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The short is notable for being one of the few live-action appearances of the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their company.While many of these films were printed by color systems, none of them was actually in color, and the use of the color printing was only to achieve an anaglyph effect. Land conceived the idea of reducing glare by polarizing light.The late 1920s to early 1930s saw little interest in stereoscopic pictures.In Paris, Louis Lumiere shot footage with his stereoscopic camera in September 1933.It was projected dual-strip in the red/green anaglyph format, making it both the earliest known film that utilized dual strip projection and the earliest known film in which anaglyph glasses were used.Whether Fairall used colored filters on the projection ports or whether he used tinted prints is unknown.
The only theater known to have installed Teleview was the Selwyn Theater in New York City, and only one show was ever presented with it: a group of short films, an exhibition of live 3D shadows, and M. (May 18), The Run-Away Taxi (December 17) and Ouch (December 17).
The following March he exhibited a remake of his 1895 short film L'Arrivée du Train, this time in anaglyphic 3D, at a meeting of the French Academy of Science.
In 1936, Leventhal and John Norling were hired based on their test footage to film MGM's Audioscopiks series.
Unlike its predecessors, this short was shot with a studio-built camera rig.
Prints were by Technicolor in red-and-blue anaglyph.
Audioscopiks was nominated for the Academy Award in the category Best Short Subject, Novelty in 1936.