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<v Speaker 1>You are now listening to the Someone's Favorite Productions podcast Network.

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<v Speaker 2>Hello there, and welcome back to the Disconnected here with

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<v Speaker 2>Jack Thiekston from the three D Film Arcave.

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<v Speaker 3>Jack, thanks so much for doing this today.

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<v Speaker 4>Thank you, Ryan, it's a real pleasure being here.

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<v Speaker 2>Well, the first thing, I don't think many people know

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<v Speaker 2>who is behind the three D Film Archive, So what

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<v Speaker 2>do you do for three D Film Markive.

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<v Speaker 5>Well, the three D Film Archive we have a lot

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<v Speaker 5>of associates, but the three D Film Archive is comprised

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<v Speaker 5>mainly of our fearless leader, Bob Fermanak, who has been

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<v Speaker 5>spearheading resting three D films going back to the mid

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<v Speaker 5>eighties and started this sort of project officially in the

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<v Speaker 5>early nineties. Greg Kentz, who is our technical director, a

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<v Speaker 5>real video wizard when it comes to taking the stuff

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<v Speaker 5>that we get scanned in and realigning it and working

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<v Speaker 5>on it. And then I'm the associate producer and I

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<v Speaker 5>essentially oversee elements of the restoration make sure that things

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<v Speaker 5>are being done in a way that we're going to

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<v Speaker 5>have a good quality at the end of it. And

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<v Speaker 5>that includes you know, sitting in on color grading sessions

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<v Speaker 5>and overseeing digital scrubbing, you know, digital dirt cleanup and

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<v Speaker 5>dirt removal and that sort of thing, and then doing

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<v Speaker 5>assembly and then delivering the product to our distributor.

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<v Speaker 3>That's a lot. There's a lot that goes on behind

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<v Speaker 3>the scenes on some of these companies.

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<v Speaker 4>Like this, Yeah, for sure.

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<v Speaker 5>And I think a lot of people don't understand the

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<v Speaker 5>timeframes that we work with. I mean, once we get

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<v Speaker 5>on ground running, it's usually about six months between our

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<v Speaker 5>production and the time that it goes to press, and

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<v Speaker 5>then when it goes to press that can be anywhere

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<v Speaker 5>between like two and six months. But the pre production

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<v Speaker 5>elements on it, they can take years literally. I mean

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<v Speaker 5>we've had a couple of projects that it took a

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<v Speaker 5>decade to get around too.

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<v Speaker 2>Well, just for yourself, how did you get related the industry?

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<v Speaker 2>How did you get in here?

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<v Speaker 5>I have been working in the business for over twenty

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<v Speaker 5>years now. I'm a projectionist by trade, but I've also

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<v Speaker 5>been a theater manager and I've been and I've done

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<v Speaker 5>film restoration since I was a teenager. I sort of

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<v Speaker 5>studied or was I studied under the late David Shepherd,

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<v Speaker 5>who ran Film Preservation Associates and Black Hawk Films. And

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<v Speaker 5>he had a lot of influence on the work that

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<v Speaker 5>I do today. He put a lot of stuff out

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<v Speaker 5>on home video back in the eighties and nineties and

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<v Speaker 5>two thousands that got me interested in things like preserving

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<v Speaker 5>silent film and preserving film in general, and getting into

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<v Speaker 5>lab work. And so I've taken it from there and

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<v Speaker 5>I've done a multitude of different angles in the industry.

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<v Speaker 5>But as of right now, I'm a full time projectionist

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<v Speaker 5>in New York City.

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<v Speaker 2>Wow, it's a lost art, obviously, there's not something that

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<v Speaker 2>is carrying on that legacy everywhere like we used to have.

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<v Speaker 2>How does it feel for somebody that's been doing it

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<v Speaker 2>for so long? Seeing obviously the changeover to digital was huge,

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<v Speaker 2>but just the theatrical experience seemingly being less of a

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<v Speaker 2>priority for culture nowadays.

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<v Speaker 4>Yeah.

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<v Speaker 5>I think that's contrasted though by sort of the marketing

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<v Speaker 5>that thirty five milimeters screenings and film screenings get.

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<v Speaker 4>Of course.

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<v Speaker 5>Yeah, you know, a really great digital presentation is exactly

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<v Speaker 5>what you want as far as a presentation should be

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<v Speaker 5>as in projection, which is the number one mantra of

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<v Speaker 5>any good projectionist is the best projectionist is the one

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<v Speaker 5>that you don't even know is there, right, And so

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<v Speaker 5>if the digital presentation is done properly, that file is

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<v Speaker 5>always going to stay the same.

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<v Speaker 4>So it should be on the mark every time.

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<v Speaker 5>It should be is obviously the key key phrase there,

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<v Speaker 5>because as a projectionist in the twenty first century, you

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<v Speaker 5>have to know digital first and foremost, and you have

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<v Speaker 5>to know how to tackle and set up sites that

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<v Speaker 5>are going to have digital installations and make sure that

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<v Speaker 5>those are good and make sure you know, there's a

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<v Speaker 5>concept in a lot of people's heads that it's digital.

