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Proceedings Paper

Development of integral holographic motion pictures
Author(s): P. Alexander
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Paper Abstract

In 1985 Anne-Marie Christakis selected me to make the first pulse holographic feature-fiction movie. Up to that time, the process had only been used for laboratory tests. The running time for the movie was to be 1 minute 20 seconds. Apparently quite long compared with previous tests, but an extremely short time in which to tell a story. I chose the characters of Beauty and the Beast. A lot of time was spent in preparatory work: triple distilling the scenario to get it down to 80 seconds; paintings and masks, and I extracted the music from a suite I had already written in medieval style. The movie was made in 1986 in the laboratory of Professeur Smigielsky, which was located in the Franco-German Defense Research Establishment, at St. Louis in France. Prof. Smigielsky's staff operated all the equipment and Anne-Marie Christakis coordinated everything, as she had done throughout the project. As soon as we arrived at the laboratory, we were told not to look beyond a certain angle towards the laser, otherwise we could be blinded for life. With all that dangerous power however, it was only possible to illuminate a volume for the set of half a meter wide by half a meter deep by one third of a meter high. Such a set gives real meaning to the expression `cramp one's style.' The layout used was, in principle, the same as for making a simple hologram. A pulsed YAG laser was used and each pulse was synchronized with a new frame to be exposed in the camera. When the movie was finished, it was not very bright, and one had to look through a small aperture to view it.

Paper Details

Date Published: 17 February 1995
PDF: 11 pages
Proc. SPIE 2333, Fifth International Symposium on Display Holography, (17 February 1995); doi: 10.1117/12.201899
Show Author Affiliations
P. Alexander, Holographic Movies Inc. (United States)

Published in SPIE Proceedings Vol. 2333:
Fifth International Symposium on Display Holography
Tung H. Jeong, Editor(s)

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