exhibition industry’s
years-ago switchover to Dolby sound. “When Dolby first
came out, we put two Dolby auditoriums in a complex, if it
was, say, a 10-screen complex. We put two in originally, and
then as more films came out in the Dolby process, we put in
two more, and then two more, and eventually the entire complex
is Dolby. If you’re going to roll out a 2K system digital
platform anyway, you might as well bolt on the 3-D application.”
This form of rollout, Ochs says, has the potential to create
a “strong and viable industry showing 3-D films. It’s
an industry that says, ‘We’ve got something unique
and different, and you can’t see it at home.’”
Editor's note: Although the In Focus
article above mentions that polarized glasses were introduced
in the 1980s, many of the 1950s 3-D films used the polarized
system. Many people mistakenly think that the 1950s films
were anaglyphic (red/blue). Those films were later converted
to anaglyphic format, which has been an economical way of
presenting 3-D films.
the Living Dead 3-D could be in Theatres January 2006
an all new dimension of the horror classic Night of the
Living Dead filmed in 3-D by Lux Digital Pictures and
Midnight Movies. This is a new 3-D motion picture is a re-imagining
of the 1968 public domain motion picture Night of the
Living Dead. George A. Romero is not affiliated in any
way this this new film.
In this 3-D thriller, Barb and her brother Johnny
arrive late for the burial of their aunt and walk straight
into a nightmare. With zombies on her heels, Barb flees the
cemetery and is rescued by Ben, a local college student. The
two seek refuge in the nearby farmhouse of the Cooper family,
where the laid-back residents aren't remotely prepared to
have their lives turn into a horror movie. But, Barb is destined
for an even grimmer confrontation, with the dark secret of
the pyrophobic mortician, Gerald Tovar, Jr.
The Night of the Living Dead 3-D Web
site includes a preview trailer for the film and will include
a 3-D photo gallery.
The filmmakers comment about making
Director/Producter Jeff Broadstreet: "I’ve
always loved horror movies and the last film I directed (Dr.
Rage) was an offbeat, darkly funny horror film. There
have been a number of zombie films over the years that I’ve
liked, I dug the original Dawn of the Dead when it
first came out in 1978 and I thought the guys who did the
2004 remake did a pretty good job. It wasn’t just like
the original and I think that was a good thing."
When I was approached by the production company about making
Night of the Living Dead 3-D I thought it could be
an interesting project. At that time, in early January of
this year, I honestly wasn’t dying to do a zombie film.
But I thought we could do something a little different with
the premise. And, of course making the film in 3-D added a
whole new dimension (pun intended) to the project. So, I told
the people at Midnight Movies that I wanted to have Bob write
the screenplay and he came up with some new, very clever ideas."
Screenwriter/Editor Robert Valding: "Which of course
doesn’t mean I didn’t recycle a bunch of old ideas
too. Every zombie movie should bring a few old story points
back from the dead."
JB: "Night of the Living Dead 3-D is a different
kind of zombie movie, it obviously has traditional “zombie
movie” elements but also has some ideas and themes that,
I think, will surprise the audience. And for a 3-D movie,
it’s not particularly gimmicky."
RV: "Yes, zombies reach off the screen. But no, we don’t
have blood spurting into the audience."
JB: "We did try to."
RV: "But it just didn’t work."
Is George Romero Involved?
JB: "No, George Romero is not involved in any
way with this film. I have a lot of respect for Romero and
as I said, I really like the original Dawn of the Dead.
I think it’s his best zombie movie. This project was
presented to me by Midnight Movies as a re-imagining of the
1968 film that had fallen into the public domain and the new
production was going to be made in 3-D. So, I was offered
the opportunity to produce and direct a horror film with a
bigger budget than I had before and I thought I could make
a good, small horror movie with the resources that would be
available. I had flirted with 3-D projects in the past and
had a pretty good working knowledge of the process and what
would probably be involved."
RV: "Night of the Living Dead made a huge impression
on me when I was a kid. It scared the crap out of me, gave
me nightmares, but I also felt like it was saying some scary
but true things about real life, society, human nature. It
didn’t preach, but it hit you with a lot more than just
mindless scares. So when this opportunity came along, I tried
to write a script that commented on our society today the
way the ’68 film commented on its own time. I’d
like to think Romero would like the film, though I suspect
he’d be a bit more open to it under another title."
JB: "Once we committed to the project and both being
horror fans, Bob and I knew that the hard-core Romero/Night
of the Living Dead fans would be not happy that a new
production was being filmed and that Romero was not involved.
It was the same reaction that Bob and I had when we went to
see the 2004 remake of Dawn of the Dead. Like a lot
of horror fans, we were convinced the remake was going to
be bad, and when it was over our basic reaction was, “you
know what, that was pretty good”. So, I went into this
film with the approach that the first reaction to Night
of the Living Dead 3-D from the hardcore fans would be
that they would be convinced that our film was not going to
be good and we were determined to make a film that was a little
bit different, that works on its own terms. We want the fans
and the audience in general to come out of the theater and
say, 'that was a good movie.'"
Is the story the same as the 1968 film?
JB: “Night of the Living Dead 3-D
is both an homage and re-imagining of the 1968 film. The basic
premise is sort of the same, but the story doesn’t necessarily
go where you think it’s gonna go."
