Top 10 3-D Myths - 3DFPF - 3-D Film Preservation Fund a tax exempt 501(c)3 non profit corporation

TOP 10 3-D MYTHS

Not true. The publicity for BWANA DEVIL stated: The World’s First Feature in Natural Vision 3-Dimension. This statement is true; the key being the words “Natural Vision,” the trade name of the 3D equipment used to shoot the film. In later years, the film’s writer/producer/director Arch Oboler was “surprised” to learn it was not “first.” He really believed it. The first feature 3D motion picture was POWER OF LOVE (SEPT 1922). However, BWANA was the first 3D feature film to have international exhibition.

Not true. NIGHT OF THE LIVING DEAD 3D (2006) was first. It was shown in dual projection at the World 3-D Expo II in Hollywood, and went on to have a theatrical release (in 3D).

Not true. There were numerous animated shorts done in 3D over the years, and at least one feature film, “STARCHASER” (1984).

Not true. Except for a few short films presented in anaglyph form in the early months of 1953 (not widely seen), all of the features, shorts, and cartoons exhibited in commercial theaters from 1952 through 1955 were projected using polarized light. The glasses had colorless lenses exactly like today’s major 3D films. When anaglyph comics appeared in last quarter of 1953, the colored 3D glasses became commonplace. Fact is, colored lenses are much more memorable than colorless (polarized) lenses used to view 3D films. In addition, while most of the 3D comics of the 1950’s used red and green glasses, the proper (and by far dominant) colors are red and cyan (being a blue-green).

Not true. 3D glasses are passive, in that they do not DO anything except filter light, much as sunglasses. Eyestrain has been attributed to 3D presentations for all time for several reasons:

Improper camera 3D technique – This is especially critical in 3D films since the image is magnified so much, which magnifies errors. The majority of the films of the 1950’s were surprisingly well shot, technically. This is largely because some of the finest technicians of all time staffed the camera departments during those studio days. Interaxial, convergence, and minimal vertical misalignment were very well done for the most part. Many of today’s films exhibit any number of problems that cause eyestrain.
Improper projection technique – Keeping the projectors in correct synchronization and phase is critical; unfortunately, these standards were frequently ignored. Projection alignment, as well as the brightness of the image (often too dim causing eyestrain) was a big problem. It STILL is.
Eyes – We all see 3D differently. It is highly subjective. Roughly 10% of us cannot see 3D well, or at all, and some are bothered by seeing 3D images. Some of the latter is from eye problems that are quite common. As we get older, the eyes have more issues with 3D because 3D exercises the eyes. The exercise, like any other, can lead to fatigue and even eyestrain. To be technical, if the 3D glasses are poorly design or manufactured, one might get a headache, though this is fairly inconsequential compared to the other major issues.

Not true. Here's a partial list of some big stars that appeared in front of the 3-D camera: John Wayne, Rita Hayworth, Kathryn Grayson, Howard Keel, Bob Fosse, Robert Mitchum, Linda Darnell, Jack Palance, Edward G. Robinson, Dean Martin, Jerry Lewis, Jane Russell, Ray Milland, Grace Kelly, Victor Mature, Robert Stack, Jose Ferrer, Vincent Price, Joan Fontaine, Phil Silvers, Randolph Scott, Charles Bronson, Karl Malden, Ernest Borgnine, Rhonda Fleming, Robert Ryan, Lee Marvin, Virginia Mayo, Lee J. Cobb, Fred MacMurray, Barbara Stanwyck, Rock Hudson, etc. Not a shabby list of talent there!

Great directors and cinematographers worked on these films, including John Alton, Raoul Walsh, Douglas Sirk, Roy Baker, George Sidney, William Cameron Menzies, Jack Arnold, Budd Boetticher, Charles Roscher, Hal Wallis, Alfred Hitchcock and many more.

Not true. For the most part, the filmmakers respected the "stereo window" and did not resort to gimmicks in order to enhance the process. The only studio guilty of excessive exploitation would have been Columbia, and more specifically the William Castle/Sam Katzman productions. However, for every film that was guilty of throwing an over abundance of objects at the camera (FORT TI, CHARGE AT FEATHER RIVER, MAN IN THE DARK, SPOOKS) there were many, many others which utilized great restraint in their use of the process. Check out the superb cinematography on HONDO, SECOND CHANCE, I THE JURY, INFERNO, MISS SADIE THOMPSON, TAZA-SON OF COCHISE and THE GLASS WEB for some excellent examples of the dimensional process.

The often-cited paddleball sequence in HOUSE OF WAX was there for a very specific reason: that sequence was immediately following the intermission point. Director Andre deToth felt the barker was an effective way to bring the audience back into the story. In fact, in the following scene Vincent Price comments, "We won't need him once we're established." How true!

The overuse of gimmicks became commonplace in the 1970's and 1980's with movies such as COMIN' AT YA, TREASURE OF THE FOUR CROWNS, FRIDAY THE 13TH 3-D and ANDY WARHOL'S FRANKENSTEIN.

Not true. There were exactly 50 movies made (in English) in 3D during the Golden Age of 3D. While there were certainly some bad and mediocre films in this group (ROBOT MONSTER, CAT-WOMEN OF THE MOON, and HANNAH LEE, to name a few), there was also: KISS ME KATE, HOUSE OF WAX, DIAL M FOR MURDER, CREATURE FROM THE BLACK LAGOON, and so on. The 3D movies of the Golden Age were no better or worse than any other group of films.

Not true. Most of the stereoscopic features from the 1950's were originally shown in widescreen, ranging in aspect ratios from 1.66 to 2.1. They were photographed with widescreen in mind, although they were also protected for 1.37. After the summer of 1953, most major theaters ran them in their proper widescreen versions.

Not true. The 3D films of the 1950’s were shot with dual 35mm film cameras and projected with dual 35mm projectors using linear polarization. This is demonstrably superior to what is seen in most situations today, the exceptions being IMAX, and dual 65/70mm. The basics of today’s 3D technologies are not new or better in any meaningful way. However, this marketing hype does confuse and, like the demise of “three strip” Technicolor, closes off to filmmakers higher quality tools and techniques.

Not true. We've already documented the wide release of HONDO in 3-D, and KATE followed the same pattern. In fact, there was such a large demand for 3D prints of Kate that Technicolor had to strike additional left/right prints to meet exhibitor demand.

Not true. While most theaters played it flat, at least one exhibitor booked the 3D version. Other bookings are still being researched. We should point out that it was available from Warner Bros. in both flat and 3D versions.

Not true. THEM was initially planned for depth treatment, but the studio changed their mind before the start of principal photography.

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