Burkhart's Earthquake Days: The 1906 San Fransisco Earthquake
and Fire in 3-D "Coffee Table" Book
Earthquake Days: The 1906 San Fransisco
Earthquake and Fire is published by Faultline Books
April 18 marks the 100th anniversary of the 1906 San Fransisco
Earthquake and Fire. Countless books have been written on
this compelling subject. Yet, until now, there has never been
a full-color "coffee table" book about California's
greatest natural disaster, let alone one that features 3-D
photos of the catastrophe. 1906 San Fransisco comes to life
in this unique collection of over 100 original stereo photographs
of the "City-By-The-Bay." These haunting 3-D images
were created before, during and after the earthquake and fire
that destroyed 508 city blocks and left 200,000 homeless.
Accompanied by firsthand accounts, newspapers, maps and lithographs,
they recreate San Fransisco's great calamity an indomitable
spirit with stunning realism.
This richly-illustrated 220-page book is "Must See 3-D™"
for the 3-D collector and anyone interested in the history
of the earthquake. The book includes a pair of 3-D glasses.
Printed on heavyweight glossy paper, the book weighs nearly
There are more than stereoviews of the earthquake and fire
in the book. Stereoviews range from images showing the early
history of stereoviews to the Panama-Pacific International
Exposition, which was built on the landfill area created from
the debris of the fire. The beginning chapters introduce readers
to the history of the stereoscope and contain several California
related 3-D images. The 3-D images include views of the magnificent
City Hall before and the tragic ruins of the building after
the fire, taken from nearly the same location. One of the
most dramatic 3-D photos is the Harbor Emergency Hospital
with an old-time horse drawn fire engine sitting in frontof
it while the city burns with billowing black smoke filling
the sky in the distance.
The quality and clarity of the 3-D images presented in the
book is outstanding. Along with the numerous 3-D views are
2-D enlargements of several scenes, giving readers close-up
versions to see more details. Several stereoviews featured
in the book were printed from the original glass-plate negative
from the Keystone-Mast Collection.
What others are saying about Earthquake Days
“Earthquake Days is one of those rare and special books-both
smart and gorgeous. Burkhart's personal passion for stereophotography
rings through these pages, coupled with his great sense of
history and storytelling. The illustrations are lustrous,
with stereo card views, bird’s-eye views and fantastic
full color reproductions of period newspapers, lithographs
and more. This book is a tremendous contribution to the visual
history of one of the world’s most famous disasters.”
- Stephen Becker, Executive Director, California Historical
“What a pleasure and more - what a surprise to find
in this elegant book both a revitalization and a powerful
retelling of the familiar drama of San Francisco’s destruction
by earthquake and fire in 1906. Burkhart has gathered not
only the most complete collection of photographs (many of
them stereo views) and other illustrative revelations, he
has created - page after page - a richly rewarding, enlightening
experience for what should be his many, many readers. What
a pleasure for them!”
- J. S. Holliday, author of The World Rushed In and Rush
“A beautiful book.”
- Philip L. Fradkin, author of The Great Earthquake and
Firestorms of 1906
Earthquake Days: The 1906 San Fransisco Earthquake and
Fire is a 220-page hardcover book, 10.25 x 13 x 1 inches.
ISBN 0977330567. Retail price is $44.95 (U.S. only).
historian and author David Burkhart is an honors graduate
of Yale. A resident of the Bay Area since 1980, he and his
wife live on the San Fransisco Peninsula, half a mile from
the aptly named San Andreas Lake. Mr. Burkhart is a member
of the small staff at San Fransisco's renowned Anchor Steam®
Brewery. A professional trumpeter, he teaches at the San Fransisco
Conservatory and performs regularly with the San Fransisco
Symphony and Opera. He is also a member of the National Stereoscopic
For more information or to order a copy of the book online,
or e-mail email@example.com.
Write to Faultline Books, P.O. Box 849, San Bruno, CA 94066.
View-Master® Vendor 12-Panel Counter Display Sells on
rare View-Master® 12-panel display from the 1950's recently
sold at auction on eBay. Each panel in the countertop display
measures 12" x 12" and the display contains 12 different
panels made of cardboard that fit on a metal stand. When attached
to the stand, the panels form a pyramid. One panel shows a
Model E viewer, which dates this display between 1955 and
1961, the years when that model of viewer was in production.
Seven of the panels contain reproductions of View-Master®
S3 style scenic packets of Niagara Falls, San Fransisco, New
York City, Italy, Grand Canyon II, Great Smokies National
Park and Yellowstone National Park. Two of the panels feature
50s style artwork of a family at the Leaning Tower of Pisa
and a family at a seaside area. Another panel has the words
"We have View-Master® pictures of..." with room
for the vendor to attach one to four real packets to the display.
The last panel in the set features the slogan "Where
in the world would you like to go?" printed above a stylized
The eBay seller, from western Kansas, purchased the display
at the liquidation auction of an old Rexall Drug Store. The
mailing label on the box indicates it was sent to W.W. Gibson
and Son in Wakeeney, Kansas. The store had several other new
old stock (NOS) View-Master® items including a set of
36-inch close-up lenses, light-attachment, View-Master®
albums, a View-Master® Personal Camera and all were in
the original boxes.
The staff at 3-D Review Online Magazine
had never seen this display before it showed up on this sale.
