Cinemagic #33 (1986)

OfficI.,

~t.,

"fIII.''''.

contain 10 foldout posters each measuring 16"xZZ" plus complete story of the films, biographies of the

stars and photos! • ROCKY IV S3.50 • RAMBO S3.50

• STAR TREK III: THE SEARCH FOR SPOCK $3.00

• CONAN THE DESTROYER S3.00

• SUPERMAN III S3.00

p---• OFFfCIAL MOVIE MAGAZINES

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~ ROCKY IV ,,-C ROCKY IV BOOK $" CAVIEWTOAKILLS31"i

o EX

PLORERS SJ

o

STAR TREK III: THE SEARCH FOR SPOCK $3 50

o STAR

TREK II: THE WRATH OF KHAN $1,r,o

_ OCTOPUSSY $3 51: :: ROCKY III SJ 00 ~ BEST OF SYLVESTER

STALLONE $300

o HIG

H ROAD TO CHINA $l5O

o

STAYING ALIVE $l00

o

2Ql0 $3.00

o

ANNIE $2.~

Please edd posl8ge end halldilng charge for eech publlc,lIon ordered. Moo-I, M.gulnt-St.5O; Potl.,

M'!I.llnt_Sl.5O; Potl .. e _ _ 11.oo

OFFICIAL POSTER MAGAZINES ROCKY IV SJ50

RAMBO 13 50

STAR TREK III: THE SEARCH FOR SPOCK S3.OO

CONAN THE DESTROYER 13.00 SUPERMAN III 13.00

OFFICIAL POSTER BOOKS ROCKY .. $1.50

HIGH ROAD TO CHINA $1.95 SF SUPERHEROES $1 50 TV SUPERHEROES & SPACE FANTASY SI 50

JOANIE LOVES CHACHI $1.95 FAME $1.95

ANNIE $1.15

send elS". cn.c:k 01' montIy order to:

NAME

ADDRESS

CITY

S

TATE

<HI ••• ".

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STARLOG

PRESS

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475 Park Avenue SoUlh. New York. NY 10016 •

ZIP

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--Editor's

Bench

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4

Blue Screen

Fill Light

Coming to terms with blue

screen photography.

3 2

By Paul Mandell _ _ _ _ _ Build your own 6QO·watt fill

6

light. 8, Thom .. Full.,__ _ _

On Location

3 "0 Mov."es

Walter Pitt's winning short

film, Welcome Back Mr. Fox.

36

Make your own 3·0 movies!

12

By John Clayton. _ _ _ _

By

Michael

Rile

y.

_ _ _

_

Searching

Friendly

Plastic

for

3· D

Fighting the clock with

Filmmeking in 3·0 is still an looth and nail.

38

experimental form2lt.

18

By John Dods. __ _ _ _ _

By David Hutchi50n. _ _ _ _

Music Videos

The b<!lsics of tllking a song

from vinyl to video.

22

B

y Rex

PiMO

.

Great Mouse

Detective

Disney's latest lInimated

feature.

25

By David Duward _ _ _ _ _

Careers

Stephen Frears' hit film.

My Beauliful LaWldreUe, was shot

in 16mm!

30

By David Bacon. _ _ _ _

Back to the

Future

Artist Andrew Probert talks about designing the DeLorean time machine for last summer's

biggest hit movie.

41

By Di!lvid Hutchison. _ _ _ _

Stop

Motion

with Style

Developing your own stop·motion animation style. By Dougles Borton

45

Producers'

Bulletin Board

llItest news of our readers

50

productions. _ _ _ _ _ _

Issue

#33

Festivals

News on film festivals

5 3

eround the country _ _ _ _

Grip Kit

Useful accessories for

54

filmmakers, _ _ _ _ _ _

Making

Monsters

Create your own creatures,

Cheap-and fun!

58

By Thomes Via,~":_

::::::;=::;;:-_

Cinemagic

Marketplace

Classified edvertising and

60

announcements, _ _ _ _

Filmmakers'

Forum

Reeders' correspondence

63

about fantasy filmmaking.~

Stop"Motion

Studio

Illusion Engineering's

66

precision armature kits, _ _

~boul I!II C ... , l~t ... Sf 1roM1VtI1W,) Q;J.-icI Sw,man \IePIOf'I'!'~~ prOl* lecMoQut wtlh lilt I~ 90IP 3-D _ , ... iI1~ on JN9I18; _ 01 0II0iC Me"'1 ~Ia'o i t _ IS ~n eo.illlJ)le O! 'IOCHI'IOt-on IlyIe$ ~ 45 ~G EOlunol er ... s - . I model In \IIUrwMI1, IlJIl8 32 IDMIO ~ VI'~ MI,"fIO) -'UIIT_" ~ otIfI' _ Ill ... _ ' 1a1~1 prorluCIlilM

@//4-Iu

ue

"'

33

PubU.tlers

Norman Jacobs/Kerry O'Quinn A.Noclate PubUaher

Rita Eisenstein

Autunt

Publlaher Milburn Smith

V.P

.

Circulation

Dire

ctor

Art Shulkin

Creative

Director

W.R. Mohalley

Production Director Bob Sacks

Editor

David Hutchison Managing Editor John Clayton Art Director Emily Slaves

Designers

M8ggie Hollands Ann Nelson Lewis Robison Daniel Recchia Editorial Contrtbutors David Bacon Douglas Borton John Dods James Duward Thomas Fuller Carl Kurte Paul Mandell Rex Piano Walter Pitt Andrew Probert Tom Viall Special Projects Mike Hadley Rex Piano Damon Santostefano Production Assistants Connie Bartlett Ed Berganza Maria Damiani

E

l

iz

lIbeth

Dejesus

Joe Dunn Richard Frllnzoso Brent Hatcher Peter Hernandez Penny Layne

Financial Manag

er

Joan Baetz

... ",.."tlolr.glnlon'l'lMion: Rj.a Eloensteln (21l) 689-2830

4 CiNEMAG/C"33

Editor

's

BENCH

I

must self? I have scheduled been out of my mind, How could two of the most difficult technical I possibly have done this to my, topics for the same issue: travelling mattes and )·0 movies. Both topics have been in the planning stages for many months, so I guess they just happened to come up together.

The article on bluescreen travelling mattes has been Included in CINEMAGIC, not as a how·to, but as an "Oh,1 see" item. I do not eJlpect any of our readers to run out and start making their own bluescreen shots; in fact, the purpose of this article is to discourage you from attempting it. From time to time, Iget letters from readers who want to shoot bluescreen mattes in Super·a, but run into problems. I remember one letter which began: ") am shooting my models in front of a blue screen, so [can matte them into a space background. But, I am having problems getting the blue to disap· pear, .. "Paul Mandell's blue screen question·and·answer format should give you a basic understanding of the process, but it's strictly for the pros, , ,or brav!! amateurs with access to an optical lab and lots of money.

