This is topic ROADSHOW PRESENTATION. in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Frank Aston (Member # 478) on 01-20-2002, 05:48 PM:
Martin Hart, on his wonderful and fascinating site The American Wide-Screen Museum (www.widescreenmuseum.com), has an interesting feature on the presentation of epic/roadshow movies.
He feels that most projectionists (and audiences) today would not be able to relate to the concept and the atmosphere of this type of presentation.
Does anyone have any thoughts on the subject?
Posted by John Walsh (Member # 168) on 01-20-2002, 06:37 PM:
Oh, I think it could still work. But, few if any, producers/studios are willing to spend the extra money. They want wide releases to gather as much money at once as possible.
Posted by Greg Mueller (Member # 17) on 01-20-2002, 07:09 PM:
So is there an official deffinition of Roadshow Presentation? Personally I think that if the theater business doesn't get back to a little more showmanship in the presentation they're going to be sunk. I mean, where's the magic these days? I certianly not in the boring computer animation or the obligatory sex scenes. I think what we need is a little more "bigger than life" razzle dazzle in the presentation. Maybe a few more corny gimick things like William Castle and his bag of tricks. I'd like to see it be "fun" again, instead of having to "put up with" stuff. Just my opinion.------------------
Greg Mueller
Amateur Astronomer, Machinist, Filmnut
http://www.muellersatomics.com/
Posted by Tom Fermanian (Member # 1094) on 01-20-2002, 07:16 PM:
With most cinemas without curtains and title curtains (remember those), It could still be great!!, Having worked on such titles as Fidler on the Roof (long version) Grand Prix, Ryan's Daughter, "2001" , Ben-Hur, Sound of Music and so many others, it was nice then that any picture over 140 minutes had an intermission built in to the film, We even had a short intro music at the begining, this was to be run with house lights half dimmed when people where sitting down in the auditorium, at a certain cue point, the feature started, we then dimmed the house lights down all the way opening the curtain, this was run WITHOUT previews or anything else to make the presentation a special feel for the attending audience. Later on at a chosen spot The Intermission would then arrive permiting us to stop for people wanting to stretch their legs,attend the restrooms or go for refreshments, We then had another 5 minute or more "walk-in" music that was run at lights hald down to permit people to re take their seats,(these walk-in bits where on black film no picture with only soundtrack) the picture then resumed until the end credits, in those days, only specials had long end credits.It gave I believe the perception that people where seeing something special, it would be great for some of the long expensive pictures today, and it would help theatres at the concession! Tom 
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Posted by Paul Linfesty (Member # 214) on 01-20-2002, 08:43 PM:
While I only saw one "true" roadshow as a kid (Sound of Music), I saw plenty of the regular runs of these roadshows in 35mm 4-track mag with the overtures, intermissions, entracte, and exit music intact. For a very BRIEF time, the overture was revived in 1979 for both Star Trek and the Black Hole, although without the curtain to cue the audience, Im afraid they would think there was something wrong. Showmanship is DEFINITELY missing today. There are still a few theatres in LA (mostly Mann theatres like the Chinese, National, etc) that actually DO still use curtains and DO close them between the previews and main attraction (amazing how many of those actually still have the curtains and won't close them between their slide show and film). Landmmark doesnt even use slides and yet has stopped using their curtains. And as Hart's page pointed out, automation doesn't limit this. The El Capitan in Hollywood has THREE curtain openings and MANY light changes for this "pre-show" and yet it is fully automated. Slides and those movietunes with the "DJ" announcements should go, too.
Posted by Gerard S. Cohen (Member # 994) on 01-20-2002, 09:29 PM:
EXIT MUSIC!!
I had forgotten about that altogether...I guess even the U.S. Army
had a sense of showmanship.During my Basic Training in 1948 and again before shipping overseas, all military personnel were required to see
Information and Education films (propaganda), including the excellently edited "Why We Fight" series of seven WWII documentaries.
Stirring military marching sound track music at intermission and exit, plus cartoons such as the "Private Snafu" series (uncredited,
but I think made by Disney and Iwerks) kept the men awake and made
the presentations more palatable for a captive audience.