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<v Speaker 5>You just set it and it's going to be that

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<v Speaker 5>way forever, right, And that's.

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<v Speaker 4>Never the case.

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<v Speaker 5>No, you need somebody to come in like once a

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<v Speaker 5>month to make sure everything's maintained properly, even if it's

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<v Speaker 5>just changing air filters.

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<v Speaker 2>Well, that and obviously I'm so bold problems across many

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<v Speaker 2>of these theaters. There's some places that are running on

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<v Speaker 2>technology they've had in place for a decade plus now

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<v Speaker 2>since the digital changeover, that are just look awful in quality.

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<v Speaker 3>It makes me so upset when I go to one

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<v Speaker 3>of those.

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<v Speaker 5>Well, it's really saddening because who it hurts most of

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<v Speaker 5>all are the independent cinemas yep, that really can't afford

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<v Speaker 5>to keep upgrading their equipment every five years. The corporate chains,

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<v Speaker 5>obviously they can do whatever they want. They name their

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<v Speaker 5>own prices for all stuff. But in a good independent

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<v Speaker 5>cinema where you're going to have probably more care and

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<v Speaker 5>presentation take and by the owners, they just can't afford

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<v Speaker 5>it anymore. It's becoming a losing value, especially with ticket

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<v Speaker 5>sales diminishing.

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<v Speaker 2>It's true, and I mean not not only ticket sales diminishing,

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<v Speaker 2>but Disney being Disney and forcing people out and all

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<v Speaker 2>these definitely.

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<v Speaker 4>Yeah.

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<v Speaker 5>And the other thing too is all this stuff is

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<v Speaker 5>booked by territories. So if you're if someplace opens up,

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<v Speaker 5>even if it's like two hundred feet out of past

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<v Speaker 5>that territory line, and you can't afford to be the

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<v Speaker 5>high bidder on that film, you're never going to get

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<v Speaker 5>it the first week, and you're still going to be

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<v Speaker 5>locked into a two to three week contract.

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<v Speaker 4>On titles.

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<v Speaker 2>Well, focusing more on three D film archive. You all

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<v Speaker 2>have been around obviously for quite some time, like you said,

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<v Speaker 2>but nowadays it seems like the announcements are partnered with

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<v Speaker 2>some of these other home video companies and are a

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<v Speaker 2>title that you have been working on for quite some

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<v Speaker 2>time and just happy to see that the project fully

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<v Speaker 2>realized and released. What are some of the most exciting

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<v Speaker 2>titles that you've been able to have a hand in

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<v Speaker 2>over the years, because there's been a lot worked on obviously.

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<v Speaker 4>Over the years. Of what's coming up.

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<v Speaker 3>Over the years, we'll start there.

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<v Speaker 4>Oh boy, over the years.

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<v Speaker 5>Well, the one that I'm still most proud of is

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<v Speaker 5>one of our first releases, which we did through Flicker Alley,

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<v Speaker 5>and it's called three D Rarities, and it could best

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<v Speaker 5>be described as a short three D short subject sample plate.

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<v Speaker 5>It's got a little bit of everything on it, and

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<v Speaker 5>it's got a lot of our most interesting discoveries, including

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<v Speaker 5>some of the earliest known three D footage going back

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<v Speaker 5>to the nineteen twenties, stuff that was shot in the

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<v Speaker 5>thirties and forties for public exhibitions like the New York

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<v Speaker 5>World's Fair and the Golden Gate Exposition in San Francisco,

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<v Speaker 5>and then a pretty good sample plate of stuff from

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<v Speaker 5>the nineteen fifties, including some shorts that went along with

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<v Speaker 5>feature presentations that you're otherwise not going to see otherwise.

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<v Speaker 5>So that's one of my favorites, and we did a

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<v Speaker 5>nice follow up to that called three D Rarities too,

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<v Speaker 5>also through foota Rally, and that's got a really nice

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<v Speaker 5>feature on it called Correzoni Las Spata, which is Mexico's

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<v Speaker 5>first three dimensional film, starring.

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<v Speaker 4>Caesar Romero and Katie Herrado.

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<v Speaker 5>It's a nice swashbuckler epic, but then we bolstered it

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<v Speaker 5>with a bunch of fun short subjects, and then as

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<v Speaker 5>far as the features go, I mean, we've done over

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<v Speaker 5>thirty releases at this point, it'd be hard to pick

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<v Speaker 5>a favorite. I really love the stuff we did for

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<v Speaker 5>Universal Revenge of the Creature and it came from outer Space.

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<v Speaker 5>The paramount titles that we did, I was really proud

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<v Speaker 5>of the work we did on those that would be

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<v Speaker 5>like Hebro and Sangaree and Ceasefire and a ton of

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<v Speaker 5>stuff that we worked on. I'm really proud of most

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<v Speaker 5>of it. I think the quality of our presentation has

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<v Speaker 5>always held like a very high benchmark. And Quana Devil

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<v Speaker 5>one of our latest releases. I never thought we were

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<v Speaker 5>going to see that one happen, and then here we

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<v Speaker 5>have the original Ansco color camera negatives in our laps

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<v Speaker 5>and it just looks phenomenal, looks like it was shot yesterday.

