Was the Perspecta neg eight-perf or four-perf? Were eight-perf track negs even a thing for Vistavision/Technirama, outside of the few titles that had a handful of native eight-perf prints?
Orphan and unclaimed films face destruction as Japanese film lab shuts down:
https://www.tokyolab.co.jp/news/news_company/2023/09/07/
As many as 20,000 cans of unclaimed film, mostly from the 1970's through 2000's, are potentially on the chopping block, as legally, Tokyo Laboratory can't...
A new 4K restoration of "The Mysterians" (1957) will be screened this August in Japan, complete with the original Perspecta audio track.
https://asa10.eiga.com/2023/cinema/1218/
Various reactions (from Japanese Twitter accounts, most retweeted by https://twitter.com/nmakapa, who IIRC is the...
I'm somewhat envious of those who've seen this in 70mm... the only time I've seen this on the big screen was a screening 20 years ago of that cut-down version from the early 80's. The 35mm print had decent-ish color, at least. It'd be interesting (to people like me) to find out details on how...
If the article you are referring to is the Japanese article about the recent 4k restoration I posted earlier in the thread, it is referring to Toho's own Blu-ray from 2009, which is the same transfer currently on the Criterion Channel.
You can "borrow" the Derek Elley book from archive.org with an account there. Another favorite of mine in the same vein is "The Ancient World In Cinema" by Jon Solomon, which you can also find on archive.org
RODAN recently had screenings of a 4K restoration in Japan:
https://www.phileweb.com/review/column/202212/10/1930.html
Both the faded Eastmancolor negative and b&w separation positives were utilized for this work, with the combined color image from the separations used as a color reference to...
I've seen the claim that the OCN wound up in a storage-fee hostage situation at a Spanish film lab, but I can't recall where I first read that. The previous Blu was based on the 2003 photochemical restoration performed by the Academy with funding from the Film Foundation, using the separations...
Totalscope was specifically the house name for the anamorphics rented out by the A.T.C. company, a supplier of film production equipment to the Italian film industry at the time. The Totalscope lenses consisted of French-made Totalvison (confused yet?) anamorphic adapters paired with Cooke...
Given that the rights to the original films used for this probably reverted back to Toho (who were never pleased that Saperstein did this to begin with) some time ago, I'd say "fat chance" for seeing any sort of new edition.
Going back the actual topic of this thread, wasn't there a print of the 30fps "80 Days" made in the late 60's, which somehow still had good color, that was being booked from repertory agencies (Swank, Park Circus, etc) up until the early 2000's? I seem to recall discussion of it back then.
On the subject of the 1925 version, I recall reading claims years ago that the George Eastman House has a print with quite a bit of different footage than the currently circulating version; the difference that the Eastman House print is the original silent cut, while the version on most video...
A few things are odd about that French release, which seems to be the basis of nearly every upload of the film on the 'net, and the old Retromedia DVD:
-The pitch of the audio is raised due to PAL speed-up. On top of that, it switches from the "export" dub (done in Rome, this is actually the...
Based on what? That they distributed Levine's original theatrical release? They've had nothing to do with the films since then, not Embassy's TV syndication of them, nor the 1973 Avco-Embassy double-bill reissue (supposedly that release was when the "export" English dub of the first film...
The Kino insider once stated that they tried to get these films, but there were "rights issues". Some folks on the Classic Horror Film Board were speculating that VCI tried to get ahold of these films, but ran in to rights issues, as well. Who knows what the actual situation is?
"Khartoum" might have been from 65mm IP on Fotokem's 65/70mm ITK Millenium telecine, which was the same device the "Mad Mad Mad Mad World" trims were transferred on for the Criterion set.
The German Blu-ray/UHD of "Savage Pampas" was done at Cine Solutions of London, on their Millenium, from a...
IIRC from discussion around the time of release, the Warner titles like GRAND PRIX and BOUNTY that were remastered in the mid-00's were done from new reduction 35mm IP's, made by Pacific Title (I think) in a manner that preserved the aspect ratio of the 65mm originals.
Thanks for posting this; was this a standard format for cutting continuities in the industry at the time, or did different studios/producers have their own format?
Wasn't this "restoration" from an old internegative that was out of focus along one side of the image, which was later slathered with DNR for the Weinstein DVD?
I saw the 2003 extended version of TGTB&TU, and with that already being nearly 18 years ago, I wouldn't dare say anything about how exactly the color looked, other than it sure as sterco didn't look like the 2014 BD!