While )·0 movies are a lot more accessible to amateurs than bluescreen, the )·0

process is not for the faint of heart, either. Th!! first article by Michael Riley explains the basics of )·0 filmmaking from a beginner's point of view and describes the con· struction of an inexpensive rig, which will allow almost anyone to experiment in )·0

with a minimum of fuss and expense. If you get the bug, and )·0 requires passion, then the second article will acquaint you with some of the options available to people who wanllo get serious about )·0.

One of the most popular ways to get started in video is through the production of music videos. Producerfdirector Rex Piano takes you through the basic steps of music video production, lind lets you know what would be involved if you wanted to graduate to brOlldcast standard.

We have two construction articles in this issue, Thomas Fuller gives usan inexpen· sive alternative to buying movie tights and Thomlls VillI! describes his method for building hand puppet monsters on a very low budget. Animation f!lns should follow Douglas Borton's discussion of style in stop·motion animation, and then explore a low·cost source of professional animation armature parts from a pair of midwestern film buffs.

I have included two articles for the many "armchair filmmakers" who read this magazine: a preview of Disney's latest animated film TheGreal Mouse Defecliue and a brief interview with British filmmaker Stephen Frears. Frears' remllrkllble film, My BeauUful Laundrelte, is currently playing around the country. It WllS shot in 16mm and blown up to 35mm for theatrical release, It just goes to show that you don't have to work in 35mm to get into the big time.

All in all. it looks like a very exciting issue (there are other great articles that I haven't even mentioned), it has also been a very complicated issue to put together. As I sit here typing this, r am wondering what is going to go wrong. I have learned over the years, that no matter how careful you are or how many months you plan things ... something can always go wrong, Last issue it was the Ten Commandments color. The printer reversed the red and yellow plates, making the illustrations forthat article took like they had been sprayed oay·Glo pink,

I have my fingers crossed that all wfUgo well with this issue. The travelling matte article is particularly susceptible, If just one press operator or printing plate maker is thinking about his girl friend or what's going to happen after he gets off work. it can be disastrous. Perils of publishing, it'scalled, In any case, this issue of ClNEMAGIC is chock full of information, which can be found no where else. You may thank our skilled writers and contributors whose names are listed in the left hand column.

- David Hutchison

CINEMAGtc Is publislle<l qUI"I~r!)' by STARlOO PRESS. INC, 41!i Pa,k A.-e1'lUe Soull>. New yon.., NY l00lli. Thls Is

ts-·)J(Vokm'~ 7. No. l)for Summer.ISSN .oogo.)(lOO. Conlent ls ... 1986 by STARLOO PRESS. INC. All righ ... reo ..,rve<I. RO"pfln. 01 ~11on 0/ any "",1",,101 in pen or in ... _ ..,thoul .... rillen permlssion from In. publi .... rs I •• HId!), forbiddM. CINEMAGIC e<:«pts n<> responolblhty for unooIi<;l!~ ... nuocrlpu..l'hOIOl, .rl or other "",!enol. bu' If fJffto""" oubml.tals .'e IK'Compern..d by • ..,~·<tddfes.st:d .• ta~ """'iopr,1hey w1ll be consI6erN _ . If ~ry, 'elu'~.

P,C/dOCls _e.lioed ~ not nec<!SMflly encIorso!d by ONEMAGIC. and ""y~' apres.st:d In N~orlol copy .re no! necessorflji tl>ose of CfNEMAGIC. ~rlp!ion rat..: 11).96forone~ar(four ~)doli~r~ In 1r..(J.5 .. D,,'~and Mot •• leo. I<>noi{ln subsoc'OpIIon 118.98 In U.S. funds only. New Subocrlptlon.:.end clhwly to CIf'IEMAGIC, cJo STARLOG PRESS, IN( .. 47!i P.rk Avenue South, r;".... York. NY 10016. Nodflc.11on 01 change 01 addru-or ren ... _I • ..,nd 10 CINEMAGtc. SubocrIpO:Ion o.,p!. P.O. 80>< 142. 1'I1./IIorrls. It. 61~.()142. PMI_o'er: SeI>d charI{Ie 01 acid", .. 10 ONEI'IAClIC Subscription Dept. .. P,O. 80>< 142.1'11 /'\ottls, IL 61~·OI42. Seconclc_l>OOI.

p.Kl.

,

1'1_ York, NY and ",wllionol mailing offIcu. Prln~ in U.s.A.

'2_~lp_Mak_

I",,: Blood MaI<e\4I: Smoke Generelor; Ught BHm EIIects;

Mailing an SF Logo,

'3 -RobcK Constn.IcIion;

DevelopIng an Aroimation Style: Fluid Art Anlmoolion; ElecItonic Sp.ci.1 EIIec1s:

' 4 -Aef\Allmage Optical Pfinler -Constructloo; Wire Ar· malu ... ; .... e RoIlIng; Mor,

Ele<:tronlc Special EIIec1s; Fog 'I'ICI Mist Ef1ecIl.

'I5_AerWI~OptIc ..

Prlnter-UNoge: WldnaHn Supe<-8; Slit Scan E11_: Gleaming Eyes for $lop.Mo!lon

...

' S -Amuing ElIocIronic G~_cn."",I: Bring y"""

.... ien 10 L~-l.rex Mash: 8IISic EdIIlng TKtlniqun; In-YIIib1e Man Ettec~.

l1_BaaIc: CartoOn Anlm. _;c"rm-non:~

En.ct.; Profile_Damon Santostfiano.

'S_VIdea Tape Tta",!ers; R _ .. F~ming EM_; L..t> SeNIces; cs.1h cI /11(11"/W»i Preview; PfOi;le-Paul VIIOUI .ndMiI<aMlOr1ucd.

,V_AnImating Pogo; lithograPhic film Tn"'; Sets onaSl\ontring; ProIile-The

UngIey Punkl.

CINEMAGIC BACK ISSUES

, 1 O-Mast&rlng MlIIt ... ; Z"",

BucIgoeI Sets:

CINEMAGICISVA Awards N;gtrt; 6u~lng. Super SouncJ.

trow;k; Pen SfI! Ba~.nO-Socket Armatures; Profile-,J.,. Rm ...

. , 1 -GJass Shots: Miniatur. &~: Fogure AAlml!ion;

8100dy Hal, HUfIka; pmt;Ie_ Koch.nd lori"

' ,2_MakeupMagIc_Yt.x

AppIiances;~: Z"'" BuOQM Aey Gun; Profile_ DNn Barnes_Gt90GIIget.

• 1 3-SIrt Scan: C.utlng

UFO "lqmahlp'"; M0de4 In-tenors; I.\ofe Electronic SpecIal

E"_: The Saturn Machine;

ProIi"'-

Bonn'" Boruc:I<I.

• 14_S!orybcwding: Sound ENeeI. Generator; Mi .... tu ..

Oevu"~ C"*: Chm..

Joow.' I&nmSj>actl Epic. PfofiIe-Jeny PeriJI.

