Peelable Polarized Lenses

I can’t take credit for the subject matter of this post, a good friend of mine in the Graduate Telecommunications program passed along this article from gizmodo.com about “peelable polarized lenses turn any specs into 3D glasses” to me, which tries to address people like myself who already wear prescription glasses.¹ This new product is a set of polarized decals designed by Yanko Design that applies on the lenses of prescription glasses so that one may “enjoy 3D film without getting bothered with big heavy extra 3D glasses.”² I applaud the innovation and I am grateful that a designer is trying to deal with the issues that 3D glasses present for the populous who wears prescription glasses.

However, I am admittedly skeptical as to how well that these stick on polarized lenses will work and without being able to sample this product, I am more than likely going to remain skeptical. My concerns would be issues like would these stickers leave a residue, are they reusable, will there be any warping in the 3D effect as the lenses are an application or do they apply in such a way that there is no noticeable difference between polarized glasses and these applications? In short although I’m in favor of someone developing a way around the need for the vision impaired to have to wear two sets of glasses to view 3D, the verdict for me is still out as to whether this product is the solution.

This has made me think that it may be possible for someone to develop 3D passive contact lens for vision impaired individuals and at the very least, it has made me think of new possibilities.

Well, those are my stereographic thoughts for the week, until next week.

Russell McGee

¹ A. Liszewski, Peelable Polarized Lenses Turn Any Specs Into 3D Glasses, WWW Document, http://gizmodo.com/5902341/peelable-polarized-lenses-turn-any-specs-into-3d-glasses

² R. Seth, Sticker 3D Vision, WWW Document, http://www.yankodesign.com/2012/04/16/sticker-3d-vision/

Unintentional 3D Lon Chaney Phantom

Following on my Hunchback post from a few weeks ago, I have some very exciting news to share! When I presented the Hunchback stereographs, Chris Eller (my 3D instructor) mentioned that not only had Lon Chaney’s 1925 classic “Phantom of the Opera” been promoted with stereographs but that the film had been unintentionally filmed in 3D.

“What," you say?!?! I know, I couldn’t believe it either but the truth was that I already knew the facts that made this unintentional marvel possible. You see back in the nineteen twenties, it was standard practice to shoot films with two cameras, side by side, to create a domestic and international release print of the film. The studios of the time did this to cut down on the wear on the master duplication print so although their intention was not to make a 3D print of these films that is exactly what they did!

Now after hearing about the possibility of a 3D Phantom, I got very excited and started combing the net for Phantom stereographs but I was astonished to find that a stereographer in Florida, Carl Hernz, had in fact restored and reconstructed both camera eyes to Lon Chaney’s Phantom and that the film will be premiering later in 2012. This completely blew my little monster kid mind so I quickly contacted Chris and Jon Vickers, the director of IU Cinema, and made them aware of this 3D film. The result was that Jon was interested in the possibility of screening the film.

Awesome! I then contacted Carl Hernz in Florida, who was very amiable and also excited at the prospect of Indiana University screening “Le Fantôme de l'Opéra” in 3D at IU Cinema. At this time, we are in negotiations to screen the film in October so fingers crossed classic monster fans because it looks like IU Cinema may be screening Lon Chaney’s “Phantom of the Opera” in 3D!!

Carl has also kindly agreed to an interview and I will continue to keep you posted as this project progresses! In the meantime, check out Carl’s website on the project:

http://www.carmichael3d.com/poto3d.html

I am also providing you with a link to the trailer of the Phantom in 3D to whet your appetite:

http://www.youtube.com/watch?v=iGYsCPFtat4&feature=relmfu

Enjoy!

Russell McGee

James Cameron and the Third Dimension

It could easily be argued that we are now in the 3D age and it is difficult not to speak of James Cameron and 3D in the same breath as, “James Cameron is the biggest advocate for 3D working in Hollywood today.”¹ James Cameron, the same innovative director that dazzled audiences in 1997 with the blockbuster “Titanic” and pushed the technical limits of special effects in such classic films from the ‘80s as “Terminator”, “Terminator 2”, and “Aliens”. He is yet again leading the way by ushering the world into a new age of 3D following on the success of Avatar, “which ranks as the highest-grossing film with a worldwide box office take of $2.8 billion.”²

“Tired of waiting for technology to catch up, he co-developed a new generation of stereoscopic cameras…” with Emmy Award-winning director of photography, Vince Pace.³ After the success of “Avatar” the Cameron Pace Group set out to improve the quality of 3D by offering, “the Cameron | Pace name to productions that use the company's technologies. Like THX before it, it's set to become a symbol to consumers that the 3D in the movie they are about to watch is the best it possibly can be.”¹ “That certification allows a studio to promote the quality of its films to investors and potential distributors, said Lyndsay Harding, chief financial officer of Evergreen Films, the first studio to be CPG certified.”²

By offering a certification, Cameron is also helping to create the standardization of 3D, where at the moment there is none. The issue of this lack of 3D standardization is that when 3D is used as a gimmick or to crank out poor 3D conversions of 2D films then 3D as a cinematic storytelling tool is left with a black eye in the opinion of consumers that do not know the difference between good and bad 3D. There have been many bad quickie 3D conversions that have been made to cash in quickly on 3D without consideration of the long term consequences on the reputation of 3D as an emerging storytelling tool.

