3D 3D Blu Ray Question Regarding 1950s Movies (1 Viewer)

[seangood79]

I ask this question assuming 3D home theater technology gains a strong enough foothold that studios start spending resources to release classic 3D movies.

Since many of these movies were released in 1.37, would the 3D effect be diminished pillarboxed on a 16:9 television?

I have zero experience with the technology, don't know anyone who owns a system, and every time I'm in a Fry's or Best Buy their displays are out of order.

This is probably a premature question, we're probably years away from seeing Dial M for Murder, Kiss Me Kate, Hondo, House of Wax, Creature from the Black Lagoon on 3D BD, if ever.

 

[Charles Smith]

The availability of those -- and all the rest of the catalog titles -- in 3D will be the ONLY reason I'd ever consider investing in a 3D system myself.

 

[RolandL]

Sony, IMAX and Discovery are planning to have a 3D channel that will include 3D films from the 1950s

 

http://www.eweek.com/c/a/Mobile-and-Wireless/Sony-Planning-3D-Notebook-TV-Channel-Report-739975/

 

http://www.nypost.com/p/blogs/movies/vintage_poised_for_comeback_qevG5T2OpFA3Ex2Ru1opXN

 

 

 

[Jack Theakston]

1) No, there will be no effect on the films if they're pillarboxed.

 

2) Most of the titles you listed were composed for some flat widescreen format.

 

Dial M for Murder 1.85-1

Kiss Me Kate 1.75-1

Hondo 1.75-1

House of Wax 1.37-1

Creature from the Black Lagoon 2.00-1

 

[seangood79]

Thanks Jack.

I normally cringe when I hear people talk about distracting pillarboxing or letterboxing,
I kind of wish you hadn't told me about the aspect ratios.

I'm a projectionist and a few years back I had the privilege of showing some of these movies in dual strip 3D. On the basis of IMDB saying Dial M was 1.37 for 3D, and this post I played Kiss Me Kate in 1.37.

They looked fantastic, but if I ever get the opportunity again I'll make them widescreen.

 

[Jack Theakston]

Sean, you'll have to be careful with KISS ME KATE and run it 1.66 if you do run it again widescreen. The film was shot full, silent aperture (to be reduced to normal Academy aperture via the optical printing of the matrices at Technicolor). The point of this method was to get a finer-grained image that would hold up on wide-screens. Consequently, because the new print WB struck for rental was contact printed and not optically reduced, the left portion of the image is cut off and everything is shifted to the left on the new prints. Only the credits were optically printed down so that the text didn't get lopped off, too.