By Ray Zone
In 2009, Avatar, a 3D motion picture directed via James Cameron, turned the main profitable movie of all time, a technological leap forward that has grossed greater than $2.5 billion world wide. Its seamless computer-generated imagery and stay motion stereo images successfully outlined the significance of three-D to the way forward for cinema, in addition to all different presently evolving electronic screens. even though stereoscopic cinema started within the early 19th century and exploded within the Fifties in Hollywood, its current prestige as an everlasting style used to be proven by means of Avatar's success.
3-D Revolution: The background of contemporary Stereoscopic Cinema strains the increase of contemporary three-D expertise from Arch Oboler's Bwana satan (1952), which introduced the 50s 3D increase in Hollywood, to the rapidly-modernizing 3-D this day. Ray area takes a accomplished process that not just examines the know-how of the flicks, but in addition investigates the enterprise, tradition, and paintings in their construction. Influencing new generations of filmmakers for many years, the evolution of 3D cinema know-how keeps to fill our theaters with summer season blockbusters and vacation megahits.
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Extra info for 3-D Revolution: The History of Modern Stereoscopic Cinema
Produced by Orion Pictures Corporation as the third film in the ghostly Amityville cycle, Amityville 3-D starred Tony Roberts, Tess Harper, and Candy Clark as frightened trespassers of a haunted house. R. M. Hayes, in his 3-D Movies book (1989) wrote that Amityville 3-D is “certainly the best of the Amityville series and considerably more frightening than the other three. ”3 By the time he directed Amityville 3-D, Richard Fleischer had been working in the motion picture industry for over forty years.
Gradually, with the addition of firecracker noisemakers, whoops and hollers, and thumps to the backside, Number 48 showed sufficient signs of life for acceptable 3-D footage. But Fleischer needed some head close-ups of Number 48. Dressed up with “fake foam around his mouth, his snout dripping glycerine . . I would make him into the Godzilla of bulls,” resolved the director. The day after the rodeo ended, all preparations had been made for Number 48’s close-up. Fleischer gave the command to open the gate.
A great collection of stereoscopic shorts and cartoons accompanied the feature films. Paramount’s Boo Moon, featuring Casper the Friendly Ghost, looked great in brand-new prints with strong 3-D effects. Walter Lantz’s Hypnotic Hick, with Woody the Woodpecker, displayed exceptional depth with many continuous and volumetric 3-D visual elements. ’s Lumberjack Rabbit, with Bugs Bunny, and Converging in Time 39 Disney’s Melody. In organizing the festival, Jeff Joseph paired up cartoons and shorts with the 3-D features as they were originally released in the 1950s—another factor that created the impression of traveling back in stereographic time.
3-D Revolution: The History of Modern Stereoscopic Cinema by Ray Zone