It's not common knowledge.I'm not sure how I missed the boat all these years on knowing that those three Hitchcocks were originally in Perspecta, but I sure wish I could have them that way now.
United Artists used it on at least one title; THE BAREFOOT CONTESSA in 1954.
Would have to agree with Drew on this one.I have always been curious about Perspecta and have been thoroughly enjoying this thread, but calling it “stereophonic” is a misnomer. Taking a monophonic source (music, foley and dialogue) and simply steering it around to match the action on the screen would not enhance the viewing experience for me and would be a distraction. Better to keep it front and center, unless the soundtrack could be totally remixed from original music, foley and dialogue tracks if they survive.
Keep pressing Paramount Bob.That’s unfortunate John as it’s the best example of the systems capabilities available on Blu-ray.
I remember this from my time working part-time as a projectionist and putting myself through law school. We used Cinemeccanica Victoria 8s, and the adjustment knob was down towards the front of the projector.Our projectors were equipped with vertical adjustment via a wheel on threaded rod beneath the lamphouse, but nothing as fancy as a horizontal axis gizmo.
Joe, Scott did indeed do the High Society work. I'm not sure where he mixed it. That was just prior to my return to MGM in 1992. Ted Hall at POP,with me supervising did the work on Deep in my Heart. From the 35mm three channel music recordings and the split track mono dialogue and effects track. We created a full range 5.1 and a Dolby Stereo encoded LT/RT., As well as a limited and compressed 2.0 for VHS and broadcast. There is no record of a traditional 4 channel mix from the original release. And the optical tracks may indeed have been perspecta encoded, but as you know that format is obsolete and even if it could have been effectively decoded, I seriously doubt that it would have sounded anywhere as good as Ted's track taken from the source score cues.Scott Perry of mgm remixed high Society for stereo video. He also had to do the same for Deep in My Heart. Deep was stereo in theaters, but by the time of laserdisc, etc, the stereo mags had corroded and would not play.
Ten commandments was originally mono. AC lyles at paramount, did some digging through the records. He told me that rerecording was done after the film opened and when the film went off of roadshow, new stereo prints were made.
When I worked at the Cinema 46 in Totowa NJ in 1982, they had a 70mm reel of The Sound of Music they used to test the 70mm gear. It had a faded picture but the sound was terrific. The head projectionist told me it was a reel from the original run 1965-1966 from the Bellevue Theatre (Upper Montclair, NJ) where the film played for 100 weeks. He was the head projectionist there during that run and was proud that they never had to switch to the backup print the entire time SOM played.Fact is that a single magnetic print could run for months or longer (and did) in a proper booth environment.