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Ray Zone
Ray Zone
Ray Zone
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Ray Zone (1947–2012) was an American film historian, author, artist, and pioneer in methods of converting flat images (in particular, comic books) into stereoscopic images.

Key Information

Starlog called him the "King of 3-D Comics", and Artsy Planet called him the "3D King of Hollywood".

Biography

[edit]

Zone attributed his interest in 3D to having read Mighty Mouse comic books in 3D at the age of 6, in 1953.[2] He moved to Los Angeles in the early 1980s and began converting flat art to 3D images. He began working in comic books in 1983, and 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.[3] Zone produced 3D adaptations of art for over 150 comic books, for clients such as Disney, Warner Bros and the Simpsons, and including stories by Alan Moore and Grant Morrison which were specifically written to accommodate stereoscopy.

An internationally recognized expert in all things 3-D, Zone had a special interest in stereoscopic cinema and Large Format 3-D (15/70) filmmaking. He created stereo conversions and stereoscopic images for a wide variety of clients in publishing, education, advertising, television and motion pictures. In 2006 Zone was the 3D Artist on the Tool album 10,000 Days, which won that year's Grammy Award for Best Recording Package. He received numerous awards for his 3-D work, among them a 1987 Inkpot Award from San Diego Comic-Con for "Outstanding Achievement in Comic Arts".

He was the author of 3D Filmmakers, Conversations with Creators of Stereoscopic Motion Pictures (Scarecrow Press: 2005), Stereoscopic Cinema and the Origins of 3-D Film, 1838 - 1952 (University Press of Kentucky: 2007), 3-DIY: Stereoscopic Moviemaking on an Indie Budget (Focal Press: 2012), and 3-D Revolution: The History of Modern Stereoscopic Cinema (University Press of Kentucky: 2012).

In 2008 Zone worked as 3D Supervisor on Dark Country with director/star Thomas Jane, and in 2010 as 3D Producer on Guardians of the Lost Code, the first animated 3D feature film made in Mexico.

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Ray Zone

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Ray Zone was an American stereoscopic 3D artist, producer, author, and historian known for his pioneering contributions to the field of 3D imagery and his extensive documentation of stereoscopic cinema history. Nicknamed the "3D King of Hollywood," he earned acclaim for developing innovative methods to convert flat images, particularly comic book art, into immersive stereoscopic formats, working with major clients including Disney, Warner Bros., and creators such as Alan Moore and Grant Morrison. Zone authored several authoritative books on the subject, including Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952 and 3-D Revolution: The History of Modern Stereoscopic Cinema, which have become key references in the study of 3D technology and its evolution. Born in 1947, Zone founded his company, the 3-D Zone, to specialize in 3D conversions across various media, from advertisements and posters to comics and film projects. An internationally recognized expert, he also served as a speaker and award-winning 3D artist who championed the revival and advancement of stereoscopic techniques throughout his career. He died on November 13, 2012, in Los Angeles at the age of 65.

Early life

Birth and early influences

Ray Zone was born on May 16, 1947. His fascination with stereoscopic 3D originated in childhood, sparked at age six in 1953 when he began reading 3D comic books featuring Mighty Mouse. Viewing the pages through red-and-green anaglyph glasses left a lasting impression that would shape his enduring passion for the medium. This early, self-directed encounter with anaglyphic 3D imagery marked the beginning of a lifelong dedication to stereoscopic techniques and technologies.

Career beginnings

Pre-3D work and relocation

Ray Zone worked for Kaiser Steel in Fontana, California, for 14 years prior to his entry into stereoscopic media. This employment ended around 1982 when he pursued opportunities in the emerging 3D field. In the early 1980s, Zone relocated to Los Angeles. There, he joined 3-D Video Corporation and began working in its print media division, 3-D Cosmic Publications, between 1982 and 1983. This move marked his transition from industrial employment to full-time involvement in 3D publishing and conversion.