Posted by John Anastasio (Member # 607) on 01-20-2002, 11:13 PM:
Roadshows are a throwback to the days when studios actually produced movies and took pride in their product. Now they're simply releasing companies. They buy the film, crank out a bunch of crappy prints, show them for a few weeks and then make their REAL money on the networks and on DVD sales. The theatres are run by a bunch of suits who couldn't be less concerned about showmanship. They're not interested in giving you the best, just giving you something good enough to enjoy your return business now and then at the popcorn counter. Besides, you can't show advertising slides on a show curtain.I can remember seeing Spartacus in New York (I believe it was at the DeMille Theatre) and the presentation was the best movie experience I ever had. Now if you go to see a 70mm print in Manhattan, you'll see it shown from a platter by some pimply-faced kid who doesn't know showmanship from Shinola.
Posted by Brad Miller (Member # 2) on 01-21-2002, 02:09 AM:
"Now if you go to see a 70mm print in Manhattan, you'll see it shown from a platter by some pimply-faced kid who doesn't know showmanship from Shinola."When is this foolishness ever going to end? I've got news for you John. Your problem with a current 70mm presentation is NOT the fact that it is ran from a platter as opposed to a changeover system. It is that pimply-faced kid in the projection booth. I know that is what you were implying, otherwise your sentence would have left out the words "from a platter".
Why is this so hard for people to understand? 
Posted by Paul Mayer (Member # 355) on 01-21-2002, 02:36 AM:
I wonder if today's audiences would appreciate these things. Not long ago I attended a screening during the AFI Los Angeles Film Festival at the El Capitan in Hollywood. The theater did their usual three-curtain reveal with lights and ran the AFI promo trailer. The ribbon curtain was then closed as usual at the end of the trailer. This audience (a film festival audience at that) thought it laugh-out-loud hilarious that the curtain closed then immediately opened again. Heathens. 
Paul
SMPTE Hollywood Section
16mm projectionist--1st Las Vegas Jewish Film Festival
Workin' on gettin' back to SoCal and Japan
Posted by James R. Hammonds, Jr (Member # 673) on 01-21-2002, 02:51 AM:
I bet all the curtain opening and closing would confusr everyone if someone did that today.They would probably think that pimply faced kid was playing with it and go out to complain.
Posted by Christopher Seo (Member # 7) on 01-21-2002, 04:39 AM:
I think "...from a platter" is also a stock reference to the fact that platters were a chief tool of the theatre companies in removing a dedicated (changeover) projectionist from the booth.Well, I think closing and immediately opening the curtain can indeed look a little silly, especially if it's a slow curtain that takes fifteen seconds to trundle back and forth. Too many open/close cycles can become tiresome. But it's all in the timing, really. Timing makes all the difference in how any aspect of presentation is received.
Probably the worst curtain usage I've ever seen was at the Loew's Astor Plaza in New York City, of a 70mm print of "2001" last month. Here was an opportunity to recreate the true roadshow feel, but what happened? We hear the overture ramping up because someone threaded it past the mag head, then the curtains immediately part to reveal... the black image area printed for the overture. Only it's not black, but gray, with notable negative dust throughout. Nobody in the audience said a word (well, except me). I really hope they didn't walk away from that showing thinking that Kubrick wanted them staring into the deep, deep gray of space during the overture. (Also no need to mention the scratches on this newly struck print, mysterious missing intermission, etc.)
Posted by John Pytlak (Member # 331) on 01-21-2002, 06:22 AM:
Although technically not a "Roadshow", the current large format re-release of "Beauty and the Beast" at least is something special to see. By their nature, large format theatres usually have a dedicated projectionist to keep an eye on things, and most of them have a "pre-show" touting the "IMAX Experience" or something similar, which points out the special equipment in the theatre. No curtains though 
.------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
Posted by Jerry Chase (Member # 660) on 01-21-2002, 07:04 AM:
I always found the open close cycle of curtains between previews and feature to be hokey. IMO, the simple corporate snipe and fanfare after the previews and prior to the feature was an improvement. The current hyperactive rollercoaster/snack bar ads are an abomination that distract from the sense of entering the story. Class is often the ability to remain understated.Another reality of curtains was that the introductory and entre acte music was horribly muffled unless the theatre had the ability to play that music outside the normal behind-the-screen speakers or had a working scrim. Most of those main curtains were thick and had been made purposely so with the intention of deadening sound from live acts setting up on stage. I don't remember scrims being properly used (or even available) in any but the best theatres.