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<v Speaker 2>Well, when discussing three D, obviously there's this bit of

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<v Speaker 2>sadness for a lot of people that were steeped in

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<v Speaker 2>three D, you know, a good eight years ago. Because

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<v Speaker 2>we're not seeing three D TV sold in the US,

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<v Speaker 2>a lot of people are less aware that you can

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<v Speaker 2>still watch some of these three D titles with classes

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<v Speaker 2>in other ways that they can handle it with the technology.

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<v Speaker 3>Of three D.

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<v Speaker 2>If if we can get technical for a minute, why

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<v Speaker 2>is what the three D film archive?

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<v Speaker 3>Why is it what?

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<v Speaker 2>Let's see, what's the best way to say this. Why

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<v Speaker 2>is the process differently than what other boutiques are putting

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<v Speaker 2>into some of these negatives.

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<v Speaker 5>Well, because we have to do the same movie twice essentially,

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<v Speaker 5>that's the easy answer. You have two eyes, one left

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<v Speaker 5>one right eye view on two strips of film, so already,

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<v Speaker 5>compared to a normal feature presentation that we'd work on

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<v Speaker 5>a flat one, we now have to double the budget

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<v Speaker 5>because it's double the scan time, and then of course

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<v Speaker 5>making sure that the alignment is correct on both eyes,

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<v Speaker 5>because you know you can't have one I sing slightly

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<v Speaker 5>above the other and when you push the apart you

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<v Speaker 5>have all sorts of weird things, so we make sure

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<v Speaker 5>all the alignments are done correctly. But I think there's

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<v Speaker 5>really nobody else tackling it with the same amount of

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<v Speaker 5>expertise that we have. I mean not to toot our

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<v Speaker 5>own horns, but we were the only ones doing this

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<v Speaker 5>in the first place, and we've gained a reputation for

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<v Speaker 5>what we do because we really do understand the stuff

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<v Speaker 5>and we take our care with it.

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<v Speaker 4>And sometimes that's a time issue.

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<v Speaker 5>You know, it takes a little bit longer to work

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<v Speaker 5>on a project than it would for just a regular

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<v Speaker 5>flat film.

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<v Speaker 4>But I think the results speak for themselves, don't you think.

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<v Speaker 2>I mean, I personally agree. That's why I definitely wanted

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<v Speaker 2>to talk to you guys. Every time that the three

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<v Speaker 2>D film Markeive is attached to a title, I know

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<v Speaker 2>it's one that I have to own because the quality

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<v Speaker 2>is always immense, and usually the more exciting part for

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<v Speaker 2>me is it's usually a title that either like you've

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<v Speaker 2>heard about over the years and nobody's ever been able

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<v Speaker 2>to see because it's so obscure, or it's a stone

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<v Speaker 2>cold classic that everybody is seen in lower quality, and

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<v Speaker 2>it seems like those two ends of the spectrums are like,

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<v Speaker 2>just funnel that right into my veins because it's the

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<v Speaker 2>perfect way to appreciate this stuff well.

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<v Speaker 5>And that's why I really loved the three D films

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<v Speaker 5>from the fifties from the get go. I mean, even

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<v Speaker 5>before we were doing all this, Bob was doing screenings

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<v Speaker 5>in thirty five milimeter, which is insane.

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<v Speaker 4>Of this stuff from the fifties, and.

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<v Speaker 5>The beauty of it is it really wasn't a prestige

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<v Speaker 5>format in a way, because that nineteen fifty two to

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<v Speaker 5>nineteen fifty five you get this great cross section of

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<v Speaker 5>just every genre, every production budget schedule.

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<v Speaker 4>From nineteen fifty three, you.

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<v Speaker 5>Have prestige stuff like you know, kiss Me Kate or

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<v Speaker 5>Mercedie Thompson, things that they're trying to push it as

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<v Speaker 5>like a legitimate, like a great a picture that's really

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<v Speaker 5>going to plan Broadway for weeks, and then you just

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<v Speaker 5>have like the bottom of the barrel like Catlomit of

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<v Speaker 5>the Moon or like a robot monster or you know,

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<v Speaker 5>Hana Lee or something like that, and then everything in

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<v Speaker 5>between every genre that you can think of film nor

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<v Speaker 5>science fiction are comedy, musicals, westerns. My god, there were

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<v Speaker 5>more Westerns than science fiction films made in three D,

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<v Speaker 5>but most people don't tab.

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<v Speaker 4>It up that way.

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<v Speaker 5>They remember Creature from the Black Lagoon or House of

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<v Speaker 5>Wax or something.

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<v Speaker 2>Like that, right, and then we get stuff like pul

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<v Speaker 2>On a Devil and everybody's never heard of it, and

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<v Speaker 2>then they see it and it's like, wow, this looks amazing, and.

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<v Speaker 4>Then the question is what is that? What is that genre?

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<v Speaker 5>It's kind of a horror film, kind of a drama

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<v Speaker 5>period piece, kind of a strange movie to come out

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<v Speaker 5>of the gates with.

