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I am glad I can take a few minutes tonight and share this Indeed, a feast for the eyes in term of Visual FX. Check this video out, a making of clip and enjoy!

Also, interesting article of the issues Pixomondo had to get this done — Where there is a will there is a way, so they say… and in this case Francisco Prieto has demonstrated that nothing is impossible if you set your mind and attention to it.

Crazy, maybe but hey we all have that itch to do Part 2 of VFX video is below Although Alabastra was well-received by the press, Messter produced few titles, hardly promoted them and abandoned it altogether a few years later.

He believed the system to be uneconomical due to its need for special theatres instead of the widely available movie screens, and he didn't like that it seemed only suitable for stage productions and not for "natural" films.

Nonetheless, there were numerous imitators in Germany and Messter and Engelsmann still teamed with American swindler Frank J. Goldsoll set up a short-lived variant named "Fantomo" in Their patented system was very similar to Alabaster, but projected life-size figures from the wings of the stage.

With much higher ticket prices than standard cinema, it was targeted at middle-class audiences to fill the gap between low-brow films and high-class theatre.

Audiences reacted enthusiastically and by there reportedly were theatres outside Austria, in France, Italy, United Kingdom, Russia and North America.

However, the first Kinoplastikon in Paris started in January and the premiere in New York took place in the Hippodrome in March In , Walter R.

Booth directed 10 films for the U. Kinoplastikon, presumably in collaboration with Cecil Hepworth. Theodore Brown, the licensee in the U.

Alabastra and Kinoplastikon were often advertised as stereoscopic and screenless. Although in reality the effect was heavily dependent on glass screen projection and the films were not stereoscopic, the shows seemed truly three-dimensional as the figures were clearly separate from the background and virtually appeared inside the real, three-dimensional stage area without any visible screen.

Eventually, longer multi-reel films with story arcs proved to be the way out of the crisis in the movie market and supplanted the previously popular short films that mostly aimed to amuse people with tricks, gags or other brief variety and novelty attractions.

Sound film, stereoscopic film and other novel techniques were relatively cumbersome to combine with multiple reels and were abandoned for a while.

Fairall, and cinematographer Robert F. A single projector could be used to display the movie but anaglyph glasses were used for viewing.

The camera system and special color release print film all received U. S Patent No. 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: a group of short films, an exhibition of live 3D shadows, and M.

The show ran for several weeks, apparently doing good business as a novelty M. In , Frederic Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a three-year period.

The first film, entitled Plastigrams , was distributed nationally by Educational Pictures in the red-and-blue anaglyph format.

The late s to early s saw little interest in stereoscopic pictures. 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.

While attending Harvard University , Edwin H. 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.

Käsemann and by J. 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.

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.

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.

As with practically all of the features made during this boom, Bwana Devil was projected dual-strip, with Polaroid filters. 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.

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.

Another famous entry in the golden era of 3D was the 3 Dimensional Pictures production of Robot Monster.

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.

Darryl F. 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:.

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.

Sol Lesser attempted to follow up Stereo Techniques with a new showcase, this time five shorts that he himself produced.

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: three in 3D and three flat.

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.

Top Banana , based on the popular stage musical with Phil Silvers , was brought to the screen with the original cast.

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. Some highlights are:.

Even though Polaroid had created a well-designed "Tell-Tale Filter Kit" for the purpose of recognizing and adjusting out of sync and phase 3D, [ citation needed ] exhibitors still felt uncomfortable with the system and turned their focus instead to processes such as CinemaScope.

The last 3D feature to be released in that format during the "Golden era" was Revenge of the Creature , on February 23, Ironically, the film had a wide release in 3D and was well received at the box office.

Stereoscopic films largely remained dormant for the first part of the s, with those that were released usually being anaglyph exploitation films.

The film was shot in 2-D, but to enhance the bizarre qualities of the dream-world that is induced when the main character puts on a cursed tribal mask, these scenes went to anaglyph 3D.

Although 3D films appeared sparsely during the early s, the true second wave of 3D cinema was set into motion by Arch Oboler, the same producer who started the craze of the s.

Using a new technology called Space-Vision 3D. The origin of "Space-Vision 3D" goes back to Colonel Robert Vincent Bernier, a forgotten innovator in the history of stereoscopic motion pictures.

His Trioptiscope Space-Vision lens was the gold standard for the production and exhibition of 3-D films for nearly 30 years. This so-called "over and under" technique eliminated the need for dual projector set-ups, and produced widescreen, but darker, less vivid, polarized 3D images.

Unlike earlier dual system, it could stay in perfect synchronization, unless improperly spliced in repair. Arch Oboler once again had the vision for the system that no one else would touch, and put it to use on his film entitled The Bubble , which starred Michael Cole , Deborah Walley , and Johnny Desmond.

As with Bwana Devil , the critics panned The Bubble , but audiences flocked to see it, and it became financially sound enough to promote the use of the system to other studios, particularly independents, who did not have the money for expensive dual-strip prints of their productions.

Louis K. The quality of the s 3D films was not much more inventive, as many were either softcore and even hardcore adult films, horror films, or a combination of both.

Between and there was a new Hollywood 3D craze started by the spaghetti western Comin' at Ya! When Parasite was released it was billed as the first horror film to come out in 3D in over 20 years.

Horror films and reissues of s 3D classics such as Hitchcock's Dial M for Murder dominated the 3D releases that followed.

Apparently saying "part 3 in 3D" was considered too cumbersome so it was shortened in the titles of Jaws 3-D and Amityville 3-D , which emphasized the screen effects to the point of being annoying at times, especially when flashlights were shone into the eyes of the audience.