If you have photos of unique View-Master®, Realist or
other 3-D displays, contact
us and we will share them with our readers.
1953, DC Comics distributed the comic book Superman Three
Dimension Adventures #1. The special issue came with
"Super 3-D" red/blue anaglyphic glasses included
in the comic book.The main story featured in Superman
Three Dimension Adventures is about Lex Luthor stealing
the Sun and holding it for ransom.
Superman fights rockets, tidal waves and a spaceship
equipped with a giant magnifying glass that Luthor uses to
direct the sun's rays at Earth with devastating results.
are several panels made to "pop out" at the viewer.
Superman is shown in multiple distances as he changes from
Clark Kent to the Man of Steel. He even has one leg sticking
out of the panel before leaping into flight. Another panel
shows a tiny rocket being shot through a glass window before
bouncing off Superman's chest. Other neat 3-D effects include
underground caverns, looking through tall buildings as a huge
tidal wave heads toward helpless Metropolis, Superman breaking
through the magnifying glasses, Superman punching through
an invisible barrier and through the side of the spaceship
to knock out Luthor.
Through the Ages Web site has the original artwork
from the 1953 issue posted online. When we say the original
artwork, we mean the uncolorized, black and white flat artwork
that was made by the artist before it went through the 3-D
conversion process. Many people have probably never seen the
black and white 2-D version since the comic book was printed
in anaglyphic 3-D. To read the story, visit 1953's
Superman Three Dimension Adventures. Too bad
they didn't post the 3-D version, too.
The site also has some other references to 3-D in Superman
comic books. For example, did you know that a visit to Superman
Land, which was featured in 1978's The Great Superman
Book by Michael L. Fleisher, mentions the fabulous "Rocket
Room" where 3-D movie films and other special effects
enable youngsters to experience the thrill of a make-believe
journey through outer space to the planet Krypton.
Talk about predicting the future. The artwork
in the panels show a thrill ride comparable to the real-life
Trek: Borg Invasion 4-D thrill ride in Las Vegas.
The youngsters view stereo color movies, projected on the
port side window and viewed through Polaroid goggles to make
the rocket seem to take off from Superman Land. Blasts from
vents and vibrating seats add to the realism as the rocket
apparently hurtles through space. Audiences board the "Krypton
to Earth Express" and are guided through the take-off,
a meteor swarm and other outer-space adventures like the "Sargasso
Sea of Space," until finally a planet of "unearthly
beauty seems to loom before them." The rocket ship begins
to land on Superman's home world.
3-D TV of Krypton
Sophisticated weather control towers enabled the people of
Krypton to purify their air and control their weather, while
an advanced solar energy tower enabled them to store and use
the solar energy emanating from their planet's red sun. In
homes that were apparently heated by atomic power, Kryptonian
families entertained themselves by watching 3-D TV while,
outside in the streets, other Kryptonians moved along the
city's moving sidewalks, gazing at the public news monitor
a billboard sized color-TV screen - to keep abreast of current
events, watching other Kryptonians queuing up for emotion-movies,
or visiting the incredible Mind-Art Center, where, by means
of a complex apparatus called a "mento-ray," designed
to freeze the artist's mental pictures on canvas, Kryptonian
artists created art masterpieces by merely envisioning them
in their minds.
The Amazing World of DC Comics
The Volume 3, Number 10, January 1976 issue of The Amazing
World of DC Comics featured a sidebar article about The
Mis-Inventions Of Jack Adler focusing on Adler's work
on 3-D comics including Superman Three Dimension Adventures
and Batman 3-D, both released in 1953. The sidebar
is part of a larger article titled Sol Harrison and Jack
Adler: Scene Makers Behind The Scenes by Carl Gafford
on Page 2. The article features a long interview with Harrison,
DC's VP of operations, and Adler, DC's production manager.
The story includes photos from the early days of their careers.
Superman Red/Superman Blue
In 1997, the Superman titles began a year-long storyline.
Beginning in February, Superman began experiencing problems
with his powers, a conventional plot element. This time, however,
his new electrical powers had to be contained in a suit, in
other words, a new uniform, and they would not go away. Superman
#123 introduced the new Superman of electrical powers and
a blue outfit.
Superman continued in his blue outfit until
the end of 1997, when the special issue Superman Red/Superman
Blue saw him split into two beings: Superman Red and
Superman Blue, a reference to the classic imaginary story
of the same name. After a few months of stories, March and
April 1998 saw the two Supermen united and restored to his
classic outfit in the special issue entitled Superman
Forever. The storyline had largely proven a flop among
critics and fans, and Superman Forever promised with
its title. as well as its fantastic Alex Ross cover, the restoration
of Superman to greatness.
The first issue of Superman Red/Superman
Blue featured anaglyphic 3-D cover art. Superman Red/Superman
Blue was converted to 3-D by Ray Zone (and not Jack Adler).
An article by David Hutchison from STARLOG Magazine
(March 1987) and on Ray
Zone's Web site includes the following interview material:
Adler (now retired from DC Comics) developed a technique of
using layers of cels to create the 3-D comic art panels. "I
was working at DC, which was then known as National Periodicals,
doing color separations for them," Adler recalls. "There
were rumors in the industry that someone was toying with the
idea of 3-D for comics. Sol Harrison came over to me and asked
if I had ever heard of such a thing and could I do it? I said,
yes, it could be done. And he said, 'Do it.' It was just as
simple as that."