One of the better ideas from the last days of curtains was Pike's logo snipes with the waterfall curtain background. The first theatre I worked had a red traveller and it was possible to do a near-seamless dim of curtain lights, fade-in of the logo and opening of the curtain. The audience got the impression that the main curtain was opening and revealing a scrim, which then dissolved into the previews or feature.
Another visual trick that was always appreciated was to open the main curtain just beyond the masking for the flat previews, and then sneak them open full during the fade in of the feature and let the masking slowly widen to full screen width. "Mom! The picture is GROWING!!! Cool!"
Posted by Steve Guttag (Member # 268) on 01-21-2002, 08:10 AM:
I have often debated the close/open portion of the show (aka the "Curtain Call"). At the Uptown, I have used it and as our curtain became a liability (the LH side started to tear at a seam)I ceased to avoid excess wear. The GM of the company saw one of my shows where I did the curtain call and smiled and proclaimed I "deluxed the show." So some clearly like it or remember them. With today's short transistion from previews/ads to feature, the curtain call looks a bit silly. If there was a pause between each segment, it would look a bit better.
Now where I would most definately do a curtain call is a varient on Jerry's comment. That is, if the theatre has motorized maskings and a curtain...I will close the curtain on the flat previews. Once the curtain closes down past the masking, open the masking to scope, reopen the curtain to the scope/70mm feature. Instead of the "growing picture" it merely gets bigger by magic! The last time I had the opportunity to do this was at the K-B Cinema (alas, the Uptown does not have motorized side maskings). Of course, back then most all previews were FLAT (early-mid '80s)so the previews were uniform. It made the feature much more dramatic. Back then also the preveiws were mono and the feature often stereo so even the sound got wider and bigger.
Steve
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"Old projectionists never die, they just changeover!"
Posted by David Stambaugh (Member # 1102) on 01-21-2002, 10:24 AM:
Jerry said: quote:
Another visual trick that was always appreciated was to open the main curtain just beyond the masking for the flat previews, and then sneak them open full during the fade in of the feature and let the masking slowly widen to full screen width. "Mom! The picture is GROWING!!! Cool!"
The Edwards flagship "Big Newport" in Newport Beach CA used to do this all the time. After the huge success of Star Wars (played there in 70mm 6-Track Dolby for 1 year), the Big Newport ran 70mm prints almost all the time for many years. This was the 70mm 6-Track Dolby "golden age" in Southern Calif. Many many films I can remember and some I've forgotten. And the theatre always made a show of "making the screen bigger!!" for the scope feature, which was so cool to see on a screen as large as that one (reportedly 80 feet wide). Of course at that time I had no idea there were different aspect ratios -- to me, it just looked like they were making the screen bigger for the feature.
To their credit, Edwards installed waterfall curtains in all their new construction right up until at least 1990 (when I left CA). Too bad the theatres themselves were often lacking in some other respects.
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- dave
Crab juice, or Mountain Dew?
Posted by Tom Fermanian (Member # 1094) on 01-21-2002, 11:27 AM:
When we had a big picture preferably in cinemascope, we use to purpously run the trailers in flat format with a reduced screen size ration i.e. if screen was 40ft wide in 1.85, we used to still show it in 1.85 by reducing the image to about 25 ft wide also reducing the top masking.(this required another lens + aperture plates).After the trailers, the curtain would close, the masking & screen would then be reopened to full screen about 60 ft in scope!, This lent a special feel to the picture especialy if the sound was 4 track mag.I remember doing this with Funny Girl in it's original presentation.It was great to run these major pictures that had entry & exit music + intermissions by themselves, the whole presentation was reserved exclusivly to the Roadshow film! On many of these pictures, we even had programs of the movie showing!.------------------
Posted by Mitchell Cope (Member # 32) on 01-21-2002, 12:56 PM:
The "Roadshow Presentation" is very close to the Broadway stage experience. Like a stage production, most shows had an intermission. "West Side Story", for example, did not. Ticket pre-sales and reserved seating were part of the experience. There must be some amount of exclusivity associated with the show as well. You probably woudn't want more than two theaters in an urban area playing the same show. People use to plan their lives around these "events" and would travel for miles to come into the city and see the show. Like TV shows of the 50s, it was common for people to be dressed up (i.e., suits and dresses). Though I don't remember this aspect, Mike Todd would not allow popcorn to be sold at one of his roadshow presentations.Unfortunately, we seem to have lost the language of the curtain in movie theaters today. Unless the atmosphere is perfectly set, they seem a bit pretentious. The last time I have seen the curtain used where it didn't seem awkward was at Walt Disney World. "The Hall of Presidents" and the "France" exhibit in EPCOT are two that come to mind as being excellent examples where it still works.
