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As you probably know, you MUST use a cold dichroic mirror with this type of lens and it is good insurance to use heat absorbing glass somewhere around the snout as well. The polarizing elements in these lenses are small and take a much larger hit of heat per square inch than the mirror box types.

Plan on using a cardboard box as an extension to go outside the porthole and act as a masking agent. Flat black paint, baffles, yada yada.

I have copies of the Stereovision manuals from 1977 and 1983, but they pretty much condense down to what I just said.

As a tip, don't be concerned about the exact registration of the soundtrack as vertical registration of the images. If one image is too high it will cause eyestrain and more headaches than normal. You might find it a good idea to block off some of the seats as well, depending on the auditorium. Sitting too close and to the side can be torture. Oh yeah, test loops on 3-D single strip prints are just about worthless, IMO. The variation in how a film is shot and printed makes aligning the feature itself much more accurate than using a test loop.

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If something has to do with 3-D and I don't know about it, I want to know more. I don't ever recall hearing about a system with add-in prisms.

The basic registration tips I gave above would still apply. How you would reach that registration seems to be the issue.

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