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Presentation of artistic work
Regarding Robert Vincent Bernier, he was the chief cartographer of the general staff in the American army during the second world war.
He was responsible in particular for converting photographic shots into relief, taken by reconnaissance planes of ground infrastructure that were difficult to detect otherwise...
The images were taken sequentially, in order to produce the parallax of perspective necessary to highlight very fine details of ground reliefs, over a range of several kilometers...
He also converted certain pairs of stereoscopic images into anaglyph prints, to be read with classic colored glasses, primary color and its complementary, in order to sometimes improve the ergonomics and versatility of their reading, and probably send them by mail to their recipients?
He may have contributed to the counter-allied offensive of the German V2 ballistic proto missiles?
These clearly inspired the design of the lunar rocket imagined by the famous Belgian comic strip artist Hergé!
The V1 missiles resembled small autonomous unmanned aircraft, they were slow in flight, easy to intercept by the English anti-air artillery.
They had to take off from a launch pad, in order to acquire the speed necessary for their takeoff, horizontally like a classic aircraft.
The launch ramps were easy to identify from the air and to bomb.
This was no longer the case at all with V2 missiles with vertical takeoff, equipped with propulsion engines and burnt gas exhaust tubes comparable to current rockets!
The latter did not have launch ramps, they were easily transportable by trucks, and their shots could be installed anywhere in the landscape, at the discretion of the enemy's gaze!
Their cruising speed exceeded by no means that of their predecessors V1, the anti-aircraft artillery was then completely disarmed against them!
Robert Vincent Bernier was an excellent electromecanic inventor, but he had no sense of economic social realities to argue the merits of his inventions.
Only one of his discoveries to my knowledge has been marketed for the production of 3D cinema for the entertainment industry, it is the "Trioptiscope" later renamed under the trade name "Space Vision", for about thirty years, between the 60s and the 90s of the last century...
The modified cinema projector that I designed uses the same principle of operation, that of its sequential projector with alternating polarized light with phase inversion by half cycle.
Said so it seems complicated, but it is in truth a process of breathtaking simplicity!
The technical problem, insoluble at the time, at least partially, had as a side effect to generate some visual fatigue, due to flickering, flickering, or flickering according to the frequencies, of moving cinema images projected to its viewers...
A first solution consisted of filming the scenes using a camera at very high shooting speed, some 180 frames per second, then to reproduce the scenes at projection at a comparable speed!
It goes without saying that the prohibitive cost of production, that of film and its laboratory treatments, was not compatible with the profitability criteria already existing at the time!
A second solution allowed films to be projected at the standard speed of 24 frames per second, the commercial standard established since its origins for talking cinema, by modifying the cinema projectors from the 1950s to adopt the operation of a 1920 projector, which was used at the time for additive color synthesis, for the projection of reconstructed color images from a strictly black and white film serving as a selector of densities and gray ranges, mechanically coupled with a bichromic rotating filter, thus achieving the additive optical synthesis of colors in sequential bichromy!
The modification consisted in equipping the contemporary cinema projector with a Morgana shutter, so that the projection cycle is the next at the relative frame rate of 24 frames per second, the projector projects during this cycle two photograms forward, then one backward, performing a weaving optically linking the light pulses together, then the cycle resumes again for the following photograms, two forward and one backward, and so on!
The effective speed is then 72 light pulses per second for each cycle, or 36 for each eye separately with the wearing of polarizing filtering glasses!
Which is not bad at all, not very far from the average perceptual physiological threshold of retinal persistence, quite varied among the population, but commonly admitted around 50 Hertz!
This corresponds to the old broadcast standard of analog video, which equipped the electron-scanned cathode-ray tubes of our old televisions...
The frequency of the domestic sector current is 50 Hertz in Europe, it is a constant resulting from the operation of electric current alternators at the output of our power plants.
It is even the most stable parameter, the other components of the alternating electric current constantly vary, voltage as well as intensity, and 220 Volt is in the end only a statistical average...
The electronic scanning display of our old televisions was directly dependent on this frequency of 50 Hertz, which also corresponds to a physiological threshold, which is why interlaced video with the European standard produces 25 frames per second, in truth 50 half images per second, or 50 half interlaced electronic frames.
In the USA, the frequency of domestic electric current is 60 Hertz, therefore televisions displayed 30 images per second, or 60 half interleaved electronic scanning frames.
