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Doug Bull

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Good news indeed.

I was secretly praying for "Miss Sadie Thompson", but like others here I'll gratefully accept any vintage 3D Title.
"MST" with it's most enjoyable George Duning score would have been a perfect fit for TT.

I now look forward to "Man in the Dark"

dark3d.jpg
 

Matt Hough

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Todd J Moore said:
Oh, it's completely a B-Movie. And 11 days sounds about what I heard, too. But I enjoyed it massively when I saw it at the Film Forum in 2004. I sincerely hope it's the start of multiple Classic 3D Blu Rays from Twilight Time.

Matt, you seem to enjoy pop-outs and this one has quite a number. I think you'll have a grand time with it.
2014 can't come fast enough!
 

Bob Furmanek

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RolandL said:
Lets hope Twilight Time can work with Bob and Greg to make sure the 3-D is perfect on the Blu-ray. I know that TT just uses what the studio sends them but maybe is this case they can get some help with it?
Thanks, Roland.

It was a new camera rig and a quick eleven day shoot. I hope the various baked-in vertical alignment issues have been fixed!
 

Jeffrey Nelson

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This film is fantastic; I saw it restored in 3-D at a screening in Seattle earlier this year. It may not be DOUBLE INDEMNITY, but who cares? It's never less than constantly compelling and incredibly entertaining, if a trifle hokey. And the 3-D is absolutely PHENOMENAL, some of the best I've ever seen, with incredible depth and a wealth of in-your-face stuff, which I always love to see. Sorry, but that's what 3-D's all about; if I see a film in 3-D, I want stuff flying off the screen into my face, and this film has it in spades. I only hope that the Blu doesn't look like DIAL M FOR MURDER, and be an unwatchable ghostly mess unless you're one of the elite few who have a DLP setup. If it looks as good as CREATURE, we're in business.
 

Bob Furmanek

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DIAL M looks great on my display.

Time to get a new set with proper cancellation properties, Jeff!
If you see any instances of ghosting/crosstalk on your display, please note this is NOT an issue with the original photography, restoration, or 3-D Blu-ray authoring. Vintage stereoscopic movies have a much wider - and more natural - parallax, compared to most modern 3-D films which will exhibit fewer ghosting artifacts as a result of minimized depth. Many of the current active display LCD and LED 3DTVs do not meet cinema L/R cancellation levels and as a result, may exhibit "ghosting" with certain more demanding 3-D scenes. Passive polarized displays usually are closer or equal to having cinema grade cancellation levels, while DLP active display devices typically exceed 3-D cinema cancellation specs and are considered essentially ghost-free.
 

Doug Bull

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"Dial M" looks fantastic on my Panasonic V series Plasma but looks even better on both my Sony HMZ-T1 & T2 OLED 3D personal viewers.

While the Sony OLED 3D viewer does have some comfort and head adjustment issues, it's stunning 3D imagery is clearly the best available in the home at this time.
Of course it's an anti social device, but if you're happy to view alone......it's a fabulous 3D experience. (great for 2D viewing as well)

hmz1.jpg
hmz2.jpg



Doug.
 

Bob Furmanek

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"Dial M" looks fantastic on my Panasonic V series Plasma but looks even better on both my Sony HMZ-T1 & T2 OLED 3D personal viewers.
I hear you, Doug!

Jeff is the proverbial broken record and repeats that same line every chance he gets. I've seen him post that at least a dozen or more times now.

Personally, I prefer that Hitchcock's stereoscopic vision remain intact rather than alter it to accommodate those with poor quality displays.
 

Doug Bull

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Am I alone when all I really want in my 3D viewing experience is "you are actually there" depth and a realistic roundness of objects.
I'll accept the occasional in-your-face stuff, but if it doesn't happen then I'll still be perfectly happy.

A lot of members here and elsewhere seem to demand in-your-face 3D effects and if it's not there then it's of their opinion that the 3D is no good.

I'd hate to live in a real world where everything is either thrown at or thrust in my face.


