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Coming to The Cineforum.


When I found that James Cameron’s TERMINATOR has been converted to 3D I at once ordered a copy off it from AMAZON UK as it is not available on this side of the pond. That conversion has been done by Cameron himself.

“Eight years ago the re-release would have been too early because it would have drowned among all the 3D novelties on the market,” he says. Now, he feels, it can be viewed as a theatrical event that showcases the high quality of the conversion work — entirely supervised, frame-by-frame, by Cameron. “You’ll see the movie in a way that you have never seen it before,” he notes.

Such conversions remain hugely time-consuming, requiring, in the case of “Terminator 2,” a team of more than 1,400 artists and technicians to work for a year. Sherak credits Cameron with maintaining the job’s quality by demanding nothing but the best. “He changed our definition of perfection. When your artists have to work at that level, it makes them better. ”

Scippa-Kohn considers the director’s famed perfectionism essential to the success of the “Terminator 2” 3D rerelease: “The fact that Cameron himself did it means that people never wonder whether quality of the 3D will be great or not. He’s the master of this. Of course it’s going to be great. That was a big part of the marketing.”

As in the early days of the movies when the art form was dismissed by the “intellectually astute” as “illegitimate theater” so the same folks of recent generations eagerly dismiss 3D.

There is almost a glee in the writing about what appears to be the current drop in attendance for 3D motion pictures.

Part of the reason for that drop is that the 3D theorists have been allowed to dominate current 3D film making.

From reading Ray 3D Zone’s excellent books of 3D Motion Pictures I learned that when 3D film makers in the 1920’s first brought their work to the attention of motion picture theaters they accented depth instead of foreground action (currently called Z-Space).

“Not exciting enough,” said the theater owners.

So they went off and filmed accenting foreground action.

“Not exciting enough,” the first 3D film makers were told in the 1920s. They were told that because then as now the use of off screen 3D effects was felt to be in bad taste. “It is good taste not bad taste which is the enemy,” said Pablo Picasso and Salvador Dali. I’m with them.–Reg Hartt

Brian May and Ray Zone discuss 3D in 3D:

Ray Zone and Lenny Lipton Interview | 21st Century 3D

I have loved 3D since the moment as a kid I stumbled upon some old 3D slides and a stereo viewer in a barn in New Brunswick.

I am not here to sell any one the virtues of 3D movies.

I am here to share what I have with those who, like myself, love 3D and want to see 3D motion pictures presented at their best.

My system uses state of the art digital projection plus a sound system that really kicks ass. All the bells and whistles are intact.

One of the inspirations for my work was Henri Langlois and the original Paris Cinematheque    .

On the shelves of THE CINEFORUM are digital copies of almost every 3D motion picture made.

When D. W. Griffith used the first close-ups in movies critics complained they had paid to see the entire body of the actors not frightening close up of body parts. When Griffith began cutting to demonstrate action elsewhere, in the past,  thoughts in a person’s head, etc., critics complained that his films were confusing.

If the learned had a problem with Griffith’s innovations what about the great masses of the unlearned?

Today if a company made 1% profit off an investment they’d be happy. If they made 10% profit they’d be smiling. If they made 100% profit they’d be ecstatic.

Griffith’s films did not make 1% profit. They did not make 10% profit. They did not make 100% profit.

What he did was to achieve 1000% profit for the company that employed him, The Biograph Studio.

The history of humanity has always been that the theorists of each generation collect examples and make rules out of the lives of the previous generation the members of which did not know they were making rules. Students who learn in the classroom learn rules.

“Before I could work as an artist I had to unlearn everything I was taught in school,” said Pablo Picasso.

I created THE CINEFORUM as a place where works can be seen minus the theories that kneecap them.

James Cameron has done a wonderful job converting TERMINATOR 2 JUDGEMENT DAY to 3D. Don’t take my word for it. See for yourself.

To current 3D film makers I say, “Please forget about the theories. Make your films in extreme bad taste.”

–Reg Hartt.


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