3D Meet Bob Furmanek: HTF Golden Age 3-D Consultant (2 Viewers)

[pinknik]

I've been meaning to visit the Baxter sometime soon. The Dolby system is probably the most subtle anaglyph system available, and I think the Baxter is the only one anywhere near me that uses it. I haven't seen Dolby 3-D yet, but I've read some positive comments on it. Makes me wonder why Dolby hasn't licensed it for home use.

 

[benbess]

I've been meaning to visit the Baxter sometime soon. The Dolby system is probably the most subtle anaglyph system available, and I think the Baxter is the only one anywhere near me that uses it. I haven't seen Dolby 3-D yet, but I've read some positive comments on it. Makes me wonder why Dolby hasn't licensed it for home use.

Another Louisville member! Good to see.
The Baxter is my favorite theater. It's clean, reasonable, they don't show ads before the movie, good sound and projection practices (no ear bleeds, bright enough). It's not magic or amazing, just normal, common sense stuff--until you go to a Rave theater and you see what a chain is like.

 

[Bob Furmanek]

I would LOVE to visit the area and the Baxter sounds like a wonderful theater!
Let me see how things develop over the next few months. There was some talk of taking "Treasures from the 3-D Film Archive" on tour to various Archives, theaters and museums around the country.
Thank you for the very kind invitation!
Bob

 

[Charles Smith]

I know Pete is on the forum, so my question to both of you is whether there's any chance for some 3-D again at the Lafayette. Their festival in 2004 was my introduction to the theater, and there may have been some since but that's my only time to have seen those classics in the right format. Of course there is Film Forum, and I'm simply remiss in not getting down there like I should. Time to turn a new leaf on that.

 

[Peter Apruzzese]

Not at the present, I'm afraid. We did, in addition to the 2004 fest, single showings of Kiss Me Kate, House of Wax and "3-D Follies", which was similar to what Bob mentions above as "Treasures". This was a terrific program of Bob's creation with a collection of rare and unusual 3-D shorts.
We are set up with Real-D digital 3-D now, in addition to our regular 35mm setup, so you may see some again if the studios make them available.

 

[Charles Smith]

Ah, memories...

Friend and self:

 

[Peter Apruzzese]

Thanks for posting those pics - I wonder if I still have that poster someplace.

 

[Bob Furmanek]

Those are great shots!
Of all the theaters which presented dual-strip, the Lafayette was my favorite. Beautiful surroundings, a nice l-o-n-g auditorium which was perfect for 3-D and top-notch projection. Pete Apruzzese (and the staff at the Egyptian in Hollywood) were the best in the booth that I ever had the pleasure to work with.
I can still remember walking in when Pete was test-running KISS ME KATE. I put the glasses on from the back of the theater and said "WOW." It looked spectacular!
When we have our material ready for D-cinema, the Lafayette will be at the top of my list.
Bob

 

[Peter Apruzzese]

Thanks, Bob. It was a big deal to get that 3-D installation just right. I clearly remember you walking in while Kate was running and it pleased me to no end to hear that it looked good. I was too close to it to know whether or not it really worked. Unfortunately, my main memory of that weekend (and the 3 weeks leading up to it) is exhaustion . I've never been as tired before or since while running shows. The sensation of needing to do everything twice took over a week to go away after it was done.

 

[Bob Furmanek]

Pete, I remember you were sweating even more than usual for that weekend!

Bob, dont know if this has been adressed, but have you hear anthing on the Chaney version of Hunchback, the suplements that were added were wonderful, and i know that you are one to thank in that aspect, i was just wondering if it was being re worked for a 1080 presentation

My good friend Jack Theakston worked on that set. He's currently working 24/7 on a theater project and doesn't get to visit here too often these days. I asked about Blu-ray plans for the HUNCHBACK and here's what he said:
The Image edition of HUNCHBACK was produced several years ago. The initial transfer was done in HD, but obviously dropped down to SD from there. The source material was a 1926 Show-At-Home print, completely tinted, so the quality is as good as possible with that film (no 35mm elements exist). Judging from what we had, HD might offer some slight definition improvement, but not much. So no, I don't think there are any plans to revisit that one, but you never know.
Bob