"My interests lay in the area of optics and photography.
In the natural course of exploring optics, I learned about
3-D photography, how and why it worked. The very day Sol Harrison
asked me about 3-D comics, I took apart a panel and reassembled
it on cels to show how it could be done. I took a panel out
of one of our books, I think it was of two mice chasing each
"I worked out a formula that would allow you to create
the illusion of correct relative size and distance. In other
words, you could create the effect of something being 10 inches
or 10 feet in front of you. Eventually, I applied for a patent
for my method of creating 3-D drawings, but I was turned down
on the premise that I used materials and methods from other
After Superman Red/Superman Blue was issued with the special
3-D cover edition in February 1998, more of the Man of Steel
was to appear in three dimensions.
In December 1998, Ray Zone produced a four-issue run of color
3-D comics for DC which included SUPERMAN 3-D # 1
with a story titled Bad Trip to Nowhere featuring
art by Neil Vokes and Scott Koblish. Bad Trip to Nowhere
like the other color 3-D comics in the four-issue run featured
a story that went back and forth from color 3-D to straight
color. The first title in the four-issue run was DC LEGENDS,
a book of full-page pin-ups of DC superheroes and, of course,
Superman was featured on his own page.
In June 1998, Superman appeared in a seven-image moving lenticular
hologram on the cover of Superman Forever #1. It showed Clark
Kent changing into Superman.
In the early 1960s there was a set of Superman flicker rings.
You could get these motion rings from a 1-cent gumball machine.
Now, these prized rings sell for hundreds and thousands of
In the 1950s, the Superman TV series inspired Kellogg's to
use the Man of Steel in a 3-D cereal promotion on boxes of
Sugar Frosted Flakes. The Superman Stereo-Pix were not really
3-D images. What you did was cut out the Superman image from
the box and fold it into slots on a background scene. There
were at least three box varieties of the Superman Stereo-Pix.
One showing Superman holding an explosives truck, one of Superman
battling a tank and one of Superman over a futuristic city.
the most difficult to find flicker ring and Superman item
from the 1960's is the Clark Kent ring. The 1963-64 rings
are realized by all as the premier Superman rings and tougher
to find than most of the 1940's rings. A six-ring set was
recently pulled from an old gumball machine in the Eastern
U.S. The owner's asking price, $1,975.
Another flicker collectible is the 1982's Superman birthday
coin set. These plastic coins were issued to observe Superman's
50th birthday. The flicker image shows Clark Kent and Superman.
View-Master® format has also featured Superman in 3-D
numerous times. In 1970, a three-reel set appeared titled
Superman Meets Computer Crook. The Superman Meets
Computer Crook set was rereleased as a blister card with
just the name Superman as the title. As a member
of the Justice League, Superman appeared on a three
reel View-Master® set in 2004. Working with View-Ma ster®,
Ray Zone produced the 3-D conversions for the Justice
League three reel set. There is also a set of Justice
League Super Sound View-Master® reels.
In 1978, it had even been planned at one point that the film
Superman: The Movie would end with a hologram of
Superman flying out into theatres. That never happened but
live action 3-D Superman movie images appeared in View-Master®
three-reels sets featuring Christopher Reeve as the Man of
Steel from Superman: The Movie, Superman II and Superman
III. Superman's dog Krypto even has his own set of View-Master®
reels. A special mail order View-Master® 3-reel packet
labeled Super Heroes featured Superman and other DC characters.
It was also available commercially in a blister pack set released
in Canada. Superman also appeared in the View-Master®
Double View cartridge. The first cartridge featured Superman
and the second cartridge featured The Road Runner. Will a
View-Master® set will be released to coincide with the
summer 2006 release of the Warner Brothers movie Superman
Returns? Only time will tell.
Superman was also included in the 1991 DC hologram trading
card set called Cosmic Cards. A Superman hologram
promo card was produced by Fleer/Skybox in 1996 for the first
three-dimensional model hologram trading card set. There was
also the Superman All Hologram Trading Card set with 50 holograms.
In 1997, Holographic Studios in New York produced a Superman
hologram that showed the Man of Steel with the Superman logo
showing up when the hologram is moved.
And, finally, here is a very little known fact about Superman
and 3-D. In 1986, Joe Orlando at DC contacted Ray Zone to
produce a 3-D Christmas card for them. Zone provided mini
3-D glasses, stereo conversion and printed the cards. The
front of the card featured Superman in a Santa Claus cap with
the mini 3-D glasses pasted over his eyes. Inside, the card
had the words "Happy Holidays" leaping out at the
reader in (2-color) anaglyphic 3-D.
Superman created by Jerry Siegel and Joe Shuster.
Superman™ DC Comics © 2000 DC Comics, Joanne Siegel
and Laura Siegel Larson.
Editor's Note: Thanks to Ray Zone for providing
extra material for this article.
