3D World 3D Film Expo III @ Egyptian Theatre (1 Viewer)

[Richard--W]

Got a favor to ask of anyone who was at JAWS 3-D: A dear friend of mine is enamored of that film, as Todd is, above, and if there had been any way for her to fly out even to see just that one event, she would have. Any comments on how that one went, who was there, etc., will be more appreciated than you can imagine!

Charles, Bess Armstrong, Lea Thompson and Louis Gossit were all scheduled to appear, but they canceled becausethey got called to work, Dennis Bartok the theater manager explained. Instead director Joe Alves, producer Rupert Hitzig and location manager Carl Mazzocone appeared. They talked about various aspects of the production. Joe Alves reminded the audience that he was involved with the first JAWS before Steven Spielberg was hired to direct. He was very proud of the shot of the man's point of view from inside the shark loking out as it eats him. He said Spielberg laughed at the idea and said it couldn't be done, so Alves made the shot in his film. They told anecdotes that I'm to tired to remember. JAWS 3-D was a lot of fun and the audience thoroughly enjoyed it.

The DCP of MISS SADIE THOMPSON was very fine. Here is an example of how a mature, intelligent straightforward drama can hold an audience in rapt attention. No special effects or horror were needed. Just a good story, heartfelt performances, and first-rate stereoscopic photography at an exotic location. No doubt this is the classic 3-D film Twilight Times plan to release next year.

More later.

 

[GregK]

This first weekend of the Expo has been non-stop - Literally morning until late night Golden Age 3-D viewing. Monday will allow a little bit of breather before the evening shows begin- starting with PHANTOM OF THE RUE MORGUE in dual strip 35mm 3-D.


(Hyper stereo shot of skyline below)

 

[revgen]

I echo Richard's sentiments about Miss Sadie Thompson, definitely a beautiful transfer and I will definitely be the first in line to pre-order if Twighlight Time releases it on 3D Blu-Ray.

 

[Todd J Moore]

I stuck around all day yesterday, even for (lord help me) The Stewardesses. Shared some knowledge of Miss Sadie Thompson that others didn't know, like the two lines taken straight from the short story.

 

[revgen]

I liked tonight's showings a bit more than Monday night. Better storylines, better direction, and much better prints.

The Glass Web was beautifully shot in black and white, and the 3D space enhanced the suspense in the story rather than distract. Hitchcock notoriously hated working in 3D. Somebody should have screened this movie for him.

It was also nice to finally see an IB Technicolor print which which was shown for Dangerous Mission. The colors are much sharper and less faded. The print wasn't perfect (no old print is), but the difference between the IB tech print and the non IB prints was like watching night and day.

 

[GregK]

My room's internet connection has been spotty at best, but I wanted to say it has nice to see Todd again and to finally be able to meet and chat with Richard W. We've had some great conversations.

Today is another AM to PM of 1950's 3-D dual strip film. First up is GORILLA AT LARGE. My first exposure to this title in depth was the broadcast anaglyphic conversions shown in the early 1980's. Anyone who has seen red/cyan 3DTV airings from the 80's knows even at its best it had numerous shortcomings and was only a pale glimpse of the true stereoscopic photography.

In 2003, the first World 3-D Film Expo was able to show a then newly struck dual strip 35mm 3-D print from Fox. Wow, what a difference! Can't wait to see it again.

 

[Brandon Conway]

Alas, not gonna make it tomorrow.Sent from my VS920 4G using Tapatalk 2

 

[Richard--W]

Dennis Bartok continues to be a fine MC and host. I agreed completely with Mike Schlesinger's introductory remarks about TAZA SON OF COCHISE. I appreciate all the bits and pieces of video interviews and footage that Jeff Joseph supplements the films with.

There seem to be a lot more problems with projection this year.

Heads seem cropped to close for a proper composition from the classic age and sometimes the tops of heads are cut off when they shouldn't be. I don't dispute the 1.85 ratio, maybe it's the framing in the booth.

The dual 35mm films are too dim. I think there are two reasons for this. First, the projection needs to be a couple of clicks brighter. Second, the brand new silver screen doesn't seem to reflecting as brightly as silver screens are supposed to. Is this silver screen different from other silver screens? I wonder if the reflectiveness of the screen and amount of light were measured with a light meter to see if they meet SMPTE standards. Real D 3-D generously provided the screen free of charge to the Expo. The DCP projections looked better than any of the 35mm films. It drives me bug-hunting nuts when an audiences passively sits there watching an entire film unfold without one single person getting up to complain about dim projection. TAZA SON OF COCHISE was ruined by dim projection, its brilliant color muted and its densities way out of kilter.

Projection improved considerably for KISS ME KATE and THE FRENCH LINE at least in terms of brightness but damnit I wanted TAZA SON OF COCHISE to be perfect like at the previous Expo but it was far from it. The audience would have been a lot more enthusiastic about the film if they had seen it properly presented.

 

[Richard--W]

I particularly enjoyed Foster Hirsch's interview with Piper Laurie at the start of DANGEROUS MISSION.

 

[Bob Furmanek]

I'll be discussing my 3-D preservation work before the screening of ROBOT MONSTER on Saturday, September 14.

I hope that you can make it!

 

[revgen]

@Richard-W I definitely agree with you about the dim light issues. It's not so bad on horror movies like Wax and Morgue, but hurts musicals like Kiss Me Kate and French Line.