, 115_&~ Wming: M1n~u .. lighting Special Et·

, _. C.r .... -George lucas .,.., JolIn Oyl'I11'; s.,p., Depth

... Oiofamas; Profile-Ralph

Mil"',

, 1 II_Sc~ Wmlng. Pan 2; EkK:vonic SPFX-LED CII·

CU~; FI~ An ExploU:rns;

C.,..,..-F.ank Van ".. V_; Build Your Own Camera C.ane: P!'o!ile-St ... Parady

and Bin RudOw.

, 11_Scr\pI W.~Ong. P." 3;

Production Managing Low

B....:I\I81; Electronic SPf')(_

Ligot>1"Ch...,-;

C1NEMAGICISVA

Con-tn!Rulu; Secrets o! Graphic

Gore; Profi .. _Ch", Call~han

and Bob Griffith.

, 18_Making Monsters;

ro ...

Downs lor ",,"m.1Ion Models; ~"" Fitmmakers; Electronic SPFX-R_ignecl Sound Generator; Profi"-AI M8QIl<>cMrtI.

, lV-CINEMAGtClSVA

Aw ... '" NiOht: Build Your Own

COO Web Sj)Ifmer; High School

Wa...:>lt;c...Mrs-GeorQe

Mel;"'; EIIctronIc SPFX-Llg/tting GlIdgoe!s; Fronl UghUBadr Ught Animation TechnIQ ....

'2G-Anieulll1ed FuH Head Masks; Dream 50;."",;

Preci-sion Ball-an6-Socltet At· met"," pans; Elec1fonic SPFX- Syro:; Strobe;

Prolile-JoeyMl>um.

.2 l-Cu.tom Spacehlj>s;

Elec1ronic SPFX -DC Strobe; CarM ... _ Robe" StIon; Foam

RuIJbe< Build-up Method, C"'''ng. MonsI .. ; PfoIiIe_ Deborah Von Moser.

'2 2-MiN/l1Ure Landoc~; Electronic SPF}( _ Strobe

Ao-_ Ao-_ ; Titifl Spon_:

Ball-and-Soc:kat Armatur. PartS; Making CrN1U .. Mal<.eup;

f'fofile_ Dayid CQCi.

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• 23_MictocompuW Anima· tion, Makey"",OwnC_

Star Filter; Animetion Ar·

mlltures: CINEMAGIC Back ISsues Guide: Mali< Sulljv..,·s HiQI>riM; On Localion-Z)/Zak isKlnQ.

• 24_Awa,'" Night; $cralCh-Build'ng _ Spaceshlpe;

Glowing E.,... for C .. ature Masks; An,mation Tipa; Easy

A,mSlu, ... : Ca' .... '._Roge' Corman'S Mil"on"'m StOOioe;

EZ EI!«1I- Make

'1'"",

Own

Fog Fillar •.

' 2 5 -Build'l'OIIfOwn

Came,a St.lbillzer: Color FiKer

FX. ShoOt'''9 PWlicitySml1l,

Make y"", Own Armor: E

Iee-lronicSPFX-Oigit.ll F, ... Counter: On Localion-Dr. ~'" .211_Hand Puppoot Monste,.; Ele<o1ronic SPF)( _lnle",alomot1er; 'Sta,

Zoomer": Thr .... Heacled A,·

mature: "s SIll!> Motion OeadT MeK'ng Man FX: An,mMor

Tony Loudali:On Local",,_

MerodeIM.".. .

• 27 _Ne .. Doubl ...

lormaU The At1 01 SlOp MOtion: SpI~-Sc""'n FX, Re .. $c ... Techniques: S<JPQlySoufC<M: $cuipl'ngClay; J,mmy f'icker"' SUndft .. New Yorl<; M,n,aIU"

Planets; R,ppIe Title FX: Cas~"9 MoIda; Caree ... -Jim

Dan!or1l>. Pan t. Armalu,,,; On

Locab(l(l-Rayptm~ Nigluma ...

'28-019"""'ng aF'lm: Jim

Danlorth on Stop-MotOOfl; A Slop-MOl"" Epte; Ur>Oo<wa!er F,lming: Pete Pe,OfIlOll; F . .

Uy",; Headlesa Dum""": Casl'ng ACtors: ACtOOfl StuntS;

SlOP Motion Rock Video; Pin, 0CCIIi0; Car Cra_ : Makel>/>

F)(: Beamspliner Ray FX

• 21iJ-~ Ca.bie-Controi

1 ... llntrOcluction to C-C;

Bu,khng a C-C Conlro1 Handle; Build<ng a C-C Syslem.

C ... : Jim D.ntorlh. pan It; M.ree! ~-M . . tero! Miniatu ... : Filmmllker Karel

Z_n; E·Z F)(_ Anlmat""

Compound: Georoe Par.

Won-derlu/ WotIdct rIKt 8rofhen

Grimm: Miniatu,. Mechanical

Monll,,".

'30- .0. Ha'ryhau .... Gallery;

Build an Aerial B,_: Beam·

Spliner TechnlQ""It; Makeup Eflectt.: Build an ",,"million

G1"II": Jim Oantorlh, Pari III: LOS! SeqUflIlC8 From KlnQ KMfI: $culpli"9 Tools; EIee-l'onOC Blinking Eyes: Slop-Motion hntasy_FfOQ and

T,*,_Fri&ndo: Mote!

.31_Paning!holt R-.!S<ta fn

OeMil .. •• Ten Comm.-..nts:

Syr>lhetoc Flesh: Eyn""

Monslera: Moire Pettem F)(;

Rea, Projection; Stop-Motion

E.ere ... : Fest;"aIo Guide;

Ca,_a' Ptlil Kell...,.,; On

Localion-S I " . T~I'"

'32_T..,

Commandmentl_ Pan 2; 1m·

pI(XI'ng Head FX: SIeeI"ng

Beauty: Phil Kelfis<)fl-Parl2:

How No! to Make Movies:

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- 53.00 0 '12 - .3.00 D. 3 - .3.00 0 ' 1 3 - 5 3.00 O. 4 _ .5.00 0 ' 14_53.00 '25 _ 53.00 O. 15 _ 53.00 0 '115_53.00 .2B - $3.00 D' 11_ 53.00 0 '18 _ 53.00 '27 _ 54.150 D' 7 _ 53.00 0 '17 - $3.00 .2B _ $4.150 D. 8 _ $3.00 0 '18 _ $3.00 129 _ 54.50 D. 1iJ- $3.00 0 .19 _ $3.00 .30 _ $4.150 0 ' 1 0 - 5 3.00 ::::: 120 _ 515.00 .31 _$4.150 0 '11 _ 53.00 0 '21 - 53.00 .32 - $4.150 NAME ADDRESS CITY STATE

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-CONSTRUCTION PROJECT

Building a Better

Light

Bulb

Build this low

-cos

t

600-waU

/iI/light

and save

a

bundl

e

on your

li

g

hting

e

quipment budget

W

hether you video you need light. and Ictsof work with film or it.