I agree with John that the IMAX theater may be the best example of the roadshow experience in the modern community.
Posted by John Anastasio (Member # 607) on 01-21-2002, 01:15 PM:
Okay, Brad. I'll retract my comment about the platter.:eek Platters, after all, are just another way to feed the film through the machine, not a problem in themrselves.... and I didn't mean to imply that. I know that if you were in the booth it wouldn't make any difference what they were using....because you're a consummate professional who gives a darn about the show. The point was about theaters that get spectacular prints, build them up and then just let any old hack run the show. Sorry I got your hackles up.
Posted by John Walsh (Member # 168) on 01-21-2002, 05:24 PM:
I think one reason they don't do "roadshow" releases any more is it allows people to read or hear about the film before it get to their town. So, if the film is not that good, it can be killed before it gets off the ground. OTOH, if you just release a film as wide as you can at once, you can collect money before any bad reviews are printed.I guess that's the problem with roadshow releases.. it's got to actually be a film people will want to see. No studio wants to chance it.
Posted by Mitchell Cope (Member # 32) on 01-21-2002, 07:53 PM:
John said, quote:
I think one reason they don't do "roadshow" releases any more is it allows people to read or hear about the film before it get to their town. So, if the film is not that good, it can be killed before it gets off the ground.
While as I don't disagree, another way of looking at it is that the studios are geared towards that first big weekend with tons of hype being focused on that weekend opening. In this day and age, how could a film like Star Wars be a roadshow? Anything you did towards making it a roadshow would end up losing you revenue sales in the end. Roadshow presentations in the 50s (before the home video player and DVD) ran literally for a year or more in many theaters. A movie today is like today's newspaper, it's old news tomorrow.
Posted by Steve Guttag (Member # 268) on 01-21-2002, 08:08 PM:
But the studios control the release dates of their titles to dvd and broadcast/cable. Studios just had more faith in their product once upon a time. Also, one doesn't have to go back too far to remember the limited engagement (still done in LA and NYC) where only a theatre or two would get a two-week exclusive on a title. The only way it could backfire is if the title is a bomb. ------------------
"Old projectionists never die, they just changeover!"
Posted by Bob Koch (Member # 1062) on 01-22-2002, 01:01 AM:
I can`t help responding to this topic. Being only a couple of months from 80 and after 60 years in the business I think my fondest memories of all my years, is as a projectionist on Sat Sun nites in the Alhambra Theatre, Sacto, Ca during the "roadshow" engagement of WB`s My Fair Lady". I was and still am [if it exists]a member of IATSE Operators Local 252 and worked from Sacto as a field engineer for RCA Photophone traveling to theatres from there all over the pacific coast for about 30 years but I always managed to get back home for Sat Sun of this year long engagement.This was changeovers of course with Phillips/Norelco AAII projectors, Strong Excellite 135 ARC lamps and an Ampex 6 channel tube sound system.Of all the installations I have made with, their opening nites etc nothing was more pleasurable to me than these performances;once only 8:00 pm and our presentation,if I do say so myself was flawless. I think there were five of us doing the work, two men on a shift,[roadshow contract] and we were never off the screen in over a year.
Posted by Bob Maar (Member # 763) on 01-22-2002, 08:01 AM:
Roadshows were an "Art in and of Itself." All Roadshows films were hard tickets with advance sales well in advance of playdate. Group sales offices where opened to cater to schools, organizations,camps etc. The film company would send an advance man in to the theatre to create publicity about the films arrival. He would also check the theatre from top to bottom and file a report with the distributor.