Entry into 3D production

Ray Zone began his professional engagement with 3D production in the early 1980s after relocating to Los Angeles and immersing himself in the emerging stereoscopic media scene. In 1982, following the publication of his article "Stereo Visions: 3-D and the Popular Arts" in the Summer 1981 issue of Fanfare magazine, Susan Pinsky of 3-D Cosmic Publications contacted him to write the story for the 16-page anaglyph 3D comic Battle for a Three Dimensional World, featuring artwork by Jack Kirby and initial 3D conversion by Tony Alderson. This project represented Zone's first comic book paycheck and served as his initial collaboration in the 3D format. Later in 1982, Zone approached James F. Butterfield, president of 3-D Video Corporation, and secured a position in its 3-D Cosmic Publications division, the print media arm of the company. He immediately resigned from his 14-year job at Kaiser Steel in Fontana, California, to commit full-time to stereoscopic production. By 1983, apprenticing under Tony Alderson, Zone mastered the process of converting flat artwork to 3D and began producing stereo conversions and stereoscopic images for clients in publishing, education, advertising, television, and motion pictures. This transition marked the start of his dedicated comic book work in 3D. Following the bankruptcy of 3-D Video Corporation around 1983–1984, Zone established himself as an independent producer and converter, laying the groundwork for a prolific career that would eventually include over 130 3-D comic book conversions.

3D comics work

Conversion techniques and volume

Ray Zone established himself as a pioneering specialist in the conversion of flat artwork to stereoscopic 3D for printed comic books, developing methods to create depth effects suitable for anaglyph viewing in mass-produced media. His process involved assigning differential parallax to elements within comic panels—foreground objects shifted more than background ones—to produce convincing three-dimensional illusions when viewed through red-cyan glasses. Zone produced 3D adaptations for more than 150 comic books, surpassing the total output of 3D comics from the 1950s revival period. This substantial volume reflected his role in revitalizing the format for contemporary audiences, with commissions from major clients including Disney, Warner Bros., The Simpsons, DC Comics, and IDW Publishing. Projects such as the conversion for Batman 3-D exemplified his ability to apply these techniques to high-profile properties.

Notable comic projects

Ray Zone produced several high-profile 3D comic projects that highlighted his mastery of stereoscopic conversion and helped cement his reputation as a pioneer in the format. One of the most acclaimed was Batman 3-D, a graphic novel published in 1990 by DC Comics, featuring a new story written and illustrated by John Byrne with 3-D effects by Ray Zone, along with reprinted material and pin-ups by various artists including Arthur Adams. This work combined anaglyph 3D technology with mainstream superhero storytelling to create an immersive experience that stood out in the industry. He also created 3D versions of Superman and Green Lantern comics, bringing classic DC characters to life in stereoscopic form. Additionally, Ray Zone provided 3D conversions for The League of Extraordinary Gentlemen: Black Dossier by Alan Moore and sections of Final Crisis: Superman Beyond by Grant Morrison. These collaborations on projects involving high-profile writers represented some of the most artistically ambitious efforts in his comic portfolio.

Stereoscopic film career

Feature film roles

Ray Zone applied his extensive expertise in stereoscopic imaging to several feature films during the late 2000s and early 2010s, serving in supervisory and production capacities on 3D conversions and native stereoscopic projects. He worked as 3D supervisor on Dark Country (2008/2009), a Sony Pictures thriller directed by and starring Thomas Jane. In 2010, Zone served as 3D producer on Guardians of the Lost Code (also known as Brijes 3D), recognized as the first animated 3D feature film produced in Mexico. These roles highlighted his transition from comics and shorts into feature-length stereoscopic work during the modern 3D cinema revival.

