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This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. December Learn how and when to remove this template message Early patents and tests[ edit ] The stereoscopic era of motion pictures began in the late s when British film pioneer William Friese-Greene filed a patent for a 3D film process.

In his patent, two films were projected side by side on screen. The viewer looked through a stereoscope to converge the two images. Because of the obtrusive mechanics behind this method, theatrical use was not practical. Porter and William E. My 50 Years in the Motion Picture Industry, nothing was produced in this process after these tests. Early systems of stereoscopic filmmaking pre [ edit ] Fairall in Fairall's 3D camera Audience wearing special glasses watch a 3D "stereoscopic film" at the Telekinema on the South Bank in London during the Festival of Britain Fairall, and cinematographer Robert F.

After a preview for exhibitors and press in New York City, the film dropped out of sight, apparently not booked by exhibitors, and is now considered lost. Early in December , William Van Doren Kelley, inventor of the Prizma color system, cashed in on the growing interest in 3D films started by Fairall's demonstration and shot footage with a camera system of his own design.

Also in December , Laurens Hammond later inventor of the Hammond organ premiered his Teleview system, which had been shown to the trade and press in October. Teleview was the first alternating-frame 3D system seen by the public. Using left-eye and right-eye prints and two interlocked projectors , left and right frames were alternately projected, each pair being shown three times to suppress flicker.

Viewing devices attached to the armrests of the theater seats had rotary shutters that operated synchronously with the projector shutters, producing a clean and clear stereoscopic result. The only theater known to have installed Teleview was the Selwyn Theater in New York City, and only one show was ever presented with it: The show ran for several weeks, apparently doing good business as a novelty M. The first film, entitled Plastigrams, was distributed nationally by Educational Pictures in the red-and-blue anaglyph format.

Zowie April 10 , Luna-cy! In Paris, Louis Lumiere shot footage with his stereoscopic camera in September The prints were by Technicolor in the red-and-green anaglyph format, and were narrated by Pete Smith. Unlike its predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in red-and-blue anaglyph. The short is notable for being one of the few live-action appearances of the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their company.

While many of these films were printed by color systems, none of them was actually in color, and the use of the color printing was only to achieve an anaglyph effect. Land conceived the idea of reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab and by had invented and patented a polarizing sheet.

In January , Land gave the first demonstration of Polaroid filters in conjunction with 3D photography at the Waldorf-Astoria Hotel. Using Polaroid filters meant an entirely new form of projection, however. Two prints, each carrying either the right or left eye view, had to be synced up in projection using an external selsyn motor.

Furthermore, polarized light would be largely depolarized by a matte white screen, and only a silver screen or screen made of other reflective material would correctly reflect the separate images.

The Italian film was made with the Gualtierotti camera; the two German productions with the Zeiss camera and the Vierling shooting system. All of these films were the first exhibited using Polaroid filters. The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in ; they were also independently made around the same time in Germany by E.

In it, a full Chrysler Plymouth is magically put together, set to music. Originally in black and white, the film was so popular that it was re-shot in color for the following year at the fair, under the title New Dimensions[ citation needed ]. Another early short that utilized the Polaroid 3D process was 's Magic Movies: Produced by John Norling, it was filmed by Jacob Leventhal using his own rig. It consisted of shots of various views that could be seen from the Pennsylvania Railroad's trains.

In the s, World War II prioritized military applications of stereoscopic photography and it once again went on the back burner in most producers' minds. The "golden era" — [ edit ] What aficionados consider the "golden era" of 3D began in late with the release of the first color stereoscopic feature, Bwana Devil , produced, written and directed by Arch Oboler.

The film was shot in "Natural Vision", a process that was co-created and controlled by M. Gunzberg, who built the rig with his brother, Julian, and two other associates, shopped it without success to various studios before Oboler used it for this feature, which went into production with the title, The Lions of Gulu.

During the s, the familiar disposable anaglyph glasses made of cardboard were mainly used for comic books, two shorts by exploitation specialist Dan Sonney , and three shorts produced by Lippert Productions.

However, even the Lippert shorts were available in the dual-strip format alternatively. Quite often, intermission points were written into the script at a major plot point. During Christmas of , producer Sol Lesser quickly premiered the dual-strip showcase called Stereo Techniques in Chicago.

The other three films were produced in Britain for Festival of Britain in by Raymond Spottiswoode. James Mage was also an early pioneer in the 3D craze. Another early 3D film during the boom was the Lippert Productions short, A Day in the Country, narrated by Joe Besser and composed mostly of test footage.