This included the physical theatre as well as projection and sound.
As an example when I was the Manager of the Town Cinerama Theatre in Baltimore in 1962 we opened "Mutiny On The Bounty." The film company required that new masking and curtains be installed before opening. They shared in the cost of these items. Our group sales office opened two months before the opening of the film. The publicist arranged for the replica of the HMS Bounty to carry passengers from Washington, DC to Baltimore for the Premiere. Government officials, the Mayor, congressmen. Film production personnel, Stars, distribution personnel, theatre personnel, press from both Washington and Baltimore were on board. Live radio was set up in the lobby of the theatre, with tickets being given away as well as other prizes, including a new automobile.
Our advance sales for this two shows per day reached over $150,000., before we opened the doors.This figure included groups.
The show included an intermission and it played at this theatre for
five months as a roadshow in 70mm.It then played for an additional month on grind operation.
I was fortunate in my management life to have worked with the following roadshow films in various theatres:
Ben Hur,This is Cinerama, How The West Was Won, 2001 A Space Odyssey, Fiddler On The Roof,Sound Of Music, Caligula, Last Tango In Paris.
Posted by Frank Angel (Member # 248) on 01-25-2002, 06:02 AM:
Just as Tom does and I am happy to say, that we too still use curtains just as they did in geh Golden Age of cinema. We try give every screening a "RoadShow" feel. We don't have 70mm, but we still run many classics with 4trk mag. And if we are lucky enough that some operator somewhere didn't remove the entracte, intermission and exit music, we play that. We have even got to such lenghts as to record thoses elements that are on Laserdiscs and play them even though they are missing from the prints. We run an "attraction" reel that always includes a 1.37 ar cartoon, attractions and one or two PSAs. This allows us to always go from an Academy 1.37 ratio to full scope or to 1.85. This makes the feature, even if it is only 1.85, look more impressive than the preceding cartoon. We have motorized side masking and curtains, so naturally we do a curtain close in between the attraction reel and the feature. The curtain opening before the feature sets the feature aside and tells the audience that something important is happening. (I got that from the "Curtian Protocol" section of the Interstate Theatres Manager's Manual, Austin TX, circa 1965 [I was VERY young]). In fact that's the way they did it in Century's flagship first run theatres in Queens, NY, so it's not just a Texas thing.
We bring the curtain warmers up to a glow as the attraction reel ends. The curtain then closes, there is a 15 - 30 sec pause and the curtain warmers do a slow fade while the houselights dim to their "Feature Level" -- a bit darker than the preshow level which has more light in the asiles. These lighting changes avoid making it seem like we just closed the curtian for no reason as James said. There is a pause, the light levels change and then the curtain opens to whichever wide screen size the feature is in. Our audiences love it. One one patron did voice the fact that "all that stuff before the feature was silly and a waste of time." I told my box office personnel to memorize her face -- that she was forbidden to ever come into the theatre again.
I have gone with both concepts -- opening the masking "in secret" behind the curtain, and also opening the curtain and allowing the audience to see the mask open as well. We let the curtain open past the mask which is still at 1.45ar; about two or three feet past it, the mask is then started so that it follows the curtains.
If you ever ran WOODSTOCK, you can really have fun with this. Nearly the entire first reel is in 1.37 -- the anamorphic image placing the square image in the middle of the screen. We play the that entire first 15 minutes with the mask and the curtains set at 1.37 -- it's in mono, no music just documentary-type talk. Then the picture fades to black and the opening credit music starts in full stereo with the surrounds kicking in and the image goes to full width scope -- we obviously aint in Kansas any more. At the point we open the mask and curtains simultaniously to full scope positions. Simply spectacular. God, I love this business!
Posted by Frank Aston (Member # 478) on 01-25-2002, 06:21 AM:
Thank for all the comments and stories. It's been lovely to find that so many of us are "working from the same songsheet". What are your memories of the most dramatic music overtures, Intermission points (Ben Hur and El Cid are mine), ent'acts to the second half, finale etc?
Kind regards,
Frank.