Superman meets the
Computer Crook View-Master®
Superman The Movie View-Master®
Superman II View-Master®
Superman III View-Master®
Superman Fleer/Skybox hologram promo card
Superman All Hologram Set
Holographic Studios 1997
Superman Forever lenticular cover comic
Superman Flicker Ring 1960s
Superman Flicker Ring 1960s
Superman Flicker Ring 1960s
Superman Flicker Ring 1960s
Superman Flicker Ring 1960s
Superman 50th Birthday Flicker
Kellogg's Sugar Frosted Flakes
Superman Stereo-Pix Explosives Truck
Kellogg's Sugar Frosted Flakes
Superman Stereo-Pix Army Tank
Kellogg's Sugar Frosted Flakes
Superman Stereo-Pix Future City
Doors to 3-D
by Joseph L. Kleiman- Courtesy of www.worldenteractive.com
the past two months, I’ve had the pleasure of viewing
three very different presentations in polarized 3-D in San
Francisco: House of Wax (1953) presented in NaturalVision
at The Castro Theatre, Chicken Little (2005) presented
in REAL D digital 3-D cinema in Auditorium 7 at the Loews
Theatres Metreon, and The Polar Express (2004) presented
in IMAX 3-D on an IMAX GT system at the Loews IMAX Theatre.
This piece compares and contrasts the three 3-D formats.
House of Wax was presented as part of the Castro’s
dual strip 3-D film series in October. Directed by Andre de
Toth (who, ironically, only had one eye), the film is considered
by many scholars to be the epitome of 3-D filmmaking. NaturalVision
was a method chosen by the major studios in the 1950’s
to present their 3-D by interlocking 35mm projectors projecting
through linear polarizers. One of the setbacks of this method
is that in a typical 2-D 35mm booth of the 1950’s, the
second projector would be fired up when the reel of the first
projector ends. Because both projectors are running simultaneously,
they must both be rethreaded when the reels run out. This
results in a brief intermission that came somewhat without
House of Wax itself is certainly the
most comfortable 3-D viewing experience I have ever had. De
Toth primarily used the negative z-axis in defining depth.
It was as if the screen was the frame for a three dimensional
drama being played out on stage in front of the audience.
After awhile, I forgot I was even watching a 3-D movie. There
was absolutely no eyestrain. A few times during the film items
were thrown at the camera by actors rather than as optical
effects as done in later films. Most stunning was the scene
with the carnival barker outside the House of Wax, paddling
his ping-pong balls into the audience. Even during this scene,
there was no strain or discomfort, but rather an air of excitement.
Attached to the end of House of Wax was Spooks,
a 1953 black and white short starring The Three Stooges that
takes great advantage of positive z space for its sight gags.
It was certainly a treat viewing both films in one of America’s
great movie palaces.
The second film I saw was Chicken Little. After
having seen the film first in its two dimensional 35mm form,
it was a welcome respite to view the denizens of Oakey Oaks
with them holding a sense of depth. For the most part, the
film took the same approach as House of Wax, utilizing
the advantage of the negative z access. This seemed to work
quite well, except for certain scenes where the silver of
the screen applied a grainy effect to the image (this effect
also happens in IMAX 3-D, but is far less noticeable). According
to Joshua Greer of REAL D, the system triple flashes at 144fps
through a single lens 2K DLP Cinema projector. The clarity
was unbounded and the circular polarizers allowed head tilt
without loss of image. I sat on the far right side of the
auditorium and enjoyed the film as much as I would have had
I been sitting in the middle. No
noticeable stretching or warping of the image appeared from
this angle, however in some of the scenes, the background
appeared two dimensional. Also unnoticeable was ghosting,
a problem which appears in both polarized IMAX 3-D and 70mm
theme park films. Unfortunately, though, streaking during
a number of fast motion scenes was somewhat irritating.
Like Chicken Little, Polar Express
presented in IMAX 3-D is a converted version of a 2-D computer
animated film designed for presentation in a specialty venue
3-D theater. IMAX 3-D works much like the 1950’s NaturalVision
system. Two rotors on the IMAX GT projector, one above the
other, project dual 15 perf 70mm film strips onto a silver
painted screen through linear polarizers. Since the first
IMAX 3-D film in 1985, We Are Born of Stars, I have
seen plenty of IMAX 3-D films, but Polar Express
is indeed a wonder to watch. The key to this phenomenon is
having Hugh Murray, IMAX’s 3-D specialist, work with
SONY Imageworks to create dimension to the image and reframe
it for the IMAX screen. Murray had previously worked his magic
on the computer animation compilation Cyberworld 3-D.
The honor of first feature length IMAX 3-D film goes to Polar
Express. Even a year after its initial release (and only
two months after seeing it in Boston at GSTA) the film still
looked as astounding as the first time I viewed it. Although
it has a few glitches, such as one or two scenes where the
backgrounds appeared two-dimensional, as did Chicken Little,
and ghosting that was pronounced by the size of the screen,
the overall effect is magical. Unlike Chicken Little,
which was mundane throughout many parts of the film, the IMAX
3-D version of Polar Express engrossed and invited
me into the film.
I have also seen clips from the 3-D version
of Polar Express on two different digital 3-D systems.
Although both offered a much tighter picture than IMAX, IMAX’s
screen truly allowed me to feel as if I were in the movie.
However, it lacks the comfort level that I experienced with
House of Wax, the only one of the three films filmed
live with 3-D cameras. Whereas with House of Wax
I forgot that I was watching 3-D, with Polar Express
the continued use of positive z action gave an effect similar
to that of a theme park film where, during a number of scenes,
I tensed up and actually held the armrests of my seat.
Overall, each of the three 3-D experiences is worthwhile.
As enjoyable as Polar Express and Chicken Little
are, however, neither matches House of Wax. When
3-D is filmed correctly, a traditional 35mm 1950’s gem
can be an even more immersive experience than those shown
on the largest screens.