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<v Speaker 2>Yeah, with the three D technology over the years, there

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<v Speaker 2>are you know, lots of advancements that happened as somebody

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<v Speaker 2>that is very ignorant to the whole process, because there

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<v Speaker 2>were a few. As far as I know, there's a

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<v Speaker 2>few ways that they filmed some of these. Are there

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<v Speaker 2>more difficult ones other than you know, love of deterioration?

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<v Speaker 2>Is there anything in the filming process that made things

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<v Speaker 2>more difficult for you to restore nowadays?

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<v Speaker 4>Not?

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<v Speaker 5>Particularly when it was the dual camera shoots. Those are

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<v Speaker 5>the best the stuff in the fifties because you essentially

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<v Speaker 5>have like a full frame to work with. Once you

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<v Speaker 5>move into the sixties and seventies with the over under

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<v Speaker 5>format where they'd stack the right eye on top of

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<v Speaker 5>the left eye in one thirty five milimeter frame and

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<v Speaker 5>present it at the same time. Then you start getting

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<v Speaker 5>into some tricky territory because you get weird things like

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<v Speaker 5>shading on the edges from the mirror boxes that they

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<v Speaker 5>were using, and there's all this stuff in photography that

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<v Speaker 5>we have to sort of unbague out of it, which

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<v Speaker 5>is the magic sauce to what we do, you know.

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<v Speaker 5>But for the most part, the fifties stuff is really

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<v Speaker 5>well photographed and doesn't need a lot of work. Every

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<v Speaker 5>once in a while you get a shot that's out

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<v Speaker 5>of phase or out of sync. That means, you know,

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<v Speaker 5>one frame is being exposed after the other, so you're

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<v Speaker 5>not temporily at the same time. I'm seeing the same thing,

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00:14:01.440 --> 00:14:03.639
<v Speaker 5>and it kind of looks like a water emotion, you know.

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<v Speaker 4>If you flick your fingers like that, you'll see it.

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<v Speaker 5>And we have some kind of crude methods of removing

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<v Speaker 5>some of that, but sometimes it's just baked in and

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<v Speaker 5>you can't remove it.

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<v Speaker 4>That was the case with Bond and Devil, for example.

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<v Speaker 2>There have been some titles that you've done over the

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<v Speaker 2>years that I again have never heard of. But the

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<v Speaker 2>stuff that I've got is just an immense gift. And

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<v Speaker 2>now I got to ask, how does a company like

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<v Speaker 2>three D Film Archive continue because it seems like no

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<v Speaker 2>one is talking about these restorations at the level I

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00:14:35.039 --> 00:14:37.759
<v Speaker 2>want them to because they're incredible, And some of these

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<v Speaker 2>other companies that are out there, I don't know the

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<v Speaker 2>way they speak about struggling and I'm like, well, the

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<v Speaker 2>three E film marker has been here forever.

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<v Speaker 4>Well listen.

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<v Speaker 5>I mean, metals are great for polishing and putting on display.

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<v Speaker 5>But I think at the end of the day, our

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00:14:52.679 --> 00:14:55.639
<v Speaker 5>fan base is why we do it, because there are.

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<v Speaker 4>People out there who want to see this stuff. They

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<v Speaker 4>want to assess this stuff.

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<v Speaker 5>If you're a serious file or a serious historian. That's

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00:15:04.159 --> 00:15:09.840
<v Speaker 5>a huge piece of the cinematic landscape that just has

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00:15:09.919 --> 00:15:12.759
<v Speaker 5>always been put down and put in the background, and

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00:15:13.120 --> 00:15:17.360
<v Speaker 5>really shouldn't be, because these were hard technicians working a

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<v Speaker 5>really hard system and doing their best to present Hollywood

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<v Speaker 5>films in this process any more than like CinemaScope or

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<v Speaker 5>cinerama or seventy milimeters or any of that stuff. It

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<v Speaker 5>has its it has its mantle in the Hall of Fame,

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00:15:32.240 --> 00:15:36.039
<v Speaker 5>and now we have the way to show it to people.

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<v Speaker 4>So why not.

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<v Speaker 2>Before you were with the three D film mark ive,

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00:15:39.600 --> 00:15:42.000
<v Speaker 2>did you treat three D like the art form that

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00:15:42.039 --> 00:15:43.519
<v Speaker 2>you see it now or it was it more?

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<v Speaker 4>Yeah? It always intrigued me.

301
00:15:45.240 --> 00:15:48.960
<v Speaker 5>Yeah, I had VHS's of some three D stuff, like

302
00:15:50.080 --> 00:15:52.399
<v Speaker 5>Rhino had put out the Mask in three D. I

303
00:15:52.440 --> 00:15:56.000
<v Speaker 5>think Elvira was the host on that, and there was

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00:15:56.039 --> 00:15:58.240
<v Speaker 5>an old Good Times and a glyph of creature from

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00:15:58.279 --> 00:16:01.919
<v Speaker 5>the Black Wagoon. It always intrigued me. And then I

306
00:16:01.960 --> 00:16:05.879
<v Speaker 5>went to a few presentations in the theaters hit or miss,

307
00:16:05.960 --> 00:16:09.080
<v Speaker 5>and then I met Bob and he was really hardcore

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00:16:09.120 --> 00:16:12.360
<v Speaker 5>about doing this stuff properly and doing it on film.

