Speaker 1: You are now listening to the Someone's Favorite Productions podcast Network.
Speaker 2: Hello there, and welcome back to the Disconnected here with
Speaker 2: Jack Thiekston from the three D Film Arcave.
Speaker 3: Jack, thanks so much for doing this today.
Speaker 4: Thank you, Ryan, it's a real pleasure being here.
Speaker 2: Well, the first thing, I don't think many people know
Speaker 2: who is behind the three D Film Archive, So what
Speaker 2: do you do for three D Film Markive.
Speaker 5: Well, the three D Film Archive we have a lot
Speaker 5: of associates, but the three D Film Archive is comprised
Speaker 5: mainly of our fearless leader, Bob Fermanak, who has been
Speaker 5: spearheading resting three D films going back to the mid
Speaker 5: eighties and started this sort of project officially in the
Speaker 5: early nineties. Greg Kentz, who is our technical director, a
Speaker 5: real video wizard when it comes to taking the stuff
Speaker 5: that we get scanned in and realigning it and working
Speaker 5: on it. And then I'm the associate producer and I
Speaker 5: essentially oversee elements of the restoration make sure that things
Speaker 5: are being done in a way that we're going to
Speaker 5: have a good quality at the end of it. And
Speaker 5: that includes you know, sitting in on color grading sessions
Speaker 5: and overseeing digital scrubbing, you know, digital dirt cleanup and
Speaker 5: dirt removal and that sort of thing, and then doing
Speaker 5: assembly and then delivering the product to our distributor.
Speaker 3: That's a lot. There's a lot that goes on behind
Speaker 3: the scenes on some of these companies.
Speaker 4: Like this, Yeah, for sure.
Speaker 5: And I think a lot of people don't understand the
Speaker 5: timeframes that we work with. I mean, once we get
Speaker 5: on ground running, it's usually about six months between our
Speaker 5: production and the time that it goes to press, and
Speaker 5: then when it goes to press that can be anywhere
Speaker 5: between like two and six months. But the pre production
Speaker 5: elements on it, they can take years literally. I mean
Speaker 5: we've had a couple of projects that it took a
Speaker 5: decade to get around too.
Speaker 2: Well, just for yourself, how did you get related the industry?
Speaker 2: How did you get in here?
Speaker 5: I have been working in the business for over twenty
Speaker 5: years now. I'm a projectionist by trade, but I've also
Speaker 5: been a theater manager and I've been and I've done
Speaker 5: film restoration since I was a teenager. I sort of
Speaker 5: studied or was I studied under the late David Shepherd,
Speaker 5: who ran Film Preservation Associates and Black Hawk Films. And
Speaker 5: he had a lot of influence on the work that
Speaker 5: I do today. He put a lot of stuff out
Speaker 5: on home video back in the eighties and nineties and
Speaker 5: two thousands that got me interested in things like preserving
Speaker 5: silent film and preserving film in general, and getting into
Speaker 5: lab work. And so I've taken it from there and
Speaker 5: I've done a multitude of different angles in the industry.
Speaker 5: But as of right now, I'm a full time projectionist
Speaker 5: in New York City.
Speaker 2: Wow, it's a lost art, obviously, there's not something that
Speaker 2: is carrying on that legacy everywhere like we used to have.
Speaker 2: How does it feel for somebody that's been doing it
Speaker 2: for so long? Seeing obviously the changeover to digital was huge,
Speaker 2: but just the theatrical experience seemingly being less of a
Speaker 2: priority for culture nowadays.
Speaker 4: Yeah.
Speaker 5: I think that's contrasted though by sort of the marketing
Speaker 5: that thirty five milimeters screenings and film screenings get.
Speaker 4: Of course.
Speaker 5: Yeah, you know, a really great digital presentation is exactly
Speaker 5: what you want as far as a presentation should be
Speaker 5: as in projection, which is the number one mantra of
Speaker 5: any good projectionist is the best projectionist is the one
Speaker 5: that you don't even know is there, right, And so
Speaker 5: if the digital presentation is done properly, that file is
Speaker 5: always going to stay the same.
Speaker 4: So it should be on the mark every time.
Speaker 5: It should be is obviously the key key phrase there,
Speaker 5: because as a projectionist in the twenty first century, you
Speaker 5: have to know digital first and foremost, and you have
Speaker 5: to know how to tackle and set up sites that
Speaker 5: are going to have digital installations and make sure that
Speaker 5: those are good and make sure you know, there's a
Speaker 5: concept in a lot of people's heads that it's digital.
Speaker 5: You just set it and it's going to be that
Speaker 5: way forever, right, And that's.
Speaker 4: Never the case.
Speaker 5: No, you need somebody to come in like once a
Speaker 5: month to make sure everything's maintained properly, even if it's
Speaker 5: just changing air filters.
Speaker 2: Well, that and obviously I'm so bold problems across many
Speaker 2: of these theaters. There's some places that are running on
Speaker 2: technology they've had in place for a decade plus now
Speaker 2: since the digital changeover, that are just look awful in quality.
Speaker 3: It makes me so upset when I go to one
Speaker 3: of those.
