Golden Age 3-D Features

[infiniteCR]

If the movie was good in 2D, then I am in.

[revgen]

Jivaro was shown at the 2013 3-D Expo.

My guess is that it's Adam and Six Eves (1962). It was the last film shot with the Natural Vision camera rig, and it's not owned by Sony, WB, or Universal. And since it's not a "silver age" 3-D film, I think it qualifies as a "vintage feature".

[Interdimensional]

Originally Posted by revgen

Jivaro was shown at the 2013 3-D Expo.

My guess is that it's Adam and Six Eves (1962). It was the last film shot with the Natural Vision camera rig, and it's not owned by Sony, WB, or Universal. And since it's not a "silver age" 3-D film, I think it qualifies as a "vintage feature".

I hope Jivaro is somewhere in the works, but what you suggest seems a good guess so perhaps you're right. I'd love it if access had been granted to the WB titles, but that seems unlikely

I think silver age 3-D could be also referred to as vintage, although from the description it definitely sounds like a dual 35mm title rather than a single-strip.

Originally Posted by Robert Furmanek

Fingers are crossed that the camera shutters were in phase

- As I understand it, single strip 3-D processes photograph left and right images through the same shutter simultaneously and therefore cannot be out of phase.

Another wild guess I'd throw out there would be Captain Milkshake. According to an unverified list on Wikipedia, that was filmed dual strip.

[cinerama]

So all the 1950's titles I listed are out. Probably is Adam and Six Eves. If not maybe:

CAPTAIN MILKSHAKE
ROCK 'N' ROLL HOTEL
THE 3-D MOVIE

[the13thman]

Originally Posted by infiniteCR

If the movie was good in 2D, then I am in.

If the movie is being restored by the 3-D Film Archive and is being released on 3D blu ray, then I am in.

[cinerama]

Originally Posted by the13thman

if the movie is being restored by the 3-d film archive and is being released on 3d blu ray, then i am in.

+1

[bavanut]

Originally Posted by Interdimensional

As I understand it, single strip 3-D processes photograph left and right images through the same shutter simultaneously and therefore cannot be out of phase.

Believe it or not, over-and-under 3-D filmed using a camera with a disc shutter can be very, very slightly out of phase, since the shutter will open over one eye slightly before it opens over the other. Somewhere in Foundations of the Stereoscopic Cinema, Lenny Lipton advocates using a camera with a cylindrical shutter as a remedy for this situation.

[infiniteCR]

Originally Posted by the13thman

If the movie is being restored by the 3-D Film Archive and is being released on 3D blu ray, then I am in.

I don't think I have seen any of their stuff.

[T. Warren Scollan]

Originally Posted by bavanut

Believe it or not, over-and-under 3-D filmed using a camera with a disc shutter can be very, very slightly out of phase, since the shutter will open over one eye slightly before it opens over the other. Somewhere in Foundations of the Stereoscopic Cinema, Lenny Lipton advocates using a camera with a cylindrical shutter as a remedy for this situation.

If what you say is true Mike, (and I believe it is) then wouldn't that make ALL single strip over/under 3d films (with a circular shutter) be that very slightly out of phase? Or perhaps having the circular shutter wiping across the frame horizontally might alleviate that problem? Or maybe a dual circular shutter system that opens and closes simultaneously at the top and bottom of the over/under frame? Interesting to think about.

[bavanut]

The cylindrical shutter Lipton mentions would indeed wipe across the left and right frames horizontally and simultaneously.

I must say, I notice phasing issues, but not always, and I generally have an easy time ignoring them when they are present. (One might say I am unfazed by them.) I happen to think the phase discrepancy that would result from shooting over-and-under 3-D with a disc-shaped shutter is probably not a huge problem. In fact, unless I am badly mistaken, The Bubble was filmed with a Mitchell camera having an ordinary, disc-shaped shutter, and no one complains about phasing issues in that film.

[the13thman]

Originally Posted by infiniteCR

I don't think I have seen any of their stuff.

I suppose it comes down to your taste in movies, but whatever you think of the films themselves, the 3D presentation is excellent. I've seen and enjoyed

3D Rarities
The Bubble
Dragonfly Squadron
GOG
It Came From Outer Space
The Mask
The Stewardesses

and I'm looking forward to

September Storm
A*P*E
Those Redheads From Seattle

and everything else in the pipeline from the 3-D Film Archive. They're one of the reasons I had to get a Region A player (Hong Kong and Shout Factory being the others)...

[punkskins]

Inferno is getting a USA release from Twilight Time in May. I probably like many people have a copy of the Panimint release though if there is something new with the film some special extras I might get it depending on finances.

Hope it sells well I'm guessing its people who don't like to import or didn't import the Panimint release will be the main auidence buying it.

Still 5 vintage releases so far released or announced for release this year and its only May.

[jtchance]

Originally Posted by punkskins

Inferno is getting a USA release from Twilight Time in May. I probably like many people have a copy of the Panimint release though if there is something new with the film some special extras I might get it depending on finances.

Hope it sells well I'm guessing its people who don't like to import or didn't import the Panimint release will be the main auidence buying it.

Still 5 vintage releases so far released or announced for release this year and its only May.