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00:16:12.639 --> 00:16:15.279
<v Speaker 5>And he also happened to have the greatest archive of

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<v Speaker 5>all these titles that nobody else had, and so there

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00:16:18.759 --> 00:16:22.080
<v Speaker 5>were these weekly screenings that he would run that were

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00:16:22.200 --> 00:16:25.200
<v Speaker 5>just they were great. It was a great sort of

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00:16:25.240 --> 00:16:30.000
<v Speaker 5>debriefer on all this. And then about ten fifteen years ago,

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00:16:30.399 --> 00:16:33.840
<v Speaker 5>more like fifteen, at this point, we saw an opportunity

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00:16:35.639 --> 00:16:38.279
<v Speaker 5>where this format was coming out three D Blu Ray.

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00:16:38.360 --> 00:16:41.360
<v Speaker 5>Before that, we had messed around with three D with

317
00:16:41.639 --> 00:16:43.519
<v Speaker 5>the old I don't know if you remember this, but

318
00:16:43.600 --> 00:16:46.759
<v Speaker 5>they're on the CRTs. There used to be a frame

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00:16:46.840 --> 00:16:50.919
<v Speaker 5>sequential system with shutter glasses. It was terrible and it

320
00:16:50.960 --> 00:16:54.960
<v Speaker 5>was flickery dim, but he was the only way to

321
00:16:55.080 --> 00:16:57.519
<v Speaker 5>really see it, you know, kind of properly, sort of

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00:16:57.519 --> 00:17:00.080
<v Speaker 5>setting up a couple of projectors.

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<v Speaker 4>And putting polarizes in front of that.

324
00:17:01.360 --> 00:17:05.039
<v Speaker 5>And that's insane in itself, and that sort of led

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00:17:05.079 --> 00:17:07.880
<v Speaker 5>the framework for what we ended up doing on three

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00:17:07.960 --> 00:17:11.799
<v Speaker 5>D Blu ray. And then when the spec came out

327
00:17:11.839 --> 00:17:16.960
<v Speaker 5>and manufacturers were manufacturing televisions and players and pressing three

328
00:17:17.000 --> 00:17:20.160
<v Speaker 5>D Blu rays, nobody was interested in the stuff that

329
00:17:20.200 --> 00:17:21.039
<v Speaker 5>we had on the table.

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<v Speaker 4>I mean, we had a ton of stuff.

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00:17:22.440 --> 00:17:24.759
<v Speaker 5>We had features that we owned, we had features that

332
00:17:24.759 --> 00:17:27.400
<v Speaker 5>we had restored, stuff that was ready to scan in.

333
00:17:29.200 --> 00:17:34.759
<v Speaker 5>Nobody was interested. And our first release was really unceremonious.

334
00:17:34.880 --> 00:17:35.319
<v Speaker 4>It was.

335
00:17:36.839 --> 00:17:41.839
<v Speaker 5>Dragonfly Squadron through Olive Films, and to say that it

336
00:17:41.920 --> 00:17:45.119
<v Speaker 5>was sort of unrestored as being kind I would really

337
00:17:45.240 --> 00:17:48.519
<v Speaker 5>like to revisit that title down the road. But then

338
00:17:48.599 --> 00:17:52.160
<v Speaker 5>Flicker ally came to us and they were serious. They

339
00:17:52.200 --> 00:17:54.680
<v Speaker 5>wanted to do something that was serious. They'd been working

340
00:17:54.720 --> 00:17:59.200
<v Speaker 5>with Dave Stromyer on the Cinerama stuff and they wanted

341
00:17:59.200 --> 00:18:02.359
<v Speaker 5>to do something that would be prestige, and that's when

342
00:18:02.400 --> 00:18:06.519
<v Speaker 5>we did three D Rarities and that really was the

343
00:18:06.559 --> 00:18:10.680
<v Speaker 5>start of the ball rolling. And then we started working

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00:18:10.680 --> 00:18:12.920
<v Speaker 5>with Keno Larber. I think the first one we did

345
00:18:12.920 --> 00:18:15.559
<v Speaker 5>for them was The Bubble, and they liked it so

346
00:18:15.720 --> 00:18:17.559
<v Speaker 5>much that they brought us back for more.

347
00:18:17.680 --> 00:18:20.480
<v Speaker 4>And we've had such a great relationship with them ever since.

348
00:18:20.519 --> 00:18:22.559
<v Speaker 4>I mean, Frank.

349
00:18:22.319 --> 00:18:25.880
<v Speaker 5>Tarzi over there has been like our cheerleader and keeping

350
00:18:26.000 --> 00:18:29.079
<v Speaker 5>us going with these studios for just years now. He's

351
00:18:29.799 --> 00:18:32.599
<v Speaker 5>he's a real asset for us.