Speaker 5: Well, it's really saddening because who it hurts most of
Speaker 5: all are the independent cinemas yep, that really can't afford
Speaker 5: to keep upgrading their equipment every five years. The corporate chains,
Speaker 5: obviously they can do whatever they want. They name their
Speaker 5: own prices for all stuff. But in a good independent
Speaker 5: cinema where you're going to have probably more care and
Speaker 5: presentation take and by the owners, they just can't afford
Speaker 5: it anymore. It's becoming a losing value, especially with ticket
Speaker 5: sales diminishing.
Speaker 2: It's true, and I mean not not only ticket sales diminishing,
Speaker 2: but Disney being Disney and forcing people out and all
Speaker 2: these definitely.
Speaker 4: Yeah.
Speaker 5: And the other thing too is all this stuff is
Speaker 5: booked by territories. So if you're if someplace opens up,
Speaker 5: even if it's like two hundred feet out of past
Speaker 5: that territory line, and you can't afford to be the
Speaker 5: high bidder on that film, you're never going to get
Speaker 5: it the first week, and you're still going to be
Speaker 5: locked into a two to three week contract.
Speaker 4: On titles.
Speaker 2: Well, focusing more on three D film archive. You all
Speaker 2: have been around obviously for quite some time, like you said,
Speaker 2: but nowadays it seems like the announcements are partnered with
Speaker 2: some of these other home video companies and are a
Speaker 2: title that you have been working on for quite some
Speaker 2: time and just happy to see that the project fully
Speaker 2: realized and released. What are some of the most exciting
Speaker 2: titles that you've been able to have a hand in
Speaker 2: over the years, because there's been a lot worked on obviously.
Speaker 4: Over the years. Of what's coming up.
Speaker 3: Over the years, we'll start there.
Speaker 4: Oh boy, over the years.
Speaker 5: Well, the one that I'm still most proud of is
Speaker 5: one of our first releases, which we did through Flicker Alley,
Speaker 5: and it's called three D Rarities, and it could best
Speaker 5: be described as a short three D short subject sample plate.
Speaker 5: It's got a little bit of everything on it, and
Speaker 5: it's got a lot of our most interesting discoveries, including
Speaker 5: some of the earliest known three D footage going back
Speaker 5: to the nineteen twenties, stuff that was shot in the
Speaker 5: thirties and forties for public exhibitions like the New York
Speaker 5: World's Fair and the Golden Gate Exposition in San Francisco,
Speaker 5: and then a pretty good sample plate of stuff from
Speaker 5: the nineteen fifties, including some shorts that went along with
Speaker 5: feature presentations that you're otherwise not going to see otherwise.
Speaker 5: So that's one of my favorites, and we did a
Speaker 5: nice follow up to that called three D Rarities too,
Speaker 5: also through foota Rally, and that's got a really nice
Speaker 5: feature on it called Correzoni Las Spata, which is Mexico's
Speaker 5: first three dimensional film, starring.
Speaker 4: Caesar Romero and Katie Herrado.
Speaker 5: It's a nice swashbuckler epic, but then we bolstered it
Speaker 5: with a bunch of fun short subjects, and then as
Speaker 5: far as the features go, I mean, we've done over
Speaker 5: thirty releases at this point, it'd be hard to pick
Speaker 5: a favorite. I really love the stuff we did for
Speaker 5: Universal Revenge of the Creature and it came from outer Space.
Speaker 5: The paramount titles that we did, I was really proud
Speaker 5: of the work we did on those that would be
Speaker 5: like Hebro and Sangaree and Ceasefire and a ton of
Speaker 5: stuff that we worked on. I'm really proud of most
Speaker 5: of it. I think the quality of our presentation has
Speaker 5: always held like a very high benchmark. And Quana Devil
Speaker 5: one of our latest releases. I never thought we were
Speaker 5: going to see that one happen, and then here we
Speaker 5: have the original Ansco color camera negatives in our laps
Speaker 5: and it just looks phenomenal, looks like it was shot yesterday.
Speaker 2: Well, when discussing three D, obviously there's this bit of
Speaker 2: sadness for a lot of people that were steeped in
Speaker 2: three D, you know, a good eight years ago. Because
Speaker 2: we're not seeing three D TV sold in the US,
Speaker 2: a lot of people are less aware that you can
Speaker 2: still watch some of these three D titles with classes
Speaker 2: in other ways that they can handle it with the technology.
Speaker 3: Of three D.
Speaker 2: If if we can get technical for a minute, why
Speaker 2: is what the three D film archive?
Speaker 3: Why is it what?
Speaker 2: Let's see, what's the best way to say this. Why
Speaker 2: is the process differently than what other boutiques are putting
Speaker 2: into some of these negatives.
Speaker 5: Well, because we have to do the same movie twice essentially,
Speaker 5: that's the easy answer. You have two eyes, one left
Speaker 5: one right eye view on two strips of film, so already,
Speaker 5: compared to a normal feature presentation that we'd work on
Speaker 5: a flat one, we now have to double the budget
Speaker 5: because it's double the scan time, and then of course
Speaker 5: making sure that the alignment is correct on both eyes,
Speaker 5: because you know you can't have one I sing slightly
Speaker 5: above the other and when you push the apart you
Speaker 5: have all sorts of weird things, so we make sure
Speaker 5: all the alignments are done correctly. But I think there's
Speaker 5: really nobody else tackling it with the same amount of
Speaker 5: expertise that we have. I mean not to toot our
Speaker 5: own horns, but we were the only ones doing this
Speaker 5: in the first place, and we've gained a reputation for
Speaker 5: what we do because we really do understand the stuff
Speaker 5: and we take our care with it.
