In 1986, Disney began showing Francis Ford Coppola's Captain Eo, a science fiction adventure starring singer Michael Jackson. IMAX 3D, as the process came to be known, offered viewers large screens and stronger production values than the cheap 3D films of yesteryear.ĭisney also continued to dabble in 3D presentation. By taking great pains to ensure film reels were kept in sync, IMAX could ensure its viewers didn't suffer from the all-too-familiar eye strain and headaches associated with 3D movies. A hallmark of their philosophy was a rigid, almost mathematical approach to 3D projection. IMAX became one of the strongest proponents of 3D filmmaking in the mid-'80s. New Technologies Emerge 3D movies retreated from the public eye once again, but as always, an intrepid few were researching methods of making 3D cheaper and more visually impressive. 3D once again all but vanished from the movie industry. Audiences, meanwhile, were growing disinterested in the cheap anaglyph glasses that had been the standard for 30 years by that point. As much as technology had improved, 3D movies still proved cumbersome for theaters and expensive for filmmakers. Similarly, Stereovision tech projected the two reels through a Polaroid filter, where they were combined into a single, convincing 3D image.ĭespite 3D's resurgence in the '70s and '80s, it was ultimately unable to avoid another crash. The reel is then passed through a Polarois filter that restores the original widescreen aspect ratio. Not to be confused with the term "anamorphic widescreen", anamorphic film displays a widescreen image so that it is horizontally squeezed to take up the entire film strip. Stereovision's 3D format displayed reels side-by-side on a single, anamorphic film strip. A company called Stereovision developed another new technology in 1970. The trade-off was that Space-Vision 3D displayed movies with less clarity and color saturation. As long as reels were spliced properly during printing, viewers no longer needed to worry about syncing issues. His new technique, Space-Vision 3D, worked by overlaying two stereoscopic images on a single reel. Coupled with the advent of unique and expensive 3D equipment, theaters saw 3D movies as a less than ideal investment.ģD's second renaissance came some time later when producer Arch Gobler found a way to eliminate the need for dual-reel movies. Small physical defects over time could lead to the same types of problems as improperly synced film strips or faulty equipment. Keeping reels in good repair was also an ongoing concern. Small errors in synchronization could easily lead to eye strain and headaches among viewers. 3D projectors required two reels to be displayed in perfect synchronization. The reasons for the decline were mostly technical. Despite these advances, 3D movies fell out of popularity by the middle of the decade. Both of these helped bring a greater popularity and legitimacy to 3D movies.
Even Alfred Hitchcock began experimenting with the format, which led to the much beloved Dial M for Murder.
Besides the aforementioned Vincent Price movies, another popular 3D attraction was the monster movie classic The Creature From the Black Lagoon.
For the most part, studios seemed to gravitate towards horror movies when it came to 3D.
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