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<v Speaker 2>That leads into one of the questions I was we

353
00:18:35.960 --> 00:18:38.039
<v Speaker 2>have over the years, I knew of all the film's

354
00:18:38.079 --> 00:18:41.359
<v Speaker 2>flick rally Keno Larber. Are there many other companies that

355
00:18:41.400 --> 00:18:43.000
<v Speaker 2>you guys have done home video releases through.

356
00:18:43.319 --> 00:18:46.839
<v Speaker 5>We've done stuff with Classic Flicks. Oh, that's right, We've

357
00:18:46.880 --> 00:18:50.039
<v Speaker 5>done stuff with with the studios. I mean, we did

358
00:18:50.119 --> 00:18:55.960
<v Speaker 5>a couple of projects for Universal Home Video and I'd

359
00:18:55.960 --> 00:18:58.599
<v Speaker 5>have to go, now you're asking for me to fire neurons.

360
00:18:58.599 --> 00:19:02.079
<v Speaker 5>That just we've worked with a lot of companies. Yeah,

361
00:19:02.359 --> 00:19:05.319
<v Speaker 5>and we've worked for hire for a lot of companies too.

362
00:19:06.079 --> 00:19:08.480
<v Speaker 5>So we've done some work with some other companies like

363
00:19:08.960 --> 00:19:12.240
<v Speaker 5>Vinegar Syndrome I think was one that we did some

364
00:19:12.319 --> 00:19:12.839
<v Speaker 5>work with.

365
00:19:13.000 --> 00:19:16.680
<v Speaker 4>And yeah, we've done some work with some other companies.

366
00:19:17.000 --> 00:19:19.799
<v Speaker 3>Keynote seems to be the main partner nowadays. Is that

367
00:19:19.839 --> 00:19:20.480
<v Speaker 3>still the case?

368
00:19:22.359 --> 00:19:24.160
<v Speaker 5>They've been our home base for a while. We've also

369
00:19:24.240 --> 00:19:28.640
<v Speaker 5>done some releases with Bayview Entertainment. You know, we did

370
00:19:28.880 --> 00:19:31.359
<v Speaker 5>Robot Monster through them, and we have a film coming

371
00:19:31.400 --> 00:19:36.480
<v Speaker 5>out soon called Domo Arigato, which is arch Obler's last

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00:19:36.519 --> 00:19:37.240
<v Speaker 5>three D film.

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<v Speaker 2>There's so much about three D that I would love

374
00:19:39.400 --> 00:19:42.799
<v Speaker 2>to dive into with. You know, you brought up the

375
00:19:43.000 --> 00:19:45.279
<v Speaker 2>actual three D Blu ray format. When that came in,

376
00:19:45.960 --> 00:19:50.799
<v Speaker 2>was big, big in quotation marks for a little while.

377
00:19:51.240 --> 00:19:54.640
<v Speaker 2>With the decay and the ceasing of the producing of

378
00:19:54.680 --> 00:19:57.799
<v Speaker 2>the TVs, do you think that there's ever a chance

379
00:19:57.799 --> 00:19:58.079
<v Speaker 2>for that.

380
00:19:58.079 --> 00:20:00.240
<v Speaker 3>To get big again in home video or anything. We're

381
00:20:00.240 --> 00:20:00.599
<v Speaker 3>past it.

382
00:20:01.039 --> 00:20:05.839
<v Speaker 5>I mean, I do trade shows every year and I

383
00:20:05.880 --> 00:20:08.039
<v Speaker 5>see what's on the floor, and so I have a

384
00:20:08.039 --> 00:20:12.440
<v Speaker 5>pretty good idea of what the manufacturers are sort of

385
00:20:12.519 --> 00:20:14.559
<v Speaker 5>getting to gear up for.

386
00:20:15.799 --> 00:20:18.119
<v Speaker 4>And now that the four K train.

387
00:20:18.000 --> 00:20:22.279
<v Speaker 5>Has obviously left the station, everybody's on board with that stuff,

388
00:20:22.880 --> 00:20:26.240
<v Speaker 5>and eight K has been being pushed for a while now,

389
00:20:26.279 --> 00:20:29.880
<v Speaker 5>but I just don't see it realistically happening anytime soon,

390
00:20:30.279 --> 00:20:32.480
<v Speaker 5>just because of the data stream that you have to

391
00:20:32.519 --> 00:20:36.799
<v Speaker 5>go through with that. Dolby at most has pretty much

392
00:20:36.839 --> 00:20:42.920
<v Speaker 5>conquered the market as far as surround sound goes, and

393
00:20:43.160 --> 00:20:46.119
<v Speaker 5>there's still sort of a battling HDR spec going on

394
00:20:46.359 --> 00:20:50.240
<v Speaker 5>right now, but that's pretty minor in the grand scheme

395
00:20:50.240 --> 00:20:52.279
<v Speaker 5>of things. I think you're going to start seeing three

396
00:20:52.359 --> 00:20:55.720
<v Speaker 5>D get dusted off again in the next few years,

397
00:20:56.119 --> 00:20:58.480
<v Speaker 5>and the first and foremost thing that they have to

398
00:20:58.519 --> 00:21:01.559
<v Speaker 5>do is standard eye the four K three D spec

399
00:21:02.079 --> 00:21:04.200
<v Speaker 5>because as far as I know, that has still not

400
00:21:04.240 --> 00:21:04.960
<v Speaker 5>been tackled.

