WalterFilm.com, a leading seller of vintage movie posters, reports the sale of a 1939 Belgian movie poster for a 3-D film that never happened. Relief [Le Premier Film En Couleurs Naturelles et en Relief Sans Lunettes] (Translation: The First Film in natural colors and in 3-D without glasses)
According to WalterFilm.com, "This is an astonishing poster for a film that never happened. Design shows three films, all in black and white, all bursting out of the screen in color---one of a cowboy and an Indian lady, one of a sailor cavorting with a Hawaiian lady in a hula skirt and one of a boxer in training. We think that this poster was an effort to get audiences interested in most likely a French film. It is known that Lumiere, at the end of his life, in 1935 organized a screening in France of a 3-D film, and it is likely that a French entrepreneur was trying to build on that when the Second World War interceded. Although 3-D movies go back to the silent era, we almost never see any 3-D posters that precedes the reintroduction of 3-D into movie theaters in 1953. Obviously, very rare, historically important, and a really fun poster to boot."
The poster is on linen, (ca 1939). 24" x 33” (60 x 80 cm.).
WalterFIim also sold a 1953 Italian movie poster for Man in the Dark. The 55" x 78” poster was printed during the brief 50’s 3-D craze that produced some very fascinating posters, but this is one of the most unusual with its striking imagery by Ballester.
Editor's Note: Click thumbnails for larger images of the two posters.
U2 3-D was filmed at a massive outdoor stadium concert in Buenos Aires, It's a sensory stunner worth wearing 3-D glasses.
U2 strives for meaning and communion in its recordings and live shows and the band has done its part for this production. The band brought its customary sense of great, unifying occasion to the Argentina concert, and played with inspiration throughout the 14 songs featured in the movie. The filmmakers have done the rest.
The genius of U2 3-D is not how real it looks as the filmmakers clearly understand that 3-D is a simulation, and they embrace the properties of 3-D film to create something unique and beyond real.
U2 3-D has visual layers, stacked almost like window panes or animation cels, and a sensation of open space between each cel. U2 3-D exploits those perceptions. Even the opening titles and end credits thrill as they float forward in spectral blocks that look as if they're watching you and are going to sit with you while other images hum in the deep background.
The movie also reinvigorates the old-fashioned transitional technique called lap dissolve, in which one scene fades out and the next fades in, and the two lap transparently over each other in passing. In U2 3-D, the filmmakers delay the dissolves, letting images linger and vibrate in sync across a great imaginary space. Close-ups of the band's massive lighting and video grid become abstract and impressionistic, as they color the foreground while the band plays at the middle and back of the visual field.
The camera work is, in some respects, standard-issue with close-ups of band members, wide-angle looks from the audience toward the stage, pans, tracking takes and overhead aerial views, but 3-D has a way of making the ordinary extraordinary. The crowd shots are breathtaking, as if you're perched on a camera crane just above spectators' heads. You feel privileged to have this view.
The performance opens with the audience kickstarter Vertigo. U2 could not have picked a more apt song to draw you into this joyride. The superior sound quality is almost a given, but shouldn't be underestimated for the clarity and pleasure it provides.
The rest of the U2 3-D set list, in order:
If you go, don't walk out as soon as the end credits begin rolling. There is one more dizzying visual sequence, with animation and the song Yahweh, that takes you to the end of the reel. It's worth staying until the lights come up and you get to keep the 3-D glasses.
Final Destination 4 has a cast, and if you can believe it, it’s even more filled with spares than the last one. Not that it matters, they’re all going to end up dead anyway.
Variety says Shantel VanSanten, who is pictured and has in the past played such characters as Beautiful Girl and Hot Date, Bobby Campo and Hayley Webb will star in the horror sequel while Nick Zano, Krista Allen, and Andy Fiscella play second bananas. David Richard Ellis, who directed the second sequel returns to take the reigns on this one.
As with all the other movies, a deadly accident happens, and a group of super-hot teenagers somehow avoid it, thus cheating death. This, as always, pisses death the hell off and it comes back after them with a vengeance. In this case, the accident is a racecar crash, which seems kind of like a bad idea. The other Final Destination films used accidents that tapped into our already existing fears. A plane crash, a traffic accident, a roller coaster disaster. That stuff is scary, people have nightmares about it. I’ve never met anyone who’s scared of getting in a racecar crash. On the other hand, I don’t hang out with a lot of NASCAR fans. Maybe it keeps them awake at night, thinking of Dale slamming into that wall, or whatever it was that he splattered on.