INFERNO IMO is probably the best use of Technicolor in a 3D release. If they use same elements that 3D Film Archive did for the Panamint release the buyers are in for a treat.

[Robert Furmanek]

We are honored to have our 3-D restorations of GOG and IT CAME FROM OUTER SPACE on the ballot in the 15th annual Rondo Hatton Award. We are nominated in two categories: Best Classic DVD/Blu-ray and Best Possible Restoration/Upgrade. If you have enjoyed either 3-D Blu-ray, please consider voting.

We're very proud of both projects but of the two, GOG was certainly the greater challenge and would be totally lost in 3-D were it not for our efforts. (http://www.3dfilmarchive.com/gog)

On behalf of the 3-D Film Archive team of Greg Kintz, Jack Theakston and Thad Komorowski, I thank you very much! http://monsterkidclassichorrorforum....o-Hatton-Award

[Robert Furmanek]

I'm pleased to announce that we have just recorded our first feature commentary track. I had the great pleasure of joining Hillary Hess and Jack Theakston to discuss all aspects of THOSE REDHEADS FROM SEATTLE.

Throughout the 90 minutes, we cover the films production and limited 3-D release; the recently solved mystery of the origin of the Paravision camera and the technical challenges of filming in dual-35mm 3-D; the pioneering use of widescreen framing and the lost three-channel stereophonic sound; Lionel Lindon's outstanding and complex three-dimensional compositions; my decades long search for missing 3-D elements and so much more. In addition, Archive Technical Director Greg Kintz joins us for a ten-minute segment to describe the many challenges that he faced with bringing this stereoscopic gem back to life.

THOSE REDHEADS FROM SEATTLE are coming to 3-D Blu-ray from Kino Lorber in May 2017. Don't miss "3-D's big musical gal-stacked frolic!" http://www.3dfilmarchive.com/those-r...s-from-seattle

[Interdimensional]

Originally Posted by Robert Furmanek

I'm pleased to announce that we have just recorded our first feature commentary track. I had the great pleasure of joining Hillary Hess and Jack Theakston to discuss all aspects of THOSE REDHEADS FROM SEATTLE.

Throughout the 90 minutes, we cover the films production and limited 3-D release; the recently solved mystery of the origin of the Paravision camera and the technical challenges of filming in dual-35mm 3-D; the pioneering use of widescreen framing and the lost three-channel stereophonic sound; Lionel Lindon's outstanding and complex three-dimensional compositions; my decades long search for missing 3-D elements and so much more. In addition, Archive Technical Director Greg Kintz joins us for a ten-minute segment to describe the many challenges that he faced with bringing this stereoscopic gem back to life.

Those Redheads was already among my most anticipated releases for the year, but this sweetens the deal. I can't wait to hear what insights you all have about the film.

Will the 10 minute segment with Greg Kintz explaining what was involved with the restoration be part of the audio commentary, or is it a separate feature?

[Robert Furmanek]

The segment with Greg Kintz will be part of our commentary track. He was not able to join us in person (he's working around the clock in order to finish the project) so he's recording at his facility and we're cutting it into the master.

It's worth noting; this will be the first commentary track on a vintage 3-D feature to actually focus on the stereoscopic aspect of the film. While there are other Golden Age commentary tracks, they primarily discuss the cast/crew and any mention of 3-D is simply a casual reference. Our commentary is quite the opposite: cast and crew get brief mentions and the entire focus is on depth.

I know that you'll enjoy it!

[jtchance]

Originally Posted by Robert Furmanek

The segment with Greg Kintz will be part of our commentary track. He was not able to join us in person (he's working around the clock in order to finish the project) so he's recording at his facility and we're cutting it into the master.

It's worth noting; this will be the first commentary track on a vintage 3-D feature to actually focus on the stereoscopic aspect of the film. While there are other Golden Age commentary tracks, they primarily discuss the cast/crew and any mention of 3-D is simply a casual reference. Our commentary is quite the opposite: cast and crew get brief mentions and the entire focus is on depth.

I know that you'll enjoy it!

I know I will Bob! Can't wait to obtain the release.

[Paul H]

Originally Posted by Robert Furmanek

The segment with Greg Kintz will be part of our commentary track. He was not able to join us in person (he's working around the clock in order to finish the project) so he's recording at his facility and we're cutting it into the master.

It's worth noting; this will be the first commentary track on a vintage 3-D feature to actually focus on the stereoscopic aspect of the film. While there are other Golden Age commentary tracks, they primarily discuss the cast/crew and any mention of 3-D is simply a casual reference. Our commentary is quite the opposite: cast and crew get brief mentions and the entire focus is on depth.

I know that you'll enjoy it!

Loved the way Hillary Hess introduced interesting strong stereoscopic aspects in her brief visit segment to the A*P*E 3D commentary track. Looking forward to her visual-expertise in perspective & recollection on "Those Redheads from Seattle".

[Robert Furmanek]

Hillary and Jack got into quite an interesting discussion on stereo cameras, composition, lenses and f-stops. They pointed out many elements to the cinematography that I didn't recognize. In addition, they unraveled the decades-old mystery on the origins of the Paravision camera rig.

I just sat back and listened!