RV: "A good horror movie should make you feel like it’s
predicting your fate. I think that’s what Romero’s
film did for audiences at the end of the sixties, it said
“This is what all of this scary social breakdown and
upheaval is leading up to.” The American apocalypse,
if the flesh-eating zombies don’t get you, the vigilantes
will. And you could laugh it off as just a tacky drive-in
horror movie, but you couldn’t shake its effect because
it touched on too many things that were going wrong in the
real world. There was something deeply uncanny about it. Now,
in 2005, zombies aren’t uncanny. Everybody’s seen
a bazillion zombie movies. So more than anything I wanted
to get back that feeling of uncanniness that Romero’s
film had. What was the question?"
RV: "Oh right, is the story the same? Ultimately no,
but there is definitely some major déjà vu.
Getting back to that idea of a horror film foretelling your
fate… you could say that our characters have their fates
foretold by Romero’s film."
Are the characters the same?
JB: "Some of the characters are similar to the
ones in the 1968 film and there are characters in this film
that are completely original. I don’t want to give too
much away, but Sid Haig’s character, Gerald Tovar, Jr.
is very loosely based on an actual guy who was running an
unlicensed mortuary. Actually, my wife Nancy brought the story
to my attention when Bob and I were first working out the
story and I thought, this could be a very interesting jumping
off point for that character in the movie. By the way, I don’t
think Sid even knows this, but we wrote the character of Gerald
Tovar, Jr. for him. I had been thinking about working with
him ever since I saw House of 1000 Corpses when he
came on the screen in the beginning of the film behind the
counter at the gas station and flashed that crazy grin, I
thought, “were has this guy been”? So, we got
our first choice. Sid, thanks for doin’ the movie."
What kind of 3-D process is it filmed in?
JB: "It’s red and blue anaglyph projection,
the same process that Robert Rodriguez’s Spy Kids
movies were released in. For filming we had two custom built
lightweight 3-D rigs made by Dan Symmes and his Dimension
3 company. The film features extensive handheld and Steadicam
shots, a first in 3D films.
Will we need to wear glasses?
RV: "Yes, you will need to wear red-blue glasses.
Which only intensifies the horror."
What was the film's budget?
JB: "Considerably less than Land of the
Dead and considerably more than the 1968 film. It’s
a small film with a lot of production value and very good
3-D. I had real-time 3-D monitoring on the set, it was fantastic
to set-up the shots and be able to see the 3-D in real time
as you are working out the blocking with the actors. Our two
young stars, Brianna Brown and Josh DesRoches are really good
in this film and Sid Haig is very memorable in a somewhat
unusual role. Like most small films, the shooting schedule
was tight, but our director of photography, Andy Parke, did
a great job. Bob directed the second unit and they shot some
really good footage for us."
RV: "I would have done it for free. In fact I did do
it for free."
When will the film be released?
JB: "We’re finishing post now. The plan
is for the film to be released theatrically in several markets
in late January 2006."
3-D Films Hit the
Screen at Britain's National Film Theatre Dec. 7 through 18
the work of legendary film-makers such as Alfred Hitchcock
with his Dial M for Murder, and actors Vincent Price
in House of Wax, Rock Hudson and Lee Marvin in an
extra dimension in films during a showing of 3-D films at
the National FIlm Theatre, Belvedere Road, South Bank, Waterloo,
London. Stereoscopic (known as 3-D) cinema is a method of
producing and projecting films in such a way that it creates
an illusion of three-dimensional vision. We are delighted
that the films presented here are the celebrated 'twin projector'
prints where interlocked projectors are run together, with
the left-eye print on one machine and the right-eye print
on the other. The viewer wears special glasses to create the
Stereoscopic (known as 3-D) cinema is a method of producing
and and projecting films in such a way that it creates an
illusion of three-dimensional vision. The National Film Theratre
3-D showings the celebrated "twin projector" prints
where interlocked projectors are run together, with a left-eye
print on one machine and a right-eye print on the other. The
viewer wears special glasses to create the 3-D illusion.
Schedule of 3-D film presentations
Wed 7 Dec
6.15 p.m. Miss Sadie Thompson
8.30 p.m. Kiss Me Kate
Thu 8 Dec
6.15 p.m. Jesse James vs the Daltons
8.40 p.m. Fort Ti
Fri 9 Dec
2.30 p.m. Kiss Me Kate
6.10 p.m. The Nebraskan
8.30 p.m. Miss Sadie Thompson
Sat 10 Dec
3.50 p.m. Dial M for Murder
6.15 p.m.The Charge at Feather River
8.30 p.m.Gorilla at Large
Sun 11 Dec
6.10 p.m.Fort Ti
8.40 p.m.Jesse James vs the Daltons
Mon 12 Dec
6.15 p.m.House of Wax
8.45 p.m.The Mad Magician
Tue 13 Dec
6.10 p.m.Gun Fury
8.30 p.m.Dial M for Murder
Wed 14 Dec
6.10 p.m.Gorilla at Large
8.30 p.m.The Stranger Wore a Gun
Thu 15 Dec
6.10 p.m.Man in the Dark
8.40 p.m.The Charge at Feather River
Fri 16 Dec
2.30 p.m. House of Wax
6.10 p.m. Drums of Tahiti
Sat 17 Dec
3.50 p.m.Drums of Tahiti
6.10 p.m.The Mad Magician
8.00 p.m.Gun Fury
Sun 18 Dec
4.15 p.m.Man in the Dark
6.10 p.m.The Stranger Wore a Gun
8.20 p.m.The Nebraskan
Announces Plan to Launch 200 SVX TRU 3-D Theatres
Entertainment Inc. announced that it plans to develop a 200
theatre SVX TRU 3-D theatre network. SVX TRU 3-D theatres
will deliver the highest quality, lowest cost, polarized,
3-D film viewing experience available. StereoVision's founder
and CEO, Jack Honour, stated, "Simply put, SVX TRU 3-D
theatres bring amusement park quality 3-D to your local multiplex.