Article © 2005 Joseph L. Kleiman/Amanda Gardner
This article may not be reproduced in whole or in part without
expressed written permission of the owners.
Joseph / Crazy Horse 3-D Book
The Chief Joseph / Crazy Horse 3-D Book is a new
release with 3-D images, text and maps to illustrate the important
historic sites and story of these two famous Indian leaders.
Chief Joseph and his Nez Perce band were driven from their
ancestral homeland in the Wallowa country of northeastern
The 3-D images trace the route of their 1,700-mile flight
through Idaho and Montana and their ultimate surrender on
Oct. 5, 1877, at the Bear Paw battlefield site, 40 miles short
of their goal of sanctuary in Canada.
Crazy Horse was sacred to the Lakota (Teton Sioux) and for
some 20 years led various Indian factions in their fight to
retain their homelands in the great plains of the upper midwest.
His best known, and last major encounter, was the Battle of
the Little Bighorn, June 25, 1876. Lt. Col George Custer and
his immediate command of 225 men were all killed at Last Stand
Hill. The rest of the 7th Cavalry command, led by Major Marcus
Reno and Capt. F.W. Benteen, were badly decimated. The five
Indian tribes won the battle. but lost the war. Their final
subjugation was swift and complete.
The book contains 50 3-D photographs by well-known View-Master
photographer Charley Van Pelt.
The book costs $5 and is available on Charley
Van Pelt's Web site.
Center of Art and Photography to present Otto Bathurst's High
Days and Holidays in 3-D starting Jan. 5
3-D Center of Art and Photography will present Otto Bathurst’s
slide show High Days and Holidays, a humorous look at his
grandfather and an insight into his idiosyncrasies as told
by an admiring grandson.
Bathurst combines stereo images taken by his grandfather
with an animated narrative to create a wonderful portrait
of a time and a man.
On the Gallery walls, Dr. L.P. Futo, a long time stereo enthusiast
from Hungary, exhibits fine prints of his beautiful and varied
3-D paintings in Adventures in ChromaDepth.
The show opens Jan. 5 and ends on Feb. 19, 2006.
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.
Kodak and Real
D to Deliver Digital 3-D Cinema in Australia
Digital Cinema and REAL D announced that the companies have
formed a strategic alliance to roll out digital 3 D cinema
throughout Australia. Installation of digital 3-D cinema systems
will be complete in time for the country’s upcoming
premiere of Disney’s Chicken Little in 3 D
starting Jan. 1, 2006.
Kodak has a legacy of innovation in entertainment imaging
and offers a complete solution for digital preparation and
display of motion pictures. Over the past 10 months, the company
has prepared, delivered, and shown major releases for a number
of studios, including Disney, Fox, Warner Bros. and others.
Real D is the worldwide inventor and provider of key stereoscopic
technologies used in entertainment, marketing, science and
other industries. Real D Cinema is the entertainment industry’s
preferred standard for the delivery of premium 3-D cinema
experiences and is the exclusive provider of Disney’s
Chicken Little in 3-D.
As of Thanksgiving weekend, Real D’s presentations
of Chicken Little in 3-D have grossed more than $7
million on 88 screens, almost three times the 2-D per-screen
average, since its November 4 opening in North America.
This alliance allows Kodak to offer exhibitors the industry-leading
Real D Cinema solution as part of Kodak’s comprehensive
digital cinema strategy.
For this international launch, Kodak will provide the systems,
including Kodak CineServers driven by unique Kodak software,
as well as Barco DP100 projectors equipped with the Real D
Cinema solution. Installation will be a joint effort by Kodak,
Barco and Atlab Image and Sound Technology. Kodak will provide
all image preparation, as well as on-going service and support.
"This is the next logical step forward for Kodak Digital
Cinema, and a major leap for Kodak into the world of high-quality
3-D motion pictures,” said Bob Mayson, general manager
and vice president, Kodak Digital Cinema. “Kodak has
worked with Disney on a number of 3-D films in conjunction
with their theme parks, but this is our first adventure in
3-D digital. We’re thrilled to be working with Real
D because they’re pioneers of 3-D.”
“We look forward to working with Kodak to address the
digital 3-D needs of the global exhibition community, which
have escalated as a result of the historic success of Real
D Cinema’s presentation of ‘Chicken Little’
in North America,” said Michael V. Lewis, chairman,
Real D. “Our alliance with Kodak better enables Real
D to meet increasing international demands, beginning with
our Australian theater partners.”
Chicken Little in 3-D is proving to be more than
a movie, it’s a brand new entertainment experience,”
said Mark Zoradi, president, Buena Vista International. “We’re
thrilled to be working with Kodak and Real D to bring that
experience to a wider audience and, in the process, to bring
new excitement to the future of theatrical entertainment.”
Kodak said that the sites chosen were suggested by the exhibitors
“This is a first use of digital 3-D technology in traditional
cinemas in Australia,” said Mayson, “and a great
opportunity for Kodak and Real D, as well as all our partners.
Our exhibitors bring a highly-successful Disney movie to their
part of the world. And, audiences get to enjoy an entertainment
experience that’s unique to the cinema. Everybody wins.”
IRIS-3-D Widens Imaging Horizons
Princess Leia's floating image in Star Wars. Unique
visualisation technology which creates hi-tech 3-D images
has been developed in Glasgow.
