Leo Anthony Vale

---Since Jung died in 1961, nearly 86 years old and 8 1/2 was made in 1962 or '63 for a mid '63 release. I'm dubious. Yet still: ---LV

---It was principly for restoring faded colors. One would measure the color densities of a known black, such nas a frameline in the faded film. This would be used for determining the exposure for the masking stock. It have been reversal. it would then be bipacked with the faded film and a new corrected dupe would be made from the combo. ---LV

---WarnerColor was all Eastmancolor. Metrocolor seems to be the only major using Anscocolor, processing it themselves. Lippert was the second biggest user of Anscocolor. No idea where their lab work was done. 'Lust for Life', 1955, was the last movie shot on anscocolor. By then MGM lab had switched over to Eastmancolor. Minelli mentions in a memoir that MGM had to hunt through warehouses across the country for every last foot of Anscocolor negative. The processing was done at a lab in Texas. Speaking of Warnercolor, 'Helen of Troy' has some good large scale night scenes of the sack of Troy and of galleies at sea. Probably at EI16 since arcs were most probably used. ---LV

---If distribution companies quibble over the cost of print stocks and ENR, will they approve this extra cost. I once saw an article in SMPTE which discussed using a Kodak color masking stock for restoring faded negatives and dupes. What ever became of that? it would seem there wasn't enough of a market to sustain it. ---LV

Answer prints and I/Ps are usually made in a continuous contact printer. So registration is iffy. The lab I worked at did make some prints from TC 3-strip negatives. But it wasn't always successful. Maybe okay for TV, but for a big screen... ---LV

Blue was standard for travelling mattes until video took over from film. The luminence signal is mostly green and relatively higher definition than the color difference signals, of which blue has the lowest definition. Though some three-strip Technicolor travelling mattes used green. I think the original british patents, Tom Howard's, were for blue backing; TC Hollywood's were for green backing, 'The Conquest of Space', one of the last three-strip movies uses green backig for the live action and blue backink for the miniatures. ---LV

---I suppose that's where this contemporary disdain for deep focus comes from. Since composition becomes paramount for directing the eye, rather than throwing everything out of focus except for the main subject. ---LV

---I believe it was actually the Fox ranch in Malibu. Also the art director later directed 'The Attack of the Fifty Foot Woman' ---LV

If the Kodachrome was getting muddy, it was probably underexposed. Beamsplitter reflex viewers eat light. ---LV

---'Reflection's in aGolden Eye' and 'Deliverence' were originally released this way. Though by combining the OCN and a B/W dupe neg. Both films were technicolor, 'Reflections..' printed onto matrices for IB, 'Deliverence' , most likely,onto a CRI. There was an SMPTE article about 'Reflections...', an AC article about the production of "Deliverence'. I sure remember that film as greyish. ---LV

---Sorry about the attatchment. Here's the Cine 60 blimp at the milk bar: ---LV

---Cine 60 made a fiberglass blimp for the Arri IIB/IIC and a flat base base for the motor. I think the blimp wqas actually made in Germany. The blimp was used in the rape scene. There are stills of it on the floor with Alex speaking directly into it, for POV of writer while his wife is being held in the background. Probably an 18mm since that was widest that could be used in the blimp. Can't find that still but here's the blimp in another scene and the flat base: ---LV

---The 23.15mm width for C'scope is for the 2.55/1 aspect ratio which is no longer used. Technicolor and the ASC manuals gave .373" and 9.5mm for the height of Techniscope. Examples I've seen have almost no frame line, some have an overlapped frame line. Here's Panavision's listing: http://panavision.com/aspect_ratio.php and go to page 9 of the pdf of the camera catalog: http://panavision.com/catalogs.php Their height for 3-perf S35 camera aperture is 13.87mm. I think Arri and aaton have 13.5mm. ---LV

There is no 16x9 gate in a Super 8 camera. Pro8 says their widened gate is 1.58/1. A standard Super 8 gate is 5.79x4.14mm. Super 8 is actually 7.976mm wide. The distance from the perf edge to the frame edge 1.47mm. Add that to the frame width and subtract the sum from 7.976mm. You get 0.716mm. Add that to 5.79, you get 6.506mm. Divide by the frame height, 4.14mm, you get an aspect ratio of 1.57/1. That's the camera aperture and it goes all the way to the edge of the film. So the height is still cropped, and you have to send it to Pro8 for the Xfer. ---LV

---I think one would get a flickering/shimmering effect. It would be similar to viewing an anaglyph image where part of the image is made a different color in each of the left/right pairs. This is sometimes done with lettering or backgrounds in anaglyph comic books. ---LV