This fourth Final Destination movie is being shot in 3-D, so expect a lot of stuff flies at the camera tricks.
Mindful of a crowded schedule for 3-D films late next year, DreamWorks Animation has pushed its offering How to Train Your Dragon by four months to March 26, 2010.
The move leaves the studio with just one release, Monsters vs. Aliens, scheduled for next year and three for 2010: Dragon, Shrek Goes Fourth on May 21 and Master Mind, the working title of a film set for Nov. 5 that year.
Had Dragon opened Nov. 20, 2009, as previously planned, it would have been sandwiched between 3-D films A Christmas Carol with Jim Carrey and James Cameron's Avatar.
Avatar, in particular, presented a problem, as that movie's Dec. 18, 2009, opening would have coincided with Dragon's release to international markets, where as much as 65 percent of DreamWorks Animation's business comes from.
"The combination of a jam-up domestically and the very limited 3-D capacity internationally just didn't make sense," CEO Jeffrey Katzenberg said. A little more than 1,000 screens worldwide can handle 3-D films, but Katzenberg expects from 3,000-5,000 by the time Monsters vs. Aliens is released on March 27, 2009.
Katzenberg gave a shout-out to his old employer, Disney, telling analysts that Hannah Montana and Miley Cyrus: Best of Both Worlds Concert Tour proved again how lucrative 3-D movies can be.
That film generated $29 million over Super Bowl weekend at 683 theaters. At one theater, the El Capitan in Hollywood, tickets cost as much $24 each.
Katzenberg said making a movie 3-D adds about $15 million to its production cost. "There is significant enough potential given the premium price that consumers appear to be paying for 3-D to be a very good return on our investment," he said.
Disney will proceed with a third installment of its hit dance franchise Step Up, tentatively titled Step Up 3-D. The film will become the latest 3-D live-action film from the Mouse House, with Step Up 2 the Streets director Jon Chu in talks to direct again.
Offspring Entertainment partners Adam Shankman and Jennifer Gibgot, who have reupped at Disney for three years, will develop the film. The pair produced the first two Step Up pics.
The deal extension, which keeps them on the lot through 2011, comes after Step Up 2 the Streets turned in a surprisingly strong $28.7 million over the five-day Presidents Day weekend. The picture, co-financed by Disney and Summit Entertainment, cost $20 million to make.
Offspring, formed at Disney by siblings Shankman and Gibgot, previously produced Sandra Bullock inPremonition and just wrapped the Burr Steers-directed Seventeen at New Line; that film starred Shankman's Hairspray lead Zac Efron.
Shankman recently began directing Adam Sandler in Bedtime Stories for Disney.
Lionsgate Studios revealed, via its press site, that their update of My Bloody Valentine is going to be executed in 3-D.
The film has also bumped up the release date to Jan. 23, 2009. It was originally slated for a February 13 debut.
Dimension Films recently announced Alexandre Aja's Piranha is going to arrive next summer in 3-D.
The storyline starts In Lake Havasu, Arizona, where a tremor causes the lake's floor to open, setting free scores of prehistoric piranhas.
Get out of the way!
Here comes Preston Parker running full speed, and he's not stopping.
Whoa, that tomahawk chop nearly poked somebody's eye out!
Say, is Florida State coach Bobby Bowden really talking to you? Sure seems so, with Noles defensive tackle Paul Griffin standing close by, as Bowden implores: "Let's play bad to the bone; we need to knock it out of them!"
So it goes for FSU football recruits, one jarring scene after another, each equally captivating thanks to cutting-edge movie technology and a pair of plastic glasses.
Recruiting has a new dimension.
Bob LaCivita, FSU's director of player personnel, shows a 3-D DVD to recruits and their families on official visits. He takes them into the football team's 150-seat, theater-style meeting room with comfy chairs and a huge movie screen. He turns up the surround sound and shows them a film titled The Florida State Football Experience.
The ending is LaCivita's favorite part.
"It's exciting to me to see the prospects and their parents sitting there not knowing what to expect," LaCivita said. "After the movie, you get to see everybody's faces when they turn around at you and say, 'Wow, that was cool.'
"That's when we get to the rest of the visit."