It is now a commercial industrial standard maintained, even with the format of digital video displayed in progressive mode without interlacing, since the speed of videos is now 30 or 60 relative frames per second, a standard imposed worldwide by the USA for this industrial standard!
That said in passing, it's a joke I specify beforehand, Russia also imposes its own industrial standard for ballistic missiles with magnetohydro dynamic propulsion or MHD, being able to fly at Mach 20 or even more without any apparent limit apart from the onboard fuel energy reserve, compared to the USA unable to respond in a comparable manner at the present time!
Nothing can technologically stop these missiles at these high flight speeds...
It may have nothing to do with Robert Vincent Bernier, but a certain aeronautical engineer has his beginnings in career, named Jean Pierre Petit, then director of research at the CNRS, had himself developed his own research in MHD, credits that were suspended by the French state in the 1980s, considering that his research was too expensive and led nowhere!
At present, it is Russia that possesses this global geostrategic supremacy...
As a result, we must never depend on state aid and subsidies; it is not a healthy and profitable development regime in the long term...
Look instead, it's my gardener's salary that finances my research...
In this regard, I discovered a third elegant solution to solve the ergonomics of comfort of the sequential relief cinema projection system proposed by Robert Vincent Bernier, "the alternate frame system" as he called it himself.
I am thinking of designing a second cinema projector that will be an exact copy of the first in its principle, the two will be connected together by a mechanical coupling of the motor axes at the output, using a simple mechanical transmission via flexible, leaving a margin of maneuver to place the two projectors side by side, and modify at leisure the projection angle of each one on the cinema screen, so that the two screens of projected relief films overlap perfectly, regardless of the size of the cinema screen, or the distance from the projectors to the screen!
I will be able to make stereoscopic relief films and overlay them simultaneously!
That's what I was already doing before, monoscopic films, or classic flat films, in overprint however, with a small relief effect produced by the parallax of movement!
To clarify the point, I had forgotten to specify that this synchronous coupling of the two cinema projectors will in principle completely eliminate the component of the flickering of the projected images, which was unpleasant to the eye, without even having to drastically increase the speed of projection ...
Each cinema projector will send the light pulses from its photograms during the same phases of the joint projector!
What was problematic were especially the violent breaks in light contrast between the light pulses, and the black phases of complete occultation of the light alternating with the previous ones...
I should obtain an equivalent comfort of vision quite comparable to that of my 2D overprint films.
The mechanical parts and pinions that make up the gears are very economical in design, and sufficiently robust at the same time, since the models are designed from Lego Technic game components!
Moreover, the registered trademark "Lego Technic" is too expensive for my modest salary, I could not afford to spend thousands of euros on this purpose, which is why I preferred to order on Aliexpress a Chinese counterfeit sold for one tenth of the price of the original, who moreover does the job perfectly...
Regarding stereoscopy, there are only three possible real photographic or cinematographic shots...
The simultaneous method with two similar cameras placed side by side, and aiming at the same line of perspective...
The method of the single camera and lens associated with an optical field divider, which corolarly divides the image format by two, using prisms or mirrors...
Finally, the method of the single camera and lens performing a lateral translation during the shooting, or sequential stereoscopy opting for a time shift in the parallax of the perspective viewed.
This latter approach is particularly popular and the only possible in astronomy!
That makes 3 possibilities...
The restitution of integral relief, which has never been perfectly solved in the field of the entertainment and film industry, extremely rarely addressed in a field of scientific study, also offers 3 possibilities!
The method of Sacha Becher, a professor of geology at a German university, which cuts as closely as possible the floating windows of stereoscopy, both for their yellowing relief and their depth relief of images, by turning off as closely as possible all its objects represented within these respective limits...
It uses in particular the computer tool for vector clipping, commonly called Bézier curves, accessible from any digital photographic editing software!
The second method that I personally discovered, which consists in asserting a margin of maneuver of physiological tolerance specific to our vision of representation of the natural space.
Namely, do not cut out the floating windows by cutting out as closely as possible the objects represented, but opt for a very intuitive statistical approach, much faster to implement in the processing of these stereoscopic images!
The imaginary intersection lines between the two dimensions of incompatible spaces, namely respectively the plane surface of the support and its three-dimensional projection, are materialized by logarithmic regression curves, very easy to trace manually on a sheet of paper!