 

[SAM33]

Bob -
I was wondering about who may own the rights to and what the status might be on some of the early shorts like the Pete Smith AUDIOSCOPICS and THIRD DIMENSIONAL MURDER (still MGM?), TIME FOR BEANY, and A SOLID EXPLANATION?
I have passable anaglyphics of these, and find them all enjoyable. I know the Smiths always were anaglyphic, but I assume they could be converted to digital 3D? Love to have nice copies of these.
SAM33

 

[Bob Furmanek]

Hi Stewart,
Thanks for your question. The Pete Smith shorts are owned by Warner Bros. We own the elements for the Beany and Cecil short, correct title is M.L. GUNZBURG PRESENTS THIRD-DIMENSION.
Bob

 

[SAM33]

Oh yeah, Warners, makes sense.
Hey, great news that you own the Beany and Cecil short! So maybe... ;-)
Thanks Bob,
SAM33

 

[Dan_Shane]

Originally Posted by benbess /t/318309/meet-bob-furmanek-htf-golden-age-3-d-consultant/90#post_3899130
Another Louisville member! Good to see.
The Baxter is my favorite theater. It's clean, reasonable, they don't show ads before the movie, good sound and projection practices (no ear bleeds, bright enough). It's not magic or amazing, just normal, common sense stuff--until you go to a Rave theater and you see what a chain is like.

Chalk up another Louisville area lurker. I don't get to visit The Baxter as often as I would like since I live in Jeffersontown (next-door to a multiplex where I have had to complain to the manager after every one of the last half-dozen shows I've seen there). I do wish The Baxter had a bit more slant on the floor -- my neck gets a bit stiff from looking up at the screen. But in every other respect I always enjoy attending.

Sure do miss The Vogue in St. Matthews, though.

And to keep it on-topic, I'm a 3-D and Cinerama buff from the old days, and I'm ready to commit to day-one purchases of any 1950s 3-D classics I can get my hands on.

 

[JamesNelson]

Bob,
Do you have the rights to Doom Town?
Also, what can you tell us about the "missing" blast footage...has any of it been recovered and why did it go missing in the first place? When exhibited at the Expo(s), I believe some alternate footage was included that was culled from Army archives. IIRC, that alternate footage wasn't originally shot in 3-D, but rather was assembled from multiple camera setups that, purely by happenstance, yielded stereoscopic footage when combined. Do I have that information correct?

 

[Bob Furmanek]

Hi James,
I found the abandoned 35mm left/right elements on DOOM TOWN in a vault in 1984. They were going to be junked!
The blast footage was originally in color and was on a separate negative roll that is lost. My suspicion is that it got pulled for stock footage shortly after the short was withdrawn from distribution in July 1953.
Your memory is correct, the recreation was done from existing left/right footage found in the Army archive.
Bob

 

[bgart13]

Bob, have you heard anything about progress being made by the 3D Film Preservation Fund on THE MASK (aka EYES OF HELL)? Last year, Jack Theakston said they were still taking inventory of the materials given to them by Medallion. Would be nice to see it cleaned up and new prints made for theatrical showings.

 

[Bob Furmanek]

There are some problems with this title so we've had to put it on the back burner for now. We'll pick up the ball later this year.
Bob

 

[Brian Borst]

When you read the contemporary reviews for 3-D films during that period, you'll see the dilemma faced by producers. If they piled on the gimmickry, the critics always complained. If they released a film that was beautifully photographed with superb composition for depth but no off-screen effects, the critics wandered where the gimmicks were and said the movie does not take advantage of the 3-D process. It was a no win situation!
Bob

I feel that these days, the same situation exists. Pile on gimmicks and you get lambasted for it (the Piranha remake), and use it in a subtle way, and people will wonder why it was shot in 3D at all (I believe Hugo gets this, and a few Pixar movies as well). You can't win, apparently.

 

[Ronald Epstein]

I can relate.

My biggest gripe is that there isn't enough films made that
really make it worth people paying the price to see it in 3D.

Then again, there comes a film like HUGO that is less about
effects thrown in your face in favor of depth that really brings
out the beauty in the scenery.