In the ultracompetitive world of college football recruiting, more and more schools use state-of-the-art technological advances to gain an edge. Schools create their own Web sites aimed at recruits, such as FSU's FeartheSpear.com, and use Web-based recruiting databases such as CyberSports and Recruiting Radar.
At FSU, the football program is the first in the nation to partner with 3hd Communications, an Atlanta-based company specializing in a process that produces realistic 3-D holographic-like images to create live-action 3-D film packages.
In the past, 3-D technology has been used mostly for animation rather than live action, such as an occasional TV special or movie productions at amusement parks.
But FSU officials see 3-D as a way to grab the attention of 17- and 18-year-old recruits and, more importantly, as a future coaching tool to instruct those players after they arrive on campus.
"To my knowledge, no one else is doing this," said LaCivita, hired in 2007 to oversee FSU's recruiting operation from inside his office at Doak Campbell Stadium. "We're going to take it and run with it. Studies have shown that the brain retains more in 3-D than 2-D.
"Right now, it's more of an entertainment tool, but eventually, we want it to become a teaching tool for the coaches."
To help usher in the new era, FSU plans to begin shooting the majority of its practices this spring using two 3-D cameras it purchased for about $12,000 each. Seminole Productions, the multimedia company that creates most of FSU's online content and game film, started using the technology last season on a limited basis.
Using footage shot at games, FSU created a short film and unveiled its first live-action 3-D package to recruits during the weekend of the Miami game in October.
"When you see something in 3-D, it feels like you're actually in the movie," said FSU freshman linebacker Nigel Bradham, who took his official visit that weekend. "It definitely gives you a good idea of the atmosphere here."
Seminole Productions director Mark Rodin said the only other time he has seen live-action 3-D footage is during a recent Hannah Montana concert he took his daughter to see. Rodin was notified of the technology offered by 3dh by an FSU grad who works in marketing at the company. One thing led to another, and now FSU is embarking on a strategy to use the technology more extensively.
"They have patented the process where you don't get the dizziness, nausea, headaches, eye strain and other stuff that people have experienced using 3-D," Rodin said. "They are working on technology now that, in the near future, you won't even need the glasses."
FSU's staff envisions the possibilities.
"We're on the forefront," said Seminole Productions associate director Jim Garbarino. "We've done the fluff stuff, now we want to put it to the test with instruction. If the players can retain that knowledge, they can become a better player. That's ultimately what we're hoping for."
In the meantime, they certainly will be entertained.
According to National Geographic News, within a few decades movie-goers may be able to watch their favorite flicks in 3-D without the need for glasses, a new study says.
University of Arizona optical sciences professor Nasser Peyghambarian and his colleagues have created what may be the first rewritable 3-D display surface, one in which an image can be replaced with another within a few minutes.
"The ultimate goal would be some sort of 3-D video that doesn't require eyeglasses to view," Peyghambarian said.
The study appears in the journal Nature.
Key to this chameleon-like responsiveness is a specially crafted polymer with a refractive index, a measure of how much the speed of light is reduced, that can be changed by an electrical charge.
Through this charge the material's surface assumes the likeness of the image, which then can be illuminated by a set of small lasers underneath the polymer, according to Joseph Perry, a Georgia Institute of Technology chemistry professor who wrote a commentary about the work in Nature.
"We've been able to record really good holograms, but the problem is we just can't update them. That's what the big advance is here," Perry said.
Objects in a hologram jump out at the viewer in a way they wouldn't with regular photographs, thanks to how the image incorporates multiple views of its subject.
"When you look at a glass of water from different angles, those are called different perspectives," lead author Peyghambarian explained. A hologram can fold these perspectives onto a flat display surface.
Of course, hologram surfaces are nothing new, your credit card may even have a holographic stamp.
"The remaining piece is the display technology," said Bove, who heads up a project to produce a display for 3-D video using off-the-shelf electronic components.
So far Peyghambarian's team has produced a four-by-four-inch (ten-by-ten-centimeter) prototype display. They are now working to enlarge this canvas, as well as to shorten the amount of time it takes to erase one image and write in another.
While glasses-free 3-D movies may be a few decades off, other applications using this technology could be only a few years away.
New kinds of endoscopes may record a patient's internal organs in 3-D, allowing physicians a deeper view within the body.
Military officers could also use large rewritable 3-D displays to help plan missions, said Charles Lee, a program manager at the Air Force Office of Scientific Research, which funded some of the team's work.
