by Ray Zone

When all film is stereoscopic, and we have forgotten that we ever accepted the convention of the flat-image as real, it seems unlikely that we shall remark on the stereoscopic film appearance of reality, any more than at present we remark on the conventional flatness of the two-dimensional film.
— Ivor Montagu

A Future in the Past

In a visionary 1950 essay titled The Third Dimension: Film of the Future? cinema historian Ivor Montagu wrote about 3-D movies after visiting the Stereokino in Moscow and viewing an 80 minute program that consisted of three motion pictures. The 3-D movies, consisting of a travelogue of the Crimea titled Sunny Region, an instructional film called Crystals and a comedy, Caran de Ache on the Ice,were all autostereoscopic, meaning that no 3-D glasses were required to see the third dimension in the films. Are you surprised?

Sounds a lot like the 3-D future to me and yet it happened over half a century ago. These 3-D movies used interlocked rear projection of dual left and right eye 70mm film prints on to glass with vertically etched lines. A printed notice on the ticket to the films pointed out a limitation of the autostereoscopic process. Leaning to one side loses the stereoscopic effect, which can be recovered by a movement of from 4 to 8 inches.

For our immediate future, however, as digital cinema begins to proliferate (as of May 2005 there were about 75 theatres in North America equipped with digital projectors), audiences viewing 3-D movies will be using the glasses. And, for the time being, they will be using either Liquid Crystal Shutter (LCS) glasses with left and right eye lenses alternating at 48 frames a second (96 hertz) or disposable glasses with circular polarizing filters in them.

But the strength of either process is that they each will work with only one digital projector. The projector of choice for digital cinema appears to be the Christie CP2000 with 2k of resolution. A lower end model also projects 1.2K of resolution but both models are in use with the exhibitors who have installed digital projection in their theaters.

A Clarion Call for 3-D Cinema

The signal event, the clarion call announcing digital 3-D cinema, took place early in 2005 with the Texas Instruments DLP 3-D cinema presentation March 17 at the ShoWest trade show in Las Vegas, Nevada. For that presentation digital 3-D was projected using the page-flipping function of the DLP projector, retrofitted for stereo projection, and the audience viewed the stereoscopic clips on a matte white screen using the Nu-Vision LCS glasses running at 48 frames a second. With high-powered filmmakers George Lucas, James Cameron, Robert Zemeckis, Robert Rodriguez and Randall Kleiser showing stereoscopic clips of their films and espousing the virtues of digital 3-D cinema, it was a 3-D wake-up call for motion picture producers and exhibitors.

Cameron and Rodriguez have been doing original dual-HD (high definition) photography for their stereoscopic efforts using the Reality Camera System (RCS) developed by Cameron and Vince Pace. Their 3-D films include the Cameron Ghosts of the Abyss and, in 2005, Aliens of the Deep and Rodriguez’s Spy Kids 3-D, and (opening June 10) Shark Boy and Lava Girl in 3-D. Both of the Rodriguez films are projected in a theatrical wide release with existing film and digital projectors as red/blue anaglyph, a process which Cameron characterizes as horrendous in image quality, and which, in his opinion, has contributed to the ghetto-ization of 3-D.

At the March 17 ShoWest event, the Rodriguez stereoscopic movies were projected in full color using the DLP alternating field platform. George Lucas presented 3-D clips from Star Wars with startling 3-D that had been produced as stereo conversions from the original 2-D versions by the In-Three company of Agoura Hills, California. He also announced that the entire series of Star Wars films would be repurposed to 3-D by In-Three with the first in the series to be released stereoscopically in 2007.

Stereo Repurposing of the Past

If the entire library of cinema history is thought of as the past, then that history can now potentially be seen in 3-D, after first being processed to a digital intermediate (DI) of course, and converted to stereo by a company such as In-Three. Think of it, The Wizard of Oz, Gone with the Wind or Casablanca in 3-D. Would there be a new market for these films, despite total saturation on TV and DVDs? Or will more recent films such as Star Wars and The Matrixproduce big box office returns in a 3-D re-release?

