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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » It's A Mad, Mad, Mad, Mad World -- Seeking Trims & Misc. Footage (Page 1)

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Author Topic: It's A Mad, Mad, Mad, Mad World -- Seeking Trims & Misc. Footage Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 05-05-2003 07:00 AM                     I'm checking with this group as projectionists have always had the sensibility to not throw away certain sprocketed items which others may find of no value. While we have located a good amount of 6 track audio (fullcoat) and a number of 70mm print picture trims on Mad World, the world-wide search continues. The original negative was cut and conformed to the 154 minute version in December of 1963, after the production of over thirty 70mm prints in both standard Ultra-Panavision and rectified format, plus at least a dozen 35mm magnetic prints. The majority of the 70mm prints were replaced with new short versions and recut in January of 1964. After re-cutting they were re-recorded with the newly cut short version audio. In April of 1964 the 65mm Oneg was shipped in its newly cut form to Technicolor London, where the majority of later printings were performed for worldwide distribution. We recently brought in a 70mm print from Austrailia which was of London manufacture and is confirmed as the short version. We're hopeful that somehow either trims or reels of long version prints may have survived somewhere in the world that we have not yet checked. Any information or leads gratefully accepted.  |  IP: Logged David Kilderry Master Film Handler Posts: 355 From: Melbourne Australia Registered: Sep 1999 posted 05-05-2003 07:40 AM                        Hi Robert, This has been my number 1 70mm film for the restoration process. Glad to know you found a complete print from Australia even though it was the short version. I'm sorry my IAMMMMW 70mm footage turned out to be from the short version too, but if you dig up stuff anywhere, it will be here at Film Tech. If it was not for projectionists, much of the worlds cinematic heritage would have been lost. Film distribution companies must understand the difference between genuine film collectors and film pirates. I know many genuine film collectors world-wide and not one of them ever has, or would consider, copying their film for illeagle sale on tape or disc. They value and preserve what the worlds film production companies, and the corporates who consumed them, have neglected. If only more had been like Charlie Chaplin, who kept mint 35mm prints of his own films. David Kilderry  |  IP: Logged Claude S. Ayakawa Film God Posts: 2738 From: Waipahu, Hawaii, USA Registered: Aug 2002 posted 05-05-2003 12:47 PM                        I do not know if it is true or not but I heard that there is only one print of "FROM HERE TO ENERNITY" with a mag stereo track from the film's original release in 1953. The print is in the hands of a private collector who has even refused Columbia Home Video from using it when they released the film on tape, laserdisc and the original DVD. When Columbia recently issued a Superbit DVD in stereo for the very first time, the magnificent sound was created from new and original sound elements and I was very impressed with the effort and stated that when I reviewed the DVD here at Film Tech. Yes, private collectors protects films from being reproduced even when the purpose is legitimate. I was fortunate to see "IT's A MAD,MAD, WONDERFFUL WORLD" in 1963 during it's original road show release at Honolulu's Cinerama Theatre in what was billed as the very first single projector Cinerama film instead of 70mm Ultra Panavision. I have owned the 'complete' film on a boxed MGM laserdisc for years with the missing footage represented by still photographs. From what I saw, you do have your work cut out for you. Welcome to Film Tech, Mr. Harris. I have always admired your work especially the restoration efforts you had made with "LAWRENCE OF ARABIA", "SPARTACUS" and "MY FAIR LADY" -Claude  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 05-05-2003 01:00 PM                        Welcome to Film-Tech, where people believe in "Film Done Right!"  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 05-05-2003 02:11 PM                        And welcome once again from another AMIA refugee...  |  IP: Logged Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 05-05-2003 05:14 PM                     To the best of my knowledge original stereo prints of From Here to Eternity would most likely have been double system with a three track mag. RAH  |  IP: Logged Edwin Graf Diemer Film Handler Posts: 47 From: Red Bank, NJ, USA Registered: Jul 2000 posted 05-05-2003 10:56 PM                     You're right-it would have to be interlock since "Eternity" opened in August, at least in New York City! There is a neat two-page ad of the front of NYC's Capitol Theater in the 8/15/53 issue of "Motion Picture Herald" (p 14-15), and the marquee says "Giant Screen-Stereophonic Sound".  |  IP: Logged Dick Vaughan Phenomenal Film Handler Posts: 1032 From: Bradford, West Yorkshire, UK Registered: Jul 2000 posted 05-06-2003 02:45 AM                        Robert Nice to se you on Film-Tech. Sorry to see your search hasn't yet turned up the missing footage. The need for such a restoration was made all more apparent by the screening of a pan and scan version of IAMMMMW on UK terrestrial TV yesterday,despite it having been advertised as widescreen.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 05-06-2003 06:42 PM                    I presume the actual restoration would be in the original UP70 format. But what format release prints?  |  IP: Logged Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 05-07-2003 07:42 AM                     Release format would be UP70 as a number of sets of projection optics are available. Dependent upon venue, the projected image could be cropped to as narrow as 2.55 as necessary. One of our problems is that much of the extant 70mm trim footage is rectified, which would have to be digitally brought back to a standard 1.25 squeeze.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 05-07-2003 09:38 PM                     Hey Bob, I have a really nice UP projection attachment here if ya need it. Its like brand new..... Mark @ CLACO CLACO Equipment And Service Salt Lake City, UT  |  IP: Logged Darren Briggs Master Film Handler Posts: 371 From: York, UK Registered: Dec 2001 posted 05-11-2003 03:26 AM                        Hi Robert, Darren in York here, So if its going to be a UP70 release print, as I only have a flat screen how will I beable to screen it without distortion?? Need a UP lens? Dick at Bradford is the only place in the UK with a propper curved screen, Ill do the U.K.premier flat screen premier though! Darren  |  IP: Logged Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 05-11-2003 10:18 AM                     Darren... The UP70 releases were printed to be projected on both highly curved and flat screens. UP70, with its 1.25:1 anamorphosis would be unsqueezed using the proper optics to anywhere between a 2.55 to 2.76:1 aspect ratio on a flat screen or... projected on highly curved screens in a rectified print which was optically printed from the original negative to fully unsqueeze and area of approx 2/3 of the frame with the far sides being given an even greater squeeze, which would be "physically" unsqueezed by the distortion created by the highly curved surfaces of the screen sides. There was a double inventory of prints. When I replied that the probably plan, if the project moves forward, would be to create UP70 normal squeeze prints, is that I would not plan to create rectified prints or a double inventory as the number of venues with highly curved screens is slowly, and unfortunately, moving toward extinction. RAH  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 05-11-2003 10:55 AM                     I would like to see the up70 of Mutiny on the bounty restored  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 05-11-2003 11:14 PM                    If you do some of this work digitally, what rez would you work at?  |  IP: Logged

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