It is already being used in the oil and gas industry to improve
exploration activity and has substantial potential in a range
of other fields, including biotechnology.
IRIS-3-D has developed display technology which allows the
human eye to decode three-dimensional images far more effectively
than previous systems.
The value of the system has already been recognised by exploration
firms such as Shell but is also being considered by clinicians
specialising in medical imaging.
IRIS-3-D stands for Interactive Real-time Imaging Solutions.
As a display hardware company specialising in the design and
manufacture of advanced 3-D visualisation tools for professional
end users, their glasses-free 3-D display workstations offer
the highest resolution in their class (dual UXGA projection),
work under normal office lighting, are 2-D/3-D switchable.
executive Stuart McKay said: "Normal human vision is
stereoscopic as it relies on the fusion within the brain of
images from both eyes. Traditionally, scientists interpreting
3-D images on screen required elaborate pieces of kit and
had to wear special glasses to separate out the left and right
eye images presented on scree, exactly like those worn in
IMAX cinemas. Unfortunately, this technology is less than
perfect and causes visual discomfort when used for a long
time. Humans find it hard to 'decode' detailed stereoscopic
images as there is always an element of 'crosstalk' or leakage
between the two images."
IRIS-3D technology enhances visualisation of 3-D images
by eliminating crosstalk and allowing far more accurate interpretation
and dramatically improved user comfort. Users are also no
longer constrained in terms of how long they can work in 3-D
"The system has proved useful in analysing images for
seismic interpretation, reservoir modelling and drill planning
within the oil and gas industry. The technology is equally
applicable to the medical sector in areas such as interventional
radiology (interpretation of CT/MRI data) surgical planning
and even surgical navigation within an operating room environment,"
"Medical imaging is using ever-higher image resolution
and it is now possible to image 7,500 slices of the human
thorax, for example, as the body takes a single breath. This
amount of detail has always been difficult to analyse two-dimentionally,
but our technology provides a 3-D stereoscopic representation.
This appears to the viewer just as a physical model would,
floating in front of the screen, just like Princess Leia appeared
in the Star Wars movie."
The firm is now targeting the life sciences sector with
the means of delivering enhanced biomedical imaging. giving
3-D visualisation of tissue and blood vessels for example.
IRIS-3-D was set up in Glasgow in December 2003. A spin-out
from Strathclyde University, the firm employs five people.
3-D ETC - The 3-D
Experiential Training Company
39520 Woodward Ave., Suite #50
Bloomfield Hills, MI
3-D ETC began in Bloomfield Hills, MI, founded by four
former employees of a high-tech multimedia company.
These four principals, through each of their diverse
backgrounds, bring a combination of creativity, sound
business sense, knowledge of the training industry and
entrepreneurial spirit to the company.
Clients that have used 3-D ETC, Inc. include American
Axle, Boeing Aircraft, Daimler Chrysler, Delphi Automotive,
Department of Defense (U.S.), Defense Logistics Agency
(U.S.), Ford Motor Company, UAW (United Auto Workers),
U.S. Army Material Command and Visteon.
3-D ETC, Inc. provides creative training solutions that address
many safety and health issues that confront industrial and
corporate environments. With a primary focus on Health and
Safety related programs, 3-D ETC has developed 3-D "Immersive"
Training - state-of-the-art, high-impact simulation programs
that use a multi-sensory immersive delivery system consisting
of 3-D stereoscopic real-time video, binaural audio and 3-D
stereoscopic head mounted displays. These capture the attention
of the participants and leave them believing they have experienced
the story line personally.
3-D stereoscopic video creates a vivid and lifelike visual
environment that engages the viewer in an unforgettable experience,
emulating the human-natural experience of sight. Immersive
Head Mounted Display (HMD) devices create a productive learning
environment by offering a personal and private viewing experience
that enhances focus and diminishes distraction. Developed
by a team of psychologists and experienced audio engineers,
Binaural Sound stimulates feelings and heightens emotional
awareness by delivering natural sound so genuine, warm and
realistic that you feel and experience it as if it were happening
live. 3-D Experiential training consists of combining Binaural
Sound with 3-D stereoscopic video and delivering the experience
through an HMD. The net result is an emotionally engaging,
multi-sensory experience leaving an unforgettable impression
deep within the brain, much like a “real-life”
For the purpose of preparing the participant mentally, physically
and emotionally, the experience begins with a conditioning
segment that incorporates a meditative deep-relaxation technique.
This technique is designed to help the participant relax,
focus, and concentrate on what he or she is to learn and help
information to automatically sink-in. Throughout this 15-minute
segment, several key points are included: making safe choices,
reinforcing personal value, thinking ahead, keeping a positive
attitude, and deep breathing. Relaxing 3-D still images from
various western national parks are visual backgrounds during
It's All About Choices 3-D Stereoscopic Safety Training
It's All About Choices is an accelerated, 3-D Experiential
Training Program that captivates participants in an immersive
3-D Stereoscopic environment and motivates them to comply
with the safety policies of your organization, and most important,
makes it their "choice". By incorporating the latest
motivational psychology, adult learning principles and brain-based
learning techniques, "It's All About Choices" inspires
participants to adopt safety as a core personal value and
ultimately assume primary responsibility for personal safety.
Unlike traditional training sessions, participants are taken
on a real life journey and are able to see, hear, feel, experience
and become a part of this developmental drama as if it is
really happening. This emotional, psychological experience
will leave a lasting impression, one that will change the
way they think and feel about safety.
