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Foundations of the Stereoscopic Cinema by Lenny Lipton

By Lenny Lipton

Signed through Lenny Lipton. Very collectable.

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They are of very similar design. 24. Front of the Dunning camera. Lens turret with three focal lengths mounted in place with fixed 1 S-in. interaxial. As with the Norling camera, left and right images are exposed on adjacent rolls of 35mm film. Originally designed as a color camera, it makes more sense as a 3-D machine. Many of the early color motion picture devices are similar to 3-D designs. * See errata list 44 FOUNDATIONS OF THE STEREOSCOPIC CINEMA eyestrain in many viewers because of the resulting large values for screen parallaxes.

Patent No. 3,531 ,I 91), splitting a full 35mm frame into halves with a horizontal separation. This results in what is known as two Techniscope frames, with the usual scope-aspect ratio. Others, such as Condon, Marks, Findlay, and Symmes, have shown similar systems. The f3ernier system has the distinction of having been the first used to shoot feature films, such as The Bubble (1966) and Andy Warhol’s Frankenstein (1974). In 1981 Condon’s optics were used for two features, Rottweiler (under the Future Dimensions mark) and Parasite (under the Stereovision mark).

The laboratory’s part in all this is crucial. Timing and processing for the left and right prints must be precisely the same, or one dark and one light print can result. Even small differences between left and right image illumination strain the eye. A number of serious errors can take place in the projection booth. 5%. This was not always done. If both arcs do not receive the same amperage, the images will have unmatched illumination. The projectionist must be on guard for shifted framelines to correct for vertical parallax.

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