I liked that video interview with the English actress before the screening of Diamond Wizard. Especially when she talks about how she wasn't even paid for her role in the movie.

The French Line, Pardon My Backfire, and Gorilla at Large were my two favorites from yesterday. The worst was that "Mimo" short.

 

[Richard--W]

The old prints were not perfect, but they were in excellent condition, all things considered, and projection was up to snuff at the World 3-D Film Expo 3's Film Noir special last night. INFERNO and I THE JURY never looked better. What a great double-feature. The crowd totally "got" both films and showed their appreciation with enthusiastic applause.

In I THE JURY the camera is positioned diagonally to the sets and at a tilt to emphasize depth. The line where one wall adjoins another is often at the center of the screen. Doors are constantly opening and closing in backgrounds, revealing hallways and rooms lit for mood and further enhancing the sense of the depth. The film is one spectacular example of both stereoscopic photography and John Alton's film noir lighting. There is an impressive fight sequence between Biff Elliot and three bad guys fought on the steps of the Bradbury building. The 2.5 interaxil is changed to about 1 or 1.5 for the Bradbury interiors.

Alan K. Rode, director of the Film Noir Foundation deliverd a well-informed and articulate introduction for both films. He is also the authorof a biographer on actor Charles McGraw.

Also in attendance was Biff Elliot's widow.

Roy Moseley biographer I THE JURY director Victor Saville attended the screening as well and signed copies of his biography on the director in the lobby.


http://www.amazon.com/gp/product/0786471727/ref=olp_product_details?ie=UTF8&me=&seller=

 

[Timothy E]

The stereoscopic photography is striking on I, The Jury and presents an excellent 3-D image throughout the film. Kudos to Bob Furmanek for tracking down the various prints of this film to reassemble it in its original 3-D form. Since this is a UA film, I can only hope that Twilight Time has licensed it and releases this film on 3-D Blu-ray.

 

[GregK]

IT CAME FROM OUTER SPACE was yet another classic 3-D watch today, complete with its original intermission card, which is absent on all home video releases. Barbara Rush and Kathleen Hughes were in attendance and were a real treat.

 

[revgen]

Dragonfly Squadron was publicly screened for the first time ever in 3D last night, and the 3D photography was absolutely gorgeous. From the shots of oncoming tanks, smoke and explosions, falling debris, all in pitch perfect black and white. The print screened last night was struck from the original camera negative by the 3D Film archive. It was screened in it's improper ratio because the short that aired before it was 1:37, but it didn't hurt it too much.

And of course, who can forget Robot Monster...one of the most unforgettable experiences I'll ever have in a public theater, that's for sure.

Bob Furmanek also announced to the audience that he was able to come to terms with Olive Films to release Dragonfly Squadron on 3D Blu-Ray sometime next year. Considering Bob's critical comments about Olive in the past, especially on this forum, and Bob's comments in April about distributors being "afraid to touch it" since it was an old B-movie, I was surprised at the news. If anybody wants old b-movie's like I, the Jury (1953) released on 3D blu-ray, this is a disc that studios will be watching, in addition to the A-titles like House of Wax, Dial M, and Creature.

 

[Richard--W]

That's good news about DRAGONFLY SQUADRON. The poster art led me to expect fighter planes engaged in airial combat, instead it's a land-based war film. But I quite enjoyed it. This was its' 3-D premiere, I understand, since it had not been shown in 3-D in 1953, but I left wishing I could see it again. If they had run it again at midnight I'd gladly pay to see it a second time. Speaking of midnight, it's a shame the promoter couldn't find an appropriate 3-D title to screen Friday midnight, since it was the 13th. The crowd was in the mood for MORE.

The crowd howled with laughter during ROBOT MONSTER. No one laughed louder than Tod J Moore. He had a great time with it. "It's the greatest 3-Dmovie ever made!" he declared. I could not get into the spirit of the thing myself. I've never seen such monumental ineptitude. At least I got through the enitire film this time. The so-bad-it's-good catergory leaves me feeling depressed. The film's one saving grace is competent 3-D. Fortunately good films followed it.

I loved the 3-D clip from THE GOLD RUSH. It was explained that Chaplin had an A and a B camera running in promixity during the scene, so they looked it over and discovered the footage could be matched for stereoscopic viewing. It puts the little Tramp deep in the frame instead of at foreground. Seen flat he's not so far away. The footage is in the supplements on the DVD. Once again the Rarities program was resourcefully pulled together by Jeff Joseph.

We've all been wondering who you are, revgen. MOst of the HTF contingent sits in the balcony. Drop by and say hello if you have a mind to. You, too, Timothy E.

Sunday (later today) is the last day of the festival. I'm really looking forward to seeing MONEY FROM HOME again, the surprise hit of the 2006 Expo.

 

[revgen]

@Richard, I'm the younger guy with the glasses who needs a haircut.

I'm more shy in public then I am online. I forgot to introduce myself. I'll do that today. My name is Dan.

 

[Richard--W]

Did anyone make a list of the films shown at the 3-D Rarities screening? I lost my crib sheet somewhere between there and here.

 

[Richard--W]

Did anyone make a list of the films shown at the 3-D Rarities screening? I lost my crib sheet somewhere between there and here.

 

[bujaki]

I didn't, unfortunately. Hope someone else can help you.