Journal of the Society of Motion Picture Engineers, Vol. 26

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Excerpt from Journal of the Society of Motion Picture Engineers, Vol. 26: January June, 1936 Accepting, then, the principle that we must start with two dis parate images, there was first the problem of choosing the most prom ising of the various methods of separating the images and presenting each to the proper eye. It seemed reasonable to explore especially the methods that gave some hope of a really social procedure, which did not involve a temporary separation of the observer from his fel lows. They are few, they reduce, in fact, to two: upon the one hand, those depending upon a critical angle of View, a device that was used by Eliot in a crude form and which is much better provided for in the parallax stereoscope suggested by Ives, and upon the other hand, those that make use of anaglyphs. In the parallax stereoscope, as in all the simple forms of apparatus depending upon a critical angle of view, the possible shift of the point of observation is limited to one half the interocular distance, or somewhat less than 35 millimeters, so that we probably should not have thought of it as capable of a wider application had it not been for the amazingly complete survey of the possibilities of the system by Dr. Ives, a survey of which the parallax panoramagram now successfully used in advertising is an important by-product. It is the only system that asks nothing of the observer, and, the writer believes, will have its applications also in education. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.