The third method I explored is even more radical...
Indeed, when the images materialized on the support are very little contrasted, quite diaphanous or ethereal, like those produced by multiple photographic overprints, or made by a rather long pause time exposure, as is the case in movement for example with the practice of light painting, it is no longer necessary to cut out the floating windows of stereoscopy...
Indeed, in this third case, you can easily mentally bend the space of perspective represented in the image, in order to elegantly resolve all local disparities, incompatible image distortions between 2D space of the support and its imaginary 3D projection...
In the end, I have at my disposal 3 distinct methods of shooting, but also 3 different possible approaches to rendering!
I would also like to draw your attention to the unsuspected possibilities of stereoscopic drawing!
I particularly like the style and the comic book work of Philippe Coudray...
He also has unusual passions, such as cryptozoology, a field of marginal studies, which is interested in the taxonomy of extinct, endangered, or still unknown animals to this day, if not by the fragmentary and endemic narrative of certain indigenous populations, in the most remote parts of the World!
He travels on this subject every year to the USA or Canada, in search of new testimonies about the mysterious apparitions of the Big Foot and other strange species, regularly participates in symposiums, and public communications on the subject...
Everything is on his website, if you're ever interested?
What personally fascinates me is his work as a painter, comic strip artist, watercolourist, in stereoscopic relief!
He explicitly explains on his homepage how he proceeds to draw in relief, in the traditional pencil way on a sheet of paper!
Obviously it is not pure abstraction like me, I proceed with my own work, rather naturalistic figurative drawing, therefore very accessible to anyone, with a real poetic scope, a very refined and minimal graphic charm in its layout, perfect for the best anaglyph rendering possible!
I have already started to consider drawing from another perspective, through this new approach, starting modestly by converting some of my films onto slide media, and including many overlays in relief, very dense in abstractions, rather difficult to read by the layman, in anaglyph drawings much more refined, of greater clarity to the eye!
You will then need to equip yourself with a pair of appropriate colored filtering cardboard glasses, in order to decode the anaglyph relief of corresponding colors, very accessible and cheap...
Unlike Philippe Coudray, I do not use computers and the use of dedicated software to produce anaglyph images, but rather work in a light chamber, projecting my own slide images on a sheet of paper for photocopies!
The grammage is very thin, which allows a good reading by transparency of the images projected on the sheet of paper, therefore from below, and not by reflection.
The sheets are placed on an upside-down baking dish of the Pyrex type, then by tracing with a pencil, the main outlines of the photographic images are thus plotted, then the lines are taken again with a black tubular marker, then a countercopy is finally carried out by superimposing the stereoscopic views of left and right on the same sheet of paper, always with backlighting from below, the left and right views being this time distinguished by a chromatic separation with color markers, red for the primary color and cyan for the secondary color, knowing that there are other possible pairs of primary and secondary colors, but it is ultimately red and cyan that are most used, for optimal contrast rendering...
The anaglyph process invented for printing and perfected by Louis Ducos Du Hauron around 1891, for use in industrial printing systems of the time, seems a bit outdated nowadays, but it is still used from time to time to show stereoscopic images in relief from a computer screen, by means of a pair of very cheap glasses, the paper support not having the favor for a long time already...
The anaglyph process is not perfect, often the colors smudge a bit, or the relief image presents certain artifacts called ghost images or crosstalk, which in no way disturbs however the rendering of the scenes rendered with this ancient method...
For now, I need to catch up with my regular shooting pace, as I have some hundreds of stereoscopic shots on paper prints to be mounted on cardboard supports, after correction of alignments and floating windows if applicable, which requires a lot of time to devote!
But I am also eager to return to drawing, it will be a very economical means, undoubtedly sensitive and fragile, to show my artistic work, and to offer it to anyone, to make me better known, assuming that it might interest other people?
You will then have plenty of time to let your daydreams take place, a bit like the fantastic bestiary that you allow yourself to guess, through the evolving circumvolutions of the clouds in the sky?
😃
https://archive.org/details/journalofsociety56socirich/page/604/mode/2up?view=theater
http://www.philippe-coudray.com/Pages/Dessins%20stereo.html
https://www.flickr.com/photos/stereotron/53023889741/in/photostream/lightbox/
https://aesculier.fr/stereo/fenetres/fenetres.html
http://www.sparetimelabs.com/animato/animato/3d/3d2.html
https://stereoscopictures.com/anaglyph/anaglyphs/
I complete a little here my technical presentation, without dwelling too much on the practical details, by briefly evoking another singularity of my personal practice of photographic stereoscopy, namely that I immediately embraced the bias, and this since my first experiments at the very beginning of 2012, chose this preference to always use a stereoscopic hyperbase for shooting!