Posted by Dave Bird (Member # 490) on 01-25-2002, 07:54 AM:
Gordon probably knows of the odd theatre up here that still does it the roadshow way. There's a little twin (balcony is #2) in Renfrew Ontario (pop. 9,000) called the O'Brien. Absolutely stunningly restored old house, organ, the works. Entrance music, previews on the smaller screen, curtain closed, opens back up as the first images begin, sconces dim to "not quite off". All this to a small crowd on a Thursday in the dead of winter, so you know this is done every night. I thanked the owner on the way out and chatted a bit. What a treasure. The next day, I asked some high-school kids about the theatre, and what they thought of it. "Ah, it's alright." Such ignorant bliss! (Owner was in the midst of restoring another house, and looking for another organ, there's hope folks!)
Posted by Frank Angel (Member # 248) on 01-28-2002, 06:34 AM:
Frank,For me it's a toss-up between MY FAIR LADY and CAMELOT as far as incredibly dramatic endings into intermission go. Both have great music that swells to a powerful climax. But I have to tip it to CAMELOT because the music is a bit longer and more rousing; after a great monologue by Richard Harris as King Arthur (with a weird looking phalic shadow playing on his face during the whole speech -- quite bizzar), the camera cranes up to show an overhead shot of the Round Table with all the knights around it. If you don't get goosebumbs and chills bringing the up the curtain warmers, kick up the sound level a few points and timing the curtains to close precisely at the fade-out of this powerful sequence, then you need to get your vital signs checked.
I have run both of these classics many times in my career and the pleasure never deminishes; it's just so cool making these works accessible to new audiences.
Posted by Frank Aston (Member # 478) on 01-28-2002, 09:05 AM:
I've always found the conclusion of the first part of Ben-Hur rather thrilling.After 135 minutes of drama, intrige and spectacle, Judah Ben-Hur is told falsly, by Esther, that his mother and sister are dead.
He breaks down in the derelict courtyard of his formerly lavish villa and then looks up with vengeance in his eyes.
He storms off into the night as winds swirl the leaves in the courtyard, there is a slow fade and Miklos Rozsa's music swells into an impressive and quite long Intermssion title.
Ah. The memories.
Frank.
Posted by Edwin Graf Diemer (Member # 545) on 01-28-2002, 08:01 PM:
Here's one I've always loved-in the 1969 version of "Goodbye, Mr. Chips, Peter O'Toole as Chipping runs off to stop his wife from leaving him. John William's music goes nuts; Petula Clark jumps in a car and races down the English countryside. The camera holds still as she drives into the distance, and for about 30 seconds all is still as all you hear are birds. "Intermission"-slow fade. Sensational effect-its especially powerful on the laserdisk. "My Fair Lady" was amazing at the Ziegfeld, as well.
Posted by Bob Koch (Member # 1062) on 01-28-2002, 11:58 PM:
Frank Aston
Best score and music to me had to be My Fair Lady. Warner Bros always had the best musical scores, even from the thirtys, and Fair Lady was no exception. Wonderful WB orchestra, the overture, the walk in music after the intermission, and the exit music I have never heard anything on film that approached it
Posted by James Robertson (Member # 888) on 01-29-2002, 03:19 AM:
To Frank AstonOverture music. "West Side Story" No contest -Apart from the music it had that puzzling graphic composed of vertical lines which at the end of the overture dissolved into a helicopter shot of the New York skyline. Brilliant! I showed the film in a ship's cinema in 16mm. with optical sound but still loved it every screening.
Jim
Posted by John Pytlak (Member # 331) on 01-29-2002, 07:29 AM:
Jim said: ""West Side Story" No contest -Apart from the music it had that puzzling graphic composed of vertical lines which at the end of the overture dissolved into a helicopter shot of the New York skyline. Brilliant! "Credit to Saul Bass, the great visual consultant and title designer who was responsible for many of the great title sequences of that era:
http://www.learnaboutmovieposters.com/westsidestoryposter.asp
http://www.geocities.com/TelevisionCity/Studio/8849/Moviemusicals/Sharks/jets.htm#crew
http://www.hollywood.com/celebs/detail/celeb/200040
http://media-arts.rmit.edu.au/Phil_Brophy/MMAlec/WestSideStory.html
http://www.saulbass.net/
http://www.digitalmediafx.com/Features/saulbass.html
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
Posted by Paul Linfesty (Member # 214) on 01-27-2003, 12:49 AM: