B.J. and the Bear - Universal Studios Masters (2 Viewers)

[banjo78]

Hi all,

It's been a long time since I have posted on this topic but hoping maybe we can get some new or updated clarity on the status of this show.

There has been a lot of speculation over the years that this show was lost in the fire of 2008 (or at least broadcast/syndicated masters). The fact that it has not surfaced since then definitely raised questions to support that theory. I do know around 2010 Fabulous Films tried to source masters from Universal but were apparently told by they couldn't source any due to the fire.

There was a poster on here a few years ago (I think banned for his abusive posts) who swore that it had received a digital transfer in 2011 along with Movin' On (which has seen a HD release)

Adding weight to that poster's claims, in 2011 a show called 'American Trucker' on Speed channel had an episode all about the restoration of one of the original truck and trailer combos used in the show. What is very interesting about that episode is there were a number of clips shown in that episode of B.J. and the Bear in at least 2k quality.

I have attached some HD caps (phone screenshots, reduced quality) of the footage that American Trucker licensed from Universal in 2011. (This should dispel the rumour that the negatives or interpositives for BJ and the Bear were lost in Universal's 2008 backlot fire.)

Some are from the opening credits, but the Bear shot can only be from season one and Evigan’s credit shot can only be from season two. There is also a scene from season 3 and the pilot episode 'Foundlings', hence they had to get these from more than one episode.

Either one of these two things are possible, but what’s more likely;
Did they pull 35mm film from multiple episodes to get a few shots for American Trucker? Or had Universal already remastered the entire series in HD by 2011?
There’s no real reason to get Evigan’s credit scene from season 2, there’s no material difference in the type of shot for his credit scene between seasons.

Would love thoughts from people more in the know than me?

 

[DeWilson]

The vault that went up was a working vault for syndication for television, as well as used for 35mm theatrical prints for revival showings.

The reason we've not seen a lot of shows from MCA/Revue/Universal Television is they simply don't want to go into the MASTER VAULT (where everything is safe), and transfer 35mm elements to new 2k/4k masters without a major buyer - Both "Laramie" and "The Men From Shiloh" (and frankly, the prints they used on "Shiloh" may have been safety 16mm negatives!) were not seen again till they had a tv deal with one or more of the Western-themed Cable/Digital channels.

The situation with Fabulous Films (a small outfit with a limited budget) might simply be that Universal wasn't being payed enough to make to worth the expense to make NEW masters, and used the Vault fire as an excuse. Those who will recall that Timeless used 16mm prints (and in some cases, tape copies!) sourced from Collectors & film dealers for their releases on older MCA/Revue/Universal Shows becuase it was cheaper than having new prints struck.

I'm actually surprised that KINO LORBER is getting new 2K/4K transfers on alot of the Universal Television material they are releasing - TV Shows and TV Movies.

Heck, MeTV spent 5 years to get the rights to the Walter Lantz Cartoons - finally making a deal, and getting a Hodge podge of elements - new transfers from nice prints, new transfers from unrestored prints, etc. Universal only did HD transfers on 2 or 3 dozen Woody woodpeckers before this.

"Neal Brock" might have a little more insight on this as well in general - he's been on top of this for a good 15 years as our resident TV expert.

 

[banjo78]

The vault that went up was a working vault for syndication for television, as well as used for 35mm theatrical prints for revival showings.

The reason we've not seen a lot of shows from MCA/Revue/Universal Television is they simply don't want to go into the MASTER VAULT (where everything is safe), and transfer 35mm elements to new 2k/4k masters without a major buyer - Both "Laramie" and "The Men From Shiloh" (and frankly, the prints they used on "Shiloh" may have been safety 16mm negatives!) were not seen again till they had a tv deal with one or more of the Western-themed Cable/Digital channels.

The situation with Fabulous Films (a small outfit with a limited budget) might simply be that Universal wasn't being payed enough to make to worth the expense to make NEW masters, and used the Vault fire as an excuse. Those who will recall that Timeless used 16mm prints (and in some cases, tape copies!) sourced from Collectors & film dealers for their releases on older MCA/Revue/Universal Shows becuase it was cheaper than having new prints struck.

I'm actually surprised that KINO LORBER is getting new 2K/4K transfers on alot of the Universal Television material they are releasing - TV Shows and TV Movies.

