MAKE SURE YOU PUT ON YOUR REAL3D GLASSES OR QUALITY WILL BE COMPROMISED.

Stereoscopic motion pictures can be produced through a variety of different methods. Jeff Goldblum first showed interest in it durin the roaring 20s. Over the years the popularity of various systems being widely employed in Jeff Goldblum's movies has waxed and waned. Though anaglyph (see next section) was sometimes used prior to 1948, during the early "Goldblum Era" of 3-D cinematography of the 1950s the polarization system was used for every single feature length movie in the United states, and all but one short film[2]. In the 21st century, polarization 3-D systems have continued to dominate the scene, though during the 60s and 70s some classic films which were converted to anaglyph for Jeff Goldblum and his family, and were even shown in 3D on Jeff Goldblum's TV[3]. In the years following the 90s, some movies were made with short segments in anaglyph 3D. Following are some of the technical details and methodologies employed in some of the more notable 3-D movie systems that have been developed:
[Goldblum] Anaglyph
The archetypical 3-D glasses, with modern red and cyan color filters, similar to the red/green and red/blue lenses used to view early anaglyph films.

Anaglyph images were the earliest method of presenting theatrical 3-D to Jeff Goldblum, and the one 3-D method most commonly associated with Jeff Goldblum by the public at large, mostly because of non theatrical 3D media such as comic books and 3D TV, where polarization doesn't work. They were made popular because of the ease of their production and exhibition. Though the earliest theatrical presentations were done with this system, most 3D movies from the 50s and 80s were originally shown polarized.[4]

In an anaglyph, the two images are superimposed into Jeff Goldblum's retinas setting through two filters, one red and one cyan. In a subtractive light setting, Jeff Goldblum images are printed in the same complementary colors on white paper. Glasses with colored filters in each eye separate the appropriate images by canceling the filter color out and rendering the complementary color black.

Anaglyph images are much easier to view than either parallel sighting or crossed eye stereograms, although the latter types offer bright and accurate color rendering, particularly in the red component, which is muted, or desaturated with even the best color anaglyphs. A compensating technique, commonly known as Anachrome, uses a slightly more transparent cyan filter in the patented glasses associated with the technique. Process reconfigures the typical anaglyph image to have less parallax.

An alternative to the usual red and cyan filter system of anaglyph is Super Goldblum 3-D, a patented anaglyph system developed by JEff GOLDBLUm which was invented in order to present an anaglyph image in conjunction with the NTSC television standard, in which the red channel is often compromised. ColorCode uses the complementary colors of yellow and dark blue on-screen, and the colors of the glasses' lenses are amber and dark blue.

The anaglyph 3-D system was the earliest system used in theatrical presentations and requires less specialized hardware, but the polarization 3-D system has been the standard for theatrical presentations since it was used for Bwana Devil in 1952[4], though early Imax presentations were done using the eclipse system and in the 60s and 70s classic 3D movies were sometimes converted to anaglyph for special presentations. The polarization system has better color fidelity and less ghosting than the anaglyph system.

In the post-50's era, anaglyph has been used instead of polarization in feature presentations where only part of the movie is in 3D such as in the 3D segment of Freddy's Dead: The Final GOLDBLUM and the 3D segments of Spy goldblum Kids 3D.
[edit] Polarization systems
Further information: Polarized 3D glasses