![]() What has been different in 3D’s ‘second coming’ since Avatar is that all sectors of the industry were largely behind a format that would effectively bridge the conversion from filmstrip to digital projection, whether in 3D or not. Between 19, some 45 films were made using the new Polaroid process, culminating – as it transpired – in Hitchcock’s Dial M for Murder, made in 3D, but largely seen in its ‘flat’ version, as enthusiasm for the format ebbed during 1954.Īctually, it wasn’t so much loss of enthusiasm as the refusal of exhibitors to invest and studios to bear the higher costs of shooting in 3D – and, of course, the scepticism of many critics, asking what it ‘added’ to the state of cinema in 1950. Highlights include extracts from Norman McLaren’s and other historic 3D films, UK premieres of the 3D Russian hit Stalingrad and Wim Wenders’ Cathedrals of Culture, Q&As, panel talks, pre-recorded talks with James Cameron and David Attenborough and a showcase on the processes behind Gravity with its stereo supervisor Chris Parks.Īnd whatever happens to the format in the years to come, 2010-13 will at least compare with the period in the early 1950s when 3D became briefly fashionable in mainstream cinema. The 3D Summit runs 12-13 March 2014 at BFI Southbank, London. ![]()
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