Speaker 4: And sometimes that's a time issue.
Speaker 5: You know, it takes a little bit longer to work
Speaker 5: on a project than it would for just a regular
Speaker 5: flat film.
Speaker 4: But I think the results speak for themselves, don't you think.
Speaker 2: I mean, I personally agree. That's why I definitely wanted
Speaker 2: to talk to you guys. Every time that the three
Speaker 2: D film Markeive is attached to a title, I know
Speaker 2: it's one that I have to own because the quality
Speaker 2: is always immense, and usually the more exciting part for
Speaker 2: me is it's usually a title that either like you've
Speaker 2: heard about over the years and nobody's ever been able
Speaker 2: to see because it's so obscure, or it's a stone
Speaker 2: cold classic that everybody is seen in lower quality, and
Speaker 2: it seems like those two ends of the spectrums are like,
Speaker 2: just funnel that right into my veins because it's the
Speaker 2: perfect way to appreciate this stuff well.
Speaker 5: And that's why I really loved the three D films
Speaker 5: from the fifties from the get go. I mean, even
Speaker 5: before we were doing all this, Bob was doing screenings
Speaker 5: in thirty five milimeter, which is insane.
Speaker 4: Of this stuff from the fifties, and.
Speaker 5: The beauty of it is it really wasn't a prestige
Speaker 5: format in a way, because that nineteen fifty two to
Speaker 5: nineteen fifty five you get this great cross section of
Speaker 5: just every genre, every production budget schedule.
Speaker 4: From nineteen fifty three, you.
Speaker 5: Have prestige stuff like you know, kiss Me Kate or
Speaker 5: Mercedie Thompson, things that they're trying to push it as
Speaker 5: like a legitimate, like a great a picture that's really
Speaker 5: going to plan Broadway for weeks, and then you just
Speaker 5: have like the bottom of the barrel like Catlomit of
Speaker 5: the Moon or like a robot monster or you know,
Speaker 5: Hana Lee or something like that, and then everything in
Speaker 5: between every genre that you can think of film nor
Speaker 5: science fiction are comedy, musicals, westerns. My god, there were
Speaker 5: more Westerns than science fiction films made in three D,
Speaker 5: but most people don't tab.
Speaker 4: It up that way.
Speaker 5: They remember Creature from the Black Lagoon or House of
Speaker 5: Wax or something.
Speaker 2: Like that, right, and then we get stuff like pul
Speaker 2: On a Devil and everybody's never heard of it, and
Speaker 2: then they see it and it's like, wow, this looks amazing, and.
Speaker 4: Then the question is what is that? What is that genre?
Speaker 5: It's kind of a horror film, kind of a drama
Speaker 5: period piece, kind of a strange movie to come out
Speaker 5: of the gates with.
Speaker 2: Yeah, with the three D technology over the years, there
Speaker 2: are you know, lots of advancements that happened as somebody
Speaker 2: that is very ignorant to the whole process, because there
Speaker 2: were a few. As far as I know, there's a
Speaker 2: few ways that they filmed some of these. Are there
Speaker 2: more difficult ones other than you know, love of deterioration?
Speaker 2: Is there anything in the filming process that made things
Speaker 2: more difficult for you to restore nowadays?
Speaker 4: Not?
Speaker 5: Particularly when it was the dual camera shoots. Those are
Speaker 5: the best the stuff in the fifties because you essentially
Speaker 5: have like a full frame to work with. Once you
Speaker 5: move into the sixties and seventies with the over under
Speaker 5: format where they'd stack the right eye on top of
Speaker 5: the left eye in one thirty five milimeter frame and
Speaker 5: present it at the same time. Then you start getting
Speaker 5: into some tricky territory because you get weird things like
Speaker 5: shading on the edges from the mirror boxes that they
Speaker 5: were using, and there's all this stuff in photography that
Speaker 5: we have to sort of unbague out of it, which
Speaker 5: is the magic sauce to what we do, you know.
Speaker 5: But for the most part, the fifties stuff is really
Speaker 5: well photographed and doesn't need a lot of work. Every
Speaker 5: once in a while you get a shot that's out
Speaker 5: of phase or out of sync. That means, you know,
Speaker 5: one frame is being exposed after the other, so you're
Speaker 5: not temporily at the same time. I'm seeing the same thing,
Speaker 5: and it kind of looks like a water emotion, you know.
Speaker 4: If you flick your fingers like that, you'll see it.
Speaker 5: And we have some kind of crude methods of removing
Speaker 5: some of that, but sometimes it's just baked in and
Speaker 5: you can't remove it.
Speaker 4: That was the case with Bond and Devil, for example.
Speaker 2: There have been some titles that you've done over the
Speaker 2: years that I again have never heard of. But the
Speaker 2: stuff that I've got is just an immense gift. And
Speaker 2: now I got to ask, how does a company like
Speaker 2: three D Film Archive continue because it seems like no
Speaker 2: one is talking about these restorations at the level I
Speaker 2: want them to because they're incredible, And some of these
Speaker 2: other companies that are out there, I don't know the
Speaker 2: way they speak about struggling and I'm like, well, the
Speaker 2: three E film marker has been here forever.
