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3D A-to-Z

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A/V A to Z

A/V A to Z Overview (Summary, Marketing Blurbs, and Competitive Analysis)

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Back Matter



All About Our Authors

Mark Huber

Author’s Bio
Mark Huber has been professionally involved in theatrical special effects since the late 1970s, with an extensive background in the motion picture, theme park, and game industries. His first stereoscopic 3D projects were game systems developed for EPCOT at Walt Disney World in the early 1980s. Mr. Huber was a member of the technical staff at Walt Disney Imagineering, Research and Development, where he spent almost a decade studying the “Entertainment Applications of Polarized and Monochromatic Light,” with attention to unrealized stereoscopic 3D applications. He is currently the primary inventor of Technicolor 3D, a 35mm film-based polarized light stereoscopic 3D delivery system. Mr. Huber is also the inventor of note on 6 patents for the manipulation of polarized light and stereoscopic 3D. The Technicolor 3D system is anticipated to generate at least 16 additional patents in the area of stereoscopic 3D. Mr. Huber holds an undergraduate philosophy degree, Magna Cum Laude, from California State University, Northridge and an MS in Geology from California State University, Los Angeles, where he studied optical mineralogy and developed the scientific foundation for his work in stereoscopic 3D.


Richard W. Kroon

Author’s Bio
Richard W. Kroon shot his first film more than 30 years ago. Since then, he has worked on numerous independent film and video projects in front of and behind the camera, gaining experience as a writer, director, stereographer, and producer along with the various production crafts ranging from set construction to rigging grip. Mr. Kroon's experience on the business and technical side of the media and entertainment industry includes senior positions with the Motion Picture Association of America, Technicolor, MovieLabs, EIDR, and UNIO3. In addition to being an awardwinning videographer, Mr. Kroon is a member of the Society of Motion Picture and Television Engineers and holds a BS from the University of Southern California, an MBA from Auburn University, an MA from Touro University Worldwide, and post-graduate certificates in Film, Television, Video, and Multimedia from UCLA Extension's Entertainment Studies program.

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Ray Zone

Author’s Bio
Ray Zone moved to Los Angeles in the early 1980s and began working in the world of 3D, converting flat art to 3D images. Since 1983, he has converted more than 150 "flat art" comic books to 3D for clients such as Disney, Warner Bros., and the Simpsons. His early collaborations with Jack C. Harris and Steve Ditko drew the attention of Archie Goodwin, who recruited him to work with John Byrne on the 1990 Batman 3-D, a full-length 3D graphic novella. He has also produced 3D adaptations of art for stories by Alan Moore and Grant Morrison, which were specifically written to accommodate stereoscopy. Mr. Zone, a noted 3D industry historian, is the author of four books exploring various aspects of stereoscopic 3D, including 3-DIY and 3-D Revolution: The History of Modern Stereoscopic Cinema. He has also worked as 3D supervisor on the feature film Dark Country 3D and 3D producer on Brijes 3D, the first animated 3D feature film made in Mexico. In 2006, Mr. Zone the 3D artist for the platinum-selling Tool 3D CD 10,000 Days," which won a Grammy Award for "Best Recording Package." Mr. Zone has received numerous other awards for his 3D work, including a 1987 "Inkpot Award" from San Diego Comic Con for "Outstanding Achievement in Comic Arts."


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Expressionism Image

expressionism; German —
An artistic movement of the early twentieth century.

According to cultural historian Walter Laqueur, “To try to define Expressionism is a thankless task given the inchoate character of the movement.” In general terms, expressionism emphasized the subjective view of the author, rejecting naturalism and any attempt to depict the real world. Expressionism was both a visual and literary movement, but it is perhaps best known as the cinematic style characteristic of German filmmakers from 1919 through 1933 (German Expressionism), with its distorted and exaggerated images, unnatural angles, heavy shadows, and forced or false perspectives. The most famous examples are Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari, 1919) and Nosferatu, eine Symphonie des Grauens (Nosferatu, a Symphony of Horror, 1922).