Gone are the days of the anaglyph red and blue paper glasses.
StereoVision's branded SVX TRU 3-D theatre plan has been a
key component in SVE's business plan for several years. With
the majors like Disney and Lion's Gate now following our lead,
the industry is again buzzing about the enormous potential
of the commercial exploitation of 3-D entertainment products.
From children's matinees to creature features, 3-D concerts
and documentaries, there are a wide variety of commercial
applications for our SVX TRU 3-D theatres. The enormous grosses
at the limited number of IMAX 3-D theatres for feature films
such as Polar Express 3-D have garnered the attention
of even the most skeptical studio execs. And with the theatre
operators anxious for solutions to losing huge market share
to the DVD home-viewing explosion, they're welcoming the 3-D
surge with open arms. In contrast to the enormous cost of
Disney's digital 3-D theatre retrofit of approximately $150,000
per theatre for their planned 85 theatres, the SVX TRU 3-D
theatre uses a theatre's existing film projector with our
3-D projection lenses, and a comparable silver screen for
a total installation cost of under $5,000 per theatre.
The company believes that the earnings potential for its
plan is substantial for a number of reasons. The viewing quality
in our theatre system is equal to digital and much less expensive
to install. StereoVision will "four wall" its theatres
thus allowing it to keep a portion of the distributors' and
exhibitors' cut of the gross as well as, for self produced
films, the producer's share of the gross. We believe that
StereoVision's commitment to high quality, low cost 3-D film
content will resonate with viewing audiences. Lastly, SVE
will make its theatre network available to any producer who
delivers an acceptable quality 3-D product, along with a fair
profit sharing agreement. StereoVision plans to finance its
SVX TRU 3-D THEATRE network with a combination of equity and
SVE's principal partner and Director of Film and Television
Production, Doug Schwartz, co-creator of Baywatch,
stated, "I'm thrilled about the recent commercial acceptance
of 3-D entertainment content. I believe this is the perfect
time to get our SVX TRU 3-D theatre network operational. I've
been in discussions with many of the major studios about StereoVision's
plans for the development of 3-D products and we've consistently
received positive responses. I'm looking forward to participating
in the evolution of StereoVision's 3-D business plan."
The company's financial advisor, Ted Botts, stated, "Given
the widespread interest in 3-D content being shown by the
major Hollywood studios, we believe that our plans to launch
a chain of theatres devoted to exhibiting 3-D productions,
along with our plan to produce high quality low cost 3-D entertainment
content, will have a very positive impact on the company's
ability to secure funding."
NASA's STEREO Spacecraft
to Scan Sun in 3-D
is probably the world's largest stereoviewer and the most
expensive, costing over $500 million. NASA's STEREO space
mission, short for Solar TErrestrial RElations Observatory,
will use stereoscopic vision to construct a global picture
of the Sun and its influences.
Launch of the STEREO spacecraft is planned for April 11,
2006, aboard a Delta II 7925-10L rocket out of Cape Canaveral
Air Force Station, in Florida. Once launched, the two STEREO
probes will take up Sun-watching positions ahead and behind
Earth to record the first real-time 3-D images of our nearest
The two NASA probes are running a gauntlet of tests and checks
in preparation for their mission to watch some of the Sun’s
largest explosions in three dimensions.
Engineers are ensuring the space worthiness of NASA’s
twin STEREO spacecraft for their upcoming hunt of coronal
mass ejections (CMEs), enormous solar eruptions of high-energy
particles that can interfere with satellites and pose a danger
to orbiting astronauts when directed at Earth.
“From the space weather standpoint, this will be very
important,” said Michael Kaiser, STEREO project scientist
at NASA’s Goddard Space Flight Center (GSFC) where the
probes are currently being tested. “The events on the
Sun that you’re very interested in are the one’s
coming right at you. We’ll be viewing them from the
side.” "Keeping tabs on CMEs and the radiation
spewed from the Sun will become even more important in the
future, when astronauts leave the relative protection of the
Earth’s magnetic field on long-duration spaceflights,"
By launching two spacecraft instead of one, researchers hope
the STEREO mission will shed new light on how massive CMEs
form and propagate throughout the Solar System. "Previous
3-D observations of the Sun taken by the Solar and Heliospheric
Observatory (SOHO) used images caught one at a time, during
which time conditions may have changed," Kaiser said.
Scanning for space explosions
NASA’s STEREO probes carry four instrument suites to
study CMEs as they blast outward from the Sun out past the
“In terms of technology, STEREO is sort of an odd mission,”
said Andrew Driesman, spacecraft systems engineer with Johns
Hopkins University’s Applied Physics Laboratory (APL),
which built the probes. “We tried to get two spacecraft
for the price of one.”
The STEREO mission has an estimated NASA cost of about $460
million, as well as $60 million in support from European partners,
NASA officials said.
Each of the Sun-watching probes carries a set of coronagraphs
and imagers similar to those aboard SOHO, which has spent
nearly 10 years observing our parent star. Both STEREO will
relay real-time observations of the Sun to Earth, where researchers
expect to combine the to build three-dimensional views of
the star, as well as its CME and solar wind activity. A trio
of antennas on each spacecraft will also record the radio
signal bursts from the energetic solar events.
“They’re set up to take observations within half
a second of each other,” Kaiser said of the STEREO probes.
“This is kind of a poor man’s formation flying.”