Ev

e

r

y amateur

producer

knows how expensive professional quality lighting equipment is, and how inade· quate the hobbyist grade lighting gcar can be with its hOI spots, low light output. and overall poor construction.

To light some sets you may require several units to achieve the desired effe<:t. and the two or three lights that you may now have just are not enough. forcing the

scene

to

be c

h

anged and

t

he set rework·

ed. usually with less than satisfactory

results.

t have designed an inexpensive and

eaSily built tungsten-halogen lighting unit that is quite powerful. very versatile. and quickly put together by anyone basically familiar with workshop technique. You will need the readily available materials listed at the end of this article.

C

on

s

truction

The first step in building your fill light is the construction of the lamp house. made from the aluminum chassis box. The inner and outer halves of the box are drilled and punched as shown in the Diagram A. the largeventllation holes be· ing very important for safe operation of the finished unit. These lj~·inch diameter holes are most eaSily made using a Greenlee Radio Chassis Punch. available from a large hardware store or industrial tool supply house. Without this punch. however. you can make the holes by drill· ing with the largest bit you have. then enlarging the hole to size with a round file. The outer half of the box will be bolted to the outside bottom of the mixing bowl. which will serve as the refie<::tor. Measure carefully to assure correct alignment of all parts in the finished unit. Drill a small pilot hole in the front center of the box. as well as in the center of the mixing bowl. Line up these holes. making sure that the box is centered on the bottom of the bowl

before drilling the mounting holes

through the bowl. Fasten both of these parts together with short '10 round head machine screws. making sure that the pilot holes are still aligned.

6

c/NEMAGIC' 33

By THOMAS

F. FULLER

Author ThI:Irns Fuller WIth the

CQIlllIeIed

600-wan fill light project.

You are now ready to cut the I·and· \ ·inch diameter center hole. This hole is also most eaSily done with a large Greenlee punch. but an adjustable rotary hole cutter held in a bit brace will also do. In the absence of either of these tools, the center hole can be made by drilling a ring of closely spaced '-'·inch diameter holes and filing out the metal in between. To prevent serious cuts. be sure to smooth the edge of the hole with emery paper.

Remember. you will be cutting through two layers of metal at the same time. the chassis box and the reflector bowl being already fastened together. Use the pilot

hole as the center point for whatever kind of cutting tool you use. For even illumina-tion. finish the renector by rubbing the in· side of the bowl with steel wool in a smooth. circular motion.

Next. make the mounting yoke from a strip of steel natstock. bent and drilled as shown in Diagram B. The inside dimen· sions of the yoke should be 2

%

x 4 1/2 in· ches. The easiest way to bend the riatstock

is to file a shallow groove at the point where the bend is to be made, and then clamp the stock into a vise and hammer

lightly for a sharp, even bend.

DIAGRAM

A

CHASSIS 80X OUTER HALF

00

ALL VENTILATING HOLES trr I. , " YOKE

o

0 W ~ I) MOUNTING HOlE""" .ND

0

0

"EW

(I)

FRONT VIEW

.'

->

--,..

"-/

'

I

PILOT 1/8~ HOLE \

I

0

I

(

REFLECTOR \ I ~ - -MOUNTING

, ,

-HOLES

I

:W1S" /

~"""

"

CENTER HOlE TO BE CUT AFTER REFLECTOR BOWL IS ATTACHED-t:wS"

CHASSIS DRILLING BOX

o

000

000

BASE BLOCK

HOLE

O

1'"''

DIHOLES AMETER

000

POWER CORD HOLE 311"

CHASSIS 80X INNER HALF

through the bottom I/.-inch diameter hole, and attach the completed yoke to the reflector assembly using the II. ,inch holes in each side of the lamphouse, Use short 1/.,20 stove bolls with wing nuts on the outside. as shown on page 29.

View of lamphouse Interior.

large

ventllatlon

holes In chassis box are lmportanllo prevent overheating, Use only 16'gauge ruMler covered heater cord fOr electr1Ca1 safety. Vinyl grommet

placed Into power cord hole preV6f1ts abrasiOO

The 6OO,watt DYH lamp is fitted with a pairof large spade lugs, bent and crimped to the two pins at the ceramic base, Be sure to bend the lugs before fastening them to the pins, I have found that it is much easier to place a crimp in the shank of the pre,bent lug and then press it onto the pin, rather than trying to crimp the lug with it already in place on the pin. Don't force the Jugs onto the pins; only moderate finger pressure should be used. If a lug doesn't eaSily fit, discard It and try another that has been crimped less. Work carefully to avoid loosening the pins from the lamp base,

The IU9S will hold the lamp in place on the lamp base block, made from a I %x 1

%,inch piece of hard wood as shown in Diagram E, The two wood screws hold both the lamp lugs as well as the power

.~ FIIOHT VIEW

DIAGRAM B

MOUNTING YOKE

-

LlOHl$TANO -~ to" IIENDIS

o

=

-HEAT DEFLECTOR PLATES

---

-

-

--DIAGRAM C

~"

_•

O!'f.NIItO: ~r. IJl1r

8

ClNEMAGIC-33

'''''r.I~.1I1r ollUMINUM $HEfT (2 R[O\JI~£DI .~, ~

.

_

.

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1-

-~LATI

•

cord lugs. The block itself is secured into

the inner half of the lamphouse by a wood

screw from the outside. [nstall a vinyl

grommet to protect the power cord from

abrasion where it passes through the box.

Photo (on page 27) shows the com·

pleted inner half of the lamphouse.

Slide both lamphouse halves together

and secure them with the four sheet metal

screws provided. The tip of the lamp

should protrude no less than 1

:r..

inches in-to the reflector if all has gone well. If

necessary. loosen

the two

lamp

mounting

screws (Not the reflector mounting

screws) slightly and gently move the lamp for exact centering within the reflector.

-ing construction be sure to always handle the DYH lamp with care.

The final stage of this project is to make and install the heat deflector plates. These simple yet crucial parts are cut from scraps of sheet aluminum as shown in

Diagram C. For convenience. an extra

'"270·235 chassis box can be purchased and its inner half "cannibalized" for two pieces of exactly the right size. The notch in the top plate must be cut accurately. so that it fits around the rectangular lamp base with as little dearance as possible. Also. the mating edgt!s of the top and bot· tom plates should fit together tightly. as the purpose of these deflectors is to

pre-(continued on page 29) LAMPHOUSE LAMP BA$f: BLOCK DIAQRAMD TOI'YlEW IIOTTOMYIEW

DIAGRAM

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ELECTRICAL SCHEMATIC

-VINYL OAOMMI;T

IN LAMPHOUSE TO PREVENT A8R.lSION OF POWE~COAO POWEA COAD CONDUCTOII IN·lINE ON/OFF SWITCH

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Classic, IoIk and . ina! melodies by

George FenlOn

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Ing orcI1estra-with-ofgan SCOfe.

HAUOWtEJI

Chill all year 'roooo to music composed and per1orml!(j by

John carpenter.

