3D Meet Bob Furmanek: HTF Golden Age 3-D Consultant (3 Viewers)

[Phoebus]

FLESH FOR FRANKENSTEIN does have very good 3-D, most of the time. The close-up shots are extremely hard on the eyes and this would need a shot by shot alignment to make it watchable.
Tom, those two titles are owned by Paramount and I have not heard of any interest on their part to mine their 3-D treasures. They are very well photographed and would be relatively easy to master in HD.
Bob

Your Jerry Lewis connection had got me wondering about his 3D movie...
It will be interesting to see which films are still capable of finding a strong audience, once the golden age movies start turning up in 3D Blu-ray!

 

[Bob Furmanek]

If Paramount has any interest in MONEY FROM HOME as a 3-D release, we've got some amazing behind the scenes footage taken from an original 16mm Kodachrome. That three strip Technicolor 3-D camera rig is enormous!
Bob

 

[Bob Furmanek]

This thread is a fascinating read so far.  Thanks Bob, glad to have you sharing your expertise.  I'm not familiar with many of the early 3D efforts, but I would love to be able to experience them on Blu-ray!

You're very welcome, Adam. When the studios begin mining the stereoscopic treasures in their vaults, you've got a lot of terrific 3-D entertainment to look forward to!
Here's an example of the talent waiting to be seen again in the 3-D films of the 1950's: John Wayne, Rita Hayworth, Kathryn Grayson, Howard Keel, Bob Fosse, Robert Mitchum, Linda Darnell, Jack Palance, Edward G. Robinson, Dean Martin, Jerry Lewis, Jane Russell, Ray Milland, Grace Kelly, Victor Mature, Robert Stack, Jose Ferrer, Vincent Price, Joan Fontaine, Phil Silvers, Randolph Scott, Charles Bronson, Karl Malden, Ernest Borgnine, Rhonda Fleming, Robert Ryan, Lee Marvin, Virginia Mayo, Lee J. Cobb, Fred MacMurray, Barbara Stanwyck, Rock Hudson, etc.
Great directors and cinematographers worked on these films, including John Alton, Raoul Walsh, Douglas Sirk, Roy Baker, George Sidney, William Cameron Menzies, Jack Arnold, Budd Boetticher, Charles Roscher, Hal Wallis, Alfred Hitchcock and many more.
Bob

 

[Richard V]

You're very welcome, Adam. When the studios begin mining the stereoscopic treasures in their vaults, you've got a lot of terrific 3-D entertainment to look forward to!
Here's an example of the talent waiting to be seen again in the 3-D films of the 1950's: John Wayne, Rita Hayworth, Kathryn Grayson, Howard Keel, Bob Fosse, Robert Mitchum, Linda Darnell, Jack Palance, Edward G. Robinson, Dean Martin, Jerry Lewis, Jane Russell, Ray Milland, Grace Kelly, Victor Mature, Robert Stack, Jose Ferrer, Vincent Price, Joan Fontaine, Phil Silvers, Randolph Scott, Charles Bronson, Karl Malden, Ernest Borgnine, Rhonda Fleming, Robert Ryan, Lee Marvin, Virginia Mayo, Lee J. Cobb, Fred MacMurray, Barbara Stanwyck, Rock Hudson, etc.
Great directors and cinematographers worked on these films, including John Alton, Raoul Walsh, Douglas Sirk, Roy Baker, George Sidney, William Cameron Menzies, Jack Arnold, Budd Boetticher, Charles Roscher, Hal Wallis, Alfred Hitchcock and many more.
Bob

Hollywood royalty. I don't want the great accomplishments of these people to be forgotten, including the 3D work that they did. This collection of talent NEEDS to be preserved, I hope the studios remember that today's motion picture industry stands on the shoulders of these giants.

 

[Bob Furmanek]

I agree Richard, and it also dis-spells the myth that 3-D movies of the 1950's were low budget productions. Sure there were some, but out of 50 features produced domestically between 1952-1955, most were quality productions with good casts and above average production credits.
Having seen about 40 of them in 3-D, I can state that the quality of the stereoscopic cinematography is, for the most part, very good. The occasional convergence and registration issues can easily be fixed in post. That's what we're doing with the titles in our library.
Bob

 

[Brian Kidd]

 

[bgart13]

FLESH FOR FRANKENSTEIN does have very good 3-D, most of the time. The close-up shots are extremely hard on the eyes and this would need a shot by shot alignment to make it watchable.
Tom, those two titles are owned by Paramount and I have not heard of any interest on their part to mine their 3-D treasures. They are very well photographed and would be relatively easy to master in HD.
Bob

FLESH FOR FRANKENSTEIN was broadcast in 3D a couple years ago on the BBC, I believe, and it looks good. The cyan & amber anaglyph effect works surprisingly well too (colors work better too).

