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Janaury 2006 Issue

Vol. 4, No. 1

3-D Review is your headquarters for information about new stereoscopic products from around the world.

There was a typo in the NSA 2006 Miami convention ad on the inside back cover of the January/February issue of Stereo World magazine.

The correct convention dates are July 11-17, as shown on all the convention forms and at http://2006.nsa3d.org

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David 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

Earthquake Days: The 1906 San Fransisco Earthquake and Fire book cover artSan Fransisco earthquake and fire stereoview and enlargement from the book Earthquake Days: The 1906 San Fransisco Earthquake and Fire in 3-D by David  Burkhart 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 five pounds.

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 Society

“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 for Riches

“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).

Author David BurkhartCalifornia-born 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 Association.

For more information or to order a copy of the book online, visit www.1906quake.com or e-mail info@faultlinebooks.com. Write to Faultline Books, P.O. Box 849, San Bruno, CA 94066.

1950's View-Master® Vendor 12-Panel Counter Display Sells on eBay

Old style View-Master logoA 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 globe.

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.

View-Master® panels 1 - 4 View-Master® panels 5 - 8

View-Master® panels 9 - 12 View-Master® panel display mailing box

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.

Superman's 3-D Adventures Update icon

Superman 3-D cover artIn 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.

Superman Land 3-D  ride  Artwork by  Wayne Boring from The Great Superman Book by Michael L. Fleisher 1978There 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.

The Superman 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.

Superman 3-D shieldSuperman Land
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 Star 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.

View-Master Super Heroes blister packSuperman Red/Blue cover artThe 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:

Superman 3-D #1 1998Justice LeagueJack 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 other."

"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 things."

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 dollars.

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.

Superman wearing anaglyphic 3-D glasses in the 1986 DC Christmas card designed by Ray ZoneArguably, 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.

Superman View-Master blister cardThe 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
Superman The Movie
Superman II
Superman III
Superman Double Vue catrtidge and projector

Superman meets the
Computer Crook View-Master®

Superman The Movie View-Master®

Superman II View-Master®

Superman III View-Master®

Superman View-Master®
Double Vue

Superman hologram

Superman hologram cards
Superman hologram
Superman Forever
Superman flicker ring 1963

Superman Fleer/Skybox hologram promo card 1996

Superman All Hologram Set

Superman hologram
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 flicker coins
Superman Stereo-Pix
Superman Stereo-Pix
Superman Stereo-Pix

Superman 50th Birthday Flicker Coins 1982

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

Three Doors to 3-D
by Joseph L. Kleiman- Courtesy of www.worldenteractive.com

House of Wax lobby cardOver 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.

Chicken Little poster1953’s 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 warning.

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. The Polar Express 3-D posterNo 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.

Chief Joseph / Crazy Horse 3-D Book

Chief 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 Oregon.

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.

3-D Center of Art and Photography to present Otto Bathurst's High Days and Holidays in 3-D starting Jan. 5

3D Center of Art and Photography  logoThe 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

Real D logoKODAK logoKodak 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 themselves.

“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

Iris-3-D logoThink 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.

IRIS-3-D workstationChief 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 mode

"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," McKay added.

"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

3-D ETC logo

3-D ETC, Inc.

Company:
Address:

Country:
Phone:
Web:

Summary:

3-D ETC, Inc.
39520 Woodward Ave., Suite #50
Bloomfield Hills, MI
United States
1-866-GO3-DETC
www.3-detc.com

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” experience.

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 this segment.

It's All About Choices 3-D Stereoscopic Safety Training Experience
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.

Ripley's Believe It or Not Books feature Lenticular 3-D Covers

Ripley's book cover art
Ripleys book cover art

Ripley's Believe It or Not
Hardcover: 255 pages
Publisher: Ripley's Believe It or Not (September, 2004)
Language: English
ISBN: 1893951731
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)
Language: English
ISBN: 1893951103
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

IBM 3-D TV window3-D 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 look.

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 graphics cards.

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.

Chronicles of Narnia 3-D photos in The Weekend Magazine

Weekend cover art Narnia anaglyph

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.

Johnny Depp and Kate Winslet to narrate Deep Sea 3-D

Johnny DeppIMAX 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 Danny Elfman.

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 and
many others.

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.

3-D Auction Results

Here are a few auction results on 3-D items from the past month.

Sherman stereoview

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.

Sherman stereoview

Daguerreotype

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.

Red Model E View-Master® viewer

Camera Chief 3-D viewer

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 pair.

Creature hologram
Heidoscop

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 surface scratches.

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.

Votra 3-D viewer
Voltra 3-D viewer in box

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 original.

   
   

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