STAR TREl TV- Vol 112

Music from the classic series \fIa1 started it ... Available in IWO separale

""""'.

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Kef1 Thome's drtmg Ofchestral

soundtrack 10 Tom StDeck

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PhIlharmonic Orchestra (digital-nU)1or 1hisIush,madcap comedy.

AlFRED HnCMCOCX

~ digital recooling (Utah Symphony) from "F~miIu Plot"" John WIliams.

"<:' ~-;-, Waxman, "Str.Y1QerS

On

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BATTU: BEY'*D TttESTARS

Excltino orchestral score lor humorous Sf advefl1ure. RARE!

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The origi1aI motiOn picture soundtrack, composed and

conducted by Stu PhiHips.

SECfIfT AGIIT AU

18 cuts in all! Bond films. "Ace 01 Spies," ·'U.N.C.l.E.," "1

Spy" '"

othefS.

THE LAST STARRGHTER

Ttlriltino music by Craig Salan 1rom

compulerllraphiC$ space adventure.

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Themes from the series, plts

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PROfESSIONALS

HAUOWEEN II

Music to scream 10, by the maker ot Halloween.

STAll TRO I: WRATH OF

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stWTR .... N.G

Music by Peter ScIIckele; songs by Joan Baez. Newly remastered.

a.OSE ENCOUNTERS OF THE THIRD IIINO John Williams's soundtradl

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STARMAN

Jack Nitzsche·s haunting, romantic score 10 John tafpef. I«'S exciting alien adventure.

illN WOLf

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With hot. pop music by Miles

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THE ROAD WARRIOR The Ilard-drMl'lg sequet to Mad

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Soundtrack score by RiChard Hartley. \'11k! film escapades of the popular comIC book herorne

OUTlI! ~ACf SUITt:

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KRUlL

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send ~sh. check

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PHOTO 1

MAKE

YOUR

OWN

3-D MOVIES

Use

this

inexpensive

technique to make

3

-0

movies

that

reach

out

and grab your audience.

By MICHAEL

RILEY

3·0 camera system coosists 01 two mirrors, a pair 01 I>ool<eods and a c~pboanj. Bookend closest to the

camera should be Oloed lirmly 10 the clipboard; the other should be left unglued so it can be repositioned when the clip is raised.

12

ONEMAGIC·JJ

R .. priru~ by petm155lon. Pci('f'5C!n$ i'holog.apflk.

Ff"brulI'Y 1977.

I

f you've ever tried to find out anythi n9 about filming in

)-0.

you've probably ended up with the impression that you

need expensive equipment, Ihllt the

equipment is hard to find and that you

wouldn't be able to use it unless you had

a degree in mathematics. These were

some of my thoughts when I began to

ex-plore the third dimension, but I stubbornly

set out to make my own 3·0 equipment,

even thought I can', hammer a nail into a piece of wood without hitting my thumb. I think the fact that I succeeded surprised me as much as it did anyone.

The apparatus described in this art ide

can be used with any Super·S or 16mm

movie equipment. It is easy to build (you

won't even have to use a hammer), easy to

use and the results are surprisingly good.

I've had people tell me that the effects were far better than any they had seen in the theater. This Is partly due to the fact

that people can get closer to a small home

movie screen than they can to a large theater screen.

Every 10 years or so, a new wave of

commercial 3·D films hits the theaters,

and people rush to see them. Just as

quickly as the rad dies out. a new genera·

tion of moviegoers comes along. and

another brief wave surges through the

country. One explanation for the erratic

use of 3·D is that this kind of filming im

-poses many restrictions on the way the

film is made. Certain techniques, such as

soft focus. fast cutting and excess depth of field, must be avoided in order not 10

strain the audience's eyes. Furthermore.

with most 3·D systems loom, wide·angle

and telephoto shots are impossible.

Addi-tional restrictions are imposed on the movie theater. The seats in the center of the theater offer by far the best viewing.

When light from the projector (which vibrates in all directions) strikes the two filters in the projector assembly. each pic' ture passes through a different filter. The lines of the filters are oriented so that the

pictures become coded. one in vertically vibrating light and one in horizontally

vibrating light. When the light is reflected back from the screen to the viewer. it meets two more filters in the 3·D glasses. These filters are arranged so that the im·

ages become uncoded. For example. the

image that consists of vert ica Ily vibrating

light is the one that should be seen by the right eye. It is screened out by the horizon·

tal lines of the left·eye filter, but the ver·

tical lines of the right·eye filter let it pass through. In a similar manner. the left·eye filter passes only the left·eye image.

Since our camera system takes two pic· lures from two different angles (corres·

ponding to the two angles from which

your eyes would see the scene if you were actually there), and since each eye sees

only the picture that was intended for it.

System Construction

Use epoxy to glue metal hinges onlo the

backs of a set 01 ordinary bookends. Leave

a l/a·inch gap between them: let paste

harden. Draw a line lengthwise down the center of a clipboard and position the bookends on the clipboard as shown in

Photo

2

.

The joint between them should be at a 4

5

° angle

to the center line. Glue

the bookend that will be closest to camera

firmly to the clipboard. The other one should be left unglued

so

it can be reposi. tioned when the clip is raised.

Glue mirrors to the bookends with

epoxy paste. leaving

a

gap between the

two mirrors equal to the thicknessol one

mirror. (Note: If your camera is a sound camera. the mirrors may have to

be

glued

to the bookends so that they areabout two

inches higher than the ones pictured in

Photo 2. This allows for the extra height of the lens on most sound cameras.) Use

large dabs of epoxy so that mirrors can be

aligned before the glue hardens. Alignment can be ch~ked by swinging

the movable mirror (the one whose sta nd

is under the clipboard) back until both

mirrors form a nat plane. Hold a ruler

horizontally up to the mirrors

so

that its

reflection is visible. Then note where the

ruler's reflection crosses behind the mir·

ror joint. lIthe rulerappearsbroken-Ihat

is. if the reflection in one mirror is slight·

Iy higher than in the other mirror-then

one of the mirrors must be leaning away

from you more than the other. Squeeze

the bottom edge of that mirror foward un· til the edge reflection of ruler appears as

a straight line.

Attach your movie camera to the clip.

board with a

V.·20 boll and wing nUl.

The

camera must be positioned so that its lens

is directly over the center line and aimed toward the joint between the mirrors.

Distance from the camera's focal plane

(place where film is when it is being expos·

ed) and the mirror joint should be eight inches.

A

d

j

u

sting Conve

...

ge

nce

The convergence distance is the

distance from the mirror joint of the camera assembly to where the mirror's

two fields of view converge(see Diagram

3)

.

It should be adjusted correctly in order

to avoid eyestrain or double images when

the film is viewed. For most of your film·

ing. the convergence distance should be

nine feet. It gives the most realistic pic'

ture. and it can be used whenever the sub·

ject matter is more than five feet from the

mirror joint. For close· ups the conver·

gence distance clln be temporarily

shortened. This is called variable

convergence.