401
00:21:05.920 --> 00:21:07.759
<v Speaker 2>That is the first thing I was gonna ask, because

402
00:21:07.799 --> 00:21:09.960
<v Speaker 2>I don't know anything about it, is if there was

403
00:21:10.000 --> 00:21:12.440
<v Speaker 2>any sort of reason that they couldn't make a three

404
00:21:12.559 --> 00:21:13.559
<v Speaker 2>D four K disc.

405
00:21:14.359 --> 00:21:14.440
<v Speaker 3>No.

406
00:21:14.640 --> 00:21:18.559
<v Speaker 5>I mean, they've already simpty has already standardized, for example,

407
00:21:18.640 --> 00:21:23.400
<v Speaker 5>four K DCP for theatrical projection. It would just mean

408
00:21:23.799 --> 00:21:26.440
<v Speaker 5>coming up with a spec and standardizing it for four

409
00:21:26.519 --> 00:21:29.279
<v Speaker 5>K three D. But in order for that to happen

410
00:21:29.319 --> 00:21:33.039
<v Speaker 5>you have to have manufacture interest. But for a manufacturer interest,

411
00:21:33.079 --> 00:21:34.759
<v Speaker 5>you have to have the standard, So it's kind of

412
00:21:34.759 --> 00:21:38.599
<v Speaker 5>a chicken and egg situation right now. It's whoever shoots first,

413
00:21:38.640 --> 00:21:42.079
<v Speaker 5>you know, basically one has to do it and then

414
00:21:42.079 --> 00:21:42.960
<v Speaker 5>we'll see it happen.

415
00:21:44.720 --> 00:21:46.839
<v Speaker 2>Well, I mean, I think that would be enough to

416
00:21:47.079 --> 00:21:50.920
<v Speaker 2>reignite a lot of people's interests. Obviously, I don't know

417
00:21:50.920 --> 00:21:52.640
<v Speaker 2>how much you're paying attention to it, but the fact

418
00:21:52.680 --> 00:21:55.559
<v Speaker 2>that we're still getting three D blu rays, especially a

419
00:21:55.559 --> 00:21:59.079
<v Speaker 2>lot more than the US, but happening overseas fairly regularly.

420
00:21:59.559 --> 00:22:02.720
<v Speaker 2>Are those markets still fairly robust? Do you have a

421
00:22:02.839 --> 00:22:04.559
<v Speaker 2>year to the ground for that they are.

422
00:22:05.559 --> 00:22:08.279
<v Speaker 5>We're locked into regions for the most part with the

423
00:22:08.319 --> 00:22:11.720
<v Speaker 5>studio stuff, so we don't really see what that does overseas,

424
00:22:11.759 --> 00:22:14.759
<v Speaker 5>although we have in the European market because we've had

425
00:22:14.799 --> 00:22:17.720
<v Speaker 5>a lot of people reach out for licensing region B

426
00:22:18.279 --> 00:22:21.720
<v Speaker 5>rights to restoration work that we've done, and that seems

427
00:22:21.720 --> 00:22:24.319
<v Speaker 5>to have sort of a pretty good stronghold of people

428
00:22:24.359 --> 00:22:28.079
<v Speaker 5>that are still set up with either three D displays

429
00:22:28.160 --> 00:22:30.799
<v Speaker 5>or projectors with three D capability, which has sort of

430
00:22:30.799 --> 00:22:34.799
<v Speaker 5>been the lifeline for three D TV in general in

431
00:22:34.839 --> 00:22:39.440
<v Speaker 5>the last five or six years, since manufacturers are getting

432
00:22:39.559 --> 00:22:47.160
<v Speaker 5>rid or have completely stopped manufacturing both passive and active displays.

433
00:22:47.880 --> 00:22:50.000
<v Speaker 5>So the projectors are sort of where we see a

434
00:22:50.000 --> 00:22:54.079
<v Speaker 5>lot of our customers gravitating towards, and those tend to

435
00:22:54.119 --> 00:22:56.480
<v Speaker 5>be people that have a home theater set.

436
00:22:56.319 --> 00:22:58.200
<v Speaker 4>Up in the first place. So why not throw in

437
00:22:58.240 --> 00:22:58.559
<v Speaker 4>three D?

438
00:22:58.759 --> 00:22:59.240
<v Speaker 3>Right?

439
00:23:00.119 --> 00:23:02.599
<v Speaker 2>Yeah, I mean that's the way I've been kind of

440
00:23:02.680 --> 00:23:04.759
<v Speaker 2>leaning on, hoping that it's going to get there, is,

441
00:23:04.759 --> 00:23:07.400
<v Speaker 2>if we're already throwing in all these other bills and whistles,

442
00:23:07.480 --> 00:23:09.640
<v Speaker 2>let's bring something back that people seem to love for

443
00:23:09.799 --> 00:23:10.880
<v Speaker 2>quite some time, and.

