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1954-55 Theatre Catalog, 12th Edition, Page 319 (283)

1954-55 Theatre Catalog, 12th Edition
1954-55 Theatre Catalog
1954-55 Theatre Catalog, 12th Edition, Page 319
Page 319

1954-55 Theatre Catalog, 12th Edition, Page 319

THIS IS the Pole-Lite single strip 3-D unit. If is simple to attach and the system does not require any changes in the booth procedure.

To separate the pictures, one for each eye, the Vectograph film is so designed that the two sides of the film have their optical "grain" running in different directions, at 90 degrees to each other, one 45 degrees to the left of vertical, the other 45 degrees to the right of vertical. Furthermore, the viewing spectacles have their polarizing lenses similarly arranged, with the axis of one lens at right angles to that of the other. Through the viewers, the left eye sees the image projected from one surface of the Vectograph film; the right eye sees the other. There is no conflict. Only one of the images is visible to each eye.

Several different ways of setting up the polarizing images have been devised for different purposes. One of these, which promises to make practicable the production of full-color motion picture release prints, is an adaptation of the dye-transfer printing, which uses matrix films to transfer the necessary dyes to the specially-prepared surfaces of the Vectograph films.

3-D's Future

How will Vectograph affect the future of 3-D? Dr. Land has commented as follows on this point in a special report to the Polaroid board of directors:

"Aside from its obvious economic advantages, one of the most important results may be to release the full creative energies of the motion picture industry from preoccupation with the mechanical aspects of stereoscopic pictures so they can be concentrated on the mastery of the artistic aspects. ffHere is the great challenge and the great opportunity. Over the years, the motion picture industry has given the world a succession of spectacular demonstrations of the power of realism in entertainment; first, with the motion itself; then with sound; then color. Now the talents of this same industry have, quite literally, a new dimension to exploit; all the space in the world (again, quite literally) to work in. This space can be thrown away, as a passing novelty.

Or the industry can determine to

use the space, the solid realism of the

THE UNIT contains its own fillers and allows for the showing of both 2-D films and CLD films.


new dimension, as a true addition to the medium they have created. This would be our best assurance that people will be enthusiastic about 3-D after the novelty has worn off; they will be enjoying themselves, carried away by the realism of the art?

There remains the important question of when Vectograph film will be made available commercially for the release of 3-D pictures, Technicolorls official word on this subject, repeated by Polaroid, is a cautious statement that the two laboratories will ffmake these new stereoscopic motion picture prints available to the theatres as soon as possible. Although the new product has been demonstrated by Polaroid on an experimental scale, considerable work will be necessary to produce commercial release prints?


A single strip 3-D method which is already on the market, and has played in a number of theatres is the Pola-Lite 3-1) system. This new system eliminates all synchronization devices, the running of two projectors is eliminated, it does away with the second operator, cuts carbon and electric consumption. The unit contains its own filters and prevents the film from going out of synchronization. It also should help eliminate the eyestrain that results from two variations of light as found in the dual projector Ii-l) systems.

The booth operation with the PolaLite :l-D system is the same as when


the theatre is showing a 2-D offering. The Pola-Lite 3-D system was perfected by a young foreign-born engineer, Dr. Leon W. Wells. One of the advantages of the system is that once the Pola-Lite unit is attached to the front of the projection lens, it allows for the

showing of both 2-D and 3-D films.

How to Attach Unit

Insert the Pola-Lite aperature. Hold the unit with the two stud rods pointing down, and the two filters or windows facing front. The neck of the unit is slipped over the projection machine lens. This should be pushed over the lens barrel at one-half inch so that it grips firmly.

When the unit is hanging over lens barrel, open the light. Heat will not affect the unit. You will now see two aperture images on the screen. Level these images by rotating the entire unit: on the lens barrel. When the top edges of the images are level and parallel to the top of the screen, tighten the unit to the lens barrel by means of the clamp with an Allen wrench.

How to Align Light on Screen

The next step is to superimpose the two aperture images on each other. This is accomplisth by the three Allen screws, and the alignment is maintained by the set screws which should be loosened before adjusting.

The top screw will bring the images together horizontally. The two side
1954-55 Theatre Catalog, 12th Edition, Page 319