An officer could examine a large image of the battlefield from multiple angles and communicate with fellow planners without having to wear a bulky headset, Lee said.
One of the last surviving actors to play an iconic Universal movie monster, Ben Chapman, the Creature from the Black Lagoon, has died at age 79. For decades, even die-hard fans knew little about the unbilled man in the foam rubber suit in the 1954 monster classic. Occasional movie magazines and reference books would credit both Ricou Browning and Chapman with playing the Gill Man, and informative Creature-themed interviews with Browning would appear in genre magazines. But for the movie’s legions of fans, Chapman, who played the Creature on land while Browning performed in underwater scenes, remained nothing but a name and a mystery.
Benjamin Franklin Chapman Jr. was born in 1928 in Oakland, CA while his Tahitian parents were visiting the United States. He was raised in Tahiti, where, in his youth, “I spoke English at home, French at school and Tahitian and Chinese in the streets,“ he recalled. The family moved to the U.S. in 1940, and Chapman went to school in the Bay Area of San Francisco. Working as a Tahitian dancer in nightclubs led to his first movie job, unbilled as one of the dancers in MGM’s Tahitian-set musical Pagan Love Song (1950). Next came a stint in the U.S. Marines; sent into action during the Korean War, he found himself in such harrowing hot spots as the Yalu River and the Chosin Reservoir. For his service, he earned a Silver Star, a Bronze Star and two Purple Hearts (doctors wanted to amputate his frostbitten feet; Chapman was able to nurse himself back to health).
His first work at Universal was playing a Polynesian chieftain in a 3-D short titled Hawiian Nights (1954); he soon became a $125-a-week stock player there. Jonny Rennick, one of the studio’s casting people, became aware of the search to find an appropriate person for the role of the on-land Gill Man in the upcoming Black Lagoon and told Chapman she thought he was the only person on the lot who was right for it. “She knew I was a diver, a swimmer, etc., etc. I had all the qualifications to portray the Gill Man. So eventually we went off and met with a group of people to talk about this; one of ’em, of course, was director Jack Arnold, another was producer William Alland and there were also a few others. We sat down and talked, and they told me what would be involved. Jonny really went to bat for me; she told ’em, ‘This guy here is actually part fish!’ ”
After enduring plaster-of-Paris body-casting and all the other ordeals involved in making the form-fitting full-body Creature suit, Chapman jumped into production, shooting on soundstages and in and around Park Lake on the backlot (while, thousands of miles away, 2nd-unit Creature Browning played the role underwater in Wakulla Springs, Florida). Said Chapman, “I would heat up, because I had a body stocking on and then the foam rubber [Gill Man] outfit over it. On days when we worked on soundstages, what they would do was set up hoses, and there was someone there I could go to between takes and say, ‘Hey, do me a favor, hose me off.’ Because once I was into that suit, there was no taking it off! On the backlot, I would just stay in the lake to keep cool.“ In the movie, as all Creature-holics know, a scientific expedition searching an Upper Amazon tributary for the fossil remains of a prehistoric Gill Man instead find a terrifying living specimen. The plotline drew from King Kong, including the Beauty and the Beast angle: The scary but sympathetic merman is drawn to the expedition’s female member (Adams).
“The Gill Man is really a nice person,“ Chapman laughingly told STARLOG magazine, “it’s simply that he’s in love with the girl and just kills people that get in his way!“
“He was wonderful,“ Adams says of working with Chapman. “He was funny, he was dear, he was considerate. I would come in in the morning and he would be in the outfit and I’d say [in a little-girl voice], ‘Good morning, Beastie!’ ” The hot, heavy foam rubber suit never dampened his enthusiasm? “Oh, no! Nothing fazed Ben [laughs]! It was a very harmonious company, and he was a big part of what made that picture such a joy to make. We became great friends.“
The 3-D Creature from the Black Lagoon was a big box-office hit and, in its day, scary enough that some TV stations refused to air commercials for it. But Chapman, dropped by Universal in the mid-1950s purge of most of their contract players, was not asked back for the sequels Revenge of the Creature (1955) and The Creature Walks Among Us (1956).
For years, Adams had resisted the lure of the autograph shows, but Chapman finally got her to agree to join him at Creaturefest in Wakulla Springs, where Creature from the Black Lagoon's underwater scenes had been shot; she had such a great time that she was soon accompanying him hither and yon to other cons. One Wakulla appearance united the two Creatures for the very first time: Chapman and Browning, who never met in 1953 when the movie was made, first pressed the flesh at the 2003 Creaturefest, 50 years almost to the month later.