"But the probes are not completely identical, and carry
subtle differences due to their different orbital destinations.
Each probe’s launch position and final destination gave
the spacecraft their tentative names," mission team members
“Right now they’re [STEREO] A and B for ‘Ahead’
and ‘Behind,’” Driesman told SPACE.com,
adding that the A probe will also sit atop the Delta 2 launch
stack, while the B spacecraft will be positioned below it.
A is slated to fly just inside Earth’s orbit but ahead
of the planet, completing one full orbit in about 347 days.
Because it will fly closer to the Sun, the star will appear
larger to the probe’s coronagraphs and required larger
occulting disks used to blot out the Sun’s body during
Additional care to thermal protection was needed on the STEREO
A than its companion, which is slated to trail the Earth in
an orbit just a bit farther from the Sun and complete one
orbit in 387 days, NASA officials said
“They end up on orbits slowly moving in opposite directions,”
According to their flight profile, each spacecraft will move
further from Earth during the STEREO mission’s two-year
mission, though the gradual separation should not hinder its
“Eventually, you run into a point where they’re
both on opposite sides of the Sun,” Kaiser said, adding
that it should occur well after the primary mission. “The
mission could probably go on for five or six years, depending
their joint mission, the two STEREO probes won’t be
the sole observers of the Sun during their spaceflight.
Spacecraft such as the successful SOHO, and other missions
such as Wind and Advanced Composition Explorer (ACE), have
provided bonus observations from relatively close to Earth
when compared with the planned STEREO flight. Data and observations
from those spacecraft can be added to STEREO’s findings
to build a more comprehensive picture of the Sun’s behavior,
“It’s nice to have that one [location] right
in the middle,” Kaiser said. “That third vantage
point from SOHO, that helps.”
Kaiser added that the STEREO mission is a reunion of sorts
for Sun-focused researchers, many of whom are either working
together or collaborated in the past on the other Sun-watching
Rounding the Moon
It should take the two STEREO probes about three
months to take up their respective sun-watching positions.
Both spacecraft will swing past the Moon, using its gravity
to fling them toward their final orbits, though STEREO A will
have to fly past the grey satellite twice in order to accelerate
past Earth to its intended station, NASA officials said.
“We’re sort of hooked to the lunar cycle,”
Dreisman said, adding that while the STEREO mission plans
to launch sometimes between April and June 2006, there is
actually more flexibility to make the space shot. “We
have a launch window almost every month of the year.”
While most months have a period of about 14 days, each with
a 15-minute launch window, to loft the two STEREO probes,
a December liftoff would require an extended coast phase that
could prove too long for the probes’ batteries, he said.
But before STEREO A and B can leave Earth, engineers must
be sure they’re fit to fly. Over the next few months,
the probes will be locked away in vacuum chambers, subjected
to the intense vibrations and noise they will experience at
launch and witness the extreme temperatures they must endure
in order to successfully perform their mission.
“It’s been such a long road here, we’ve
been looking forward to this,” Kaiser said of the testing
phase. “I think the mission is going to open up a whole
new world for us.”
NASA has a several Web pages devote to the STEREO mission
loaded with images, videos and information.
NASA Web Software
Zooms to Moon Images in 3-D
users can now take virtual 3-D trips to nearly anyplace on
the moon, thanks to a NASA program first designed to show
aerial views of the Earth.
The newly expanded NASA World Wind computer program can transport
Web users to almost anyplace on the moon, when they zoom in
from a global view to closer pictures of our natural satellite
taken by the Clementine spacecraft in the 1990s. Computer
programmers at NASA Ames Research Center in California's Silicon
Valley originally designed the World Wind program to deliver
satellite images and data of Earth to the Internet. Users
can see detailed 3-D pictures of the Earth's land surface,
including its elevation and climate.
"We have just digested the best of the Clementine images,
so we can now deliver the moon at 66 feet (20 meters) of resolution,"
said Patrick Hogan, manager of the World Wind Project Office
at NASA Ames. "This is a first. No one has ever explored
our moon in the 3-D interactive environment that World Wind
creates," noted Hogan.
Launched in early 1994, Clementine took 1.8 million pictures
of the lunar surface during a two-month orbit of the moon.
The Ballistic Missile Defense Organization and NASA jointly
sponsored the Deep Space Program Science Experiment that included
the Clementine spacecraft. Its principal objective was to
'space-qualify' lightweight imaging sensors and component
technologies for the next generation of Department of Defense
"Imagine riding a magic carpet through the world and
being able to zoom down to any point, or appear magically
at any location. That's what World Wind is like," said
Mark Leon, chief of the Education Division at NASA Ames. "Not
only has Hogan's team produced new technology with World Wind,
but they have done so as open source computer code, so it
is free for all who would download it," Leon added.
"NASA World Wind allows users to explore their (computer)
environment at will," Hogan said. "This leads to
much greater engagement with, and by, the users and personalizes
it for their own discovery." In contrast, movies are
not as engaging, or immersive, in that the user does not control
them, Hogan observed.
The personal computer compatible World Wind program is available
free of charge via Internet download. Computer users from
more than 100 nations have acquired the free World Wind program,
though most users are from the United States. To download
World Wind, visit worldwind.arc.nasa.gov.
NASA World Wind is delivering terabytes of global NASA satellite
data that are a result of years of daily observations of precipitation,
temperature, barometric pressure and much more. Recently,
hurricane Katrina data have been added to World Wind’s
collection of images. There are an estimated 10,000 daily
users of World Wind.
