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This topic comprises 2 pages: 1 2
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Topic: Mark Kermode : How 3D Really Works
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Hillary Charles
Jedi Master Film Handler

Posts: 748
From: York, PA, USA
Registered: Feb 2001
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posted 01-09-2011 12:00 PM
Steve, I believe the examples I offered clearly illustrate that color was regarded as an imperfect distraction, just as 3D is today.
Though not realistic at the time, I couldn't imagine those early Technicolor movies without their hues. Someone I know once had a print of "The Adventures of Robin Hood" in black and white. I never had the urge to want to see it. As imperfect as the color was was, it certainly added entertainment value.
Herbert Kalmus, the head of Technicolor, wrote that on many occasions he told producers and directors, "You have all seen Disney's 'Funny Bunnies;' you remember the huge rainbow circling across the screen to the ground and you remember the Funny Bunnies drawing the color of the rainbow into their paint pails and spashing the Easter eggs. You all admit it was marvelous entertainment. Now I will ask you how much more did it cost Mr. Disney to produce that entertainment in color than it would have in black and white? The answer is, of course, that it could not be done at any cost in black and white, and I think that points to the general asnwer. A similar analogy can be drawn with respect to some part of almost any recent Technicolor feature."
And though people feel 3D unnecessary today as many felt color was back then, I feel a similar analogy can still be drawn. Color was unfamiliar then and called a distraction. 3D is largely unfamiliar today, and called a distraction. Color was imperfect then, but still capable of adding entertainment value. Same with 3D.
Yes, I will admit that 3D projection isn't perfect. The fact that so many people experience true ill effects attests to that. It doesn't mean there is no value to it at all, especially to the number of "superior beings" who do enjoy it (and I don't see any difference in what Frank, Claude and myself say about 3D).
I think of 3D as the electric car of cinema. It's progress has been in lurching steps with many years of inactivity in between. Just as with the electric car, that inactivity is due to both cyclical public interest and technological obstacles. Though I'm no fan of digital imaging, it appears to be the best conduit for reliable 3D presentation, the current drawbacks of the geometry of projection notwithstanding. With the exception of polarized projection, it appears that 3D has taken greater strides in the last 10-15 years than it has in the previous 150. And it is possible those obstacles may yet be overcome.
Still not sure about the electric car, though.
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