Unlike all of the other Lippert shorts, which were available in both dual-strip and anaglyph, this production was released in anaglyph only. April saw two groundbreaking features in 3D: Columbia's Man in the Dark and Warner Bros.

House of Wax , the first 3D feature with stereophonic sound. House of Wax , outside of Cinerama , was the first time many American audiences heard recorded stereophonic sound. It was also the film that typecast Vincent Price as a horror star as well as the "King of 3-D" after he became the actor to star in the most 3D features the others were The Mad Magician , Dangerous Mission , and Son of Sinbad. The success of these two films proved that major studios now had a method of getting filmgoers back into theaters and away from television sets, which were causing a steady decline in attendance.

It was later shown at Disneyland 's Fantasyland Theater in as part of a program with Disney's other short Working for Peanuts , entitled, 3-D Jamboree. The show was hosted by the Mousketeers and was in color. Castle would later specialize in various technical in-theater gimmicks for such Columbia and Allied Artists features as 13 Ghosts , House on Haunted Hill , and The Tingler.

Columbia also produced the only slapstick comedies conceived for 3D. Producer Jules White was optimistic about the possibilities of 3D as applied to slapstick with pies and other projectiles aimed at the audience , but only two of his stereoscopic shorts were shown in 3D. Down the Hatch was released as a conventional, "flat" motion picture. Columbia has since printed Down the Hatch in 3D for film festivals.

The film was directed by Ireland, who sued Broder for his salary. Broder counter-sued, claiming that Ireland went over production costs with the film. The film was allegedly scribed in an hour by screenwriter Wyott Ordung and filmed in a period of two weeks on a shoestring budget.

Robot Monster also has a notable score by then up-and-coming composer Elmer Bernstein. The film was released June 24, , and went out with the short Stardust in Your Eyes, which starred nightclub comedian, Slick Slavin. Zanuck expressed little interest in stereoscopic systems, and at that point was preparing to premiere the new widescreen film system, CinemaScope.

The first decline in the theatrical 3D craze started in August and September The factors causing this decline were: Two prints had to be projected simultaneously. The prints had to remain exactly alike after repair, or synchronization would be lost. It sometimes required two projectionists to keep sync working properly. When either prints or shutters became out of sync, even for a single frame, the picture became virtually unwatchable and accounted for headaches and eyestrain.

The necessary silver projection screen was very directional and caused sideline seating to be unusable with both 3D and regular films, due to the angular darkening of these screens. The few cartoons made in 3D had a "cardboard cutout" effect, where 3d cannot process any 2 dimensional drawings. A mandatory intermission was needed to properly prepare the theater's projectors for the showing of the second half of the film.

Because projection booth operators were at many times careless, even at preview screenings of 3D films, trade and newspaper critics claimed that certain films were "hard on the eyes.

Carmenesque, a burlesque number starring exotic dancer Lili St. Although it was more expensive to install, the major competing realism process was anamorphic , first utilized by Fox with CinemaScope and its September premiere in The Robe.

Anamorphic features needed only a single print, so synchronization was not an issue. Cinerama was also a competitor from the start and had better quality control than 3D because it was owned by one company that focused on quality control.

However, most of the 3D features past the summer of were released in the flat widescreen formats ranging from 1. In early studio advertisements and articles about widescreen and 3D formats, widescreen systems were referred to as "3D", causing some confusion among scholars.

There was no single instance of combining CinemaScope with 3D until , with a film called September Storm, and even then, that was a blow-up from a non-anamorphic negative. Kate was the hill over which 3D had to pass to survive. MGM tested it in six theaters: The film also prominently promoted its use of stereophonic sound. Several other features that helped put 3D back on the map that month were the John Wayne feature Hondo distributed by Warner Bros. Although it was merely a filmed stage production, the idea was that every audience member would feel they would have the best seat in the house through color photography and 3D.

A string of successful films filmed in 3D followed the second wave, but many were widely or exclusively shown flat. The film became notorious for being released without an MPAA seal of approval, after several suggestive lyrics were included, as well as one of Ms.

Russell's particularly revealing costumes. Originally released flat through Universal-International. It was directed by the great stylist Douglas Sirk , and his striking visual sense made the film a huge success when it was "re-premiered" in 3D in at the Second 3D Expo in Hollywood.

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Girl wearing spec sex video

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. December Learn how and when to remove this template message Early patents and tests[ edit ] The stereoscopic era of motion pictures began in the late s when British film pioneer William Friese-Greene filed a patent for a 3D film process. In his patent, two films were projected side by side on screen. The viewer looked through a stereoscope to converge the two images.