Sadly, as Browning reports, Chapman’s health did recently begin to decline; at the June 2007 Monster Bash in Pittsburgh, a now much-thinner, thin-voiced Chapman became sick on the morning of the second day, and paramedics with transport gurney swarmed his room at the Airport Four Points Hotel. It was not a heart attack as feared, but the 78-year-old Chapman was too weak to leave his room the rest of the weekend. On Sunday night, sitting on the edge of his bed looking frail and shaken, he pulled up his shirt to show this writer a deck-of-cards-sized bulge in the skin near his heart (his defibrillator), told me about his recent heart problems and glumly said that this would have to be his last con.
“We’re going to have him cremated,“ Kazarian says. “There’ll be a Catholic mass at Saint Augustine by the Sea Church in Waikiki; and then when that’s over, we’re going to go across the street to the beach, get in outrigger canoes and take his ashes out into the ocean. This beach sendoff will include military honors. But about a quarter of his ashes we’re going to save, and sometime soon we’re going to take them to Universal Studios, to the backlot. There we’ll have a little ceremony, and then scatter the last of his ashes into the Black Lagoon.“
Andrew Woods reports this year's Stereoscopic Displays and Applications Conference, held Jan. 28 thorugh 30 in San Jose, California.was a great success with the highest attendance ever!
3-D Theater Winners
This year two "Best of Show" awards
were chosen by
Best of Show (CGI): "Super Sonogong" by Digital Media Entertainment (Korea), and Best of Show (Live Action): "3-D Skydiving" by Dzignlight Studios (USA).
Two stereoscopic projection systems were used in the 3-D Theatre:
1. Christie Digital "S+4K" projector (1400x1050 resolution) onto a 8x6 foot screen
2. A pair of JVC "DLA-RS1" projectors
(1920x1080 resolution) onto a 8x4.5 foot screen.
Both projection systems output circularly polarised
full-color 3-D and the audience were provided
A full illustrated listing of the content shown
at the 3-D Theatre will
Enrique Criado from Enxebre Entertainment
(Spain) for his paper Original and creative
stereoscopic film making
Next year is Stereoscopic Displays and Applications' 20th Anniversary. Start planning now to attend in January 2009.
View-Master®s were a part of just about everyone's childhood. For those trying to relive those days, Minnesota artist Debra Dressler has come up with these handmade clocks made with genuine vintage View-Master® viewers.
As you might suspect, "handmade" and "vintage" are usually codewords for "expensive," and at $145, that is pretty much the case here.
However, if that is a little more money than you want to spend on a clock, you could probably build one using your own View-Master® fairly easily.
3-D Holy Ghost Stories by Claudia Kunin
The 3-D Holy Ghost Stories are a series of anaglyph prints which create a visual space where natural and supernatural collide.
The artist Claudia Kunin describes these works as, "a montage of photographs, all of which I have taken. These images are then knitted together, opening the door for the viewer to reconsider various traditional narratives. The composite images in the series are portals, thresholds between this world and the ‘other.’ They tell tales that bring us to the nexus of fear and faith, reuniting us with popular ideas whose threads have run through Western civilization for millenia. A new realm of the deep occult is created, allowing the viewer to experience a rich and ambiguous space."
Works in this series include: Medusa, Ophelia, Adam and Eve, The Three Graces, Pandora’s Box, Jacob’s Ladder, Walpurgisnacht and others.
3-D Stereo Safari by John Roll, M.D.
Dr. John Roll is a Portland-based neuro-radiologist and an accomplished stereo photographer. His many shows and images have won several awards from the National Stereoscopic Association (NSA) and have included macro underwater "sea wars," scenic national parks, and advanced diagnostic medical imaging studies. 3-D Stereo Safari presents wonderfully composed and beautifully executed images from a trip to Africa.
Introduction to 3-D Photography taught
by Shab Levy
This class is designed for beginners who are interested in discovering the world of 3-D stereoscopic photography through discussions, hands-on experience and viewing 3-D images in the form of projected 3D slides, stereoscopic prints and digital 3-D images on a computer. You will learn about the long history of 3-D photography, the many methods of making and presenting 3-D imagery, and discuss other 3-D topics of interest to workshop participants.
