IJSIM : International Journal on Stereo & Immersive Media, Vol. 4, Nº. 1 (2020)

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http://hdl.handle.net/10437/11636

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Percorrer IJSIM : International Journal on Stereo & Immersive Media, Vol. 4, Nº. 1 (2020) por assunto "ESTEREOSCOPIA"

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    The stereoscopic negatives by J. Laurent : Portugal views in the year of 1869
    (Edições Universitárias Lusófonas, 2020) Teixidor-Cadenas, Carlos; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Jean (or Juan) Laurent lived in Madrid and started to work as a photographer in 1856, by opening a portrait gallery. In 1857 he was already taking stereoscopic views. Between 1861 and 1868 he was announced as the photographer for Queen Elizabeth II of Spain. In1869 he traveled to Portugal to obtain city views and portrait the Portuguese royal family. Laurent sold these photographs at his headquarters in Madrid and through an extensive network of depositaries in different Spanish and European cities, including Lisbon and Porto. All his negatives from Portugal were made with the technique of wet collodion glass plates, using a handcart as a photographic darkroom. Most of the copies were printed on albumen paper, while some others on Leptographic paper. The Laurent archive is preserved in Madrid, in the Spanish Cultural Heritage Institute. In total there are about 12,000 negatives of the nineteenth century, made by Laurent and his hired photographers. Among the stereoscopic negatives (13 x 18 cm format) there are 78 views of Portugal, mainly from Lisbon, Batalha, Tomar, Coimbra, Porto, Setúbal and Évora. Other interesting negatives of Portugal are twelve glass plates in the gigantic panoramic format of 27 x 60 centimeters. However, most of the conserved negatives in Portugal are of the standard 27 x 36 cm format. All positive copies were obtained by contact, at the same size by trimming the edges. Albumen paper copies were mounted on separate cards or in albums. As of 1875, Laurent’s company was named J. Laurent y Compañía.
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    Stereoscopy on the silver screen: the analyticon and early cinema in Edinburgh, Scotland
    (Edições Universitárias Lusófonas, 2020) McBurney, Stephen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The Modern Marvel Company was incorporated in Edinburgh in 1897, with a remit to educate and entertainment. Building on the wider popularisation of science and radical changes in pedagogy, the company exploited various optical technologies to fulfil an ideal of universal education. The cinematograph and the Analyticon regularly shared the same bill; the latter was a stereoscopic technology built upon the principle of polarised light that depended upon a silver screen to work. Within the context of Edinburgh, stereoscopy directed shaped the ideological and aesthetic character of early cinema. This paper adopts tropes of traditional technological history by detailing the Analyticon’s technical workings, but it also adopts the principles of New Cinema History by situating this technology within a nuanced social context. In doing so, this paper offers a fuller understanding of early cinema’s aesthetic, social and cultural significance in Edinburgh, and its relationship with the wider visual culture of the 1890s.
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    Stereoscopy's impact on the making of digital visual effects in films
    (Edições Universitárias Lusófonas, 2020) Jacopin, Esther; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Since Avatar (Cameron, 2009) released, almost every stereoscopic 3D (S3D) film contain digital visual effects (VFX). Assuming that stereoscopy and VFX nowadays go hand in hand, this article aims to study the impact of stereoscopy on the making of digital VFX. It will cross information with crew members' witnesses from the production of French films Amazonia (Ragobert, 2013), Astérix & Obélix (Tirard, 2012), and The Young and Prodigious T.S. Spivet (Jeunet, 2013). This case study-oriented approach will go through the three film production's stages: pre-production, on-set principle photography, and post-production; in order to provide an overview of changes in cinematographic techniques that occur when designing stereoscopic-VFX, as well as how cinema technicians manage to adapt their skills to make stereoscopic and visual effects cohabit in films' images.