Speaker 4: Well listen.
Speaker 5: I mean, metals are great for polishing and putting on display.
Speaker 5: But I think at the end of the day, our
Speaker 5: fan base is why we do it, because there are.
Speaker 4: People out there who want to see this stuff. They
Speaker 4: want to assess this stuff.
Speaker 5: If you're a serious file or a serious historian. That's
Speaker 5: a huge piece of the cinematic landscape that just has
Speaker 5: always been put down and put in the background, and
Speaker 5: really shouldn't be, because these were hard technicians working a
Speaker 5: really hard system and doing their best to present Hollywood
Speaker 5: films in this process any more than like CinemaScope or
Speaker 5: cinerama or seventy milimeters or any of that stuff. It
Speaker 5: has its it has its mantle in the Hall of Fame,
Speaker 5: and now we have the way to show it to people.
Speaker 4: So why not.
Speaker 2: Before you were with the three D film mark ive,
Speaker 2: did you treat three D like the art form that
Speaker 2: you see it now or it was it more?
Speaker 4: Yeah? It always intrigued me.
Speaker 5: Yeah, I had VHS's of some three D stuff, like
Speaker 5: Rhino had put out the Mask in three D. I
Speaker 5: think Elvira was the host on that, and there was
Speaker 5: an old Good Times and a glyph of creature from
Speaker 5: the Black Wagoon. It always intrigued me. And then I
Speaker 5: went to a few presentations in the theaters hit or miss,
Speaker 5: and then I met Bob and he was really hardcore
Speaker 5: about doing this stuff properly and doing it on film.
Speaker 5: And he also happened to have the greatest archive of
Speaker 5: all these titles that nobody else had, and so there
Speaker 5: were these weekly screenings that he would run that were
Speaker 5: just they were great. It was a great sort of
Speaker 5: debriefer on all this. And then about ten fifteen years ago,
Speaker 5: more like fifteen, at this point, we saw an opportunity
Speaker 5: where this format was coming out three D Blu Ray.
Speaker 5: Before that, we had messed around with three D with
Speaker 5: the old I don't know if you remember this, but
Speaker 5: they're on the CRTs. There used to be a frame
Speaker 5: sequential system with shutter glasses. It was terrible and it
Speaker 5: was flickery dim, but he was the only way to
Speaker 5: really see it, you know, kind of properly, sort of
Speaker 5: setting up a couple of projectors.
Speaker 4: And putting polarizes in front of that.
Speaker 5: And that's insane in itself, and that sort of led
Speaker 5: the framework for what we ended up doing on three
Speaker 5: D Blu ray. And then when the spec came out
Speaker 5: and manufacturers were manufacturing televisions and players and pressing three
Speaker 5: D Blu rays, nobody was interested in the stuff that
Speaker 5: we had on the table.
Speaker 4: I mean, we had a ton of stuff.
Speaker 5: We had features that we owned, we had features that
Speaker 5: we had restored, stuff that was ready to scan in.
Speaker 5: Nobody was interested. And our first release was really unceremonious.
Speaker 4: It was.
Speaker 5: Dragonfly Squadron through Olive Films, and to say that it
Speaker 5: was sort of unrestored as being kind I would really
Speaker 5: like to revisit that title down the road. But then
Speaker 5: Flicker ally came to us and they were serious. They
Speaker 5: wanted to do something that was serious. They'd been working
Speaker 5: with Dave Stromyer on the Cinerama stuff and they wanted
Speaker 5: to do something that would be prestige, and that's when
Speaker 5: we did three D Rarities and that really was the
Speaker 5: start of the ball rolling. And then we started working
Speaker 5: with Keno Larber. I think the first one we did
Speaker 5: for them was The Bubble, and they liked it so
Speaker 5: much that they brought us back for more.
Speaker 4: And we've had such a great relationship with them ever since.
Speaker 4: I mean, Frank.
Speaker 5: Tarzi over there has been like our cheerleader and keeping
Speaker 5: us going with these studios for just years now. He's
Speaker 5: he's a real asset for us.
Speaker 2: That leads into one of the questions I was we
Speaker 2: have over the years, I knew of all the film's
Speaker 2: flick rally Keno Larber. Are there many other companies that
Speaker 2: you guys have done home video releases through.
Speaker 5: We've done stuff with Classic Flicks. Oh, that's right, We've
Speaker 5: done stuff with with the studios. I mean, we did
Speaker 5: a couple of projects for Universal Home Video and I'd
Speaker 5: have to go, now you're asking for me to fire neurons.
Speaker 5: That just we've worked with a lot of companies. Yeah,
Speaker 5: and we've worked for hire for a lot of companies too.
Speaker 5: So we've done some work with some other companies like
Speaker 5: Vinegar Syndrome I think was one that we did some
Speaker 5: work with.
Speaker 4: And yeah, we've done some work with some other companies.
Speaker 3: Keynote seems to be the main partner nowadays. Is that
Speaker 3: still the case?
Speaker 5: They've been our home base for a while. We've also
Speaker 5: done some releases with Bayview Entertainment. You know, we did
Speaker 5: Robot Monster through them, and we have a film coming
Speaker 5: out soon called Domo Arigato, which is arch Obler's last
Speaker 5: three D film.