 

[JamesNelson]

I'm a long-time lurker and huge fan of the Golden Age of 3-D and absolutely thrilled that Mr. Furmanek now has a dedicated thread for this topic.

 

[JamesNelson]

Mr. Furmanek,
The introductory post in this thread mentions the Archive's role in preserving GOG. What if anything can you share about that work? When this title was shown at the World 3-D Expo(s) several years ago, the audience was told that we were seeing the only surviving print of one of the "eyes". The colors on that side (left or right? I don't remember) were badly faded. Has restoration meant simply preventing further deterioration? Or have efforts been made to restore any of the lost color, and if so how successful were they?

 

[Bob Furmanek]

Brian and James: I appreciate the anaglyph that you created from the scan I posted of our restoration on THE BUBBLE. However, at this time, it's still a work in progress and I'd rather hold off on sharing any 3-D images until our work is complete. I hope you understand!
I found that faded left side print of GOG about 15 years ago in Atlanta. I later discovered that it was the only surviving element on that side. I can't tell you how nervous I was running it at the two Expo's but I felt it was important to raise awareness of the need for preservation. Director Herbert L. Strock was in attendance in 2003 and was able to share his work with a sold-out and very enthusiastic audience. He passed away two years after that screening.
I'm very happy to state that at long last, the faded print was scanned in HD by the copyright holder and will eventually be color corrected to match the right eye. There are no further plans with the title at this time but at least it's been preserved in 3-D!
Bob

 

[SAM33]

Well that's good news on GOG at least Bob. I see it's out now through the Warner Archives or another MOD source, but it's a darn shame they won't start giving us some 3D versions this way.
I don't see why 3D Blu Ray MOD's wouldn't be possible? I understand this may be a niche market numbers-wise to the studios, but I for one am wiling to pay a premium for classic 3D, just an many seem to be for the Archives titles.
I came over here from the Classic Horror Film Board at your suggestion to add my voice to those calling for classic 3D releases. You say that studio reps do look here some, so here's another one asking for more (any!) Golden age 3D.
SAM33

 

[SAM33]

Oh, and I meant to add (if it's of any real help or consequence) that while I'll seriously buy ANY classic 50's title in 3D, my most wanted in rough order of preference would be:
IT CAME FROM OUTER SPACE
CREATURE AND REVENGE OF THE CREATURE
HOUSE OF WAX
GOG
GORILLA AT LARGE
THE MAZE
PHANTOM OF THE RUE MORGUE
(hey, I'm a classic horror and sci-fi fan, what can I say?)
ANY of the cartoons (do have WORKING FOR PEANUTS already) such as ACE OF SPACE, BOO MOON, etc.
DIAL M FOR MURDER
INFERNO
FORT TI
HONDO
If you make them I will buy...
SAM33

 

[Bob Furmanek]

Thanks Stewart, expressing your interest here is the best way to have your voice heard.
I've restored and preserved BOO MOON from the original YCM successive exposure elements. We'll definitely include that in one of our releases this year!
Bob

 

[bgart13]

Bob, do you have any insight about the cyan/ amber anaglyph format? Such as your opinions, if it works "better" for modern tvs, etc. When did these colors start being used instead of cyan/magenta? Also, any idea who prepared the cyan/amber broadcast version of FFF?

 

[Bob Furmanek]

Ben: To be honest with you, I have no idea! I never gave much thought to anaglyph, especially after November 1978 when I saw my first vintage feature in Polaroid. From that point forward, I considered anaglyph a detriment to the enjoyment of 3-D.
There's a brilliant engineer working with us on our 3-D restorations. His name is Greg Kintz and I'm going to ask if he can answer your question.
Bob

 

[Dennis Gallagher]

Love it or hate it, FLESH FOR FRANKENSTEIN has eye-popping 3D. Almost literally. Just about my favorite 3D experience in a theater (NY's Film Forum, circa 1996).