---The widescreenmuseum mentions the Technicolor prints of 'The King and I'. The BKTS colour processes wallchart also mentions that: <a href=http://adkcmg.hometypers.hop.clickbank.net If one has the money and the wallspace these are swell things to have. Could the IB prints have been for European prints? Also, SMPTE Journal mentioned inthe early 70s that DeLuxe had set up a Technisope printer. Oddly, this was shortly before Technicolor discontinued Techniscope. ---LV

---In this case it might be more inspired by Japanese prints. Though interiors in prints are often from high angles. Kurosawa said he avoided color for such a long time because film colors were transparent, while the colors in Japanese prints and paintings were opaque. ---I second that. Even Eisenstein, who's often put on a phony dichotomy of montage vs. Bazinian deep focus, is fond of deep focus and refered to it as 'montage within the frame'. in TohoScope' ---LV

---Since Hammer was British and using Technicolor London, I would assume TC London. It's possible that they matrices to TC Rome for printinting. But someone I know who used to work at Films, Inc once told me that they got 16mm IB prints of Hammer films from TC London. Incidentally TC Rome invented Techniscope, and Technirama was invented at TC London The initial 35mm prints of 'The King and I' were Technicolor IB, advertised as De Luxe

---No one doubts that it was shot in Techniscope. But look at the Italian poster again. "colore de luxe" Yet, I don't believe DeLuxe had a lab in Europe at the time. Quite confusing. IMDB needs to be taken with a grain of salt. A couple of examples: 'ofelas/pathfinder' was filmed in 65mm Super Panavision, yet is listed as being 35mm 2.35:1 'babes in bagdad' is listed as being in Anscocolor. I've looked at "B/W" nitrate negatives of it. It was, in actuallity, filmed in a bi-pack color process, possibly printed at Cinecolor. ---LV

---I seemed to recall that the posters to it and 'Plague of the Zombies' didn't mention Technicolor. So I was searching for posters in Webdom to verify that. Most were unreadable. But this Italian poster lists it as DeLuxe colore! The link from the previous post is for a Technicolor announcement about the 1955 improvements in IB printing. ---LV ---Having trouble with the attachment. Here's a link to Italian poster: http://www.italica.com/cinemaparadiso/horr...cPrincTeneb.htm ---LV

---This article, based on data from Paillard, explains that stopping a lens down to f/3.2 and smaller will eliminate the RX prism problems: http://www.city-net.com/~fodder/bolex/truth.html ---LV

---It was definitely DeLuxe color in the US. Released by Fox on a double bill with 'Dracula< Prince of Darkness'. Was the later released in the US IB or DeLuxe color? http://www.widescreenmuseum.com/widescreen/technicolor.htm ---LV

They are being manufacured by cosina. Cosina is also manufacturing the Voigtlander rangefinder. The Ikon Contax is the new rangefinder. The Contax SLRs were manufactured By Kyocera/Yashica. Cosina also manufactured the entry level SLRs for Nikon , Canon and one or two others. Five elements is a small number of elements for a modern lens. Long lenses usually have fewer elements than normals, wide angles and, obviosly zooms. --LV

----'Rear Window' was released on eastmancolor prints from the OCN. Which is why the neg was so worn out. Some source I read recently, but can't recall where, said that Hitchcock didn't like the poor sharpness of IB prints. Whether or not this is why 'Rear Window' was released on Eastmancolor I can't say. The first Fox CinemaScope movies, 'The Robe' et al, were released on eastmancolor. This is because Technicolor was having registration problems with the Cinemascope perfs AKA Fox holes. The sharpness might have also been aproblem too. Pathe sued Technicolor for putting its name on a different process, thus perpetrating fraud. I never found out how the suit was settled. Pathecolor was, of course, eastmancolor. Fox's ultimate solution to the problem was DeLuxe labs, which was a small east coast lab they already owned. Technicolor came up with a major inprovement in sharpness for IB prints in '54 or '55. Enough of an improvement, that thet referred to it as A new Technicolr process. When I was at WRS, I had to work on the OCN and I/P of Hammer's 'The Scarlet Blade/ The Crimson Blade'. The OCN had the UK main titles, the I/P the US titles. The OCN read: Technicolor Hammerscope. The US: Hammerscope Eastmancolor by Pathe. So some films get IB prints in one Market and Eastmancolor prints in another market. ---LV

---Actually the LOMOs are quite good, mechanically some are are beaten up. but visually are similar to older Cookes. http://www.commiecam.com/ ---LV