To set convergence. first position your

camera on the clipboard so that the mir·

ror jOint appears in exact center of your

viewfinder. Then place an object nine feet

from the mirror joint. This object need not

be something that you intend to film. 11 is

DIA

GRA

M

1

Mirrors 01 the prOjeCtion system are arranged SO that ooth PICtures converge on one screen. Polarizing filters

are arranged in your viewing glasses to that each eye sees only

or.e

picture.

D

IA

GR

A

M

2

light passes through two poIafllll'lO fitters when

poIariza\lon axes ~re parillel

used merely for a reference point to help

make the convergence adjustment.

Aim your camera assembly so that the

object just touches the left·hand side of the right hand picture in your viewfinder. For fixed convergence adjust the zoom

lens, if you have one. to the widest possi·

ble angle. Then make your convergence

adjustment by changing the position of

the No. 2 mirror. For variable con· vergence. the convergence adjustment

can be made either by adjusting the No.2

mirror or the zoom lens. Either of these

methods will cause the object in the right·

hand picture to remain in position while

the object in the picture on the left will

move either closer to or farther from the

left side of picture. Make your 21djustment

so that the object just touches the left side of both pictures.

If your camera is not a reflex. you will

have to make your convergence adjust·

ment and then reposition your camera on

the clipboard so that the taking lens is aimed directly at the mirror joint. For best

results, this should be done as accurately

as possible.

light is Slowed by two fillerS with perpendicular

axes ThIS is called cfOSSopoiarizalion.

DIAGRAM

4

~\

'

'

_d

I

'

,'

..

....

~

~

-

,

...

...

,

..

The stereo window. (A) The movie screen appears to be a window through which the actioo can be viewed.

(B) When large objects are placed too lar inlrl)(lt 01 the window. the 3·0 illusion is destroyed. (e) This can be

solved by having small objects, which aren't cut by the screen edges. appear to rome through the windoW. C/NEMAG/C-JJ 13

PHOTO 2

Two mirrOfS posltiOned side by side will reflect two slightly diHerent pictures 01 the same subject in the

camera's viewfinder. This double image must be recorded on film to produce a three-dimensional movie,

On the other hand. subjects filmed in )·D

seem

much more real. A movie's

action is much more exciting if the au· dience can be made to feel that they can actually reach out and touch the images that seem to float off the screen. Forthese

'easons you might want to try shooting md screening films in three dimensions. If

so,

then the simple. inexpensive system described on these pages should be just what you're looking for.

How 3·0 Works

When you look at things in real life. each of your eyes sees a slightly different picture. In effect, you see things from two slightly different angles. Try holding your

hand

about

two feet in front of your face and then closing first your right eye and then your left eye. Asyou blink your eyes. notice how your hand seems to shift from side to side against the background. The difference between thes~ two images is one of the things that enables your eyes to

judge depth.

In stereo photography two pictures are taken of the same scene. These pictures are usually taken from two points that are

2112

inches part, which is the same as the distance between your eyes. The two pic· tures are then presented so that one eye sees one picture and the other eye sees the other picture. Thisallowseach eyeto see the scene from the same angle that it

would if it were looking at the real thing. The first requirement for making )·0

movies is that two pictures must be taken of the subject from two slightly different angles. The easiest way to meet this reo quirement is by using a mirror arrange· ment as shown in Photo 1. As you look through the viewfinder of this setup. you'll see two pictures of the same subject side

by side, The picture on the left side of the viewfinder is the reflection of one mirror, and the picture on the right is the reflec·

tion in the other mirror, The image that is

14 ClNEMAG/C It 33

recorded on the film is the same as the one seen through the viewfinder.

When the film is projected. the two mir· rors that were used in the camera assem· bly are placed in front of the projector. They are positioned so that each mirror reflects one of the two pictures and each picture is projected onto the same screen (see Diagram I).

The second requirement that must be

met for stereo movies is that each eye must seeonly one of the two pictures. This is accomplished by placing polarizing filters in front of the mirrors and in the )·0

glasses of the spectators. Polarizing filters act as if they had microscopic lines in them which screen out any light vibrating in the opposite direction of the lines but allow light vibrating in the same direction to pass through (see DiL!gram 2).

Filming in 3·0

Before shooting each roll of film, place an object nine feet from the mirror joint of your camera assembly. Center an object in either one of the pictures in your viewfinder and shoot a few feet of film, Thispart of the film will be used laterasa test pattern to line up the projected images.

Filming in 3,0 is not exactly the same as filming in

2·0.

The first thing you'll have to get used to is aiming the camera. When you look straight ahead into the viewfinder. the mirrors will show you a picture of something that is off to your left. If you're not using a tripod, you should practice aiming the camera before shoot· ing any film.

In )·0, you have to avoid using a lot of fast cuts, You should especiaJlyavoid cut· ting back and forth between a distant sub· ject andaclose·upone. This is because it HIkes time for an audience to adjust to

sharp changes in depth,

You should also pay attention to the amount of depth in each scene, Subject

matter that is shallow to begin with will also look shallow on the screen. When an object comes closer to the camera than

about five feet. you should use the recom· mendations for super depth.

Super Depth

It seems that almost every 3·0 movie has at least one scene where bats, arrows, landslides. etc., seem to come right off the

screen and out into the audience. The secret for creating this type of illusion is to use a small object and bring it close to the camera without letting it touch the edges of either picture in the viewfinder. This is because the movie screen appears to be a

window through which the action can be

DIAGRAM 5

I-

'

''-I

~n

_..

~J

1=

'''

-1

'

''--II

CommerCially made 3-0 glasses tlave a diagonal oneotalion. They reqUITe that filters in the proje(:tion

system be speciaHy cut.

viewed (see lJiagram 4). Your mind will ac·

cept the illusion ofa small object coming through the window, but it won't believe that a large object such as a car can come through a

2

1h.

x 3

1

1l,foot opening.

Another aid tocreating this type of illu·

sian is to have the background the same distance from the camera as the can· vergence distance (usually nine feet). This establishes reference points so your eyes

can compare the near object with the background. When these rules are follow·

ed, each member of the audience will see the objec-t coming directly toward him. If the object issmall enough, it can be mov·

ed to within about four inches of the mir·

ror joint without touching the edges of eitherofthe two pictures in the viewfinder. A member of the audience will then see the object as being about 12 inches in

front of his or her face.

Projection Equipmen

t

The movie screen can be any 2lfa I(

3

1_{/;z ·foot smooth. flat surface. The screen}

surface must be covered with aluminum paint to insure that light from the projec-· tor remains polarized.

Aluminum paint does not make the

best

3·0

screen surface. but it will work and it is cheap. Standard matte white or glass beaded screens will not work-they depolarize the light. allowing your eyes to

see both images. If you use a commercial

screen it must be a silver screen. If you

already own or have access toan aluminiz· ed video projection screen. you will find that it will work very nicely for

3·0.