Not only will you have a good understanding of the basic principles of the art and craft of 3-D photography, but you will also be able to make some 3-D photographs of your own with a non-stereo film or digital camera (or bring along the stereo camera you bought or inherited but have never used).
Among the many topics you will learn, this class will teach you how to make phantograms, anaglyphs, stereocards, and introduce you to the art of creating a digital show for the computer or for digital projection.
The 3-D Center of Art and Photography is located at 1928 NW Lovejoy in Portland, Oregon. Call (503) 227-6667.
Stereo Vision Entertainment, a film production company focused exclusively on developing high quality, low cost, polarized 3-D feature films, has retained the professional services of leading film financing expert Richard Kiratsoulis to jumpstart the company's upcoming slate of 3-D theatrical feature films.
Stereo Vision CEO Jack Honour said, "We're very excited to welcome Richard to the Stereo Vision family. His unique ability to finance feature films through off balance sheet financing techniques is well known throughout the entire entertainment industry. This type of film financing is non-dilutive to Stereo Vision shareholders, and will result in a combination of non-recourse debt, equity and co-production subsidy benefits. Actually, under this film financing scenario using a significant combination of co-production subsidies and foreign licensing agreements, it's quite possible that the company may be able to commence principal photography on its 3-D feature films in the black."
Here is the artwork for the movie poster used in theatres to promote Journey to the Center of the Earth 3-D.
by Tracie White - Stanford School of Medicine News Release
The image of the human heart floats detached in a sea of blue, its tiniest red arteries and blue veins clearly shown growing into the muscled organ like the tiny roots of a tree. With the click of a mouse, the right ventricle lights up green; another click on “apex of the heart” and the bottom tip turns purple.
By this summer, thousands of similar images of every part of the body will be online in a newly digitized version of the Stanford University School of Medicine’s world-renowned Bassett collection of human dissection.
The first set of images hits computer screens in February 2008, an online library that takes the one-of-a-kind collection of photographs and makes them available in a whole new format with highlighted labeling and audio narration. Think “Body Worlds,” the traveling exhibit of preserved human bodies viewed by millions, but much larger, with more detail and geared toward providing an encyclopedic volume of information about the anatomy of the human body.
“The Bassett collection is simply the most beautiful dissection collection in existence,” said Paul Brown, DDS, consulting associate professor of anatomy, referring to the 50-year-old collection of 1,547 photographs of serial dissections painstakingly annotated over a 17-year period. “The photographs are stunning.”
After almost four years of work by School of Medicine researchers together with eHuman, a Silicon Valley company, the first set of images of the head and neck are now ready for public viewing online at eHuman.com. By summer, the rest of the human body will follow. The images are free to the Stanford community and available to the public for a minimal fee.
“This collection is designed for any student of anatomy, from a high-schooler, to a medical anatomist,” said Brown, founder of eHuman, an anatomy dissection software company located in Portola Valley whose mission is to create the first “clickable” human, something akin to the Google Earth map project, but for the body.
Bringing the Bassett collection to the computer screen with the added benefits of today’s state-of-the-art imaging and medical technologies is key to reaching this goal, Brown said. This new format will expose more human anatomy students to what will probably be the best dissection collection ever in existence.
“There’s nothing else like the Bassett,” Brown said. “It won’t ever be duplicated. The number of man-hours spent cataloging each photograph, nobody’s ever going to do it. It would cost millions and millions of dollars today.”
Since the Bassett images were first made public in the 1950s, the collection, which now belongs to the School of Medicine, has remained the definitive dissection collection available to medical students and instructors. The incredibly detailed dissections that show and label most every part of the human body - from its tiniest veins, arteries and nerves to serial cross-sections of the spinal cord, together with the meticulous labeling and high-resolution photographs - have kept it in circulation. Currently, Bassett images can be found in most anatomy textbooks. As the trend toward less use of cadavers for dissection in medical school has grown, so has the use of the Bassett images.
While cadavers are still used at Stanford in first-year anatomy classes, the Bassett images augment medical education in the following years of training, Brown said.
The online version will hopefully further expand its use, said Robert Chase, MD, the Emile Holman Professor of Surgery, Emeritus. Chase is curator of the collection, which was donated to the medical school by the children of David Bassett, who died in 1966.
Bassett graduated from the School of Medicine in 1934. As a faculty member at Stanford, he was known for his elegant dissections and love for the human body, said Chase, who was chair of surgery when Bassett was an associate professor of anatomy.