In addition to improving World Wind by adding images of the
moon, NASA programmers recently have increased the resolution
of images of Earth from 3,281-foot (one-kilometer) resolution
to 1,640-foot (500-meter) resolution in an upgrade called
'Blue Marble, Next Generation Earth.' Also, some World Wind
data sets include images of the entire Earth at 49-foot (15-meter)
resolution. The United States data in World Wind is at 3.3-foot
(one-meter) resolution with some urban areas at one-foot (0.33-meter)
World Wind has been enabling hundreds of thousands of Internet
users to zoom from satellite altitude into any place on Earth
to see across the Andes, into the Grand Canyon, over the Alps
or along the African Sahara. World Wind accesses public domain
United States Geological Survey aerial photography and topographic
maps as well as Shuttle Radar Topography Mission and Landsat
Although the World Wind images are created from various data
to make computerized 3-D representations of the moon (and
Earth), stereo enthusiasts could try to tweak the GPS positioning
to create true stereoscopic separations of the images. Maybe
someone can try to zoom in on Tranquility Base to create a
3-D view of the first moon landing site?
Kong may roar in 3-D
Hollywood Reporter published a story that In-Three, an
Agoura Hills, Calif. based postproduction company that converts
traditional live-action and animated movies into 3-D, already
is at work applying its patented and trademarked "dimensionalization"
process to King Kong, which opens domestically on
Although there has been speculation that King Kong
eventually could reach out from the screen, that talk is taking
on added urgency. In-Three offers 3-D shutter glasses, which
exhibitors could use to show films without specially treated
screens, though so far exhibitors have shown resistance to
the idea of using the elaborate glasses, which are expensive
to replace and require washing after every screening. In-Three
president/CEO Michael Kaye declined comment.
Real D, which joined with Industrial Light & Magic, Dolby
and the Walt Disney Co. to turn Chicken Little into
a 3-D event, could be another candidate to usher a 3-D King
Kong into theaters. Real D is promising that it will
announce as early as next week the next film it will tackle.
Asked whether that film was King Kong, Real D CEO
Josh Greer declined comment. Even if Real D were to take on
the assignment, though, it doesn't look feasible that it would
be part of Kong's initial bow. For one thing, the Real D-equipped
theaters probably still will be showing Chicken Little.
But the betting is, whoever is involved, a 3-D King Kong
will appear in theaters several months into the movie's run.
A Universal spokesman denied that any plans are afoot to give
King Kong a 3-D boost during its run, saying, "No,
(King Kong) will not be shown in 3-D." But 3-D
fans can still dream, can't they?
Daily Mail in England offers 3-D posters in Weekend Magazine
you can claim for your favorite pictures as a glossy 3-D wall
poster. Over three weeks in November, The Daily Mail published
a further 15 sensational 3-D images in Weekend magazine. Readers
were able to claim for one poster, five posters or all 20
in brilliant 3-D style.
To get the posters, readers collected 12 differently
dated tokens from those printed in The Daily Mail until Dec.
Readers are able to send off for one poster
plus £1.99 for p&p plus 12 tokens, five posters
plus £4.99 for p&p plus 12 tokens or the full set
of 20 tokens plus £12.99 for p&p plus 12 tokens.
Readers could also send off for extra pairs of 3-D glasses.
Poster terms and Conditions: Each poster measures 84cm x
59cm and comes delivered in a protective postal tube. Only
one application per reader, multiple applications are not
Delivery will begin on receipt of applications, however due
to the special process that 3-D printing involves, posters
may not be dispatched until the end of January 2006.
Stereoscopic Displays and Applications (SD&A) Conference
Advance Program Now Available
Program for the 2006 Stereoscopic Displays and Applications
(SD&A) conference is now available from the conference
The conference is scheduled for Jan. 16-18, 2006, at the
San Jose Convention Centre, San Jose, California as part of
the SPIE/IS&T Electronic Imaging: Science & Technology
Symposium. SD&A is held the week before Photonics West.
Oorganizers are sending thanks to all the authors who submitted
abstracts. According to conference chair Andrew Woods, "We
have a very interesting and full program ahead of us."
The three days of the conference will see sessions on applications
of stereoscopy, medical applications, human factors, stereoscopic
projection and stereoscopic cinema, stereoscopic image processing,
stereoscopic rendering, autostereoscopic displays, integral
3-D imaging, stereoscopic software, and stereoscopic developments.
Plus there are several other special 3-D events: the demonstration
session, keynote presentation, 3-D screening session, discussion
forum and hosting the 3-D Phantogram Exhibit.
are now open for the 2006 Stereoscopic Displays and Applications
Conference and other conferences, which are part of Electronic
Imaging 2006, including The Engineering Reality of Virtual
Reality conference. Registrations are also open for the Electronic
Imaging 2006 short courses including SC060 Stereoscopic Display
3-D Soap Serial Should Debut Before Christmas
time between Diwali and Christmas, you’ll be able to
enjoy the thrill of three-dimensional television in your home,
if your home is in India. A south Indian firm called GV Films
has scheduled for debut the Hindi serial Paramapadam
shot in 3-D format.
The one-hour-long weekly show can be enjoyed on any television,
with the help of special 3-D glasses that are, thankfully,
cheap. Mahadevan Ganesh, chairman of GV Films says “The
show is inspired by the ancient game called Parmapadam in
Sanskrit, but more commonly known as Saanp-Seedi.
“It will star Mukesh Khanna (of Shaktimaan fame). We
have bought the copyrights of 3-D television technology from
the U.S. and have flown down a technical crew from Los Angeles.”
Each one-hour episode will take 15 days to film, at a cost
of over Rs 40 lakh.
