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Author Topic: IT CAME FROM OUT OF SPACE now on 3D Blu Ray Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 11-11-2016 04:58 PM                     OK, now based on Frank's comment, Bob's image does NOT look like tinted base but tinted emulsion. Did the camera make it look that way, or is there different chemistry going on?  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 11-11-2016 08:26 PM                     The 35mm print I showed last year was sepia toned -- it's unclear whether this was intentional, or bad printing. Did someone mention bad printing? Consider the following: Glasses needed to be "red-on-right" to get the 3D effect, even though the leader indicated "red-on-left."  |  IP: Logged Robert Furmanek Expert Film Handler Posts: 113 From: Clifton, NJ, USA Registered: Jun 2012 posted 11-11-2016 08:48 PM                     That's a frame from the left side of a 3-D pair. SPOOKS - and all the other Golden Age features and shorts (with a few exceptions) were shown in polarized 3-D. A few titles were reissued in anaglyphic in the 1970's. See myth number one: http://www.3dfilmarchive.com/home/top-10-3-d-myths The first sound feature released in sepia was THE GOOD EARTH in 1937.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 11-15-2016 01:54 PM                        So then it wasn't just tinting the base, but it was a way of toning the emulsion -- looking at the SPOOKS frame it seems quite apparent that the white lettering is still white while the rest of the image has the sepia tint in gray-scale, or better put, sepic-scale. I sure would love to get my hands on a sepia print of BEAST to book.  |  IP: Logged Bill Brandenstein Master Film Handler Posts: 413 From: Santa Clarita, CA Registered: Jul 2013 posted 11-16-2016 11:56 AM                     That would look wonderful. The whites are white, the densest blacks would be too dark to think much of the sepia toning, and everything else in between would have a lovely tone to it. Where does one ever see this? Was it true that the opening reel of "Wizard of Oz" would've used such a process?  |  IP: Logged Mark Ogden Jedi Master Film Handler Posts: 943 From: Little Falls, N.J. Registered: Jun 99 posted 11-16-2016 01:25 PM                     Reels 1A & B and 5B of The Wizard of Oz use the process, although mid-50s re-release prints drop it for straight b/w. These ran a LONG time, I remember them from the old "MGM Children's Matinee" series back when I still was working on an apprentice card. There is a startling sequence towards the end of the original Mighty Joe Young that contains an intensely dyed section, more vivid than just sepia. It takes place at the orphanage fire where Joe climbs the tree to save the little girl.  |  IP: Logged Robert Furmanek Expert Film Handler Posts: 113 From: Clifton, NJ, USA Registered: Jun 2012 posted 11-18-2016 12:20 PM                     That was for the 1953 reissue. The orphanage sequence in the original 1949 release used a complex combination of tints, tone and dyes created by Technicolor. That version has not been seen since the original theatrical dates.  |  IP: Logged Jack Theakston Master Film Handler Posts: 411 From: New York, USA Registered: Sep 2007 posted 11-18-2016 03:20 PM                     Tinting is a process where the film is dunked in dye. The effect is like having a filter put in front of the image. Color and Black. TONING is physically replacing the silver in the emulsion through chemical means with a silver salt. Hollywood labs typically had four toners to choose from—sepia, red sepia, blue and green. The effect of sepia toning, which was done with uranium ferrocyanide toning, gave a Brown & White image. As Bob mentioned, MGM was big into Platinum sepia toning in the late '30s after testing it out on MAYTIME. It was a pet project of the MGM lab head, John Nickolaus. The studio called it "sepia-platinum," but many other labs offered it, too. But I've seen earlier sound prints that were Sepia-toned, including REACHING FOR THE MOON (1930) with Douglas Fairbanks. WIZARD OF OZ, of course, is the most famous usage of sepia-platinum. The effect was so carefully conceived that the shot following the lab splice in Reel 2 goes to Technicolor, in which Dorothy opens to the door to Oz. The setting and her dress in that shot as she goes to open the door were carefully designed in sepia to match the tone of the first reel.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 11-19-2016 11:29 PM                     I knew I took photos. Here they are...  |  IP: Logged Robert Furmanek Expert Film Handler Posts: 113 From: Clifton, NJ, USA Registered: Jun 2012 posted 11-21-2016 04:48 PM                     That's not sepia. It's a fairly recent print struck from a faded circa 1972 anaglyphic negative.  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 11-21-2016 07:31 PM                    quote: Robert Furmanek The orphanage sequence in the original 1949 release used a complex combination of tints, tone and dyes created by Technicolor. That version has not been seen since the original theatrical dates. Just to clarify - does that version still exist, or is it lost?  |  IP: Logged Robert Furmanek Expert Film Handler Posts: 113 From: Clifton, NJ, USA Registered: Jun 2012 posted 11-23-2016 12:15 PM                     Sadly, I don't think the orphanage sequence survives with the original Technicolor tinting and toning.  |  IP: Logged

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