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A three-dimensional stereoscopic film also known as three-dimensional film , 3D film or S3D film [1] is a motion picture that enhances the illusion of depth perception , hence adding a third dimension. In this approach, a regular motion picture camera system is used to record the images as seen from two perspectives or computer-generated imagery generates the two perspectives in post-production , and special projection hardware or eyewear is used to limit the visibility of each image to the viewer's left or right eye only.

Nonetheless, 3D films were prominently featured in the s in American cinema, and later experienced a worldwide resurgence in the s and s driven by IMAX high-end theaters and Disney -themed venues. 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. On June 10, , Edwin S. Porter and William E. 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.

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. 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.

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. It consisted of shots of various views that could be seen from the Pennsylvania Railroad's trains.

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. 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. 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. 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.

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. 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. 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.

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