It was Bassett’s genius for dissection that attracted the attention of William Gruber, the photographer who invented the View-Master®, a stereoscopic viewing device familiar to most children. A 17-year collaboration between the two resulted in the production of the Stereoscopic Atlas of Human Anatomy begun in 1948 and not completed until 1962. It consisted of 221 View-Master® reels with 1,554 color stereo views of dissections of every body region. Each stereo view was accompanied by a black-and-white, labeled drawing and explanatory text.
“It was very popular nationally,” Chase said. “When Bassett first showed the images, lines formed around the block to see them.”
“Although they’re 50 years old, the pictures were taken with high-resolution Kodak film,” said Brown, explaining why the images have held up over the decades. “This is what they looked like before we got them,” he said holding up the original View-Master® reels. “One can see how the nerve enters the jaw. It is possible to see inside of the sinus cavity. Look at the quality. It’s just fabulous.”
Editor's Note: Unfortunately the online images are not in 3-D.
Cinematographer, producer, veteran diver, and founder of Liquid Pictures D.J. Roller, recently wrapped principal photography on a new IMAX 3-D film Wild Ocean. It was shot over two summers along South Africa's pristine wild coast, documenting the annual sardine run. During these "runs," massive schools of sardines, sometimes measuring up to 15 kilometers long, swim up the coast in search of food every year. This draws many predators to the area including thousands of dolphins and sharks.
The environmental documentary is expected to be released to IMAX and Digital 3-D theatres worldwide this March.
All underwater sequences were shot with two Fujinon HA10X5B-W50 HD Cine Style zoom lenses mounted on a Cameron/Pace Fusion Underwater HDTV 3-D camera system. The lenses are encased in specially made lens barrels for the rig and affixed to custom-designed Sony HD-950 cameras. Roller used that system with two of the Fujinon lenses and one back-up.
Roller has lead film expeditions on all seven continents but found this particular location to be particularly challenging. According to Roller, it was the combination of Fujinon lenses and the Pace underwater camera system that made it possible to meet the numerous challenges presented by underwater filming. "The camera technology afforded us longer record times, and the lenses gave extremely sharp images," he explained. "Since the camera and lens are encased in an underwater housing, switching out lenses is not possible. Without the lenses Fujinon developed for the Pace camera, we wouldn't have had the flexibility cinematically to capture the amazing pictures we did."
The untouched, wild coast provides the ideal conditions for the sardines but not necessarily for filmmakers. Sardine runs like the one captured in Wild Ocean previously occurred in areas with similar current patterns throughout the world's oceans. Because of over fishing, the only place to see this natural phenomenon is now on the South African coast. This difficult to reach location was another reason the compact and lightweight Fujinon lenses were well suited for the shoot. "On other underwater projects, we've had the luxury of a research ship and a huge harbor to dive from" he said. "Given that our location was very unique and so wild, we took just two 25-foot Zodiac boats, one for support equipment and one for camera equipment, down river tributaries to get to the ocean."
by Charlie Breitrose - Creative Commons Content Courtesty of GateHouse News Service
A decidedly low-tech photographic technique still enthralls collectors and aficionados today, including Karen Muggeridge.
For more than 25 years, the Southborough resident has been collecting stereoscopic slides which, when viewed with a special device called a stereoscope, produce an image some describe as 3-D.
Dating from the mid-1800s, stereoscopic slides aren't high-tech by today's standards, but if you look at them through the stereoscope, the pictures pop out at you so vividly they make you feel like you're part of the scene.
Stereophotography was invented around the middle of the 19th century in time to catch some of the nation's most significant events, including the Civil War and the Great Chicago Fire of 1871.
The concept is the same as Fisher-Price's View-Master® toy, which recently celebrated its 65th birthday. Two almost identical photographs are mounted side by side on a cardboard slide. When viewed through a stereoscope, the images converge into one and produce a depth of field within the image.
The appeal for Muggeridge goes beyond the "wow" factor of the images. Many of the photos she has in her collection of more than 1,000 slides depict scenes from more than a century ago...150 years in some cases.
Looking at a picture of a wagon train going down the Ute Trail in Colorado, Muggeridge admired the scene.
"This is a moment in time that will never be captured again," she said.
