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1953-54 Theatre Catalog, 11th Edition, Page 247 (211)

1953-54 Theatre Catalog, 11th Edition
1953-54 Theatre Catalog
1953-54 Theatre Catalog, 11th Edition, Page 247
Page 247

1953-54 Theatre Catalog, 11th Edition, Page 247

each print of a two-film stereo picture can be exhibited as a regular two-dimensional film, provided this possibility is given consideration when the picture is made and it is of a quality that will attract boxofiice*2-D or 3-D.

The serious drop in movie attendance that has plagued the industry cannot be blamed on the really fine pictures shown in good theatres. It was the average, run-of-the-mill films and the obsolete houses that couldnit withstand the stiffening competition of home television and the astronomical number of free radio and TV shows. For one example, home television has magnified the effect on the boxofiice of bad weather. The New York Radio City Music Hall suffered a drop of thousands of dollars in admissions on a recent rainy day. This was unheard of before TV.

Despite the villains role played by haverageil films, they have been the bread-and-butter of the entire industry. No wonder anything that can boost the sales appeal of ordinary films is welcomed above and beyond its intrinsic worth! This explains in part the rush to the gold fields of stereo and big screens.


In spite of the almost daily announcement of some new process, when the facts are all in, these boil down to two basic approaches; namely, wide screen and true Stereo or 3-D. Cinerama, CinemaScope, Paramount, Todd-A0, the Universal Pictures system, etc., all are designed to present wide screen pictures, differing only in the claimed methods and quality results. There have been equally as many announced Stereo systems which employ polarized viewing methods, all of which are identical from the projection requirements standpoint.

Stereoscopic motion pictures, wideand curved screens, stereophonic sound *none of these developments is actually new. All have been tried before. Some failed because of technical imperfections. Others foundered on the rocky judgment of self-appointed experts on what the public would buy.

The early literature of the Society of Motion Picture Engineers teems with reports and papers on all phases of wide screens, stereo cinematography and pro jection, and stereophonic sound.

Big screens go back to the infancy of the moving picture. A 98-foot screen was built and usod in 1899. In the ,30%, an outdoor panoramic screen was constructed on the curved wall of a building. This beaded screen was 33-foot high and 196-fcet wide.

Furthermore, the projection system for this mammoth screen combined the basic features of Cincrama and CincmaScope. The screen image was projected by two Interlocde machines. Each projector was equipped with a special optical (loi'lcc called :1 uHyporgonar." We know it in America as the ('inomaScope lens.

\ By this nmrriago of two processes, the film images WOH' magnified 1200 times 11: width.

Tho two-film stvrt'ost'opic motion picllm', as we see it today, in full color and (-n'nploying polarizers and viewers, \\'as demonstrated to the Society of Motion Picture Engineers in Washington In 1935


THE PANORAMASCOPE SCREEN in the Randolph, Philadelphia. is a one-piece all-purpose screen and is one of the many types which have appeared since the appearance of the various wide screen systems.

You may well ask: If all these projece tion techniques have come and gone years ago, what chance have they on this latest return to favor?

Three important factors will contribute to their suuccess:

First and foremost is the time factor. The public, with money to spend, has demonstrated at the boxofiice that it is now in the mood for new methods of presentation.

Next, devices and techniques impractical before the war are now commercially feasible: thanks to an enormous number of small yet related technical advances in motion picture research and development in the past decade.

Last but not least, the wonder of the new is gradually fading. No longer is the public spellbound by small-screen television. People are looking around for something visually new and big and exciting.

SCHEMATIC DRAWING (BELOW) SHOWS HOW 3-D FUNCTIONS: The image (A) is photographed by two lenses which converge on it as do human eyes thereby producing two-separate two-dimensional pictures. In the theatre. two normal interlocked projectors (B) proiect the two pictures through polarizing light filters attached to the portholes ot the proiection booth (C) onto a reflectiVe screen (D) in superimposition.

just as human eyes project onto the "brain eye"

(see diagram). The viewer (E) wears pomrizlng

glasses which serve to accept only the correct image intended for each eye.




GLASSES .\ *1:

. Ouipiml Vomit

1953-54 Theatre Catalog, 11th Edition, Page 247