Believe It or Not Books feature Lenticular 3-D Covers
Ripley's Believe It or Not
Hardcover: 255 pages
Publisher: Ripley's Believe It or Not (September, 2004)
Product Dimensions: 12.0 x 9.3 x 1.0 inches
Large lenticular cover showing 3-D eyeballs
Ripley's Believe It or Not Planet Eccentric
Hardcover: 256 pages
Publisher: Ripley Entertainment (October, 2005)
Product Dimensions: 12.2 x 9.2 x 0.9 inches
Large lenticular cover showing 3-D eyeballs
IBM 3-D TV
for under $1,000
IBM is set to release 3-D television technology that
is nearly half the cost of current systems
video has been around for a while, but one of the things that
have held it back has been the steep cost. A normal system
will set you back at least $1,800 and use two projectors to
simulate both left and right views needed to form 3-D image.
Big Blue boffins have worked out a way of creating a 3-D
video system that works with normal DLP (Digital Light Processing)
televisions and needs only one projector. It does this by
adding lots of frames per second to give giving the image
an authentic three dimensional look.
It is a “black box” device that can be connected
to any DLP projector or television via the common VESA (Video
Experts Standards Association) 3 pin stereo connector.
Currently IBM needs a manufacturing partner to bring the
technology to market. Apparently it is compatible with OpenGL
and Direct Draw, both software components of the Microsoft
Windows operating system.
You still need 3-D glasses to correctly view the image and
practically no video is shot in 3-D yet. But it will be nice
when it comes.
This “black box” device can be connected to any
DLP projector or television via the common VESA (Video Experts
Standards Association) 3 pin stereo connector.
IBM demonstrated the new system on a 50-inch, flat-screen
Texas Instruments rear-projection digital television at the
22nd annual Flat Information Displays conference held in San
Francisco in November.
"This was on the drawing board for about two years and
now we're at the conceptual proof-of-concept stage. We are
here to look for a manufacturing partner to bring the technology
to market," said Jim Santoro, a technology license program
manager from IBM's office in Poughkeepsie near IBM’s
corporate headquarters in Armonk, New York.
IBM tends to develop cutting edge technology and then license
it to third party manufactures rather than build and sell
finished products. This strategy allows them to keep pouring
funds in to basic research and cutting edge technology. It
also permits wide dissemination of it’s technologies
throughout the industry increasing chances for permanent adoption
over competing technologies.
Exact details concerning the 3-D technology, still unnamed,
were not forthcoming, but the company spokesperson said it
was compatible with OpenGL and Direct Draw, both software
components of the Microsoft Windows operating system that
allow programmers to manipulate video for computer games.
While 3-D monitors and projectors have been around for a
few years, IBM’s approach is the first to use a single
projector to simulate both left and right views needed to
form 3-D image. Normal 3-D units need two projectors.
IBM has managed to alternate the video frames to give the
appearance of double projectors without the added cost. This
means adding video frames, lots of them. While normal “live”
video is 30 frames per second, this device processes 144fps.
First you see the frames from the left and then the right
perspective giving the image an authentic three dimensional
While technical details are scare, the device obviously uses
some serious video processing hardware to build the 3-D image:
144fps video is far beyond the capacity of almost all computer
You still need 3-D glasses to correctly view the image and
practically no video is shot in 3-D as it requires more expensive
cameras, but as price drops and general interest rises, this
is sure to change.
Some sports TV networks have expressed interest in filming
NFL games in 3-D. To shoot in 3-D, TV networks would need
to install expensive 3-D cameras and image processing hardware.
The OpenGL and Direct Draw compatibility is definitely aimed
at software developers who make games, computer gaming is
a multi-billion dollar industry. The technology also lends
its self to the creation of high end presentation software,
think 3-D PowerPoint.
While this technology is definitely more economical than
current models and its PC compatibility may usher in a host
of 3-D games, it still may become obsolete with the introduction
of the holy grail of 3-D displays, inexpensive models that
do not require anaglyphic glasses.
of Narnia 3-D photos in The Weekend Magazine
The November 5 issue of The Weekend Magazine,
published by England's The Daily Mail, featured a
five page article and several 3-D photos from Disney's The
Chronicles of Narnia: The Lion, The Witch and The Wardrobe.
The 88-page magazine included a pair of 3-D glasses.
Depp and Kate Winslet to narrate Deep Sea 3-D
Corporation and Warner Bros. Pictures today announced that
their upcoming original IMAX 3-D production, Deep Sea
3-D, will be co-narrated by Johnny Depp and Kate Winslet,
and will feature an original score from award-winning composer
The film will be the first documentary ever
to boast the voices of Depp or Winslet, and be the first original
IMAX production to be scored by Elfman, who has provided the
musical backdrop for major Hollywood productions such as Charlie
and the Chocolate Factory, Chicago, Spider-Man 2, Men in Black
Slated for release exclusively to IMAX theatres
on March 3, 2006, Deep Sea 3-D is Warner Bros. Pictures'
second original IMAX 3-D production, following the highly
successful release of NASCAR 3-D: The IMAX Experience,
which has now grossed nearly $23 million around the world.