James Cameron recently spoke about the conversion process for “Titanic”, “and why post-converting 3D is one of the toughest things he's ever had to do...”.¹ Cameron said that the “Titanic” conversion took a year because the process needed to take that much time. “I said I'm not doing it in less than a year,” part of his rationale for taking his time on the conversion was to make sure that, “Leonardo DiCaprio's face wasn’t flat in any particular shot. Quickie conversions handle that poorly. But when it's done right,” he said, “it's gorgeous.”⁴ He went on to add that handling the 3D conversion process well could mean that “those legacy library titles that we love, whether they are 'Jaws,' 'Star Wars,' name your favorite film, can and should be done -- but they have to be done right and the filmmakers have to be involved.”⁴

When Cameron was asked about how he felt that he could improve the 3D process for "Avatar 2", he expressed an interest in shooting the film at a frame rate of 45 to 60 frames per second and that he wanted to focus on the light levels that a projector throws on the screen because he saw these two areas as greater obstacles to overcome to ensure the future of 3D film-making over the further advancement of the camera equipment that captures the film. “People talk about feeling sick or something like that, and I think it’s because the image is strobing,” postulated Cameron.⁵ “That’s a function of the 24 frame frame rate, which has actually got nothing to do with 3D. It’s just made more apparent because the 3D is otherwise such an enhanced, realistic image, that all of a sudden you’re aware of this funky strobing which you weren’t aware of.”⁵

The next few years will be crucial in the development of 3D and anyone with an interest in 3D would be wise to keep an eye on the innovations that James Cameron institutes as we embrace this new reinvention of a cinematic storytelling art-form.

Russell McGee

¹ M. Chacksfield, James Cameron on 3D: the TechRadar interview, WWW Document, http://www.techradar.com/news/world-of-tech/james-cameron-on-3d-the-techradar-interview-1023538

²Bollywood, James Cameron, Hollywood's 3D entrepreneur, WWW Document, http://www.dailymail.co.uk/tvshowbiz/article-1208038/Avatar-How-James-Camerons-3D-film-change-face-cinema-forever.html

³E. Wrenn, Avatar: How James Cameron's 3D film could change the face of cinema forever, WWW Document, http://www.dailymail.co.uk/tvshowbiz/article-1208038/Avatar-How-James-Camerons-3D-film-change-face-cinema-forever.html

⁴J. Weinstein, James Cameron on 3D, "Titanic" and all things "Avatar", WWW Document, http://www.reuters.com/article/2011/09/22/us-jamescameron-3dmovies-idUSTRE78L0HS20110922

⁵T. Gilchrist, James Cameron Explains Why the 3D Experience Will Be Better On ‘Avatar 2’, WWW Document, http://blogs.wsj.com/speakeasy/2011/01/31/james-cameron-explains-why-the-3d-experience-will-be-better-on-%E2%80%98avatar-2%E2%80%99/

Twenty “Hunchback of Notre Dame” Stereographs

Let me start by stating that I am a “monster kid”, a term that many of you may not be aware of but this is the name that has been coined for fans of the golden age of horror films; classics like Lugosi’s Dracula or Lon Chaney Jr.’s Wolfman so it may be easy to understand why I have an interest in Lon Chaney’s 1923 silent classic “The Hunchback of Notre Dame”.  The thing that continues to amaze me is the fact that when you feel that you are aware of just about every factoid that there is to know on any given film some new cool treasure in unearthed from the past.  One such treasure was unveiled to me in 2006, when a rare original 1924 multi-tinted print was released on DVD.  

 “Chaney's breakthrough silent epic The Hunchback of Notre Dame now exists only in 16mm prints, and mostly in a digest version. David Shepard, owner of the Blackhawk Films library, has been producing fine restorations of near-lost films under his Film Preservation Associates banner. Image and Blackhawk's Ultimate Edition DVD of The Hunchback of Notre Dame is said to be from an original 1924 print that David Shepard acquired [and it is] the best-looking version of The Hunchback of Notre Dame yet. We are told that this copy has original main titles from 1923, as opposed to the 1928 reissue credits on the previous release.”¹

Now you may be asking what this has to do with 3D?  Well, like my blog title suggests another treasure that was released on this Ultimate Edition was a set of twenty rare promotional Stereographs that Universal Studios issued upon the films 1923 release.  I had up until this time never been aware of the fact that Universal had issued these promotional Stereographs and it leaves me wondering what other stereo treasures from the golden age of Hollywood may still exist?  Were these promotional Stereographs standard practice of the time?  I may only hope that more such stereo treasures will continue to be discovered with the resurgence of interest in stereography today.

I hope that you have enjoyed viewing some of these rare Stereographs and that you appreciate them as much as I have…well, that is all for the week but look forward to an exploration of James Cameron’s contributions to 3D in the coming week.

Cheers-

Russell McGee 

¹ G. Erickson, The Hunchback of Notre Dame Ultimate Edition, WWW Document, http://www.dvdtalk.com/dvdsavant/s2452hunc.html