Short films and other media projects

Ray Zone wrote and directed two notable short stereoscopic films produced for the Stereo Club of Southern California. Slow Glass, completed in June 2006 as a dual HD 3-D movie, received the First Place Award in the club's Fifth 3-D Movie/Video Contest in 2007. Whatever Happened to Ro-Man?, another dual HD 3-D production, followed in June 2009 with Zone again serving as writer and director. Zone contributed to stereoscopic music packaging as the 3D artist on Tool's album 10,000 Days, released in 2006, where he handled stereophotography, digital art conversion, and 3-D consultation for the packaging that included a built-in stereoscope for viewing the artwork in three dimensions. The album's innovative design earned it the Grammy Award for Best Recording Package in 2007. In efforts to advance stereoscopic television, Zone worked with 3-D Video Corporation in the early 1980s to convert 1950s 3D films into anaglyph format suitable for FCC-compatible over-the-air broadcast. He also produced a three-minute dual band 3-D video program for Nippon Telegraph and Telephone in 1988, intended for exhibition in 3-D TV theatres in Japan.

Scholarship and authorship

Major books

Ray Zone established himself as a leading authority on stereoscopic cinema through his authorship of several influential books that blend historical scholarship with practical guidance. These works documented the evolution of 3D technology and filmmaking while offering insights for contemporary practitioners. His first major publication in this domain was 3D Filmmakers: Conversations with Creators of Stereoscopic Motion Pictures, released in 2005 by Scarecrow Press. The book presents a series of interviews with prominent figures in stereoscopic motion picture production, capturing their experiences and perspectives on the medium. Zone followed with Stereoscopic Cinema and the Origins of 3-D Film, 1838–1952, published in 2007 by the University Press of Kentucky. This scholarly volume traces the historical development of 3D cinema from the invention of stereoscopy in 1838 through the early 1950s, examining key technical innovations, early productions, and cultural contexts. In 2012, he published 3-D Revolution: The History of Modern Stereoscopic Cinema, also with the University Press of Kentucky. The book provides a comprehensive account of post-1950s stereoscopic cinema, analyzing technological advancements, industry dynamics, aesthetic approaches, and the cultural significance of 3D in contemporary filmmaking. That same year, Zone released 3-DIY: Stereoscopic Moviemaking on an Indie Budget through Focal Press. Focused on practical application, this guide details techniques and equipment for independent filmmakers to produce high-quality stereoscopic content on limited resources, including accompanying 3D glasses and a companion YouTube channel for visual examples. These publications highlight Zone's dual emphasis on rigorous historical research and accessible, hands-on advice for advancing stereoscopic 3D.

Lectures and articles

Ray Zone established himself as a prominent educator and scholar in stereoscopic media through extensive lectures, articles, and broadcast work. He was a prolific presenter at leading industry events, film festivals, technical conferences, universities, and museums, sharing his deep knowledge of 3D history and techniques. Zone delivered lectures at the Sundance Film Festival, including the 2008 presentation "In 3-D: The Future Is Now," and at SIGGRAPH, where he gave the 2008 PowerPoint lecture "From There to Here: A Stereographic History" in the Computer Animation Festival. He spoke at multiple SMPTE events, such as moderating the 2012 panel "3DIY: Toolsets for Independent 3D Filmmaking" at the Technology Summit and presenting "Breaking the Cycle: Why 3-D Movies Fail" at the 2006 Technical Conference. Additional academic lectures included "Thinking in Z-Space: Flatness and Spatial Narrativity" at Emily Carr University in 2011, "Introduction to Stereoscopic Projection" at UCLA in 2007, and "Phantom Rides: Extracting Stereoscopy from Motion" at USC in 2007. He also provided 3-D slide lectures and historical presentations at venues such as the Reuben H. Fleet Science Center in 1990, the Hollywood Heritage Society in 2003, and various Los Angeles Public Library branches from 1995 to 2012. Zone served as a keynote speaker at the National Stereoscopic Association Y2K Convention in 2000 with "My Life in 3-D." He contributed numerous articles to stereo publications, including Stereo World and Stereoscopy, covering subjects such as 3-D film noir, retinal rivalry, and modern digital stereoscopy. He received National Stereoscopic Association awards for Best Stereo World Article on Modern Stereoscopy in 2005 and 2011. Beginning in 1983, Zone hosted the public-access television program "The Zone Show," which showcased avant-garde artists and cultural topics. He also served as historian for the International 3D Society and the American Society of Cinematographers, drawing on his expertise to document and explain stereoscopic media. His lectures frequently built upon his foundational books on 3-D history and production.