Heck, MeTV spent 5 years to get the rights to the Walter Lantz Cartoons - finally making a deal, and getting a Hodge podge of elements - new transfers from nice prints, new transfers from unrestored prints, etc. Universal only did HD transfers on 2 or 3 dozen Woody woodpeckers before this.

"Neal Brock" might have a little more insight on this as well in general - he's been on top of this for a good 15 years as our resident TV expert.

I appreciate the reply.
It would be great if Kino Lorber secured B.J. in that deal.. but I'm guessing we would of heard by now if that were the case?

 

[JamesSmith]

All I know, is "Lobo. Sheriff Lobo. Bring Back Sheriff Lobo." --Homer Simpson

--jthree

 

[banjo78]

All I know, is "Lobo. Sheriff Lobo. Bring Back Sheriff Lobo." --Homer Simpson

--jthree

another show still sitting in the vaults..

 

[Neil Brock]

The vault that went up was a working vault for syndication for television, as well as used for 35mm theatrical prints for revival showings.

The reason we've not seen a lot of shows from MCA/Revue/Universal Television is they simply don't want to go into the MASTER VAULT (where everything is safe), and transfer 35mm elements to new 2k/4k masters without a major buyer - Both "Laramie" and "The Men From Shiloh" (and frankly, the prints they used on "Shiloh" may have been safety 16mm negatives!) were not seen again till they had a tv deal with one or more of the Western-themed Cable/Digital channels.

The situation with Fabulous Films (a small outfit with a limited budget) might simply be that Universal wasn't being payed enough to make to worth the expense to make NEW masters, and used the Vault fire as an excuse. Those who will recall that Timeless used 16mm prints (and in some cases, tape copies!) sourced from Collectors & film dealers for their releases on older MCA/Revue/Universal Shows becuase it was cheaper than having new prints struck.

I'm actually surprised that KINO LORBER is getting new 2K/4K transfers on alot of the Universal Television material they are releasing - TV Shows and TV Movies.

Heck, MeTV spent 5 years to get the rights to the Walter Lantz Cartoons - finally making a deal, and getting a Hodge podge of elements - new transfers from nice prints, new transfers from unrestored prints, etc. Universal only did HD transfers on 2 or 3 dozen Woody woodpeckers before this.

"Neal Brock" might have a little more insight on this as well in general - he's been on top of this for a good 15 years as our resident TV expert.

Thanks for the compliment. I'm pretty sure that everything you said is accurate. Universal would be perfectly capable of running new masters for shows as long as some entity came along to make it financially worth it to them. They only shows which burned up that there may not have been backup elements, are those which existed on 2-inch videotape. Luckily, Universal did not produce that many shows in that format. For example, the later years of the Jack Benny Program, he did a number of shows on tape. Those are all gone but backup kinescopes exist.

 

[banjo78]

Thanks for the compliment. I'm pretty sure that everything you said is accurate. Universal would be perfectly capable of running new masters for shows as long as some entity came along to make it financially worth it to them. They only shows which burned up that there may not have been backup elements, are those which existed on 2-inch videotape. Luckily, Universal did not produce that many shows in that format. For example, the later years of the Jack Benny Program, he did a number of shows on tape. Those are all gone but backup kinescopes exist.

Neil, thanks for your input, appreciated.

A couple of questions may I ask of your expertise and knowledge if I may?;

1. Do you think my statement would be accurate about this show already being transferred to HD due to the clips pulled from all 3 seasons to be used on American Trucker?

2. Would you know how much $$ are we talking about for Universal to be interested in doing new transfers if not already done?

 

[DeWilson]

Thanks for the compliment. I'm pretty sure that everything you said is accurate. Universal would be perfectly capable of running new masters for shows as long as some entity came along to make it financially worth it to them. They only shows which burned up that there may not have been backup elements, are those which existed on 2-inch videotape. Luckily, Universal did not produce that many shows in that format. For example, the later years of the Jack Benny Program, he did a number of shows on tape. Those are all gone but backup kinescopes exist.

You're welcome!

Thankfully some of the 2-inch video tape stuff did survive elsewhere - UCLA has all of "Don Adam's Screen Test" - including the unaired pilot. Jack Benny's 10 color hour long specials survived, and were released on Time-Life, so those existed elsewhere. (May have never been held at Universal in the first place.)

 

[Worth]

2. Would you know how much $$ are we talking about for Universal to be interested in doing new transfers if not already done?

A straightforward 2K transfer runs about $10 000 per hour of run time.