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Oh, boy. You cannot go wrong with Marie Windsor!

As I said, Thad deserves all the credit. As soon as the issue hit, he wrote a detailed report which I passed along to Frank Tarzi at Olive. We were negotiating for DRAGONFLY SQUADRON at the time and it was the first he had heard about these issues. Frank sent Thad's report to the mastering...

Excellent news, Thad. Your detailed report and my letter to Frank Tarzi on August 28 did the trick. At the time, he wasn't aware of the problem and he passed on your data to the mastering people at Paramount. Congratulations!

This is the transfer that I did from nitrate for laser disc back in the early 1990's. This copy is several generations down but it will give you a good idea of the two-color palette.

In that case, it sounds like it's been mastered from a fading Eastmancolor dupe element. Some of the Monogram/Allied Artists Cinecolor titles were copied to CRI's in the 1970's. Those intermediates are now fading. I have a 16mm Cinecolor of FLAT TOP and the color is not red or pink in any way...

Cinecolor has a limited palette and FLAT TOP is in the two-color system. http://www.widescreenmuseum.com/oldcolor/cinecolor2.htm With that said, I've run quite a few in original 35mm prints and they can look very nice. I mastered SCARED TO DEATH from nitrate Cinecolor for laser disc twenty...

Just to clarify, the stereoscopic aspect of our titles will be flawless. It's the film-related issues that might show some wear. For instance, we could have done a wet-gate 4K scan of THE BUBBLE negative but it would have cost close to 50K. I would love to have done it but we would have been...

When we began looking at various methods to fix wear and damage on some of our 3-D elements, we realized that it would not be economically possible to repair every single flaw in a 60+ year old element. These repairs are not cheap and you can wind up spending more money than you would ever hope...

I meant no harm in taking my offers public. It's just that I've gone the private route as well and never get a reply! I just want to to see these films properly, that's all. It's a shame about FIGHTER ATTACK. It's a good film.

I'm still waiting for the professional courtesy of a reply from Olive on my offer to provide an HD master of FIGHTER ATTACK...

I should mention that I would not make a penny doing this work. In addition, 3K for an HD scan is an incredibly discounted price from a top post facility. I've done work with them in the past and I'm basically pulling a huge favor to get this done. I just want to see this film get released so...

The archival print of FIGHTER ATTACK has been inspected and is flawless. There are no scratches, wear or splices. The color is an accurate representation of the Cinecolor red/blue palette. I would be able to get an HD 1.85:1 transfer for around 3K. Would Olive be interested?

Seriously, not consulting the world's foremost animation historian for the Boop release is an amazing oversight. That would be like not consulting with an aspect ratio expert on the 1953-1956 feature releases. We all know how mistakes are made within the studio system. Jerry Beck's outstanding...

Nah, he's just a "blogger." What does he know?

That IS good news, John. While it's protected for 1.66, it was composed for 1.75:1.