Even·

tually, if you get the

3·0

bug, you should

buya commercial silver screen. Theyare

available from nearly every major

manufacturer.

The

3·0

glasses shown in Diagram

I

were made from three pieces of thin card· board that were stapled together. Theside pieces are 2 x

6

inches, and the front piece

is2x6lf. inches. They bow in to fit all sizes

and are big enough to fit over prescription

glasses.

A I x 2 x lO·inch wood block can be used for the filter stand. AUach two of the

6 x 6·inch polarizing filters side by side to

the sland with thumbtacks (see Photo

3).

The other filters can be cut up into smaller

squares and taped to the inside of the

glasses.

Your polarizing filters will probably not

have any markings on them to indicate their axis of polarization. However, you will still be ableto align them properly in

your glasses and filter stand. To deter·

mine if two filters are oriented perpen· dicularly to each other. place them together and hold them up to a light(see Diagram 2).lf they are perpendicular. then the area where they overlap will appear

black or dark blue. If not. they can be

made perpendicular by rotating one of them. Filters will be properly aligned when; I) two large filters on the filter stand

are oriented perpendicularly to each

other: 2) alileft·eye filters in )·0 glasses

are oriented perpendicularly to filter on left side of filter stand (when sighting from projector to filters): and 3) all right·eye filters are oriented perpendicularly to the

filter on the right side of the stand.

Some polarizing filters have a film side

and a base side. For best results the film

side of the projector filters should be fac· ing the mirrors. and the film side of the filters in glass.es should be facing the screen. To determine the film side of two

A rear·screen previewer can tie constructed !of single viewers and editmg purposes. Plastic viewer can be

adapted from parts available from Reel 3-0 Enterprises (see source list on page 2t).

fitters. rotate one against the other until

their axes are crossed. If the film sides of

your filters are face to face. then they will cancel out evenly. and only a small

amount of dark blue light will pass

through. If. however, one or both filters is

facing away from the other. then some

patches of white light will be visible.

Projection Set

-up

Drawa linedown the center of IO·inch

x four·foot board. Remove the camera

from the mirror assembly and attach the

assembly to one end of the board. as shown in Photo 3. The center line of the

mirror assembly should be directly over

the center line of the board.

Place the filter stand on your board so

thaI the joint between filters is directly

over the center line and is about six inches

from the mirror joint. Filters should beat

right angles to the center line.

Place your projector on the board so

that the lens is directly over the center line

and about two feet from the mirrors. The

lens should be aimed directly at the mir·

ror joint. If the projec-tor's beam of light is

too wide. not all the light will strike the

mirrors. and some of it will spillover the

edge. In this case. you will have to move

the projector closer.

The best picture results when your pro

jector. filters and mirrors are perfectly

aligned. I've found an easy way to insure

this alignment. First. mOve the filter stand

off to one side and place a white piec-e of

cardboard nat up against the mirrors.

Change your projectors focus so that the

projected image is visible on the card.

This image will contain two side·by·side

pictures. Sight from the projector to the

card and aim the projector so that the line

between the two pictures ralls directly

over the mirror joint. When the filter

assembly is replaced. the joint between the filters will cause a shadow \0 fallon the cardboard. This shadow should also fall

directly over the mirror joint.

Center the projected image on your screen by moving the entire assembly

rather than just Ihe proje<:tor. To raise the image. tilt the assembly by placing blocks

under the board edge.

Run your film through until you gel to

the test pattern. By adjusting the position of the No.2 mirror. you can move one of

the images on the screen from side to

side. while the other image remains still.

The No.2 mirror should be positioned

so

that both images of the test pattern object

arc exactly on top of each other and ap·

pear as one image.

So

far. if everything has been done cor·

rectly. the two images should already be

PHOTO

3

camera alignment didn't change too

much during filming. you should be able

to do this without having to adjust the pro·

jector mirrors each time you come to a

test pattern. The basic rule to follow is: The

len·eye imageon the

screen

shotlld

never

be 1l10rcthan /hrc.'Cinches lolhele{t o{therighl·

cyeimagc. Youreyesareonly21_{/2 inches}

apart.

so

when the left·eye image is more than 21f2 inches to the left of the right·eye image. your eyes would be forced to diverge (the opposite of going cross.eyed) more than parallel. This is something they are able lodo. but only uptoa point. Too much divergence can cause eye·strain. Before showing the film to an audience. align the images on the screen with one of the test patterns. and then run through the rest of the film without wearing your 3·0 glasses. You will find that some objects

proteCtor system LtSeS the same ITIIrrOf assembly that was made IOf the camera, PolarOId filters have

been placed on a stand between the proteCtor and the mirrors

aligned vertically as well as horizontally. That is. neither should be higher than the other. If this isn't the case. the best way to

align them at this stage is to place a pair

of small wedges underneath the projector

legs in order to tilt the projector slightly to one side. This willlo"!'er one image while raising the other. Unfortunately. changing the vertical alignment will throw all your other alignments off. and you will have to

go back to the beginning of this section and start over.

When your test pattern is aligned. you

are ready for the moment of truth. Put on your

3·0

glasses and see how the rest of your film looks. You'lI find that by moving closer to the screen. you'll get a shallower picture. and be moving away. you'lI get a

dee'per picture. As soon as you've found

the best place to put the seats for your au·

dience, you are ready for the show.

E

diting

l31'oken .nes fepresenlltle field 01 VIIlW Or nwror No 2 The distance from the ITllffOf ICWlt 10 where these

two fields converoe IS the COf7IIefgefICt distance OBJECT

WHAT VIEWFINDER SEES

CAMERA ASSEMBLY

appear as single images, whileothersap·

pear as double images. Pay special atten·

tion to objects that are farthest from the

camera. Each time you find a pair of im·

ages that are displaced more than three

inches. check with your

3·0

glasses to

see

whether the left·eye image is the one that

is the farthest to the left. If it is. then read· just the No.2 mirror to bring the images back tothethree·inch limit. Your final ad·

justment is the one that should be used to project the show.

large

Audiences

For large audiences you can avoid the trouble of making your own

3·0

glasses

by ordering ready.made glasses. Because professionally made glasses have a

diagonal orientation instead of a horizon· tal or vertical direction, the filters will have to be recut as shown Diagram 5. Be careful to cut them so that when they are arranged side by side on the filter stand: \) filter on the right ( ... hen looking from

projector to filters) is perpendicular to

left-~ filter in

3·D

glasses: 2) filteron the left

is perpendicular to the right·eye filter in

the glasses; and 3) the film side of both

filters is facing the mirrors.

Whenever a screen wider than 21h feet is used with this 3·0 system. there is a chance that far pointson the screen will be

displaced more than three inches. To avoid this you can use the system for

alignment that is described above in the Editing" section. or you can make a spKial test pattern lit the beginning of

each

roll. The following table shows what camera·to·object distance to use.