That is to say, the aesthetic issue is partly reduced to increasing the perception of natural relief which is physiologically possible for us, and which is usually historically confined to a naturalistic rendering of the photographic perspective ...
Such an approach requires systematically performing a cut-out of floating windows, so that the rendering of images remains acceptable and comfortable for its viewer!
This is how Sacha Becher, the professor of geology at a German university, proceeds when he takes his stereoscopic shots during his vacation...
As far as I'm concerned, I had first chosen a convergence of the camera optical axes at infinity of perspective, which projects all the image relief in gush, or in front of the physical support, but this consequently involves cutting the projection cone of the corresponding window projected in front of the support, in order to solve the usual rectangular frame violations that normally delimit all the recorded images...
Finally I chose the so-called French method, to use a fairly strong convergence of camera axes, instead of infinite convergence, which normally involves cutting out stereoscopic floating windows, both behind the physical support, for the image depth relief, that in front for the outpouring relief...
I realized that the frame violations in the background of the zero plane, or the physical plane of the sheet of paper, remained within an acceptable physiological tolerance margin, and passed as a letter to the Post Office!
On the other hand, the frame violations projected in front of the sheet of paper deserved to be cut out, in order to materialize the corresponding floating window...
Another possible resolution consists in choosing a convergence value for the camera axes that takes into account both the choice of the stereoscopic hyperbase, and jointly the composition of images in their objects represented at the foreground planes!
There must certainly be mathematical models available, in order to optimize the correspondences between hyperbase, convergence, and distance of the objects closest to the film plane, ensuring always to stay within the physiological limits of acceptable comfort ?
However, the physiological approach remains largely intuitive, mathematical models have never interested me, and I have always favored experimenting with an empirical approach, based on experience from ordinary practice...
The relief of perspective will then be forced to my convenience, since I am its first spectator, and I only have this subjective reference, to trace the contours of comfort of the gaze, that it is somehow caught beyond its physiological limitations, but I completely ignore if the experience remains transposable to a larger number of spectators?
https://www.youtube.com/watch?v=lU7TIjqGOcQ
https://www.youtube.com/watch?v=JRHBVu633GI
https://www.youtube.com/watch?v=qtLBCwkov6g&t=217s
https://www.youtube.com/shorts/CMVjBThg8zk
"Without insisting on the details of these questions, we see that these first projections in relief already submit to technicians and artists new and fruitful subjects of study."
Louis Lumière
https://sciences.gloubik.info/spip.php?article2080
« Amblyopia and Brain Plasticity: Exploring Pathways to Restore Stereoscopic Vision »
By Victor Levy
https://stereoscopy.blog/2025/10/19/victhor3d/
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VISION - Compilation de 230 films (cf liste)
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ELECTRIC BLUES
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 62
2006 / 16mm / color / silent / single screen / 2' 43 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 63
2006 / 16mm / color / silent / single screen / 2' 34 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 64
2006 / 16mm / color / silent / single screen / 2' 30 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 65
2006 / 16mm / color / silent / single screen / 2' 25 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 66
2006 / 16mm / color / silent / single screen / 0' 53 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 67
2006 / 16mm / color / silent / single screen / 2' 31 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 68
2006 / 16mm / color / silent / single screen / 2' 32 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 69
2006 / 16mm / color / silent / single screen / 4' 14 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 70
2006 / 16mm / color / silent / single screen / 1' 53 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 71
2006 / 16mm / color / silent / single screen / 2' 48 / 23 € distribution: Digital file on server |
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VOYAGE AU-DELÀ DU PAYSAGE - bobine 72
2006 / 16mm / color / silent / single screen / 2' 41 / 23 € distribution: Digital file on server |
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SERIE DE PORTRAITS - LE BARBIZON
2004-2005 / Super 8 / b&w / silent / single screen / 3' 00 / 32 € distribution: Digital file on server |
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SERIE DE PORTRAITS - LIGHT CONE
2004-2005 / Super 8 / b&w / silent / single screen / 39' 30 / 34 € distribution: Digital file on server |
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SERIE DE PORTRAITS - LE C.J.C.