Speaker 2: There's so much about three D that I would love
Speaker 2: to dive into with. You know, you brought up the
Speaker 2: actual three D Blu ray format. When that came in,
Speaker 2: was big, big in quotation marks for a little while.
Speaker 2: With the decay and the ceasing of the producing of
Speaker 2: the TVs, do you think that there's ever a chance
Speaker 2: for that.
Speaker 3: To get big again in home video or anything. We're
Speaker 3: past it.
Speaker 5: I mean, I do trade shows every year and I
Speaker 5: see what's on the floor, and so I have a
Speaker 5: pretty good idea of what the manufacturers are sort of
Speaker 5: getting to gear up for.
Speaker 4: And now that the four K train.
Speaker 5: Has obviously left the station, everybody's on board with that stuff,
Speaker 5: and eight K has been being pushed for a while now,
Speaker 5: but I just don't see it realistically happening anytime soon,
Speaker 5: just because of the data stream that you have to
Speaker 5: go through with that. Dolby at most has pretty much
Speaker 5: conquered the market as far as surround sound goes, and
Speaker 5: there's still sort of a battling HDR spec going on
Speaker 5: right now, but that's pretty minor in the grand scheme
Speaker 5: of things. I think you're going to start seeing three
Speaker 5: D get dusted off again in the next few years,
Speaker 5: and the first and foremost thing that they have to
Speaker 5: do is standard eye the four K three D spec
Speaker 5: because as far as I know, that has still not
Speaker 5: been tackled.
Speaker 2: That is the first thing I was gonna ask, because
Speaker 2: I don't know anything about it, is if there was
Speaker 2: any sort of reason that they couldn't make a three
Speaker 2: D four K disc.
Speaker 3: No.
Speaker 5: I mean, they've already simpty has already standardized, for example,
Speaker 5: four K DCP for theatrical projection. It would just mean
Speaker 5: coming up with a spec and standardizing it for four
Speaker 5: K three D. But in order for that to happen
Speaker 5: you have to have manufacture interest. But for a manufacturer interest,
Speaker 5: you have to have the standard, So it's kind of
Speaker 5: a chicken and egg situation right now. It's whoever shoots first,
Speaker 5: you know, basically one has to do it and then
Speaker 5: we'll see it happen.
Speaker 2: Well, I mean, I think that would be enough to
Speaker 2: reignite a lot of people's interests. Obviously, I don't know
Speaker 2: how much you're paying attention to it, but the fact
Speaker 2: that we're still getting three D blu rays, especially a
Speaker 2: lot more than the US, but happening overseas fairly regularly.
Speaker 2: Are those markets still fairly robust? Do you have a
Speaker 2: year to the ground for that they are.
Speaker 5: We're locked into regions for the most part with the
Speaker 5: studio stuff, so we don't really see what that does overseas,
Speaker 5: although we have in the European market because we've had
Speaker 5: a lot of people reach out for licensing region B
Speaker 5: rights to restoration work that we've done, and that seems
Speaker 5: to have sort of a pretty good stronghold of people
Speaker 5: that are still set up with either three D displays
Speaker 5: or projectors with three D capability, which has sort of
Speaker 5: been the lifeline for three D TV in general in
Speaker 5: the last five or six years, since manufacturers are getting
Speaker 5: rid or have completely stopped manufacturing both passive and active displays.
Speaker 5: So the projectors are sort of where we see a
Speaker 5: lot of our customers gravitating towards, and those tend to
Speaker 5: be people that have a home theater set.
Speaker 4: Up in the first place. So why not throw in
Speaker 4: three D?
Speaker 3: Right?
Speaker 2: Yeah, I mean that's the way I've been kind of
Speaker 2: leaning on, hoping that it's going to get there, is,
Speaker 2: if we're already throwing in all these other bills and whistles,
Speaker 2: let's bring something back that people seem to love for
Speaker 2: quite some time, and.
Speaker 5: The technology is there, it really doesn't cost that much
Speaker 5: more to do it. If you're doing a passive display,
Speaker 5: it's using a certain type of LCD and also some
Speaker 5: chip software that's thrown in there as an extra. If
Speaker 5: you're doing passive, then you have to add an IR
Speaker 5: sensor obviously to reach the glasses. But I mean, in
Speaker 5: the grand scheme of things, with the prices of monitors
Speaker 5: coming down tremendously, rolling in something like that for a
Speaker 5: couple hundred bucks more for retail, it almost is like
Speaker 5: money on the table they're not grabbing.
Speaker 3: Right.
Speaker 2: You brought up active and passive, and for those that
Speaker 2: aren't super familiar with three can you share what the
Speaker 2: difference between those who.
Speaker 5: Are passive would be? Polaroid glasses so the same I
Speaker 5: thought I had a pair around here, but the same
Speaker 5: pair that you would wear at like a real D
Speaker 5: screen in a theater, circular polarized, and the delivery on
Speaker 5: the TV set is a high frame rate frame sequential
Speaker 5: system that's so fast it's imperceivable, but you get perfect
Speaker 5: cancelization with circular polarity. And then with the active glasses
Speaker 5: are the ones that are electronic. They're shutters that go
Speaker 5: on and off real fast using LCDs that are in
Speaker 5: sync with the player and basically do the same thing,
Speaker 5: except it's an a clip system rather than polarized.
