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I think the best solution may be single strip 70mm, either two roughly Academy sized frames side by side for 1.37

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Stephen,

Re: Classic Cinema, Picadilly Circus 3D. On reflection, by that time I would think that the light source must have been xenon! The Philips pulse light becoming extinct!

-Claude

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I alway thought the distance between the two projector must represent the same distance as one eye is to the other.

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Claude, you are thinking about the cameras. The taking lenses are typically aligned to reproduce the average (adult) interocular distance of 2.5 inches. This is assuming a 45mm lens on a dual 35mm camera setup because a 45mm lens (with 35mm film) "sees things" about the same as the naked eye.

The interocular (or interaxial) can be widened to exaggerate the apparent nearness of the subject or to capture far-field scapes with more pronounced relief.

In projection, the images are lined up so they are centred to one another. The distance between projectors is not critical, except as it might relate to keystoning.

My favorite 3-D movie is still CAPTAIN E/O starring Michael Jackson. Written by George Lucas, Directed by Francis Ford Coppola. Co-Starring Dick Shaw and Angelica Huston.

CAPTAIN E/O was an attraction at Walt Disney World's EPCOT Centre, debuting in or around 1984. It played in the Magic Eye Theatre, part of the Kodak Pavillion in Future World. It may have played in Disneyland in Southern California, but I'm not sure about that. The Magic Eye Theatre featured in-theatre smoke and laser effects that were synchronized to the on-screen action.

CAPTAIN E/O was 17 minutes in length and cost about $17million to produce. It was shot (primarily) using twin 65mm cameras. Vittorio Storaro was the Director of Photography. The soundtrack was digital and it featured two songs by Michael Jackson. The first song, entitled "We Are Here To Change The World" has not been released. The second track, entitled "You're Just Another Part Of Me" appears on Jackson's "Bad" album.

The pre-show was a really neat 2-D, multiprojector slide show called "Making Memories."

~Manny (in Super 3-D)

http://incolor.inebraska.com/aat/imagination.html

Here's the camera rig:
http://www.hineslab.com/DisnyRig.html

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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To this day Warners has yet to locate the original front stage stereo tracks for this title.

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I remember Variety's article on UA's "big" 70mm 3-D in 1979. I think they said their would be 12 channels of sound in the system, including overheads.

The Steve Guttenberg film was The Man Who Wasnt There, and seemed to last a week (a complete disaster).

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Although because of the timing of the "new" death of 3-D, we did miss out on Godfather 3-D. Who knows what Coppola would have done with the process?

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I remember reading somewhere that Coppola had directed a 3-D porn flick entitled "Manhole." Can anyone confirm/disprove this?

Pages 61-63: "Four months after The Mask [opened in late 1961], Francis Ford Coppola's cannibalization Bellboy and the Playgirls opened in "adult" cinemas in several larger cities. (Coppola made a number of these early skinflicks, though he intentionally ignores their existence today, being a demigod to many apparently wise individuals who see some kind of talent in him that has escaped my attention.) This comedy was actually a West German black-and-white feature made in 1958 called Mit Eva fing die sunde an with new scenes inserted by Coppola. The new material, or most of it, was shot with a dual 16mm Auricon rig devised by Richard Kay and called Optovision. The cameras were arranged in the pattern of Natural Vision. The stereoscopic shots were then printed, in color, side-by-side onto the standard frame and via both an enlarging and polarizing converging device were projected. At least in one theatre. Other stereo-vision prints were presented in single strip anaglyphic duo-color format. According to the distributor only eight 3-D prints were actually made, and most engagements were flat in the hybrid black-and-white/color mismatching of original and insert scenes. This actually did do something for Coppola's career. It allowed him to make other "art theatre" films for "adults only" before signing on with Roger Corman as a dialogue coach, sound recordist, and whatever else he could get hired to do. Of course now he is generally known for the overly expensive bombs he has been making for years. (In all fairness, some of his films have been highly successful, but these usually are produced by others. Since a good producer is of far greater importance to any movie than a good director, Coppola can't really be given more than modest credit for the success of such features as The Godfather, Tucker: The Man and His Dream, and the few others he has directed which have been profitable.)"

Page 85: "The year 1977 saw the release of the first feature in 3-Depix, the hardcore homosexual trash Manhole. (Even the title was pornographic!) This was filmed with an early prototype lens unit and had only a 2:1 aspect ratio. Later versions of the single strip over-and-under process would have different framelines and a full 2.35:1 picture image. This film had extremely limited engagements even in the "lavendar" houses for which it was made."

Pages 136-138 (selections): "Bellboy and the Playgirls (Joseph Brenner Associates; February 12, 1962). Sequences filmed in Optovision (dual 16mm printed 35mm single strip side-by-side 1.66:1)." "Also known as The Playgirls and the Bellboy and The Beltgirls and the Bellboy. Also released with the 3-D scenes in single strip anaglyphic duo-color." "COMMENTARY: Francis Ford Coppola doesn't list this film on his credits, but he directed (and possibly wrote) it, and now his long-kept "secret" is out. The movie is a mishmash of black-and-white footage from the 1958 West German comedy Mit Eva fing die Sünde an with additionally shot monochrome and 3-D color scenes tossed in. It is pointless to really criticize this thing; it was made for the sixties "raincoat" crowd and intended only as a fast buck item to fill grindhouses specializing in so-called "adult films," which generally weren't very adult and seemed aimed more at twelve-year-olds, at least that is about the mentality level of these sort of things. Prints are still around on this, and it is interesting to see, not from an entertainment viewpoint, but because of its production history and being an early Coppola effort. I don't like Coppola's films by and large, but since many do, it should be seen if the opportunity arises. I think the original German footage is much better than the American inserts. Oddly, this reworked edition was also released in West Germany under its original title. It appears on European film lists as if it were actually a German-made 3-D film. I feel sure Coppola is more than willing to allow them to take full credit for it."

Pages 257-258: "Manhole (1977). Filmed in 3-Depix (single strip over-and-under 2:1). Director of photography and 3-Depix supervisor Max Glenn. 3-Depix technology Mortimer and Alvin M. Marks. 3-Depix converter Marks Polarized Corporation. Filmed in New York City. Eastman Color. Optical sound. Self-imposed rating: X. Only the above credits were available on this hardcore homosexual feature, but any credits that appeared on the film would have been pseudonyms anyway. The first film shot in 3-Depix, which at this time used the narrower aspect ratio. COMMENTARY: This film can be considered of interest for only one reason: it was the first movie in Marks' 3-Depix system and utilized an early version of that process which had wider framelines and a 2:1 ratio."

The "American Film Institute Catalog Feature Films, 1961-1970" entry F6.3849 is under The Playgirls and the Bellboy.

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it was the first movie in Marks' 3-Depix system and utilized an early version of that process which had wider framelines and a 2:1 ratio."

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"The year 1977 saw the release of the first feature in 3-Depix, the hardcore homosexual trash Manhole. (Even the title was pornographic!)

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Soitenly. Or not hardcore or not trash. 3 parameters, each of which can assume 2 states (hardcore/not hardcore, homosexual/heterosexual, trash/not trash). Thus 2 ^ 3 (two cubed) or eight possible combinations!