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Deleted
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Posted: |
Aug 8, 2016 - 5:58 PM
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By: |
Richard-W
(Member)
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In case anyone here doesn't know, the World 3-D Film Archive has a long track record in archival
preservation, theatrical exhibition and recently in home video thanks largely to the efforts of Bob
Furmanek. The classic 35mm stereoscopic films that Bob found and saved became the basis of the
only 3-D film archive in existence. Without his efforts there would have been no World 3-D Film
Expos in 2003, 2006 and 2013:
It was an impossible feat to pull off, gathering all the lost, damaged and contested vintage 3-D
films together for the first time in over 50 years and then projecting them correctly before sold-out
audiences at the Egyptian Theater in Hollywood. Hollywood had never experienced a film festival
like these before. The Expos also had a profound impact within the industry, influencing directors
and studio executives to take a chance on new 3-D films, and helping to usher in the resurgence
of 3-D cinema in the last several years. The quality of the World 3-D Film Archive's work has been
consistently outstanding.
So, if you have doubts about supporting this kickstarter campaign, don't. You may contribute with
absolute confidence. Bob Furmanek, Greg Kintz and Jack Theakston always do what they say they
can do, and they do it better than the studios. Their 3-D blu-rays of vintage films are the only 3-D
blu-rays to be properly aligned with reverse stereo shots corrected. Not even Universal or Warner
Brothers has done that.
Don't hesitate. Contribute Now:
https://www.kickstarter.com/projects/3-dspace/september-storm-1960-3-d-digital-feature-film-rest
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We've just updated our SEPTEMBER STORM page to thank the generous donors that have made this restoration possible. There are also some new photos and clippings on the film. Enjoy! http://www.3dfilmarchive.com/september-storm
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Posted: |
Nov 23, 2016 - 4:53 PM
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By: |
manderley
(Member)
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Bob......
The SEPTEMBER STORM news is exciting. It's always wonderful when a more obscure film gets restored along with the more famous ones. Congratulations on your continuing preservation work in the 3-D arena.
I know that you've run the complete FRENCH LINE in 3-D at your festival (where I saw it a few years ago.) I know that you've cut and pasted it together from various print sources to make it complete, but I wonder if there's been any archival attempt in a standard way to preserve the last reel in its uncensored 3-D form from your pieces or existing archival material, and in at least digitally-scanned and mastered for now. Then, if and when the whole film might be restored, at least this very rare footage could be integrated into the restoration process. We all know that if it hasn't been preserved in some form or another, one day it will be too late.
And while this film is certainly not creatively important, it IS important and well-known in the history of film censorship.
Hopefully, Turner/Warner also preserved the roadshow sections of RAINTREE COUNTY as a new master when they retrieved them from prints about 25 years ago. When you can scan and transfer them to digital, at least the deterioration and fading of the previously lost elements is stopped in time until you can work on them with modern technology and do the whole film when budgets allow.
I suspect that this is, sadly, what UA didn't do when it acquired the complete roadshow ALAMO 70mm print from Canada several decades ago, and simply vaulted the print and let it keep fading away and physically deteriorating.
Incidentally, another question: You and your associates have apparently built your own Perspecta Sound Integrator based on the original concepts, which, from your descriptions about channeling and gain controls sounds like it's pretty accurate to the original system.
You've also spoken about your attempts to get various studios to expend some money and restore their own Perspecta tracks, but have been met with resistance and disinterest.
So, my question is, have you made any efforts to raise money and make 3-channel masters on your own from the 35mm Perspecta prints that you can find, and thus, build a library of these masters for future uses? It seems to me a pretty inexpensive process to develop a newly minted Perspecta track from the old prints which might be used on the Perspecta films which NEVER had mag stereo tracks. Surely this would be a great selling point for remastered Blu-rays of films which never had true stereo tracks, or which do not have sound stem elements existing---DMX and/or original stereo music stems---to mix new true stereo from.
There are quite a number of MGM films of the fifties in WideScreen or Scope (for example), which never had stereo tracks, but did have Perspecta Sound which might benefit (saleswise) from the addition of a more-involving sound track---done on a budget. Paramount, Universal, and Columbia also have a fair number of candidates, too.
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Thank you very much! We couldn't have saved SEPTEMBER STORM without the generous contributions of all the backers on our Kickstarter campaign. It will be a thrill seeing it on the big screen for the first time since 1960. Co-star Asher Dann will be in attendance as well.
WB owns THE FRENCH LINE and claims to have all the elements. The ball is in their court on that one. I hope they restore it sooner than later!
We had an original Fairchild integrator from 1954, restored by the late Bob Eberenz. He worked for Fine Recording in the 1950's and completely rebuilt the unit. Needless to say, it sounded amazing and gave me a new respect for the system, especially when heard on a fifty-foot screen when I produced an all-Perspecta show at a movie palace in April, 2002.
Your suggestion is a sound one. Unfortunately, I no longer have access to most of the 35mm prints which had the encoded tracks.
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Hey Manderley, good to see you posting.
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