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I'm all for including anything and everything that Nelson Riddle did for the series. However I don't find the work of Billy May in the later seasons particularly interesting. I'm happy if it's included as long as it doesn't take away from any of Riddle's work, or if it is released separately.

I didn't know that until I picked it up from the dates and production codes in the liner notes.

It's wonderful to finally have "12 O’CLOCK HIGH" as part of my collection. I had this high on my wish list, but thought it would never happen. I find that "12 O’Clock High" Track 14 of Disc 2 seems to have much in common with Tracks 5 & 36 of the first volume of "Rat Patrol." I've caught a...

Beautiful theater! I would have loved to have seen Star Wars there (closest theater to me where it did play in 70mm). I also would have loved to compared the experience with that at the Glenwood. The only Cinerama house I've seen a movie in is the Seattle Cinerama, and I'll take my Glenwood...

The photos where you see the sign with the turquoise and magenta coloring are after it was moved to another nearby theater (formerly the Metcalf Theatre). I long assumed that I did see Star Wars in 70mm, as I didn't know anything about 35 vs. 70mm when I saw it, but saw many 70mm Dolby...

The Glenwood of Overland Park, Kansas, USA. I have never found a better place to experience a movie than their Theatre I (816 seat, 35 foot tall curved screen). I believe it was built for Todd-AO presentation. The first movie I saw there was Star Wars which played there for 56 weeks (between...

It was the 35mm Dolby Stereo version that I experienced several times in 1977, although I didn't realize that as a 9 year old. I later assumed, since the theater was equipped for 70mm (later having its 70mm print of "Return of the Jedi" stolen at gunpoint), that I had seen it in 70mm 6-track...

I've been speculating that since the 6-track was so aggressive for the time, perhaps the Dolby Stereo (SVA) mix was made ultra-conservatively to ensure compatible playback in theaters not equipped for Dolby or stereo playback.

I wish it had been included on the theatrical Blu-ray as well (and in a lossless format). My wish for "Star Wars" is to have all three original theatrical audio mixes available as audio options, in the best possible quality of course. I'd really like to experience the Dolby 6-track mix for it.

Part 2 is up now. Skip from to 6:02 to 7:15 if you want to avoid listening to the clip of the newly discovered alternate version of "Fortress of Solitude." Mike Matessino has suggested that it is best appreciated by hearing it in its entirety on the first listen. Superfeats: A Conversation...

There is a night and day difference between the original 6-track Dolby Stereo mix on the 5.1, and the original Dolby Stereo (SVA) mix on the 2.0. I consider the sound difference on similar scale to the best stereo hi-fi system vs. the average TV in the 1960s. The original Dolby Stereo (SVA)...

Change the subtitles or audio language for iTunes Store movies and TV shows or if you have an old AppleTV like mine, I think you push the up arrow while the movie is playing to get to the audio and subtitle options.

Thank you Neil S. Bulk, Mike Matessino, and everyone else involved with making this happen. This is another great treat to have along with the original six-track mix. "A recent discovery of the score’s original 2-inch, 24-track music masters has led the way to a stellar, high-resolution...

I just wish I could combine the original six-track mix from the 4k disc with the image from the theatrical BD. I didn't have the Anthology set, so the 4k package was my opportunity to get both, and I'm still waiting for the consumer 4k HDR display technology to mature a bit more before I buy...

I've greatly enjoyed The Rat Patrol. I found that Frontiere reused some cues from 12 O'Clock High in it. I would really enjoy a full release of 12 O'Clock High.

Current top of my wish list: Dominic Frontiere's 12 O'Clock High Nelson Riddle's Emergency

My understanding from what I've been able to find is that it's more complicated than there being a single crossover point at 250 or 500Hz. There was an intentional gap in frequency between the baby boom (below 250Hz) and stereo surround information (above 500Hz) recorded on tracks 2 & 4 in...

What format with increased quality would you project for the 2020's (coming very soon)? What have the trends of overall physical media sales been? I think historical decade by decade transitions of media types comes far short of telling the whole story. What does the story of phonograph...

Here's one more I just found that's not an interview, but discusses the "Thau" audio mix. Souped-Up Superman - Sound & Vision I found this interesting as it matches my impression of the Atmos track (page 4): Maybe I'm just old fashioned, but I think it's more effective when the overall...

With the discussion of the "Thau" audio mix, I thought these articles might be of interest. Superman - An Icon Reborn - DVDFile Detailing the Restoration (direct link to the first page of the Thau interview) Interview with Michael Thau (Superman Homepage) I find a few of his comments to be...

I think it's more a matter that he, Unsworth, and Alcott precisely composed and orchestrated the cinematography based on what parts of the frame would optimally be shown in theaters based on Super Panavision 70 (same as Todd-AO) and Cinemascope specs. I don't think there's any guesswork needed...

See my post above. The 70mm prints weren't to project the entire image area available on the negative (2.072" x .906"). From what I found the reduction elements weren't supposed to have any more info on the sides than what was projected in 70mm, but it would be possible for them to since there...

It sure would be nice if it actually were corrected in what is now planned to be 7 weeks of delay (and counting).

^ From what I can find the 70mm was projected through a nominal 1.912" x .870" aperture for theatrical presentation, and the 35mm reductions were supposed to be taken from a 1.912" x .816" area of the negative image, so both were supposed to be constrained to the same width with the scope...

That's correct. The 'ground breaking' Dolby Stereo optical sound matrix was only used on 35mm prints. Star Wars was the first use of this Dolby "Baby Boom" format which repurposed the existing 6-track magnetic Todd-AO format by using channels 2 and 4 for low frequency effects as you describe...

On a slightly different subject, something that really bugs me with "Superman" is what I consider to be the cut-and-paste butchery done to John Williams score. The swapping and speed/pitch changing of portions of the main and end title music is the most egregious example, but the various cuts...

The opening is certainly monophonic now on the original 5.1 DD. I couldn't detect sound out of any but the center speaker. However the transition of the sound from the "1930's" into the title sequence seems considerably more subtle to me. The Thau mix seems to have a very dramatic transition...

https://www.in70mm.com/library/engagements/film/s/superman_1/index.htm

^ Tomlison Holman's book "5.1 Surround Sound: Up and Running" states: "Just six months after "Star Wars," "Close Encounters of the Third Kind" was the first picture to use dedicated subwoofers, installed just for the purpose of playing the Baby Boom channel." In my area (to the best of my...