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Author Topic: Dichroic Filter or Cold Reflector? Greg Mueller Phenomenal Film Handler Posts: 1687 From: Port Gamble, WA Registered: Jun 99 posted 03-13-2003 11:33 PM                        I now have two StereoVision lenses one is model 3518/.415 with a sticker on it that says "This Side Toward Operator". The orientation of the sticker would make this a side by side unit. I can find no thumb screws or any other adjustments on it but the black tube does come unscrewed, leaving an inner black tube. The other has smaller lenses on the film end and it's sticker says the same thing but by it's orientation would make this an over under. No thumb screws etc on this one either and the black tube does not come undone  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 03-14-2003 09:41 AM                     If there isn't a thumbscrew there may e a set screw on it to lock down the back section  |  IP: Logged Greg Mueller Phenomenal Film Handler Posts: 1687 From: Port Gamble, WA Registered: Jun 99 posted 03-14-2003 10:01 AM                        Here's a couple of pics I snapped of the two lenses. You can see the black labels that say "This side towards operator" The one on the left is the Side by Side and the one on the right is the Over/Under Other side  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 03-14-2003 01:28 PM                    The over under lens adapter was used so you didn't have to use the mirror boxes wasn't it? We didn't have one of those for our over and under presentations back in the 80's. you just had the mirror box that attached to the flat lens. Didn't those also fill the screen properly were the mirror boxes never did?  |  IP: Logged Greg Mueller Phenomenal Film Handler Posts: 1687 From: Port Gamble, WA Registered: Jun 99 posted 03-14-2003 01:41 PM                        "... The over under lens adapter was used so you didn't have to use the mirror boxes wasn't it?..." I have one of those Paramount kits too and I think that the Paramount Over/Under film had a bigger line between the top and bottom picture so the mechanical interferance of the mirror box (where the mirrors come together) wasn't a problem. I think the earlier over under had a tiny line in between so the split lens was needed. I could be wrong.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 03-14-2003 01:48 PM                     The number on the lens was the seperation .387 .425 etc there were many different seperations on the over under stuff The Paramount box did the best job of any and coud be used when flipped on its side with a compact serries anamorph to do excellent side by side. Also the paramount unit allowed for keystone correction of the overlap. One problem with all 3d systems that are single film is that there is always overshoot that has to be masked off  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-14-2003 02:30 PM                        3D "Over-Under" format is specified by SMPTE 257-1998: for Motion-Picture Film (35-mm) - Stereoscopic Prints with Vertically Positioned Subframes - Projectable Image Areas This standard specifies the maximum dimensions of the film image area intended for projection from a 35-mm motion-picture film using vertically positioned subframes for stereoscopic projection, and the placement of this area relative to the perforations and the reference edge of the film. http://www.smpte.org/smpte_store/standards/  |  IP: Logged Greg Mueller Phenomenal Film Handler Posts: 1687 From: Port Gamble, WA Registered: Jun 99 posted 03-14-2003 02:58 PM                        Unfortunately I don't have that publication. Is there a place to view it on the net? Do you know what year that was written/adopted?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 03-14-2003 03:13 PM                     It was a standard that few followed I have loops for almost every 3d title since most did their own thing  |  IP: Logged Greg Mueller Phenomenal Film Handler Posts: 1687 From: Port Gamble, WA Registered: Jun 99 posted 03-14-2003 05:14 PM                        I lust after your film loops  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 03-14-2003 08:12 PM                        quote: Where does one find an Align-O-Tron? I performed a search and found my answer. I forgot that Greg invented the device. Actually, Kinoton Germany already had a very similar alignment device. I broke the news to Greg at ShoWest He broke into tears and said he hadn`t known about it at the time he designed the align-o-tron. I thought about it for a moment, then decided I could belive him. After all, many of his posts suggest he has no idea what is going on in other parts of the world (Note I put a Graemlin here to underline the sarcastic/humourous nature of the post. I am also wearing the Mueller`s Atomics T-Shirt while I am writing this.) The part about the Kinoton device is actually true. Still, I think the align-o-tron is a very clever parallel invention (seriously).  |  IP: Logged Fred Georges Master Film Handler Posts: 257 From: Lombard, IL, USA Registered: Jun 2000 posted 03-15-2003 02:08 AM                     Dear Greg, If you use your mirrorbox instead of the combiner lenses (Those lenses eat sooo much light and aren't exactly "High Rez") You won't fret the lack of alignment loops. I've found it's best to adjust to the actual film being played. I use a reel of the film to be shown and tweek to it. I've found that even with the proper loop you'll end up doing a touch up. The Paramount Mirror box IS the best to use for side by side as you can use the best glass before it and, you can fold both images into each other with minimal reflections and, as Gordon pointed out, keystone correction & the easiest to change polarizers. It made my experiments between linear & circular polarization a snap. But, the two easiest to use for over/under are the StereoVision mirrorbox and the Marks Polarator 2. The StereoVision is super easy to tweek on the fly and some of those pictures (Comin at Ya & Jaws 3D) don't maintain consistent over/under convergence over their length and do require adjustment.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 03-15-2003 09:41 AM                     I often use a reel with credits and align the verticle seperation until they over lap then use the loop to set the depth Friday13th has probably the worst constant changing of verticle septeration with metalstrom coming a close second  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 03-15-2003 10:18 AM                        quote: Unfortunately I don't have that publication. Is there a place to view it on the net? Do you know what year that was written/adopted? SMPTE Standards are copyrighted materials, so you need to purchase them for a copy. http://www.smpte.org/smpte_store/standards/ The CD-ROM is a good deal for any service organization, as you get all the standards, recommended practices, and engineering guidelines for motion picture, with a license to share among five users: http://www.smpte.org/smpte_store/standards/cd_standards.cfm  |  IP: Logged

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