Muggeridge's collection includes some photographs showing the aftermath of the Great Chicago Fire of 1871 and the huge blaze that destroyed much of Boston the following year.
Each stereoscopic slide has a description of the picture, plus some history. An image called "Answer to the Kaiser," has a great 3-D effect with American soldiers from World War I standing at attention in row upon row that seem to stretch to the horizon.
Other scenes are more grisly, such as one called "The Sniper," which shows the body of a dead German soldier.
Muggeridge finds the stereophotos at flea markets, auctions and also on the Internet. Muggeridge proudly displays a set made by the Keystone View Co. at the turn of the 20th century. Originally, the slides were sold by door-to-door salesmen.
"I think it was the precursor to television, to be able to learn about places they have never been," Muggeridge said.
The stereoscope cards can be found online for as little as a few dollars to well over $100, Muggeridge said. A hierarchy of popular subjects has developed, with images of children or animals being popular, as are photos of railroads, circuses and the Civil War. Also, subjects such as scenes of the lives of African-Americans from the late 19th and early 20th centuries are much sought after.
Muggeridge has her own favorites. "I enjoy finding and collecting local scenes of New England," Muggeridge said, "but I probably most enjoy ones in the West. At the time, the country was probably populated mostly through the Mississippi Valley, and Colorado and other areas were largely untouched."
Muggeridge became interested in stereophotographs by looking at her parents' collection. "One year for Christmas I said to my parents, 'If you are not using them, I would love them,"' Muggeridge said. Now, she scours flea markets, yard sales, auctions and even eBay for the slides.
On a recent trip to France, she purchased a large set of glass slides from a photography shop in Paris. "They belonged to one of the employee's father," Muggeridge said. "He was a Le Journal photographer named Jacques de Marsillac."
Not only does she collect the stereograph cards, Muggeridge has started taking her own 3-D images. She joins her fellow stereophotography enthusiasts at the Stereo New England club.
"You couldn't get a nicer group of people," Muggeridge said. "And they are willing to share their knowledge." The group meets at Fay School in Southborough, and there are about 49 members, said Jay McCreery, a Franklin resident who said he is best described as the group's moderator.
"We don't have formal structure," said McCreery, who joined the group in 1989. "I am also one of the projectionists and the Web master."
The stereophotography bug bit McCreery early, and the interest runs in the family. In the early 1900s, McCreery's grandfather hired stereoview card maker Keystone View to come to his Framingham home to photograph McCreery's mother, aunt and uncle.
"These are views that I still have," McCreery said. "My grandfather collected the views and got me interested at an early age."
It is possible to shoot the 3-D images with one camera, McCreery said, but it is easier if you have two.
"In 1988, I began using twin cameras connected with a wire, and about a year ago went to digital SLR (single lens reflex) cameras connected by a wire," McCreery said.
Many create their images using the old cardboard slides, but many prepare the digital slides that can be easily projected onto a screen.
Using StereoPhoto Maker, a software program that can be downloaded free on the Internet, the shots from the two cameras can be combined into an image that will appear 3-D if viewed with special polarized glasses.
"That is what we do at our meetings," McCreery said. "We have facilities to project both digital images and slides, and the audience wears (polarized) glasses."
Stereo New England meetings also allow members to share their collections and their know-how.
"We have workshops from time to time, where we teach newcomers how to make their own 3-D images," McCreery said. "Digital photography has made it very easy if you are computer literate."
The next Stereo New England meeting will be held April 13 at Fay School's Harris Event Center, and is open to the public. For more information on the group or the meeting go to the group's Web site, www.sne3d.org.
The BBC is set to test screen the upcoming Rugby Six Nations match between Scotland and England in high-definition HD and 3-D. The broadcast, developed both by BBC Resources and the 3DFirm, will be the first ever live test screening of an international sport in 3-D HD. The match will take place on March 8.
“We’re trying to do something no-one’s tried before and bounce dual HD signals around and re-encode them as a 3-D experience,” said Chandarana, BBC Sport innovations executive. He added, “Editorially it will not be a fast-cut TV experience but more the experience you’d get if you were at Murrayfield (The location of the match).
Now for us Americans, this may not seem like something to look forward to, but imagine if the NFL playoffs were going to be broadcast in 3-D? In 2007, the NBA partnered with PACE to test broadcast a game in 3-D HD, however the footage was not live. Maybe it’s coming next year to the U.S., but for now we’ll have to settle for U2 in 3-D.
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