History and Future of Three Dimensional Television, 3D Media, and Safety Part Two
The onset of three dimensional projections had humble origins in the 1890’s when the first such patent was filed by 3D’s first major engineer William Friese-Greene who built a wooden stereoscope which would allow the perception of two side by side images to have a three dimensional likeness (Dabbagh). This technology was difficult to set in sync because of the limitations of hardware to use at that time.Hardware was not nearly to the technological point of today. Everything was large, cumbersome, and heavy. Few engineers were focused on television for development.
In 1915 the next wave of innovations passed the prototype stages by testing the technology in front of an audience at the Astor Theater in New York City (Minoli, 17). This was a momentus occasion by bringing the new technology to a group of independent observes for the first time on record. This was a red greed anaglyph with rural scenes and a number of short clips as the subject of the film enforced onto three screens. After these texts however no follow up showings or continuation of research was carried on by these inventors. the expedition of producing this media was far too cost prohibitive with an unproven ability to translate to a money making endeavor.
A significant expansion on the original concepts of 3D was displayed in 1935 during the first 3D color movie production and then brought to a greater pool of engineers during the Second World War when stereoscopic 3D cameras were produced. The lack of spendable income of the public was a main reason for this failure to drive people to a new form of spending on media.
United Artists productions have the first full length 3D movie to their credit with "Bwana Devil" in 1952. This drama directed and written by Arch Oboloer debuted during a period of reduced movie attendance. The bulky and expensive nature of the three dimensional filming broadcast was extremely difficult to replicate in regional theaters and ideas to produce natural scopic three dimensional images was shopped around but failed to garner any attention form the major studios in Hollywood (Variety Film Review 12/3/1952). The difficulty of getting 3D film to audiences was a problem of mobility and reproduction. The required accessories of glasses were also costly. It was difficult to provide scientists and researchers with more funding to create better technology when there was no proven market for the service.