They are currently looking to strike a deal with a Hindi
Production has already started and the company has
signed agreements with Jaya TV, ETV Marathi, Gujarati and
Bengali for the purchase of its 3-D software and dubbed versions
of the serial.
Mukesh Khanna said, "It’s a great experience to
work on India’s first 3-D soap. I play a 70-year-old
man who narrates tales to children. The first few episodes
are ready and they look great!"
Filmmaker turns room into 3-D Museum
by Courtney Chua, The
Tufts Daily Senior Staff Writer
college students decorate their dorm rooms with pictures,
posters, magazine ads, interesting newspaper articles or the
occasional random item from Target or Bed, Bath and Beyond.
But for Tufts freshman Matthew Diamante, the inside of a
dorm room is much more than a place to sleep, procrastinate
and procrastinate some more. Diamante's Hill Hall room features
something that can't be purchased during the fall poster sale
in front of the campus center: a rotating stereoscopy museum.
Stereoscopy, which means "stereo photography,"
was popular in the 1970s, when people used to go door-to-door
selling the machines. But the stereoscopy Diamante dabbles
in is a bit different. It involves the red plastic Fisher-Price
View-Masters that were owned by many children (and children
at heart) in the early '90s.
Three-dimensional slides of anything from Disney characters
to views of the Grand Canyon are placed into the View-Master®,
and an orange switch is clicked to rotate through the images.
When people ask to see his museum, Diamante just hands them
his View-Master®, which contains a new image every week.
He places a sign on his door to inform visitors of which image
set is the current feature attraction.
Diamante's collection contains scenic pictures of different
areas of the United States and Canada, from urban (San Francisco,
New York City) to rural (Yosemite and Petrified Forest National
Parks). Other slide subjects include the history of flight,
the White House, the interior of George Washington's home
in Mount Vernon and Civil War battlefields.
"3-D is making a comeback," Diamante says, going
on to say that he thinks magazines should publish today's
news in three-dimensional photographs.
"Time should release 3-D pictures of, say,
Yushenko in Ukraine," he says. "Or Sports Illustrated
should release 3-D pictures of the Red Sox winning the
Diamante's interest in 3-D is fairly recent. His parents
live separately, so he "doesn't really have a said room
at home." Though he attended boarding school for two
years before coming to Tufts, Diamante didn't have a rotating
museum in his room there.
But as he was digging through boxes at home at the beginning
of the school year, he came across his old View-Master®.
Remembering recent 3-D spreads in National Geographic
and three-dimensional motion pictures like Chicken Little
and The Polar Express, he started to search for 3-D
images and View-Master® slides on eBay.
Diamante believes that much of the interest in his rotating
museum revolves around the mystery behind what the image will
be each week.
"[This] is just for college, to spice things up,"
he says. And spice things up he has: Diamante says that though
his Hill Hall rotating museum had a slow beginning, word is
starting to get around.
Diamante says his biggest proponent is a friend who lives
in Hodgdon. She viewed the museum and told others about it,
spreading Diamante's visitor base further across campus. The
freshman now gets many inquiries as to what the new image
for the week is - or if they can see the View-Master®.
"Guys were a bit more hostile at first, but now a lot
of them knock on my door and ask to see it," he says.
Diamante plans on majoring in political science, his interest
in photography, three-dimensional images and film may seem
random. The California native, however, has a strong interest
in filmmaking and has even made a few short films of his own.
In high school, Diamante created an 11-minute film about
13th-century Vatican cardinals, as well as a six-minute humorous
documentary of the Democratic National Convention.
According to Diamante, his "most interesting" film
is probably one that features a friend of his who bears a
resemblance to the character Gollum from Lord of the Rings.
Diamante cut out the "real" Gollum and inserted
his friend in the character's place.
Moviemaking has always been Diamante's dream, and he even
has a plan for how to market 3-D images and fuel interest
in them throughout the Tufts community.
"If Tufts used 3-D images to advertise pictures of the
Hill to sell to alumnae, it could be a great fundraising tool,"
But Diamante is managing his museum within the confines of
his dorm room. It's 212 Hill Hall, for anyone who need a View-Master®
in IMAX® 3-D
the 2005 Giant Screen Theatre Association (GSTA) International
Conference, IMAX Corporation announced that it is in active
development of Surfari, the first ever IMAX®
3-D film to profile the thrilling and globally popular sport
of surfing. The adrenaline-pumping IMAX 3-D feature will showcase
top surfing talent and examine the worldwide phenomena through
the prism of global surf travel and exploration. IMAX will
serve as executive producer of Surfari, which is scheduled
for release in 2007.
Through the magic of The IMAX 3-D Experience®, Surfari
will take moviegoers to the top of vertiginous 40-plus
foot waves and to tropical surf destinations around the world.
Audiences will visit the exotic beaches where the one-time
Polynesian sport was conceived, and trace its development
into a pervasive cultural symbol of freedom, romance and enduring
"The popularity of Hollywood blockbusters in IMAX's
format is driving expansion of our theatre network, and in
turn presenting IMAX with opportunities to develop more groundbreaking,
original productions, such as Surfari," said
Greg Foster, Chairman and President of IMAX Filmed Entertainment.
"This film is going to profile the hottest surfing talent
and make moviegoers feel like they're inside the tube, attempting
to conquer Mother Nature's biggest and most dangerous waves.
IMAX 3-D is a proven box office draw in both commercial and
institutional venues, and surfing has a large built-in global
fan base, so we're confident this film will be a valuable
addition to our 2007 film slate."
