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It’s worth noting, this is the first SuperCinecolor show that had to be preserved and restored from 35mm release prints. That is because all of the master 35mm elements - Eastman 5247 camera negative and red, blue, yellow separation masters - went missing in 1959 when the worldwide rights were sold by Lou Costello to Sterling Television in New York.
When rights were transferred to RKO in 1960, they received a dupe black-and-white negative only. They received no color elements whatsoever. (I know this for a fact because I went through all of the RKO files on this film in the mid 1980s.) That’s why all of the 16mm TV prints from 1962 through the late 1970s were very grainy black and white. Here’s an example of the quality.
Beanstalk RKO 16mm
When I was Archivist for the Abbott and Costello Estates, I went through mounds of vintage paperwork. I discovered a cryptic lead on where the color 35mm elements may have gone but my efforts to track them down led to a brick wall. They have not surfaced in six decades and tragically, they appear to be gone.
The one VERY brief piece of 35mm camera negative that I did find in 1980 was in a stock footage library in New York. It was being used as fill leader.
Other preserved three-color Cinecolor shows have been fortunate in being sourced from a master element. They include;
Abbott and Costello Meet Captain Kidd - red, blue, yellow separation masters. I found these precious elements in England and arranged for them to go to the UCLA Archive.
Invaders from Mars - mostly Eastman camera negative.
Sound Off, Hurricane Island, When the Redskins Rode, Barefoot Mailman, The Texas Rangers, Magic Carpet, Sunny Side of the Street - Eastman camera negative.
So keep in mind, this Blu-ray release is the first time you’re seeing a restored three color Cinecolor film that HAD to be sourced from release prints. Tragically, that’s all that survives in 35mm.
As all of the reviewers of the new ClassicFlix release have noted, the difference in quality between our new restoration and previous versions is substantial.
In conclusion. Yes, there is grain for all the reasons mentioned in my earlier post.
When rights were transferred to RKO in 1960, they received a dupe black-and-white negative only. They received no color elements whatsoever. (I know this for a fact because I went through all of the RKO files on this film in the mid 1980s.) That’s why all of the 16mm TV prints from 1962 through the late 1970s were very grainy black and white. Here’s an example of the quality.
Beanstalk RKO 16mm
When I was Archivist for the Abbott and Costello Estates, I went through mounds of vintage paperwork. I discovered a cryptic lead on where the color 35mm elements may have gone but my efforts to track them down led to a brick wall. They have not surfaced in six decades and tragically, they appear to be gone.
The one VERY brief piece of 35mm camera negative that I did find in 1980 was in a stock footage library in New York. It was being used as fill leader.
Other preserved three-color Cinecolor shows have been fortunate in being sourced from a master element. They include;
Abbott and Costello Meet Captain Kidd - red, blue, yellow separation masters. I found these precious elements in England and arranged for them to go to the UCLA Archive.
Invaders from Mars - mostly Eastman camera negative.
Sound Off, Hurricane Island, When the Redskins Rode, Barefoot Mailman, The Texas Rangers, Magic Carpet, Sunny Side of the Street - Eastman camera negative.
So keep in mind, this Blu-ray release is the first time you’re seeing a restored three color Cinecolor film that HAD to be sourced from release prints. Tragically, that’s all that survives in 35mm.
As all of the reviewers of the new ClassicFlix release have noted, the difference in quality between our new restoration and previous versions is substantial.
In conclusion. Yes, there is grain for all the reasons mentioned in my earlier post.
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