"Our last original IMAX production was
the second-highest-performing documentary of 2004, so we're
very excited about the potential for Deep Sea 3-D,
especially as it marries the magic of IMAX 3-D with an engrossing
story, an all-star filmmaking team, and, the talents of Johnny
Depp, Kate Winslet and
Danny Elfman," said Dan Fellman, President, Domestic
Distribution, Warner Bros. Pictures.
Deep Sea 3-D is loaded with breathtaking
shots designed specifically for the spectacular IMAX 3-D format,
and the addition of these major talents makes
the film even more attractive to both moviegoers and exhibitors.
Deep Sea 3-D was shot by award-winning
Director/Cinematographer Howard Hall and produced by Toni
Myers. The producer for Howard Hall Productions was Michele
Hall. The film was executive produced by Graeme Ferguson and
Brad Ball, and associate produced by Judy Carroll.
Deep Sea 3-D offers audiences astonishing
up-close encounters with some of the world's most exotic undersea
creatures. Howard Hall, Michelle Hall,
Ferguson and Carroll were part of the accomplished filmmaking
team behind IMAX's first underwater 3-D adventure, Into
The Deep, which has grossed more than $70 million since
its 1991 release.
Here are a few auction results on 3-D items from the past
A stereoview of Gen. William Tecumseh Sherman sold
for $525 with one bid. Gen. Sherman is probably in
the position of Battery K, 5th U.S. Artillary, in
Fort No. 7, Sherman and his staff and Generals could
pose proudly. Officers are from left to right: Major
L.M. Dayton, aide: Lieutenant Colonel E.D. Kittoe,
medical director; Colonel A. Beckwith, commissary:
Colonel Orlando M.Poe,Chief engineer, Brigadier General
F. Berry, chief of artillary; Colonel W. Warner: Colonel
T.G. Baylor, Chief of Ordnance; Major General W.T.
Sherman; Captain C. Ewing, inspectorgeneral; an unidentified
major, and Captain J.E. Marshall. This is no. 3623
in the Photographic History - The War for the Union.
A stereoview of Gen. William Tecumseh
Sherman sold for $489.95 with one bid. Gen. William
Tecumseh Sherman is photographerd with his favorite
horse "Sam" before Atlanta. This is no. 3623
in the Photographic History - The War for the Union.
Published by Taylor & Huntington from e. & H.
T. Anthony and Co.
A stereo daguerreotype showing a woman
holding cornucopia-shaped basket, ca. 1855, sold for
$725.75 with two bids. The image had applied hand-coloring.
Resealed in restored glass mount.
A very rare mint condition red bakelite 3-D Viewmaster®
Model E dating from the late 1950's sold for $371.20.
Made in Belgium, it sold with 20 various reels which
are:3 Los Angeles,2 Grand Canyon,3 The American Indian,1
The Matterhorn and Zermatt Switzerland,1 Mackinac Island
USA,1 Niagra Falls,1 Michigan USA,3 London England,3
River Thames London England and 2 Hollywood Movie Stars.
It sold with its original box but had no end flaps and
had some repairs done using cellotape.
A Camera Chief coin-operated 3-D viewer sold for
$332.77 with 13 bids. This electric powered viewer is
10.5 inches tall, 12 inches deep and 8 inches wide.
When a penny is inserted and the plunger is pushed in
the light turns on and the first 3-D view is put in
place. The plunger is pushed in each time you want to
advance to the next slide. The viewer takes Colorscope
stereo view slide-cards. There is one card in the machine
with Maggie and Jiggs from the comic Bringing Up Father.
The Colorscope cards are a little different than most
of the cards from similar stereo viewers (Tru-Vue, Lestrade,
etc.) in that the frames are not separated with cardboard
between each pair. These views are right above the next
A 7" x 10" 3-D photo-polymer Creature from
the Black Lagoon hologram sold for $385.50 with 13 bids.
Originally made for the Bally's pinball machine circa
1995. Produced by (the late) Polaroid Holographic Division.
The item has been out of production for years. The hologram
in the auction was not mint and was a factory "retain"
second stored in a file folder for over five years.
It contained minor manufacturing flaws and polyester
A Heidoscop 3-D camera sold for $582.46 with seven
bids. Although Paul Franke and Rheinhold Heidecke's
main claim to fame was the incomparable Rolleiflex TLR,
which came out in 1928, they actually began their business
in 1920 by making stereo cameras under the name Heidoscop.
This is the second 6 x 13cm model introduced in 1925.
The camera is fitted with a pair of Carl Zeiss Jena
7.5cm f4.5 Tessar lenses, with a Carl Zeiss Jena Sucher-Triplet
viewing lens, and has a 6cm x 13cm plate back. Speeds
(1s to 1/300th are offered) seem more or less correct,
though accuracy not guaranteed. The lens caps are included
- often these are missing. Incidentally, the camera
offers geared rising front movement to correct converging
verticals. Serial number is 10450, and the taking lenses
are consecutively numbered 722733/4. The sale included
the original leather case containing a pair of yellow
filters and a cable release.
A 1930's Votra 3-D viewer sold for $617.15
with nine bids. The E Leitz viewer came with its original
hinged storage presentation box.
The nickel-plated Votra allows half-frame stereo transparencies
to be viewed. It dates from 1931, and is related to
the Stereoly - a beam-splitting lens assembly, designed
to fit in front of the camera lens, creating half-frame
stereo images on the full-frame 35mm negative. The original
opaque white glass diffuser has been replaced by one
made from white acrylic, but otherwise everything is