Surfari is written by Sam George, long time editor
of Surfer magazine and an accomplished surfing author
and filmmaker. He will co-produce with Paul Taublieb, chief
consultant to ESPN on the creation of the X Games, as well
a writer and producer of action sports programming for ABC,
ESPN, NASCAR, NBC and Fox Sports Net. Both men are accomplished
surfing veterans who have traveled the world on a quest to
ride the biggest waves, and they will bring their first hand
knowledge and experience to Surfari.
Feet in IMAX® 3-D
Corporation and Warner Bros. Pictures announced that Happy
Feet, a computer animated musical comedy about a tap-dancing
Emperor Penguin and his adventures in the Antarctic, will
be released domestically in IMAX® 3-D simultaneous with
the film's 2-D premiere in conventional theatres on Nov. 17,
2006. The film is directed by George Miller (the Babe
films, Lorenzo's Oil and the Mad Max trilogy)
with an all-star ensemble cast, featuring the voices of Nicole
Kidman, Elijah Wood, Robin Williams, Hugh Jackman and Brittany
Murphy. Happy Feet will be digitally converted into
IMAX 3-D and use proprietary IMAX DMR® (Digital Re-mastering)
technology. Warner Bros. Pictures will be the exclusive distributor
of the film to the growing worldwide IMAX® theatre network,
as well as to conventional theaters worldwide.
Said Dan Fellman, President of Domestic Distribution at Warner
Bros. Pictures, "People who have seen footage of Happy
Feet have been tremendously entertained and IMAX 3-D
is going to amplify that experience."
"Happy Feet has everything we look for in an
IMAX release: cutting edge visuals, a heartwarming tale for
audiences of all ages, an unforgettable musical score, and
an incredible filmmaker with a unique vision. The film is
going to look and sound spectacular as An IMAX 3-D Experience®,"
said Greg Foster, Chairman and President of IMAX Filmed Entertainment.
"There were a number of outstanding titles to choose
from for our 2006 holiday release, and given the great working
relationship we've established with Warner Bros. Pictures,
as well as the fantastic character of this film, we feel Happy
Feet is the perfect choice."
Happy Feet is a comedy adventure set in the land
of the Emperor Penguins in the heart of Antarctica. These
penguins sing, each needing their own special song to attract
a soul mate. Unfortunately, our hero Mumble (Elijah Wood),
son of Memphis (Hugh Jackman) and Norma Jean (Nicole Kidman),
is the worst singer in the world, but he can tap dance something
Warner Bros. Pictures presents, in association with Village
Roadshow Pictures, a Kennedy-Miller Film, Happy Feet,
directed by George Miller. Written by George Miller, John
Collee, Judy Morris and Warren Coleman. Produced by Doug Mitchell,
Bill Miller and George Miller. Executive Producers are Graham
Burke and Bruce Berman. Music composed by John Powell.
More Star Wars
The third chapter in George Lucas' Star Wars saga,
Star Wars Episode III: Revenge of the Sith brings
with it many 3-D related collectibles. Here are more of the
Star Wars 3-D items available.
Editor's Note: All Star Wars images are © Lucasfilm
2005. All rights reserved. Check out our past
issues to see more Star Wars III-D items.
Star Wars III Australian
News Limited in Australia
partnered with ESP Global (Australia) to bring out a
series of exclusive collectable lenticular pins to celebrate
the final Star Wars III: Revenge of the Sith movie.
These pins feature characters from all six Star Wars
episodes, each featuring two different photos of the
characters that flip as you move them. Also included
with the collection is a free pin display album which
features photos and information on characters, starships
and a synopsis page of all six Star Wars episodes.The
pins and album were available at participating retailers
in New South Wales, Queensland in May 2005.
Candies Star Wars III Round Lenticular Collector's Tin
candies released two collectible tins with lenticular
images from Star Wars III: Revenge of the Sith.
One tin features Darth Vadar and Anakin Skywalker. The
second tin features Yoda and General Grevious.
Center of Art and Photography to present Mike Wilder's The
Carnivorous Syndrome in 3-D starting Dec. 1
An exhibition of 3-D Time Lapse Video
3-D Center of Art and Photography will present a special showing
of 3-D time lapse video from Dec. 1 through 4, 2005.
Portland filmmaker Mike Wilder presents the mysterious lives
of carnivorous plants around the world in the unprecedented
3-D time lapse video, The Carnivorous Syndrome. With a single
camera mounted on a robot built out of Lego© bricks,
Wilder was able to capture these fascinating plants on film
and then convert them to 3-D video.
You will not want to miss Mike Wilder’s fascinating
3-D project The Carnivorous Syndrome in 3-D. This
in depth 22 minute nature movie about carnivorous plants takes
the audience on travels through Australia, Japan, Venezuela,
Africa and Borneo, while teaching the viewer about the mysterious
plants which live there.
is likely that this macro 3-D time lapse video is unprecedented.
The film also features an incredible electronic soundtrack
composed by John Teagle. The Carnivorous Syndrome in 3-D
will play in the Center’s stereo theater Dec. 1-4 during
the Center’s normal open hours. Wilder’s film
is also available on DVD. The project was generously supported
by a grant from the Regional Arts and Culture Council.
Of this project Wilder says, “ I realized that a properly
designed robot, which moved a single camera back and forth
at intervals, could in principle produce the 3-D films I desired.
