SIDE-BY-SIDE FOREVER

Lately there has been a lot of interest in two formats for stereoscopic multiplexing:  The above-and-below, resurrected by Technicolor for theatrical projection using film, and the side-by-side for multiplexing left and right images for television.  Here’s some background from a personal perspective. 

Advertisements

OVER-AND-UNDER AND OUT

In the early 1980s, when I founded StereoGraphics Corporation, the first bit of revenue income we had came from a venture with Chris Condon of StereoVision International.  Chris was a pioneer in the projection of stereoscopic movies using a single 35mm projector.  He founded the company Century Precision Optics, which is now a part of Schneider; but he moved on from there, sold it, and created StereoVision International because he had a big hit with the ‘70s movie The Stewardesses.  The success of that film set him to work on perfecting a single film approach to stereoscopic projection and photographic techniques.  He settled on the above-and-below (also called over and under or over/under) format based on two two-perforation high subframes with the Scope 2.4:1 aspect ratio occupying the area of the academy aperture.