Because of the obtrusive mechanics behind this method, theatrical use was not practical. Porter and William E. My 50 Years in the Motion Picture Industry, nothing was produced in this process after these tests. Early systems of stereoscopic filmmaking pre [ edit ] Fairall in Fairall's 3D camera Audience wearing special glasses watch a 3D "stereoscopic film" at the Telekinema on the South Bank in London during the Festival of Britain Fairall, and cinematographer Robert F.

After a preview for exhibitors and press in New York City, the film dropped out of sight, apparently not booked by exhibitors, and is now considered lost. Early in December , William Van Doren Kelley, inventor of the Prizma color system, cashed in on the growing interest in 3D films started by Fairall's demonstration and shot footage with a camera system of his own design.

Also in December , Laurens Hammond later inventor of the Hammond organ premiered his Teleview system, which had been shown to the trade and press in October. Teleview was the first alternating-frame 3D system seen by the public.

Using left-eye and right-eye prints and two interlocked projectors , left and right frames were alternately projected, each pair being shown three times to suppress flicker. Viewing devices attached to the armrests of the theater seats had rotary shutters that operated synchronously with the projector shutters, producing a clean and clear stereoscopic result.

The only theater known to have installed Teleview was the Selwyn Theater in New York City, and only one show was ever presented with it: The show ran for several weeks, apparently doing good business as a novelty M. The first film, entitled Plastigrams, was distributed nationally by Educational Pictures in the red-and-blue anaglyph format. Zowie April 10 , Luna-cy! In Paris, Louis Lumiere shot footage with his stereoscopic camera in September The prints were by Technicolor in the red-and-green anaglyph format, and were narrated by Pete Smith.

Unlike its predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in red-and-blue anaglyph.

The short is notable for being one of the few live-action appearances of the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their company. While many of these films were printed by color systems, none of them was actually in color, and the use of the color printing was only to achieve an anaglyph effect. Land conceived the idea of reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab and by had invented and patented a polarizing sheet.

In January , Land gave the first demonstration of Polaroid filters in conjunction with 3D photography at the Waldorf-Astoria Hotel. Using Polaroid filters meant an entirely new form of projection, however. Two prints, each carrying either the right or left eye view, had to be synced up in projection using an external selsyn motor. Furthermore, polarized light would be largely depolarized by a matte white screen, and only a silver screen or screen made of other reflective material would correctly reflect the separate images.

The Italian film was made with the Gualtierotti camera; the two German productions with the Zeiss camera and the Vierling shooting system. All of these films were the first exhibited using Polaroid filters. The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in ; they were also independently made around the same time in Germany by E. In it, a full Chrysler Plymouth is magically put together, set to music. Originally in black and white, the film was so popular that it was re-shot in color for the following year at the fair, under the title New Dimensions[ citation needed ].

Another early short that utilized the Polaroid 3D process was 's Magic Movies: Produced by John Norling, it was filmed by Jacob Leventhal using his own rig.

It consisted of shots of various views that could be seen from the Pennsylvania Railroad's trains. In the s, World War II prioritized military applications of stereoscopic photography and it once again went on the back burner in most producers' minds. The "golden era" — [ edit ] What aficionados consider the "golden era" of 3D began in late with the release of the first color stereoscopic feature, Bwana Devil , produced, written and directed by Arch Oboler. The film was shot in "Natural Vision", a process that was co-created and controlled by M.

Gunzberg, who built the rig with his brother, Julian, and two other associates, shopped it without success to various studios before Oboler used it for this feature, which went into production with the title, The Lions of Gulu. During the s, the familiar disposable anaglyph glasses made of cardboard were mainly used for comic books, two shorts by exploitation specialist Dan Sonney , and three shorts produced by Lippert Productions.

However, even the Lippert shorts were available in the dual-strip format alternatively. Quite often, intermission points were written into the script at a major plot point. During Christmas of , producer Sol Lesser quickly premiered the dual-strip showcase called Stereo Techniques in Chicago. The other three films were produced in Britain for Festival of Britain in by Raymond Spottiswoode.

James Mage was also an early pioneer in the 3D craze. Another early 3D film during the boom was the Lippert Productions short, A Day in the Country, narrated by Joe Besser and composed mostly of test footage. Unlike all of the other Lippert shorts, which were available in both dual-strip and anaglyph, this production was released in anaglyph only. April saw two groundbreaking features in 3D: Columbia's Man in the Dark and Warner Bros.