Speaker 2: So anybody buying any titles that the three D film
Speaker 2: market is putting out right now, they can still watch
Speaker 2: them on any player in the right way they want
Speaker 2: to watch them.
Speaker 5: Correct, they can because now we are also adding as
Speaker 5: a feature as of I think a year ago or
Speaker 5: two years ago, and a glyph versions on those discs,
Speaker 5: the red and cyan gasses that their paper glasses.
Speaker 4: We throw in a pair in each case. You can
Speaker 4: order some more. They're really cheap. You can get some
Speaker 4: deluxe ones for like two dollars on Amazon, and that.
Speaker 5: Way, if you don't have a three D set, you
Speaker 5: at least can get sort of halfway there. You know,
Speaker 5: if you have, if your set is calibrated well, especially
Speaker 5: in four K, the anaglyph process that we use to
Speaker 5: encode it is way better, way better quality control than
Speaker 5: what was previously seen on home video, and so you
Speaker 5: can get a pretty good estimation of the three D
Speaker 5: with that stuff. I would say the best presentation, of
Speaker 5: course is with shut of glasses or with polaroid glasses.
Speaker 5: But if you don't have that option, don't worry. You
Speaker 5: can still watch the anaglyph version on your flat set up.
Speaker 2: You know, I'm not considered this is it possible even
Speaker 2: to get a three D DV to the States? Like,
Speaker 2: do you know of any way to import them right now?
Speaker 4: No?
Speaker 5: But there's still plenty of them that are out there
Speaker 5: on the used market. I always tell people, go up
Speaker 5: on Craigslist, go up on Facebook, marketplace. You can get
Speaker 5: grab if you know what you're looking for. You can
Speaker 5: grab a great like fifty inch for like three hundred bucks.
Speaker 5: If you are one of those mad men that still
Speaker 5: want to see the three D stuff. There are still
Speaker 5: options out there, and I think before those TV sets
Speaker 5: start dying, you're going to see manufacturers start bringing it
Speaker 5: back anyway.
Speaker 4: So I don't think.
Speaker 5: There's really going to be a dead zone as far
Speaker 5: as the technology is concerned for actually watching any of
Speaker 5: this stuff, if you're serious about it.
Speaker 2: Nice with Blonda Deevil. I think that's the most recent
Speaker 2: disc that's actually been released, Is that right?
Speaker 4: Yes? Yeah, that's our most latest that's our latest release.
Speaker 3: Yeah.
Speaker 2: Can you share a couple of the other ones that
Speaker 2: were right before that for everybody that may have not
Speaker 2: been paying attention.
Speaker 5: Uh, all right, let me go back and my brain
Speaker 5: cells here. I'm trying to think of what we had
Speaker 5: just before that Robot Monster, of course, that's through Bayview Entertainment.
Speaker 5: That's a classic, crazy, cheesy science fiction film from nineteen
Speaker 5: fifty three where the antagonist is a guy with a
Speaker 5: gorilla suit and a space helmet on his head.
Speaker 4: Lots of fun. We loaded that.
Speaker 5: Up with extras too. That was really a fun project
Speaker 5: to work on. Before that, The Man who Wasn't There
Speaker 5: through Quino Larber, that's a more recent release that we did.
Speaker 5: We did a few flat projects Before that, for Classic Flicks,
Speaker 5: the first or the both seasons of The Abbin and
Speaker 5: Costello Show, which we scanned in four K off the
Speaker 5: camera negatives. It was an hour and ever situation. They
Speaker 5: were starting to deteriorate, and we worked with the Costello
Speaker 5: estate and scanned in and restored all fifty two episodes.
Speaker 4: They look incredible.
Speaker 2: It's so much work too, and I'm so glad that
Speaker 2: people like you were doing something like that.
Speaker 5: It took us months and it was a lot of
Speaker 5: sweat equity for sure, a lot of sessions down in
Speaker 5: my basement with Bob grading episodes.
Speaker 4: Is this good? Now? Now we could push it this way?
Speaker 4: We could go this way.
Speaker 5: Another project that we did that was Abd and Costello
Speaker 5: was there well one of their two color features, Jack
Speaker 5: and the Beanstalk.
Speaker 3: Yeah, And we.
Speaker 5: Did that through Classic Flicks, And I'm that is probably
Speaker 5: the project I'm most proud of because we spent so
Speaker 5: much time on that. That was a two year production
Speaker 5: and that was in the middle of COVID. On top
Speaker 5: of it, we loaded it up with a bunch of
Speaker 5: great special features. I mean, there's more special features than
Speaker 5: there is film on it, believe it or not, And
Speaker 5: that was really a love letter to Abin and Costello
Speaker 5: and something for the fame, and so that one I'm
Speaker 5: really proud of.
Speaker 3: Nice.
Speaker 2: One thing that I try to ask, especially some of
Speaker 2: the smaller labels like this, is anybody that is, you know,
Speaker 2: wanting to help.
Speaker 3: What is the best way to support the three D
Speaker 3: film mark of.
Speaker 4: Just keep buying our stuff.
Speaker 5: We've got a Kickstarter for the road Show edition of
Speaker 5: The Bubble.