2004-2005 / Super 8 / b&w / silent / single screen / 59' 00 / 34 € distribution: Digital file on server |
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SERIE DE PORTRAITS - L'ETNA
2004-2005 / Super 8 / b&w / silent / single screen / 24' 30 / 34 € distribution: Digital file on server |
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SÉRIE DE PORTRAITS - BRAQUAGE
2004-2005 / Super 8 / b&w / silent / single screen / 20' 00 / 34 € distribution: Digital file on server |
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SÉRIE DE PORTRAITS - RE:VOIR
2004-2005 / Super 8 / b&w / silent / single screen / 13' 30 / 34 € distribution: Digital file on server |
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À LA DÉRIVE DES CONTINENTS
2003-2004 / Super 8 / color / silent / single screen / 11' 30 / 35 € distribution: Digital file on server |
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À LA RECHERCHE DU TEMPLE
2003-2004 / Super 8 / b&w / silent / single screen / 10' 30 / 35 € distribution: Digital file on server |
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BERCEUSE-CAROUSEL
2000-2004 / Super 8 / color / silent / single screen / 10' 00 / 34 € distribution: 16mm |
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RÉMINISCENCES D'ANCIEN MONDE
2000-2004 / Super 8 / color / sound and silent / single screen / 25' 00 / 35 € distribution: 16mm |
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PALÉONTOLOGIE-MÉLANCHOLIE
2003 / Super 8 / color-b&w / sound / single screen / 11' 00 / 24 € distribution: Digital file on server |
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SOUPIRS D'ÉCUMES (PARTIE I) - SOUPIRS D’ÉCUMES
2000-2002 / 16mm / color / silent / single screen / 10' 00 / 35 € distribution: 16mm |
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SOUPIRS D'ÉCUMES (PARTIE II) - VAGUES TOURMENTS
2000-2002 / 16mm / color / silent / single screen / 10' 00 / 35 € distribution: 16mm |
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SOUPIRS D'ÉCUMES (PARTIE III) - AU DELA DU NEANT
2000-2002 / 16mm / color / silent / single screen / 10' 00 / 35 € distribution: 16mm |
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PULSION
2001 / Super 8 / color / silent / single screen / 1' 30 / 33 € distribution: Digital file on server |
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LE RUISSEAU CHATOYANT
2001 / Super 8 / color / silent / single screen / 10' 00 / 35 € distribution: Digital file on server |
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LE SOUS-BOIS LUMINEUX
2001 / Super 8 / color-b&w / silent / single screen / 12' 30 / 35 € distribution: Digital file on server |
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RENAISSANCE...
1999-2001 / 16mm / color / silent / single screen / 9' 00 / 35 € distribution: Digital file on server |
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CHEMINS D'ÉVASION
2000 / Super 8 / color-b&w / silent / single screen / 15' 00 / 50 € distribution: 16mm |
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MARCHÉ DES PRIMATES ET STATIONS DEBOUT
2000 / Super 8 / color-b&w / silent / single screen / 10' 30 / 38 € distribution: Digital file on server |
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DÉSOLATION
1999-2000 / 16mm / color-b&w / sound and silent / single screen / 23' 00 / 75 € distribution: 16mm |
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LIMBES TROPICALES
1999-2000 / Super 8 / color-b&w / sound / single screen / 12' 00 / 41 € distribution: 16mm |
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BÉTON ARMÉ CONTRE DAME NATURE
1999 / Super 8 / color-b&w / silent / single screen / 4' 30 / 25 € distribution: Digital file on server |
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DANSE DES PRIMATES AU MUSÉUM D’HISTOIRE NATURELLE
1999 / Super 8 / color / silent / single screen / 2' 30 / 20 € distribution: Digital file on server |
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DÉFENESTRATION VERS L'AILLEURS - Champs crépusculaires
1999 / Super 8 / color / silent / single screen / 5' 00 / 38 € distribution: Digital file on server |
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SPIRITUEUX, ACIDES ET SIRUPEUX
1999 / Super 8 / color / silent / single screen / 7' 00 / 24 € distribution: 16mm |
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TRANSPORT CARCÉRAL URBAIN
1999 / Super 8 / color / silent / single screen / 11' 00 / 38 € distribution: Digital file on server |