In effect, the robot is a mechanized slide bar, though it
also operates the cable release, and in some cases, rotates
"Since I didn’t really know anything about robots,
I built mine out of Lego ® bricks. I am very pleased that
I was able to produce a precise machine with these toys! Obviously,
the camera simply produces stereo pairs. In order to convert
these into anaglyph video, I used the batch processing capability
of the free program Stereo Photo Maker. By shooting e.g.,
1,000 stereo pairs over the course of a week, the pairs could
be converted into 1,000 anaglyph images, which could then
be used as frames in 30 fps video (in another program). Thus,
one has to shoot 1,000 stereo pairs to yield 33 seconds of
3-D time lapse video!"
"For over a year, my robot worked diligently for weeks
at a time, filming the growth and flowering of carnivorous
plants. Meanwhile, I used the free Pov-Ray program to make
anaglyph 3-D animation. The process is very similar. An animation
is designed, and each 2-D frame is rendered as an image. Then
the virtual camera is moved within the scene, and another
series of frames is rendered. Stereo pairs are isolated, and
processed as above with Stereo Photo Maker."
"I combined all of this material in my film called
The Carnivorous Syndrome in 3-D.”
The 3-D Center of Art and Photography is located at 1928
NW Lovejoy in Portland, Oregon. Hours: Thursday through Sunday,
1 to 5 p.m. First Thursdays, 6 to 9 p.m.
credited with technology for NBC-TV's Medium 3-D episode
NBC's supernatural series Medium went 3-D for an
episode that aired on Monday, Nov. 21, the credits showed
that a Montreal-based company had a leading role in the technology
required for the stereoscopic effect.
Sensio is a young Canadian company that was hired by the
series' producer to engineer and encode the episode for 3-D,
something that hasn't always worked effectively on television
"I think people will be surprised by how vivid and dynamic
3-D has become," says executive producer Glenn Gordon
In Canada, CTV has joined the campaign to make one million
pairs of 3-D glasses available to viewers in time for the
telecast. The episode apparently will still be viewable by
people watching in ordinary 2-D.
on the Small Screen is a Large Disappointment
3-D episode of Medium, aired by the NBC Television
Network in November, missed the mark for many viewers. The
Medium 3-D experience was not ready for prime time.
Although the opening sequence had some good 3-D effect, with
the artist's paintbrush virtually reaching halfway across
the living room floor, the remaining 3-D sequences were nearly
The anglyphic separations seemed to be off-register, with
the beginning of some scenes in perfect focus and then being
separated so much that the scenes became hard to view. The
extreme ghosting (no pun intended) in the episode highlighted
the limitations of anaglypic 3-D and brought back the stigma
of 3-D movies of the 1980s.
One wonders if the producers took extra time to create a
good 3-D opening sequence (introduced by a digitally-enhanced
Rod Serling) in order to keep the viewers watching the rest
of the episode.
Jay Leno, on that Monday’s Tonight show, joked
that NBC actually was distributing two kinds of glasses: the
3-D ones for Medium and blinders for all other NBC
Stone No. 1,000 May Issue to feature first ever 3-D Cover
Stone, the "bible" of rock 'n' roll magazines,
will publish its first ever 3-D cover for it's 1,000th issue
in May 2006.
No word yet as to who will be the featured rock 'n' roll
legend to appear on the cover.
Here are a few auction results on 3-D items from the past
A 1950's View-Master® Store Counter Display sold
for $615 with 17 bids. The display can hold over 600
reels. This fantastic item was found at sale for an
old Rexall Drug Store in Kansas.
It is 15" tall, 26" wide and 19" deep.
It is made of high quality wood, metal and plexiglass.
The top of the display, where the graphics are, light
up from a flourescent bulb in back compartment. It
still lights up nicely. Over 200 original printed
index cards for reels are included with display. Display
is in excellent condition with minor scuffing on lower
front. Plexiglass is nice as is wood. The viewer was
missing, which would've been attached near the white-frosted
Pick Up and Look window.
A Stereo Realist Counter Display sold for $300 with one bid.
These were sent to camera stores in the early 1950s
to show customers the 3-D effect of the Stereo Realist
It's basically the front end of a Realist
viewer mounted on a metal box that contains a carousel
of 12 Realist format slides and an AC powered light
source. This one has both focus and interocular adjustments.
This display has a series of slides that depict various
interior designs from famous department stores.
A test issue variation 1968 Topps 3-D baseball card
featuring Cincinnati Reds player Jim Maloney sold
for $380 with 26 bids.
A Kodak No. 2 Brownie
Stereo Camera sold for $676 with 26 bids. The original
case is included with the camera. These were built from
A Keystone 50 of 50 Alaska Box Set of Stereoviews containing
1 through 46 in black buckram box sold for $900 with
A pair of stereoviews featuring dead Yanks and Rebs sold
for $700 with 17 bids. One view includes an early Anthony
yellow mount Photographic History War for the Union card No.
2506 Burial of dead at Fredricksburg, VA. showing
blanket draped bodies and wooden coffins and an orange mount
Anthony No. 3181 Rebel Artillery Soldiers, killed in the
Trenches of Fort Mahone.
A scarce Brady Stereoview of Dead Irish Brigade at Antietam
sold for $950 with eight bids. The stereoview features a cream
glazed mount with square corners, with an early Brady's Album
Gallery on verso and Alexander Gardner's 1862 copyright line
on recto. This dramatic image is No 550 Group of Irish Brigade,
as they lay on Battle-field of Antietam, 19th Sept., 1862.
An exceptional image, probably taken not long after Gardner
arrived on the battlefield. This is the only image taken depicting
Union casualties. Frassanito, in his 1978 book on Antietam,
calls this image "among the rarest of the rare."