Speaker 4: We're calling it the road Show Edition.
Speaker 5: It's the original road show version of the film before
Speaker 5: it was cut for general release. And Kickstarter loved the
Speaker 5: project so much that they extended the campaign.
Speaker 3: Oh wow, so you.
Speaker 5: Can jump up and get in on that.
Speaker 4: Soon.
Speaker 5: We actually were doing exclusive I think Bob said, we're
Speaker 5: going to do exclusive film frames from stereo Vision for people,
Speaker 5: some actual thirty five milimeter frames. So if that's something
Speaker 5: you want to have up, you know, in a display
Speaker 5: case on the wall, it's a great thing. We did
Speaker 5: that with the ab and costell oce to. People really
Speaker 5: seem to get a kick out of that.
Speaker 2: Yeah, that's great.
Speaker 5: Yeah, just spread the word around and show people this stuff.
Speaker 5: You know, if you have a three D setup, have
Speaker 5: a party. I'd have people over I do that here
Speaker 5: all the time, and people get such a kick out
Speaker 5: of it. I always have my go tos for people
Speaker 5: who haven't seen three D for the first time, so
Speaker 5: I'll go to that. But every once in a while
Speaker 5: I'll have some friends over, you know, have a dinner party,
Speaker 5: and then we'll sit down and watch something just out
Speaker 5: of left field, like Diamond Wizard or something like that,
Speaker 5: and they.
Speaker 4: Get a kick out of it.
Speaker 2: Speaking of projects to support, you have announced more recently,
Speaker 2: I think the last one was hyper Space.
Speaker 5: Yeah, Hyperspace is on the plate. We just finished and
Speaker 5: it will be out shortly. The Glass Web from nineteen
Speaker 5: fifty three, that's a universal mystery film with Edward g.
Speaker 4: Robinson.
Speaker 5: Where about halfway through Paramount Pictures with Money from Home,
Speaker 5: which is a Dean Martin and Jerry Lewis comedy that
Speaker 5: was shot in kind of a unique process. It was
Speaker 5: three D Technicolor, and for those of you who know
Speaker 5: your film technology, you know, Technicolor cameras used to run
Speaker 5: three strips of film through it at once, recording red,
Speaker 5: green and blue light.
Speaker 4: So we had.
Speaker 5: To scan in six strips of film and recombine them
Speaker 5: for this project. So it's We've been really careful about
Speaker 5: realigning it, making sure there's no registration problems, and then
Speaker 5: aligning with three D on top of it, and the
Speaker 5: grading on top of it. So this has been probably
Speaker 5: one of our most challenging projects today.
Speaker 3: I mean, that is so much.
Speaker 2: You know, we talked about some of these older films
Speaker 2: being you know, closer to deterioration or needing the best restoration.
Speaker 2: But when you're talking about that and the prices increase,
Speaker 2: you can see why they don't get the love and
Speaker 2: attention they truly need.
Speaker 5: Right then, No, and to be fair, and this is
Speaker 5: totally in credit to Paramount Pictures, they footed the bill
Speaker 5: for the scan wow. So they are treating this like
Speaker 5: a preservation project. So we're working really closely with them
Speaker 5: to make sure that this is done properly. And it's
Speaker 5: being done all of course in four K two.
Speaker 3: Jeez. That's fantastic.
Speaker 2: And now that we've got the most information out of
Speaker 2: that film, it will be preserved as long as we can.
Speaker 3: That's incredible work.
Speaker 5: Yeah, And I think the one thing that we did
Speaker 5: out of the gate was we made sure that we
Speaker 5: were working in an HDR workspace.
Speaker 3: Oh wow.
Speaker 5: And so the composites were done that way. The grade
Speaker 5: is going to be done in SDR, but it still
Speaker 5: looks tremendous. I mean, the ten eighty of it that
Speaker 5: you'll end up seeing blu ray is going to look perfect.
Speaker 2: Other than just buying the discs. Is there anything that
Speaker 2: three D Film mark ive ever?
Speaker 3: Does?
Speaker 2: You know, like the kickstarters that is a general way
Speaker 2: for people to find you or follow along with what's happening.
Speaker 5: Oh yeah, well, obviously all our social media's check us
Speaker 5: out on Facebook, Instagram, Twitter, all that stuff. We're all
Speaker 5: out there. Just look up three D Film Archive you'll
Speaker 5: find us. But we do occasional kickstarter campaigns and sometimes
Speaker 5: there for offbeat projects that aren't just restorations of films,
Speaker 5: like we did a Robot Monster graphic novel this year.
Speaker 5: The kickstarter for that that did very well, So that's
Speaker 5: going to be out there. And the nice part about
Speaker 5: this too is it's employing a lot of people we
Speaker 5: know in the in the graphic novel case, there's a
Speaker 5: handful of artists, editors. This is not money that's just
Speaker 5: you know, lining our pockets. We're paying people here, so
Speaker 5: this is this is making jobs.
Speaker 4: We're making jobs here.
Speaker 3: Oh man, that's great future projects.
Speaker 2: Anything that you can share that has not been announced
Speaker 2: or want to.
Speaker 3: Share with the world to get them excited.