TEST PATTERN DISTANCE

FOR

LARGE

SCREE

NS

Sc.e~n Width 02';' 2'1>·3 3·4 4·~· ~·6·

D'SI.nc~ From g' 10· 17' 21' 26'

C.me •• to CIt>ject

OlAGAAM3

PLACE OBJECT HERE TO

ADJUST FOR CONVERGENCE " \

...

,

\ \

,

\ " \ ',\

'..'

'j

P

r"

_,',

,',

\ " \ ...

, ,

: I : I

i

I PLANE OF CONVERGENCE

"

I

ii/

J

!

I: I: CONVERGENCE I

i

DISTANCE

I!

You may wish to splice several rolls of

film together to make a complete show, If

~

Applications

I

MIN

The

chara~te

r

isticof3.D

films.that

h~s

00

been exploited most often IS their

Z

capability to make subjects seem more

real. This feature is espedallyvaluablc in

'

- - I

.!

horror movies. The illusion of being in the

A

same room with a ghost or monster

makesscaryfilmsevenmorefrightening.

I

uT

Not only could you almost reach out and

touch

t

he

ghoul-it could

almost

pop Oul

of the screen and gel you!

BuI3·D can also subtly enhance its

sub-ject. Images from nature take on new

visual fascination when the textures,

leaves. branches and water reflections

ap-pear deep and

real. The perception of

depth isa dramatic, important visual

ele-ment that can

be

used to splendid effect in

home motion pictures.

3·0 offers new challenges in composi·

tion for the serious cinemalic artist. In·

stead of arranging subjects on the screen like a painter would-in two dimen·

sions-the director must think like a sculptor. The added dimension invites the audience into the picture. Instead of see· ing the movie as objective observers, viewers are able to mentally explore the

space of each scene. With this dramatic cinematic effect your J·D movies are bound to be spellbinding eye·openers.

PARTS LIST

Legal·size clipboard

Pair of plain metal bookends

4·fool

x

lO·inch board

112 ·inch Ij~

·20

bolt

1

/

.·20

wing nut

1/.·inch washers

Pair of small metal hinges Package of epoxy glue Small can of i!lluminum paint

21/z x

Jlh·inch piece of smooth, flat

cardboard or Masonite for movie screen

Polaroid filters and viewers are available in a special

experimenter's package, which has been assembled for readers of this magazine. Twelve pairs of polaroid

viewers and enough polarizing

material for your projector are available from John Brumage of

LeaVision.

P

.

O. Box

JD.

Lyndenhurst, NY 11757 for $15.00 postpaid. Sheet polarizing material is very thin, requiring a cardboard

frame for support.

Two 5 x 7 x

Yi

••

inch mirrors

Note: Front surface mirrors have bet· ter optical properties than regular mir· rors because they have the reflective

surface in front of the glass instead of

behind il. Thus light that's reflected doesn·t have to be disturbed by pass· ing through the glass. These mirrors can be ordered from Edmund Sden·

tific Company, 10 I E. Gloucester

Pike, Barrington, New Jersey 08007. ()I

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HUTCHISON

Seaching for

Filmmaking in

3-D is still an experim

e

ntal {ormal.

I

f Michael Riley'sartideon the basics of )·D movie making has whetted your appetite for more. you may pleased to learn that a few companies ac-tually manufactured )·0 movie outfits for

amateur enthusiasts. The most common

)·0 movie outfits are (or were) the Bolex and the Eigeet for 16mm users. and the Elmo for Super·B.

Unfortunately, all of these )·0 movie

systems are allachmenls-devices meant

to adapt ordinary 16mm and Super·S cameras 103·D filmmaking. No manufac-turer has ever produced a )·D movie

camera for the amateur markel, nor has a

standarized format ever been established forSuper·8and 16mmJ·Dformats. This is in marked contrast to the situation of )·0 still photographers. who have com· paratively easy access to 3·D equipment and established standards. Several manufacturers in the U.S. and Europe

The

Bole.

camera

with

normal

3·0

attach,

ment fined to the Iront of the

camera

18 ClNEMAGIC· 33

designed and manufactured a variety of 3·D cameras. which are readily available in used camera shops everywhere.

The entire process of 3·D

still

photography has been thoroughly systematized. You just popa roll of 35mm Kodachrome or whatever. into a Stereo Realist. Kodak Stereo, etc. and shoot away. Send the film out for processing and stereo mounting. and few days later you can project your 3·D slides in any several brands of 3·D projectors. No such luck for would·be 3·D movie buffs-it is all strict· Iy an experimental. make·do operation. particularly for Super·a users. as we shall see.

Dedicated 3-D Bolex

The Bolex Stereo System. originally marketed in the early 1950s. is probably the most well· known 16mm 3·D movie at· tachment. Thereareessentiallytwo parts to the system. There is a special camera lens that fits the non·renex Bolex H 16. ex· clusively. and there is a special projection lens which replaces the normal lens on many 16mm projectors. Bolex supplied a number of adapter sleeves for this purpose.

The basic component of the Bolex system is the precision.engineered camera lens. which is screwed into the tur· ret of the H 16 in place of the ordinary lens. At the back of the stereo lens attachment are twin Yvar 12.5mm fl2.a lenses sepa· rated by an optical axis of only 3.5mm. A prism system widens this axis to an effec· tive separation of64mm-normal inlero· cular spacing for 3·D photography. The lenses arc fixed focus. set at the hyper. focal distance of \0 feel: the aperture is continuously variable down to f/16.

The stereo window is set at approx· imately 10 feet. As you remember from Michael Riley's article. a lO·fool window means that when your 3·D movie is pro·

jected, anything closer than 10 feet from thecamera will appear to hang inspace in front of the screen. while objects beyond

10

feet

will appear to

be

placed behind the

projection screen. Bolex recommended

k~ping objects at least five feet away from the camera. For close·up 3·D effects.

ill special close·up attachment permitted shooting at distances from 18 inches to four f~t. Special parallax correcting scales and viewfinder masks were sup· plied to maintain image placement ac· curacy with the close'up system.

The Bolex 3·D lens attachment places the left and right eye images side by side-splitting the normal 16mm frame. For projection a special duplex. lens ob· jective replaces your standard 16mm pro· jector lens. Inside

the

len! barrel are twin 20mm. f/l.6 Petzvallenses with paraliel optical axes spaced 5.6mm apart. Stan· dard orientation pol&rizers are built into the objective. so that your 3·D movies can

be

viewed with commonly available 3·D polarizing glasses.

Other accessories in the Bolex Stereo System included a special offset bracket for the camera's viewfinder and the finder aperture mask which masks down the standard 16mm frame to the Bolex stereo format for accurate composition.

The complete system. including camera lens. offset bracket. viewfinder mask, projection lens, two pairs of view· ing glasses and a silver screen. sold for a hefty $397.50 back in 1953.

Universal

Eigeet

3·0

The only major competitor to the Bolex Stereo System was the Elgeet Cine·Stereo System. The system operated in a mannel very similar to the Bolex system, but the Elgecl had two big advantages: it was cheaper and it would fit almost any movie camera.