Posted March 07 2012 - 07:24 AM
And remember: the widescreen era began months before THE ROBE premiered in September, 1953. But 1.85 did not become the standard for several years. Each studio had their own house ratio. Paramount: 1.66 MGM: 1.75 Columbia: 1.85 Universal: 1.85 and 2.1 Warner Bros: 1.66, 1.75 and 1.85 20th Century Fox: 1.66 RKO: 1.75 and 1.85 In documenting this often mis-understood period of technical change, it's important to establish when each studio converted to widescreen cinematography. By going through the trades and studio files from 1953-1955 in my 3-D research, I've been able to document these early widescreen productions as well. Many theaters around the country began installing widescreens in the summer of 1953 and that's why quite a few academy ratio titles (Shane, War of the Worlds, etc) were shown wide although not composed for that ratio. In determining which is correct, it's most important to document the dates of principal photography in relation to the studio policy. Case in point, the 3 Stooges short GOOF ON THE ROOF. Although filmed November 17-20, 1952 and meant for 1.37, it sat on the shelf until December 3, 1953 and was then shown 1.85 which is not correct.
If you see any instances of ghosting/crosstalk on your display, please note this is NOT an issue with the original photography, restoration, or 3-D Blu-ray authoring. Vintage stereoscopic movies have a much wider - and more natural - parallax, compared to most modern 3-D films which will exhibit fewer ghosting artifacts as a result of minimized depth. Many of the current active display LCD and LED 3DTVs do not meet cinema L/R cancellation levels and as a result, may exhibit "ghosting" with certain more demanding 3-D scenes. Passive polarized displays usually are closer or equal to having cinema grade cancellation levels, while DLP active display devices typically exceed 3-D cinema cancellation specs and are considered essentially ghost-free.