Speaker 5: Well, I mean, I am trying to hype people up
Speaker 5: on Glass Web and Money from Home. Money from Home
Speaker 5: is going to be a really great looking release. I
Speaker 5: think everyone's going to be really excited about that one.
Speaker 5: Delmo Rogatto is also on the plate. That's obviously something
Speaker 5: that if you're a fan of The Bubble, which is
Speaker 5: also another project we're going to do. They go sort
Speaker 5: of hand in hand. You can finish the Archobler trifecta
Speaker 5: of three D movies after Juana Devil. Of course, Delmar
Speaker 5: Argatto is out the door. It's going to be going
Speaker 5: out to the Kickstarter patrons first next month, and then
Speaker 5: it'll be a general release in February.
Speaker 4: For that, Glass.
Speaker 5: Web is early twenty twenty five, and then Money from
Speaker 5: Home is summer of twenty twenty five. And Hyperspace is
Speaker 5: to be determined at this point, and then we have
Speaker 5: I can't say anything yet, but I can tease it.
Speaker 5: We have a little interesting mystery project on board. But
Speaker 5: I guarantee everybody who's listening to this and even the
Speaker 5: most hardcore three D fans. It's nothing you've ever seen
Speaker 5: and never heard of before, but it's amazing. It's really
Speaker 5: cool stuff. So I'm just gonna set that there and
Speaker 5: tease that out, but we'll be announcing that probably in
Speaker 5: the next few months, and that is really exciting stuff
Speaker 5: when we get to it.
Speaker 2: Jack, I don't know how to thank you for this.
Speaker 2: There's so much that I've adored about three D throughout
Speaker 2: the years. This has been an enlightening conversation for multiple ways.
Speaker 2: The last thing I was gonna ask for anybody that
Speaker 2: doesn't know like the history of three D, do you
Speaker 2: know have any great resources that they could go to
Speaker 2: find just the technology, all the films that have been
Speaker 2: done in three D, anything that would get them excited
Speaker 2: about what you're doing.
Speaker 5: There is a book that is in the works right now.
Speaker 5: It has not been published yet, it's in the middle
Speaker 5: of being edited, and it's by a very talented writer
Speaker 5: by the name of Mike Blou. And forgive me, Mike
Speaker 5: if I mangle the title of this one, but I
Speaker 5: believe his tentative title for it right now is so
Speaker 5: close you can touch it, or close enough to touch,
Speaker 5: and it is going to tell the complete history of
Speaker 5: three D films. He has interviewed many people that never
Speaker 5: got interviewed. He's dug and dusted off files that never
Speaker 5: saw the light of day when they got stuck in archives.
Speaker 5: It's going to be the complete history of the format.
Speaker 5: There's also as far as resources go, our friend Eric
Speaker 5: Curland runs three D Space in Los Angeles and he's
Speaker 5: always doing demonstrations out there, screenings out there, So if
Speaker 5: you're in the Los Angeles area, definitely.
Speaker 4: Look that up.
Speaker 5: The National Stereoscopicusociation has had us at their convention almost
Speaker 5: every year. They have a great resource including Stereo World
Speaker 5: magazine I believe is the one they published forgive me.
Speaker 4: If I got that wrong.
Speaker 5: Yeah, there's a bunch of resources for just general three
Speaker 5: D stuff. As far as three D filmmaking goes, there
Speaker 5: have been books books published in the past and they've
Speaker 5: been hit or miss. There's a book called Amazing three
Speaker 5: D that's now out of print by Dan Simms and
Speaker 5: how Morgan that that's a great formative starting point.
Speaker 4: Uh. There's a book called three D Movies by R. M. Hayes.
Speaker 5: Take that one with a grain AsSalt. There's a lot
Speaker 5: of misinformation in that, but it gives you at least
Speaker 5: like a general checklist, I suppose. But yes, if you
Speaker 5: if you're really interested in the in the subject matter,
Speaker 5: definitely keep an ear to the ground for Mike Blue's
Speaker 5: book coming up soon.
Speaker 3: That sounds incredible.
Speaker 2: There's there's been a lot out there, but like you
Speaker 2: just mentioned, there's there's been some misinformation. I would love
Speaker 2: to have there's the definitive book on the shelf for sure.
Speaker 5: I mean, there's so I mean, when we started, there
Speaker 5: were so many films that people thought were in three
Speaker 5: D but they weren't. And now things are starting to
Speaker 5: get money in the waters because there are a lot
Speaker 5: of AI conversions of three D titles being done and
Speaker 5: they are really tremendous. I mean I've seen a number
Speaker 5: of those, and when it's done well, it's done really well.
Speaker 5: But I think it's going to confuse some people as
Speaker 5: to what is native three D and what isn't. So
Speaker 5: having a good like master checklist, I think first and
Speaker 5: foremost is important.
Speaker 2: Jack, Again, thank you. This has been incredible. I can't
Speaker 2: wait to see what people think and share this around
Speaker 2: because I every time the words three D film mark
Speaker 2: ive is just associated with the title. I get excited
Speaker 2: because I know it's going to look great, and I
Speaker 2: hope people feel the same.
Speaker 4: Pleasure is all mine. Thanks for having me Ryan.
Speaker 2: Thank you for listening to the Disconnected podcast. There's one
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Speaker 2: and that is to leave a rating and review on
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Speaker 4: No.
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