The Underview on 2001 3D IMAGES

Not everyone has the opportunity to see these in real life. Anyone who has will agree that the effect really is amazing, especially with the larger versions. As they are perhaps the most spectacular of all collectibles for 2001: A Space Odyssey, I thought it was time people became more familiar with them, even in non-3D form. They came in three sizes, from postcard size (which really were printed as postcards, and if anybody feels like posting some to me, go ahead) at 4 by 6 inches (10 by 15 cm), through a very frameable intermediate size at 10 by 13 inches (25 by 32cm), up to a stunning 23 by 33 inches (58 by 84 cm) (all sizes approximate). Before anyone writes begging to know where they can get any of these, the best I can offer is to suggest that you keep your eye on any source which seems as though it might be promising, cross your fingers and be patient.       The scene with the lunar survey team (above, and below, left) is so lifelike, you can almost imagine yourself being on site. The illusion that the foremost figure is in a plane in front of the picture itself is so strong that you have to keep squinting at the picture edgewise to remind yourself that it really is flat, slowly turning it to try and catch it at the point when it suddenly springs to life. "Lenticular" refers to the narrow vertical ribs which act as lenses, giving a remarkably convincing 3D effect. I cannot simulate three dimensions, but here are a few ribs to be getting on with (below, right).       If you think that the survey team images are uncannily life-like, rather than painterly (as in Robert McCall's famous painting of this scene), here is the answer (below). They were based on the scene as staged and filmed, not on the painting. The strong blue cast of the lenticulars is evidently peculiar to them, rather than a feature of the original source.       Three dimensional effects can be simulated by "anaglyphs", as well as lenticular images. Anaglyphs "work", not by lenses, but by combining two interlocking, slightly offset images, one red and one green. Viewing with red and green "specs" effectively diverts only one of the coloured images to each eye, and the brain does the rest. Somehow. So, if you can dig out those old red / green specs you always thought would come in handy one day when they finally release "Return of the Son of Godzilla's Daughter's Stepfather" in 3D TerrorVision, but consigned to the attic long ago, fed up with waiting, you will be able to enjoy at least some of the effect of simulated depth on your monitor screen with the anaglyph pictured here (below, left). A detail from this anaglyph has been included in this web site's Collectibles pages for the last two or three years, making Underman's 2001 one of the earliest and longest- running sites to bring three dimensional images to the screen. If you do not have the specs, what you need is a piece of red cellophane or similar for the left eye, and green for the right (no, it does not work the other way round). Even better, click on the picture to visit Depthography Inc.'s web site, where you will find a wealth of information about the technology of imaging in three (and four!) dimensions and can get your own red / green specs. This image is available for purchase, along with many others. For comparison, here is a detail from a poster featuring the aforementioned painting by Robert McCall (below, right).

Anaglyph: image dimensionalized by Depthography Inc.
The space station, such an inspiring subject in the film, is the second of the two views reproduced in lenticular form. The illusion of depth is enhanced by the introduction of a second Orion space craft in the foreground, which does not appear in Robert McCall's painting, the most commonly- seen view of this scene. Obviously waiting to line up for a "landing" once the departing Orion has reached a safe distance, I think a suitable passenger list might consist of some of us devotees of the film, in the illustrious company of Mr. Kubrick and Sir Arthur, all set for a progress check on the construction of the Hilton Hotel and a few days R&R.

 
 
What happened to the future? That is where we were supposed to be, some time around now...  

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Thanks to Channing Thompson for the photographic images used at top right and bottom row Thanks to Mark Blunck for giving Channing the idea Thanks to Philip Rae for supplying the men-on-the-moon photograph Thanks to Sara Cook and Depthography Inc. for permission to use the anaglyph Thanks to The Underview for the great scans and the words Ooh, hang on - this is The Underview...

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