3D community involvement

Organizational leadership

Ray Zone played a prominent role in the leadership of several key organizations dedicated to stereoscopic imaging and 3D technologies. He served as President of the Stereo Club of Southern California (later known as the Los Angeles 3-D Club) from 1986 to 1988, after holding other positions within the group including newsletter editor and publicist. He continued his involvement as Vice President of the Los Angeles 3-D Club at the time of his death in 2012. Zone was a board member of the National Stereoscopic Association and the 3D Center in Portland, Oregon. He also served as the long-time 3D historian for the International 3D Society, contributing to the documentation and preservation of stereoscopic history within the organization. In these capacities, Zone mentored numerous individuals in the 3D community, sharing his extensive knowledge and fostering enthusiasm for stereoscopic arts and technologies.

Awards and recognition

Ray Zone received several awards and honors for his contributions to comic book art, stereoscopic scholarship, and innovative 3D packaging design. He was presented with the Inkpot Award for Outstanding Achievement in Comic Arts by San Diego Comic-Con International in 1987. In 2000, the National Stereoscopic Association honored him with the William C. Darrah Award for his scholarly work in the field of stereoscopy. His design contributions included work on the lenticular 3D packaging for Tool's album 10,000 Days, which won a Grammy Award for Best Boxed or Special Limited Edition Package in 2007. Additional accolades included the American Comic Book Awards in 1986, the OZZIE Gold Award in 1989, and article awards from the National Stereoscopic Association in 2005 and 2011. Zone was popularly referred to as the "King of 3-D Comics" by Starlog magazine and the "3D King of Hollywood" by Artsy Planet, reflecting his prominent reputation in the 3D community.

Death and legacy

Death

Ray Zone died on November 13, 2012, in Los Angeles, California, at the age of 65 from a sudden heart attack. He was survived by his sons Johnny Ray Zone and Jimmy Ray Zone. Johnny founded the Howlin' Ray's hot chicken restaurant chain, named in his father's honor.

Legacy

Ray Zone's legacy endures as that of a central, irreplaceable figure in the worldwide stereoscopic 3D community, celebrated by peers as a mentor, advocate, and illuminating force who advanced the medium across comics, film, scholarship, and grassroots involvement. Brian May described him as "a great exponent of the art and science of 3-D photography" whose work over more than 40 years "contributed life and illumination to the world of 3-D," emphasizing that "this man is not replaceable" and his passing left the stereoscopic community stunned. Eric Kurland, a close colleague and president of the Los Angeles 3-D Club, called him "my mentor and dear friend" while underscoring his "long legacy as an author, publisher, historian, photographer, filmmaker and artist" and his role as "a longtime advocate of stereography as an art form." Tributes from the broader community echoed this view of Ray as an inspirational mentor whose encyclopedic knowledge, generous assistance, and passion "lit the flame" for many, with one noting he was "always ahead of the curve" and another crediting him with "relighting the 3D torch" through his teachings and promotion. His pioneering contributions paved the way for modern 3D success in comics through his production of 3D separations for over 130 titles, earning him the title "King of 3-D Comics," and his expertise influenced film applications as well, as evidenced by Alan Moore's praise that "there was only one person who could accomplish this" when entrusting him with a complex 3D section in The League of Extraordinary Gentlemen: Black Dossier. These efforts, combined with his convention appearances and advocacy, sparked interest among younger generations and helped sustain and revive broader enthusiasm for stereoscopic media. Posthumously, Ray Zone is treasured as an industry historian whose writings, historical research, and community leadership continue to inform and inspire the field. His influence remains evident in the ongoing work of those he mentored and the lasting foundation he built for stereoscopic 3D as both an art form and a technical practice.
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