- Joined
- Jul 3, 1997
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- 66,798
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- Ronald Epstein
I couldn't script anything better than what HTF member Mike Ballew has written below. Please read this post, followed by a statement from our own Bob Furmanek. Please be certain to contact Olive Films. That information has been included below....
From Mike Ballew:
Speaking frankly, we would not accept THE ADVENTURES OF ROBIN HOOD, GONE WITH THE WIND, or BLACK NARCISSUS in black and white. We would not accept THIS IS CINERAMA, BEN-HUR, or LAWRENCE OF ARABIA in pan-and-scan. We who are serious about film and who respect the original intent of filmmakers really cannot accept MONEY FROM HOME in 2-D, and we should respectfully speak up.
MONEY FROM HOME is an historically significant 3-D title. By my reckoning, it's one of four prestige 3-D titles released during the holiday season of 1953-'54. It was hoped in some circles that the combined impact of KISS ME KATE, HONDO, MISS SADIE THOMPSON, and MONEY FROM HOME would turn the tide of public opinion decisively in favor of well-handled 3-D.
MONEY FROM HOME is a fun, colorful film with gorgeous 3-D, very well done from a technical perspective. This is especially remarkable given that it is one of two films shot using Technicolor's own proprietary 3-D rig, which involved dual 3-strip color cameras. That's six bands of film going through the rig at once!
If Olive Films does intend releasing MONEY FROM HOME in 2-D, they have surely come to this decision without weighing how much enthusiastic support they will receive from the collecting community if they release the Blu-Ray in 3-D. I think it behooves us to get in contact with Olive Films, to very respectfully impress upon them that a 2-D-only release is unacceptable but a 3-D release would receive our wholehearted support.
Here is their contact information, obtained from their website:
Olive Films
1528 W Adams St
Suite 1
Chicago, IL 60607 USA
[email protected]
From 3-D Film Archive Bob Furmanek:
We pulled many favors and were prepared to create a flawless 3-D master. We had many important individuals on board to make it happen, including Paramount studios; members of the Packard Humanities Institute; the UCLA Film and Television Archive; FotoKem labs in Burbank - and Jerry Lewis.
From Mike Ballew:
Speaking frankly, we would not accept THE ADVENTURES OF ROBIN HOOD, GONE WITH THE WIND, or BLACK NARCISSUS in black and white. We would not accept THIS IS CINERAMA, BEN-HUR, or LAWRENCE OF ARABIA in pan-and-scan. We who are serious about film and who respect the original intent of filmmakers really cannot accept MONEY FROM HOME in 2-D, and we should respectfully speak up.
MONEY FROM HOME is an historically significant 3-D title. By my reckoning, it's one of four prestige 3-D titles released during the holiday season of 1953-'54. It was hoped in some circles that the combined impact of KISS ME KATE, HONDO, MISS SADIE THOMPSON, and MONEY FROM HOME would turn the tide of public opinion decisively in favor of well-handled 3-D.
MONEY FROM HOME is a fun, colorful film with gorgeous 3-D, very well done from a technical perspective. This is especially remarkable given that it is one of two films shot using Technicolor's own proprietary 3-D rig, which involved dual 3-strip color cameras. That's six bands of film going through the rig at once!
If Olive Films does intend releasing MONEY FROM HOME in 2-D, they have surely come to this decision without weighing how much enthusiastic support they will receive from the collecting community if they release the Blu-Ray in 3-D. I think it behooves us to get in contact with Olive Films, to very respectfully impress upon them that a 2-D-only release is unacceptable but a 3-D release would receive our wholehearted support.
Here is their contact information, obtained from their website:
Olive Films
1528 W Adams St
Suite 1
Chicago, IL 60607 USA
[email protected]
From 3-D Film Archive Bob Furmanek:
We pulled many favors and were prepared to create a flawless 3-D master. We had many important individuals on board to make it happen, including Paramount studios; members of the Packard Humanities Institute; the UCLA Film and Television Archive; FotoKem labs in Burbank - and Jerry Lewis.
