Theyĭesigned a series of teaser ads which helped to prepare moviegoers for a new type of monster from the studio that had cornered the horror market in the 1930's. As theįilm was in post-production, U-I’s publicity department went to work. Keep this in mind when we discuss the 3-D image on the Blu-ray.įilming was completed in the first week of November. This important aspect to the 3-D presentation. Snyder converged various seaweed,įish and flora at the stereo window being careful they would not leave theĮmphasis was on deep, not “in your face.” The preview trailer made mention of Sense of limitless space – and unknown danger – to the Gillman’s underwaterĭomain. Underwater scenes very deep within the stereoscopic window, giving the viewer a Jack Arnold made the aesthetic choice to place the The lead but asked to be let out of his contract to appear in MEN OF THE Hoping that lightning would strike twice. They had worked well together on IT CAME FROM OUTER SPACE and the studio was At that point, the studio shutĭown to prepare all departments for 100% widescreen production.ĬREATURE marked the second collaboration between star RichardĬarlson, producer William Alland, director Jack Arnold and writer Harry Essex. FilmingĬommenced on March 28 and was completed mid-May. In Technicolor and composed for 1.85:1 widescreen with stereophonic sound. WINGS OF THE HAWK was their next 3-D production, this time It is curved on a 90 foot radius." The combination ofģ-D, widescreen and three-channel stereophonic sound provided the audience withĪn immersive experience and effectively ushered in the “New Look” in motion Motion Picture Daily wrote, "The screen developed by Universal-International has a 1.85:1 aspect ratio with a textile base, sprayed with an aluminum solution to provide a 4-to-1 light magnifying factor. Composed for the aspect ratio of 1.37:1, it was the first 3-Dįilm projected in widescreen at the World Premiere in Hollywood. Newly titled IT CAME FROM OUTER SPACE, the studios first 3-D feature opened on May 27, 1953. The cast and crew signed a "loyalty pledge" stating they would not divulge the nature of the plot. Filming of THE STRANGERS FROM OUTER SPACE began on February 4 and the production was shrouded in secrecy. Jack Arnold remembered the resultingĮquipment as a “big monster,” but one that worked perfectly. Two different rigs were built one for medium/long shots and another for close-ups. System which had two cameras facing an angled mirror, placed a pair of MitchellĬameras side by side with one camera inverted. Polito developed a dual-camera rig that, unlike the Natural Vision Clifford Stine, David Horsley, Fred Campbell andĮugene F.
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