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We are talking about subjectivity versus objectivity at this point. We're not talking about random memoranda in a dusty corner of a studio vault. We're talking about forgotten history that was widely reported and accepted at the time. Some people love watching open matte 1.85 films. They're...

I'm not sure I understand what the disconnect is here. The studios had a problem, resolved it, and documented it. The underlying problem is that someone at WB was misinformed (probably by IMDb), and some people are doing mental gymnastics to justify it.

What theaters were doing is immaterial. What the studios did was pertinent and explained in the article. Paramount was never shooting for Movietone even before the mandate and did NOT protect for that ratio as I've already said.

I think we're hitting a crossroads here that people are confusing my use of the aspect ratio 1.33-1 being a shorthand for SILENT APERTURE, which is indeed that aspect ratio. But you can have a plate that is SOUND APERTURE that is is 1.33-1 (cut at .800"x.600" on the plate, optical offset.)...

Bob, re-read my post.

You're missing the resolution, however: This is, of course, completely immaterial, as we can see in the paper that Paramount was not only not shooting before at a size comparable to Movietone, but in fact, the opposite. Also, this is pretty demonstrable because Paramount was terrible at...

After listening to the HTF interview with Mr. Feltenstein re: JEKYLL/HYDE, it was mentioned that they will be presenting it in a Movietone aspect ratio. This is a blunder, and hopefully someone there will see this post before the discs go out. Paramount/Publix theaters were not showing any...

Care to qualify who it does pertain to, Bob?

Difficult. Unlike most dirt and scratches, the dirt was on the lens when they photographed the film, so it’s stationary. Removing it would mean either painting it out frame by frame during moving shots, or mapping another part of the frame onto it for stationary. Both of those can introduce...

I mean, Scott.... If you're going to pilfer my research (and citations), and then slap a copyright on it like that, at least get the facts straight. The yellow layer is on the CYAN side, buddy. That's why it's green, and arc burns on those prints are magenta. And CCA was incorporated in 1953...

See below.

Bob, Fortunately now, we are in an age where not only can one give citations, but the original articles. The sources for the details on the "hows" may be found in Alan Gundelfinger's main patent about double-toning (prepared to go glassy-eyed at chemical formulae), as well as the article for...

Close. The soundtrack is printed with the blue layer on the dupe negative that has been A/B rolled from the B&W positive seps made from the Eastman Color negative. Unfortunately, the constant reprinted error here is that the yellow layer was somehow dye-transferred to the print (a typo which I...

The SEPTEMBER STORM disc is region-free.

Not even that much—the long-shots are A&C’s camera doubles. Lou was struck ill with a bout of rheumatic fever as he was flying back to LA to shoot the film.

Thanks for that memory, Josh. It’s reactions like that really made this project worth it to the team.

For comparison, here is a scan from the last-surviving frame of negative from THE BIG TRAIL:

If you were a backer for AFRICA SCREAMS—check your email re: updates on shipping for some, and a little exclusive content surprise!

To our suporters: We’re really sorry if it hasn’t arrived yet, but COVID, you know. However, if you haven’t received your shipments yet, keep your eye on your email over the next couple of days. To keep our good faith with you, Bob and I are working on an exclusive present that will be just for...

VCI is reputable and would NOT do that.

I’m not sure what VCI is using for AFRICA, but I can’t imagine them besting the 3DFA restoration; which is sources from a 4K scan off the camera negative.

Like I said, the split was amiable on our part, and I’ll happy to field questions from time to time.

To be clear—Bob has voluntarily left this forum and was not banned. He and one of the owners of this forum (whom I have no trouble with personally) had a disagreement that led to a mandate that our product will no longer be reviewed here. 3DFA wishes HTF the best of luck, and hopes that you all...

Mr. Furmanek is no longer active on this forum. If you need to reach him, please do so via this page on our website: http://www.3dfilmarchive.com/home/contact-us

Management has made it expressly clear to Mr. Furmanek that he and reviews of his product are no longer welcome here, despite the traffic he has generated for this website for more than a decade.

Since Bob is unable to post here anymore, I am (as Associate Producer at the 3DFA) happy to field the previous questions: The elements of DYNASTY are in disastrous, but not unsalvageable conditions. This is a literal “now or never” situation, much like AFRICA SCREAMS, whose preprint elements...

TOY STORY 4 has, by far, one of the best Atmos tracks mixed, to date, and is probably the best visual representation of how far the boundaries have been pushed with Dolby Vision.

Strictly two of the three ‘B’s, in 3D. Think an early ‘60s issue of Playboy.

There was never any 80-minute version. Some sources cite 75, but even that is suspect and probably a preview cut length. All period reviews and continuities state 62 min.

As is the 3DBR spec, it will always default to 2D if you’re not running it in 3D.