Joe Kleiman (of the website) and I visited In-Three CEO Michael Kaye and VP Neil Feldman, who projected some stereo conversions in their screening room for us on a 15 foot matte white screen using a 1.2k projector running at 48 frames a second. We put on the Nu-Vision alternating field glasses and looked at stereoscopic clips of Star Wars(the first ten-minutes of the original film in the series), the bullet time sequence from The Matrix,John Travolta hoofing it in Grease, and Tom Cruise racing in Top Gun. The closing sequence of the Sam Raimi Spiderman, despite fast cutting and rapid camera moves, proved very well suited for 3-D.

In each instance, the stereoscopic effects were easy to view and yet very dramatic. I detected no pseudoscopic anomalies, spurious edges or aliasing in the 3-D. Individual scenes each had a different 3-D arrangement and the placement of the stereo window, where the left eye and right eye images coincide, was handled with great sensitivity.

Now, the only questions are, how long does it take to convert a feature film to 3-D and how much does it cost? It depends on the visual complexity of the movie, of course, but a general estimate right now for a feature film is about $5 million, a drop in the bucket by most Hollywood standards.

Interestingly, there are artistic advantages for stereo conversion over live-action and original stereoscopic photography. It is the same advantage that a stereoscopic filmmaker working with computer generated imagery (CGI) also has. Because the 3-D image is digital, a measure of control over the picture is provided to the stereoscopic filmmaker that is absent with original 3-D photography. Different elements in a scene, for example, can be rendered separately in one visual space. One stereo conversion at the In-Three demo, a scene from Tuck Everlasting, showcased this digital flexibility. The background, middleground and extreme foreground elements were each given a different 3-D treatment that produced powerful three dimension effects which would have been impossible with original 3-D photography of the same scene.

The Two Digital 3-D Cinema Platforms

In an illuminating question-and-answer session at ShoWest, James Cameron discussed the two digital 3-D platforms available now. Very little change to the DCI (Digital Cinema Initiative) specification is required to achieve viable digital 3-D projection using the existing technology for the digital cinema rollout, said Cameron. Each digital projection screen will have a DLP Cinema projector and a server. For 3-D, that server will need to be upgraded to a dual channel server. In addition, that theater will need either a silver screen and LCD fitter for the projector, or a set of reusable LCD glasses. This overall upgrade should cost between 10 and 15 thousand dollars over the base cost of the digital projection unit. Upgrade cost for both digital 3-D cinema platforms are about the same.

The Real D company based in Beverly Hills has been perfecting a digital 3-D cinema platform that uses disposable glasses with circular polarizer filters. The conventional polarizing 3-D glasses used to date have linear transmission of light through the lenses so that if an audience member tilts their head left or right, ghosting or breakdown of the stereoscopic image starts to occur as the left eye begins to see a remnant of the right eye image and vice versa. This drawback is eliminated with circular polarizing filters which are more expensive but in quantity can be manufactured at minimal cost. And an additional advantage to the exhibitor is that there is no necessity to collect the circular polarizing, passive, glasses back from the audience and clean them before each reuse as with LCS glasses.

With the Real D platform, the left and right eye frames are alternating out of the 2k digital projector 72 times a second (144 hertz) and projected through the polarizers. This makes a silver screen necessary to prevent depolarizing and ghosting of left and right eye images. Real D has developed a combination silver/matte white screen with high gain reflectivity and a wide viewing angle so that the screen is compatible for both 2-D and 3-D projection.

Joe and I viewed some stereoscopic footage of The Polar Express along with the Real D demo reel that includes clips from the Cobalt Entertainment NFL footage, the Cameron Ghost of the Abyss and some custom CGI 3-D clips demonstrating the potential for digital 3-D cinema exhibition with applications such as 3-D pay-per-view or local stereoscopic advertising. The three dimension effects with the Real D platform are striking and the images very bright on a twenty foot screen.