I saw this at a first-run house in Philadelphia when it was first released and remember it being a real hoot with definitely some of the most unsubtle 3D I've ever experienced - including
one scene with an entrail-oozing body on an operating table hanging right in front of my face.
I also have memories of bats flying out of the screen and behind my head (though maybe this is just my age-fogged brain speaking because I have no idea how this could have been done).

 

[Dennis Gallagher]

My question for Bob is one I'm sure many would like to ask: will there be a 3D Film Expo 3?

I flew 3000 miles for the 2003 Expo - a truly great experience as I also got to see "How the West Was Won" in Cinerama at the Cinerama Dome
the same week.
I'm hoping for something on the east coast - perhaps at the Lafayette Theatre in Suffern as i'd really like to go there but haven't seen anything
playing there which I'm willing to drive 2 1/2 hours for.
(I know the Lafayette's already had a mini-fest - showing many of the same films which were shown at the first 3D fest.)

 

[moviebear1]

I agree with the list that was posted. but please add KISS ME KATE & THE FRINCH LINE to that list.
I would buy them all as well.

 

[GregK]

Thanks for the kind remarks, Bob. Working directly from the OCN certainly makes the job a lot easier.
Regarding the previous question of anaglyphs:
Each anaglyph (color differential 3-D encoding) format has it's own strengths and weaknesses. A given anaglyph format should not be judged on a single encoding, as how a given feature is pre-processed, encoded and what delivery format is used (DVD, BluRay, broadcast, etc) will help determine the end product's quality. Aside from the obvious conflicts that comes whenever encoding a full color image as anaglyph, I would define anaglyph as a very fragile format. When the color signal is even slightly degraded, the result is an increase in "ghosting" with anaglyph, which already can have issues in this area. To date, there are no consumer delivery video formats which offer uncompromised color, as this normally is an area where the human eye is forgiving, so consumer video formats (analog and digital) have been designed to exploit that.
Speaking in general terms on all three major anaglyph variants, the red/cyan anaglyph has been most prominent type, and tends to offer the best separation. The red lens is typically used for the left eye with today's anaglyph, although some encoded their anaglyphs as red lens / right eye. Slight variations of red/cyan included red/green and red/blue.
ColorCode (on in non-branded terms: yellow/dark blue anaglyph) was designed to be quasi-2D friendly, but in practice this is often not the case. This is what was used for the Ch 4 UK anaglyph telecasts of "Flesh for Frankenstein" and "Friday the 13th Part III" a few years back before 3DTVs were common.
Green/Magenta anaglyph 3-D gained a brief popularity by the late John Lowry under the brand "Trioscopics". This was used for the first 3D anaglyph Bluray releases of Coraline, Journey to the Center of the Earth, and My Bloody Valentine to name a few titles. Green/magenta was touted as having a better left/right color balance, which sometimes was the case. But when compared to red/cyan encodings, green/magenta tended to have slightly increased ghosting. It is worth noting different subject material may occasionally lean one way or the other, which is why I try to keep these more as generalized observations.
But in the end, I pretty much share the same view on anaglyph as Bob has. Whenever one is exposed to the superior Polaroid process, anaglyph is a bit tough to go back to. Some have felt anaglyph with video has been a necessary evil or acceptable downgrade, while others believe it has fostered a negative view of 3-D. For example- if someone has only been exposed to anaglyph, what would they think of 3-D? Thankfully with today's new 3DTV formats, these previous arguments and need for anaglyph for the most part is now moot.

 

[JamesNelson]

...Director Herbert L. Strock was in attendance in 2003 and was able to share his work with a sold-out and very enthusiastic audience. He passed away two years after that screening...

Yes! The guest lists at the two Expos were truly incredible:
Joe Dante
Leonard Maltin
Ray Bradbury
Patricia Hitchcock
Jane Russell
Julie Adams
Lori Nelson
Kathryn Grayson
Kathleen Hughes
William Schallert
Paul Picerni
Biff Elliott
and many others...
...oh, and some guy named Bob Furmanek...
Mr. Bradbury was awarded the keys to the city in a very moving appearance.
There were also some famous folks among the audience (Quentin Tarantino, John Landis, Bob Burns, etc.) My friend and I had the honor of sitting next to Mr. Landis at one screening , who was kind enough to share with us some stories about the stereoscopic screen tests he did for the abandoned '80s remake of "Creature from the Black Lagoon".
Good times indeed.