Doug.
 

Bob Furmanek

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My feeling is that gimmicks - like 3-D movies in general - are more fun in moderation.

I don't want something thrown at me every five minutes ("Comin' at Ya" style) and very few of the 1950's titles are guilty of this. MAN IN THE DARK is one of the most aggressive so it will certainly please the audience that wants "pop out." Each studio had their own policy and Columbia was one of the more proactive with this aspect of stereo cinematography.

Of the fifty Golden Age features, I would say only a dozen or so are very gimmicky.
 

Doug Bull

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I begrudgingly, ashamedly, but forgivingly admit that "Kiss Me Kate", my most loved and desperately wanted Golden Age 3D classic, has it's share of "pop-out" moments.

Moments like Ann Miller's scarf in the scorching "Too Darn Hot" number, Tommy Rall's foot during the "Why Can't You Behave" rooftop dance, Kathryn Grayson's Beer Tankard in the "I Hate Men" sequence and the most memorable moment of all when both Howard Keel & Kathryn Grayson emerge from the screen to float out over the audience at the end of the film. God I love that movie.

I haven't seen it in 3D since I first saw it that way at the Metro Cinema in Melbourne some 60 odd years ago.
I can still remember handing in the glasses as we exited the theatre. The glasses were then sterilised and used again for the next performance.

Please let it be next on George Feltenstein's 3D Blu-ray list.


Doug.
 

Bob Furmanek

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KATE has the unique distinction of being the only 3-D title from the 1950's to have extra gimmick shots physically cut into the 3-D prints.

Here are a few frames from a sequence spliced into the film just before "We Open in Venice."

Kate-IB-web.jpg
 

Doug Bull

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I'm acquainted with a rare 35mm print of "Deep in my Heart" that was photographed in Eastman but printed by Technicolor.
Like those "Kate" frames it still looks great after all these years.

I know that, during this Metrocolor period, nearly all the MGM trailers and the actual Movie prints themselves were on Eastman stock and have now turned pink.
To me it is really rare to come across an actual MGM Technicolor print that was originally shot on Eastman/Ansco.

Bob, would you know how common these Technicolor printed alternate prints were?

Fox did produce the occasional Technicolor trailer for otherwise DeLuxe colored Cinemascope movies.
But this practice also seems fairly rare as most surviving Scope trailers have now turned deluxe pink.

bamboo1.jpg

This frame dates back over 50 years and it's certainly not DeLuxe. You have to love Technicolor.

It's exciting to come across these isolated anomalies in an otherwise Pink World.
 

Matt Hough

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I'm another whose fingers are crossed in numbing pain in the hopes that Kiss Me Kate in 3D will be a forthcoming announcement from Warners.
 

Todd J Moore

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I'm fine with watching 3D movies that have few to no effects so long as there's good depth. On the other hand, I do think some of the gimmicky films can also be fun to watch once in a while. I find absolutely nothing wrong with that, either. From the 1920s forward, 3D movies have had gimmick shots. The Pete Smith Specialities didn't stay behind the screen. Motor Rhythym didn't stay behind the screen. And that's part of their charm. The Crespinel footage was gimmick shots. And it's all part of what makes 3D fun.

If I'm gonna invite people over to my apartment and show a 3D movie, I don't necessarily want to show them something that at the end of it they're gonna ask what the point of wearing the glasses was. I'm not saying I wouldn't show Miss Sadie Thompson or Money From Home, but if I did show them, I would make sure to show something a little more gimmicky like House of Wax or Creature From the Black Lagoon as well.

Comin' At Ya! or Spy Kids 3D aren't necessities, but even they have an element of fun to them. I have Spy Kids, in fact, and I would completely get Comin' At Ya! just for the goofy fun of it. Pop outs are cool, like fezzes and bow ties.
 

Bob Furmanek

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Doug: I'm not sure how many were printed by Technicolor but I once had an original 1953 left/right 35mm print of ARENA, also shot on Ansco negative.
 

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