On March 14 during ShoWest, Mann Theatres announced that they had selected REAL D as the exclusive delivery system for digital 3-D entertainment for its theater chain. The Chinese theater located in Hollywood will host the first REAL D flagship 3-D cinema. Mann Theatres is the first theater chain to embrace the exhibition of digital 3-D cinema and the REAL D flagship theater at the Chinese will mark the second time the 78-year-old theater has been equipped to show 3-D movies (the first was in 1973 with a screening of House of Wax in StereoVision side-by-side anamorphic 70mm). Real D hopes to have 1000 digital 3-D cinemas in operation by the end of 2005 and three times that in 2007.

Alternating Eyes for New Cinema Grammar

With both the Real D and Nu-Vision LCS digital 3-D cinema platforms, the left and right eye images alternate sequentially at a high rate during projection. It is this technology that allows stereoscopic movies, running in dual streams simultaneously with separate left and right eye information, to play on one projector through a single lens.

On March 4, 2005, Real D acquired the Stereographics Corporation based in San Rafael and founded in 1980 by Lenny Lipton, an author and 3-D cinema historian. Lipton holds 20 patents for field sequential stereoscopic displays and with a September 2001article in the SMPTE Journal titled The Stereoscopic Cinema: From Film to Digital Projection wrote that The deterrents to the widespread acceptance of the stereoscopic theatrical medium have, in principle, been solved by digital projection. The same projector can be used for showing planar content as well as stereo content with the flip of the switch.

Neil Feldman at In-Three pointed out that a single digital cinema server can deliver a 2-D and 3-D version of a movie to two different auditoriums simultaneously. That raises an important question which has both economic and artistic ramifications. Should movies be released simultaneously in flat and stereoscopic versions? This was the case with The Polar Express which played in a wide release (3000 screens) flat in 35mm and a handful of Large Format theaters (about 70) exclusively in 15/70mm 3-D. Despite the huge difference in numbers the 3-D version, playing in 2 percent of the theaters, pulled in 30 percent of the box-office.

Artistically, however, stereoscopic motion pictures might necessitate a new grammar for cinematic storytelling. 3-D movies like Spy Kids 3-D incorporating z-axis information within and in front of the screen can only work artistically in stereo. With the reality that any existing film can be converted to stereo, this aesthetic issue for stereoscopic cinema will acquire importance.

Now that the technology for production and exhibition of 3-D movies has, at last, become transparent, we can ask some pertinent questions. What new kind of story can be told using the motion picture screen as a stereoscopic window on another world? How can 3-D be used as an inherent element of the narrative? What can 3-D filmmakers do to incorporate audience space into their storytelling?

In his prescient essay from 1950, Ivor Montagu asked similar questions. The apparent pictorial reality of 3-D film was only the most obvious aspect of this new cinema language. But, in respect to compositions and movements in the third dimension itself, that is, towards and away from the spectator, he observed, we have here a gigantic, a tremendous, an immeasurable new power.

This artistic power can also generate a monetary engine. As with 3-D movies in Hollywood in 1952, the power of stereoscopic digital cinema can be an effective form of differentiation for exhibitors to lure people out of their homes, away from their increasingly sophisticated home theater systems, and back into motion picture theaters.

Montagu acknowledged that the Stereokino films were limited in their achievements. However, one¹s fingers itch to mould and sculpt in this new medium, he added. What a fascinating task it must be to explore its ranges. All that has been contrived in it so far is no more than lisping baby-language, compared to the roaring eloquence or pregnant whisper it may one day add to our vocabulary.

With digital 3-D cinema a reality, we will listen and watch with both eyes open.


Lipton, Lenny. The Stereoscopic Cinema: From Film to Digital Projection, SMPTE Journal, September 2001, p. 586-593.

Montagu, Ivor. The Third Dimension: Film of the Future? The Cinema 1950, ed. Roger Manvell, A Pelican Book (Great Britain: 1950), p. 132-139.