The science fiction film Spacehunter: Adventures in the Forbidden Zone was the most expensive 3D film made up to that point with production costs about the same as Star Wars but not nearly the same box office success, causing the craze to fade quickly through spring Only Comin' At Ya!

Most of the s 3D films and some of the classic s films such as House of Wax were released on the now defunct Video Disc VHD format in Japan as part of a system that used shutter glasses.

Most of these have been unofficially transferred to DVD and are available on the grey market through sites such as eBay.

Stereoscopic movies were also popular in other parts of the world, such as My Dear Kuttichathan , a Malayalam film which was shot with stereoscopic 3D and released in A key point was that this production, as with all subsequent IMAX productions, emphasized mathematical correctness of the 3D rendition and thus largely eliminated the eye fatigue and pain that resulted from the approximate geometries of previous 3D incarnations.

In addition, and in contrast to previous 35mm based 3D presentations, the very large field of view provided by IMAX allowed a much broader 3D "stage", arguably as important in 3D film as it is theatre.

Echoes of the Sun Roman Kroitor , was the first IMAX film to be presented using alternate-eye shutterglass technology, a development required because the dome screen precluded the use of polarized technology.

From onward, numerous films were produced by all three parties to satisfy the demands of their various high-profile special attractions and IMAX 's expanding 3D network.

Shortly thereafter, higher quality computer animation , competition from DVDs and other media, digital projection, digital video capture, and the use of sophisticated IMAX 70mm film projectors, created an opportunity for another wave of 3D films.

This camera system used the latest HD video cameras, not film, and was built for Cameron by Vince Pace, to his specifications.

One of two versions of the album contained a DVD featuring a 3D short film for the track " Bowling Balls ", shot in high-definition video.

The 3D version earned about 14 times as much per screen as the 2D version. This pattern continued and prompted a greatly intensified interest in 3D and 3D presentation of animated films.

In June , the Mann's Chinese 6 theatre in Hollywood became the first commercial film theatre to be equipped with the Digital 3D format.

Ben Walters suggested in that both filmmakers and film exhibitors regain interest in 3D film. There was more 3D exhibition equipment, and more dramatic films being shot in 3D format.

One incentive is that the technology is more mature. Shooting in 3D format is less limited, and the result is more stable. Another incentive was the fact that while 2D ticket sales were in an overall state of decline, revenues from 3D tickets continued to grow at the time.

Through the entire history of 3D presentations, techniques to convert existing 2D images for 3D presentation have existed.

Few have been effective or survived. The combination of digital and digitized source material with relatively cost-effective digital post-processing has spawned a new wave of conversion products.

George Lucas announced that he would re-release his Star Wars films in 3D based on a conversion process from the company In-Three.

Later on in , it was announced that Lucas was working with the company Prime Focus on this conversion. In late , Steven Spielberg told the press he was involved in patenting a 3D cinema system that does not need glasses, and which is based on plasma screens.

A computer splits each film-frame, and then projects the two split images onto the screen at differing angles, to be picked up by tiny angled ridges on the screen.

It has been the 1 film at the box office in several countries around the world, including Russia where it opened in 3D on screens.

On January 19, , U2 3D was released; it was the first live-action digital 3D film. Another R-rated film, The Final Destination , was released later that year in August on even more screens.

It was the first of its series to be released in HD 3D. Major 3D films in included Coraline , Monsters vs.

On October 1, Scar3D was the first-ever stereoscopic 3D Video-on-demand film released through major cable broadcasters for 3D televisions in the United States.

In September , Sabucat Productions organized the first World 3-D Exposition, celebrating the 50th anniversary of the original craze.

The Expo was held at Grauman's Egyptian Theatre. During the two-week festival, over 30 of the 50 "golden era" stereoscopic features as well as shorts were screened, many coming from the collection of film historian and archivist Robert Furmanek, who had spent the previous 15 years painstakingly tracking down and preserving each film to its original glory.

In attendance were many stars from each film, respectively, and some were moved to tears by the sold-out seating with audiences of film buffs from all over the world who came to remember their previous glories.

Along with the favorites of the previous exposition were newly discovered features and shorts, and like the previous Expo, guests from each film.

Other "re-premieres" of films not seen since their original release in stereoscopic form included Cease Fire!

In the wake of its initial popularity and corresponding increase in the number of screens, more films are being released in the 3D format. As Brandon Gray of Box Office Mojo notes, "In each case, 3D's more-money-from-fewer-people approach has simply led to less money from even fewer people.

Conflicting reasons are respectively offered by studios and exhibitors: whereas the former blame more expensive 3D ticket prices, the latter argue that the quality of films in general is at fault.

Entertain bei Telekom. YouTube und DailyMotion sind derzeit allerdings fast schon die einzigen Möglichkeiten, 3D Filme online ansehen zu können.

Nachfolgend erfahrt ihr, wie die Situation bei den hierzulande führenden Video On Demand-Diensten aussieht:. Netflix ist für viele die erste Anlaufstelle, wenn es um das Online-Streaming von Filmen geht.

Unklar ist auch, ob 3D-Filme im Stream bei Netflix hierzulande überhaupt geplant werden. Mehr zum Thema: Netflix in 3D in Deutschland - geht das schon?

Maxdome bietet derzeit noch keine Filme in 3D an. Als Grund wird hierfür zum einen die Vielfalt an verschiedenen Technologien angebracht, die Maxdome für sein Filmangebot bedienen muss.

Maxdome kostenlos testen. Watchever verzichtet auf weite Ausführungen und sagt selbst kurz und knapp auf der Website-eigenen FAQ.

Hierzu benötigen Sie lediglich genug Bandbreite, um Videos der höchsten Qualitätsstufe ansehen zu können. Amazon Prime Instant Video kostenlos testen.

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