House of Wax , the first 3D feature with stereophonic sound. House of Wax , outside of Cinerama , was the first time many American audiences heard recorded stereophonic sound.

It was also the film that typecast Vincent Price as a horror star as well as the "King of 3-D" after he became the actor to star in the most 3D features the others were The Mad Magician , Dangerous Mission , and Son of Sinbad. The success of these two films proved that major studios now had a method of getting filmgoers back into theaters and away from television sets, which were causing a steady decline in attendance. It was later shown at Disneyland 's Fantasyland Theater in as part of a program with Disney's other short Working for Peanuts , entitled, 3-D Jamboree.

The show was hosted by the Mousketeers and was in color. Castle would later specialize in various technical in-theater gimmicks for such Columbia and Allied Artists features as 13 Ghosts , House on Haunted Hill , and The Tingler. Columbia also produced the only slapstick comedies conceived for 3D.

Producer Jules White was optimistic about the possibilities of 3D as applied to slapstick with pies and other projectiles aimed at the audience , but only two of his stereoscopic shorts were shown in 3D.

Down the Hatch was released as a conventional, "flat" motion picture. Columbia has since printed Down the Hatch in 3D for film festivals. The film was directed by Ireland, who sued Broder for his salary. Broder counter-sued, claiming that Ireland went over production costs with the film. The film was allegedly scribed in an hour by screenwriter Wyott Ordung and filmed in a period of two weeks on a shoestring budget. Robot Monster also has a notable score by then up-and-coming composer Elmer Bernstein.

The film was released June 24, , and went out with the short Stardust in Your Eyes, which starred nightclub comedian, Slick Slavin. Zanuck expressed little interest in stereoscopic systems, and at that point was preparing to premiere the new widescreen film system, CinemaScope. The first decline in the theatrical 3D craze started in August and September The factors causing this decline were: Two prints had to be projected simultaneously. The prints had to remain exactly alike after repair, or synchronization would be lost.

It sometimes required two projectionists to keep sync working properly. When either prints or shutters became out of sync, even for a single frame, the picture became virtually unwatchable and accounted for headaches and eyestrain.

The necessary silver projection screen was very directional and caused sideline seating to be unusable with both 3D and regular films, due to the angular darkening of these screens. The few cartoons made in 3D had a "cardboard cutout" effect, where 3d cannot process any 2 dimensional drawings. A mandatory intermission was needed to properly prepare the theater's projectors for the showing of the second half of the film.

Because projection booth operators were at many times careless, even at preview screenings of 3D films, trade and newspaper critics claimed that certain films were "hard on the eyes. Carmenesque, a burlesque number starring exotic dancer Lili St. Although it was more expensive to install, the major competing realism process was anamorphic , first utilized by Fox with CinemaScope and its September premiere in The Robe. Anamorphic features needed only a single print, so synchronization was not an issue.

Cinerama was also a competitor from the start and had better quality control than 3D because it was owned by one company that focused on quality control. However, most of the 3D features past the summer of were released in the flat widescreen formats ranging from 1. In early studio advertisements and articles about widescreen and 3D formats, widescreen systems were referred to as "3D", causing some confusion among scholars. There was no single instance of combining CinemaScope with 3D until , with a film called September Storm, and even then, that was a blow-up from a non-anamorphic negative.

Kate was the hill over which 3D had to pass to survive. MGM tested it in six theaters: The film also prominently promoted its use of stereophonic sound.

Several other features that helped put 3D back on the map that month were the John Wayne feature Hondo distributed by Warner Bros. Although it was merely a filmed stage production, the idea was that every audience member would feel they would have the best seat in the house through color photography and 3D. A string of successful films filmed in 3D followed the second wave, but many were widely or exclusively shown flat.

The film became notorious for being released without an MPAA seal of approval, after several suggestive lyrics were included, as well as one of Ms. Russell's particularly revealing costumes. Originally released flat through Universal-International. It was directed by the great stylist Douglas Sirk , and his striking visual sense made the film a huge success when it was "re-premiered" in 3D in at the Second 3D Expo in Hollywood.

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4 Comments

  1. After various blows like above, she eventually spits out blood and a tooth. Not only was he in control of resources they needed to survive, he was still useful to them.

  2. Written in the form of one long word paragraph, the montage is difficult to read on the page; but you have to love the laconic way it ends: Produced by John Norling, it was filmed by Jacob Leventhal using his own rig. The first decline in the theatrical 3D craze started in August and September

  3. Kind of inconsiderate of her, huh? The Dynamic Duo seemed to have everything under control so I found myself falling asleep on the coach.

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