See if you can find a copy of CHRISTIANS IN THE MOVIES, by Peter E. Dans. Rowman and Littlefield, publishers - 2009. I became acquainted with Dr. Dans, who is a retired internist from Johns Hopkins, quite a few years ago when he was writing DOCTORS IN THE MOVIES - JUST BOIL THE WATER AND SAY AH. I w...

I wonder if the word "restored" is being overused. I can understand a movie like APOLLO 13 having an ultra high def transfer to digital projection capability, and cleanup of elements where necessary, but to me restored means a lot of work repairing damaged elements, finding missing parts, etc. It's ...

So-called "vinegar syndrome" is acetate decomposition of the film base. It gives of a gas which, being based on acetic acid, smells like vinegar. If the affected film is kept together with other acetate based film, the gasses can be contagious, thus making the unaffected film eventually "catch" vine...

As mentioned in my post of some years ago, copied in this thread, the restoration was done by Universal as part of their ongoing maintenance of their library. It probably doesn't show up on the various archive searches since no archive was involved. The work was supervised by the studio staff, and r...

Even the Library of Congress posts a similar notice on their website, regarding lyrics of songs.
Long ago MGM modified many of these cartoons, replacing the "Mammy" character with a white housemaid
who had an Irish accent.

Actually the negative will have alternate frames for red and blue. Rather than my going into detail, I refer you to American Widescreen Museum (widescreenmuseum.com), and look at its Technicolor section. Excellent explanations, along with illustrations of how both the two and three color systems wor...

I doubt it. This picture would have been filmed in 2-color Technicolor, meaning there would be two frames of negative for each projection frame. In that case, the original negative would probably be 18 reels.
I'd guess this is a black and white dupe negative.

In THE GRAPES OF WRATH, John Qualen's (as Muley) relating the destruction of the family home by the bank's bulldozers.
At the end of the film, Jane Darwell (Ma Joad)'s "We're the people"
And most any of the other set-piece monologues by John Carradine, Henry Fonda, etc.

And to think, it all started with plain old 3-strip Technicolor, shot in 35mm with film and lenses made in 1939!

Just a speculation about the color in the Fox logo: This was one of their first 3-strip pictures, and possibly the artwork used wasn't as colorful as needed for the system. As to the restoration, this is a similar situation that Fox had with LEAVE HER TO HEAVEN. They took the faded, recombined color...

I believe the Stanford is still exclusively film projection. Put Stanford Theater into Google, and you can get a lot of information about this beautifully restored 1925 theater, along with many photos.

I don't think this will help your current problem, but I use a Magnavox DVD recorder/player which also has a hard drive.
Transfers from hard drive (very large capacity) to DVD-R or vice versa can be made at the push of a button.
Maybe you should consider this type of machine.

Could we have an explanation for the statement "nitrate film consisted of nine strips of color film photographed simultaneously"? This sounds like a misunderstanding of the Technicolor 3-strip process. Also consider that many of the surviving nitrate prints were made from the original negatives, car...

Changsham: The need for some degree of color in the old Technicolor process is correct, due to the printing process. The dye transfer (IB) printing transferred dye soaked up into the emulsion of the matrix to the final print. If there was no color (a pure, bright, white object) there would not be an...

I have long been a fan of Mark Viera's books. Not only do they have excellent text, without using gossip, but the photographs (which are his specialty) add a lot to the interest. I have just about all of them, the Garbo included, and can highly recommend it.

Re andybenz question: For some reason, there must have been some deletions to THE CAMERAMAN long before it became part of the Turner library. When doing the above detailed restoration, we referred to an original copy of the MGM cutting continuity in the files. There were some penciled notations rega...

The story of THE CAMERAMAN is one of those situations with happy results. I was VP of Preservation at Turner Entertainment Co. from its formation in 1986, and was involved in the restoration of this picture. The story always floating around was that MGM required all their comedy writers to view the ...

I have a copy of the MGM printed release schedule, carried over from my MGM/Turner days. It was printed 3/24/32. BEN HUR is shown as 122 minutes, released 1/3/32. THE BIG PARADE is listed as 125 minutes, released 12/12/31. Based on footages when we did the film restoration of THE BIG PARADE about 10...

You're right. I understand the equipment from the British lab went to China. The late Jeffrey Selznick worked with them to try to make a print of DUEL IN THE SUN from the original negatives. A screening of a reel or so of this, along with some comparisons, was held at the Academy's Goldwyn Theater f...

The Technicolor dye transfer process was last used in a major release for GODFATHER II. The company revived it in the late 1990s, but it was not commercially successful. Accomplishing the needed precision from three elements, transferring dyes to the final print film, was a big problem with the need...

I first saw GONE WITH THE WIND at the Warner Theater in Oklahoma City on a 1949 reissue. This was the period when people just went to the theater when convenient, regardless of the starting times of the films. By the time the picture had rolled around to where I'd arrived, I had pretty much forgotte...

David - re your question about color stills before Kodachrome: There were some other methods of still color photography, one being a "one-shot" color camera. This was a very complicated construction with lenses and mirrors that could make black and white color separation negatives, all three with on...

Kodachrome was not introduced until a couple of years after the release of CLEOPATRA.

When I was working in the MGM film services department at the Studio (pre-Turner) I obtained the production files for MAYTIME to see what, if anything, was shown for the supposed Technicolor production that was never completed. There was not one word in the file about this. Either this is one of tho...

"12 O'clock High" - 20th-Fox 1949, directed by Henry King, produced by D. F. Zanuck. A story of a U. S. bomber squad and their raids on Nazi Germany. Totally involved in the crews and raids, with no sentimentality or side stories (except bookending after the war, with Dean Jagger going to the site o...

Sequential separations were not exclusive to Disney. Almost all animation was photographed in this manner. Since the source image wasn't moving, a conventional camera could be used to shoot the three images with appropriate filters instead of having to use one of Technicolor's 3-strip cameras. Havin...

I have to toot the horn of the lab I work for. We did the restoration of TOO LATE FOR TEARS for the Film Noir Foundation, supervised by the UCLA Film Archive. Without going into the details of source elements, it looks very nice, and I understand that the audiences at recent showings received it wel...

It was made by Disney especially for MGM to include in this feature. Ray's note that there are splicing instructions on the negative showing where to cut it into the feature print would not have been in a separate release. I think Disney was distributing thru UA at that time. Also, the cartoon was i...

Christopher Jacobs reply covers what I would have said about the varied look of todays movies. No point my saying more on that subject. One other thing to remember, however: Movies shown on television or video are not "prints". They are electronically mastered, usually from pre-print elements such a...

I think Allred was a theater owner.