444
00:23:10.839 --> 00:23:13.720
<v Speaker 5>The technology is there, it really doesn't cost that much

445
00:23:13.759 --> 00:23:17.920
<v Speaker 5>more to do it. If you're doing a passive display,

446
00:23:19.599 --> 00:23:22.759
<v Speaker 5>it's using a certain type of LCD and also some

447
00:23:22.920 --> 00:23:26.680
<v Speaker 5>chip software that's thrown in there as an extra. If

448
00:23:26.680 --> 00:23:28.960
<v Speaker 5>you're doing passive, then you have to add an IR

449
00:23:29.680 --> 00:23:33.559
<v Speaker 5>sensor obviously to reach the glasses. But I mean, in

450
00:23:33.599 --> 00:23:37.480
<v Speaker 5>the grand scheme of things, with the prices of monitors

451
00:23:37.519 --> 00:23:41.279
<v Speaker 5>coming down tremendously, rolling in something like that for a

452
00:23:41.319 --> 00:23:44.519
<v Speaker 5>couple hundred bucks more for retail, it almost is like

453
00:23:44.599 --> 00:23:46.240
<v Speaker 5>money on the table they're not grabbing.

454
00:23:46.799 --> 00:23:47.039
<v Speaker 3>Right.

455
00:23:48.279 --> 00:23:50.480
<v Speaker 2>You brought up active and passive, and for those that

456
00:23:50.559 --> 00:23:53.440
<v Speaker 2>aren't super familiar with three can you share what the

457
00:23:53.440 --> 00:23:54.559
<v Speaker 2>difference between those who.

458
00:23:54.480 --> 00:24:01.119
<v Speaker 5>Are passive would be? Polaroid glasses so the same I

459
00:24:01.160 --> 00:24:03.039
<v Speaker 5>thought I had a pair around here, but the same

460
00:24:03.079 --> 00:24:05.079
<v Speaker 5>pair that you would wear at like a real D

461
00:24:05.200 --> 00:24:11.880
<v Speaker 5>screen in a theater, circular polarized, and the delivery on

462
00:24:11.920 --> 00:24:16.440
<v Speaker 5>the TV set is a high frame rate frame sequential

463
00:24:16.839 --> 00:24:21.440
<v Speaker 5>system that's so fast it's imperceivable, but you get perfect

464
00:24:21.799 --> 00:24:26.079
<v Speaker 5>cancelization with circular polarity. And then with the active glasses

465
00:24:26.119 --> 00:24:29.079
<v Speaker 5>are the ones that are electronic. They're shutters that go

466
00:24:29.200 --> 00:24:32.319
<v Speaker 5>on and off real fast using LCDs that are in

467
00:24:32.400 --> 00:24:36.079
<v Speaker 5>sync with the player and basically do the same thing,

468
00:24:36.200 --> 00:24:39.039
<v Speaker 5>except it's an a clip system rather than polarized.

469
00:24:39.799 --> 00:24:42.920
<v Speaker 2>So anybody buying any titles that the three D film

470
00:24:42.960 --> 00:24:45.079
<v Speaker 2>market is putting out right now, they can still watch

471
00:24:45.119 --> 00:24:48.240
<v Speaker 2>them on any player in the right way they want

472
00:24:48.279 --> 00:24:48.720
<v Speaker 2>to watch them.

473
00:24:48.720 --> 00:24:52.240
<v Speaker 5>Correct, they can because now we are also adding as

474
00:24:52.240 --> 00:24:54.200
<v Speaker 5>a feature as of I think a year ago or

475
00:24:54.200 --> 00:24:57.839
<v Speaker 5>two years ago, and a glyph versions on those discs,

476
00:24:57.960 --> 00:25:02.000
<v Speaker 5>the red and cyan gasses that their paper glasses.

477
00:25:02.519 --> 00:25:05.400
<v Speaker 4>We throw in a pair in each case. You can

478
00:25:05.519 --> 00:25:07.559
<v Speaker 4>order some more. They're really cheap. You can get some

479
00:25:07.599 --> 00:25:11.559
<v Speaker 4>deluxe ones for like two dollars on Amazon, and that.

480
00:25:11.480 --> 00:25:14.680
<v Speaker 5>Way, if you don't have a three D set, you

481
00:25:15.039 --> 00:25:18.720
<v Speaker 5>at least can get sort of halfway there. You know,

482
00:25:18.759 --> 00:25:22.640
<v Speaker 5>if you have, if your set is calibrated well, especially

483
00:25:22.839 --> 00:25:26.839
<v Speaker 5>in four K, the anaglyph process that we use to

484
00:25:27.000 --> 00:25:31.759
<v Speaker 5>encode it is way better, way better quality control than

485
00:25:31.799 --> 00:25:34.920
<v Speaker 5>what was previously seen on home video, and so you

486
00:25:34.920 --> 00:25:37.480
<v Speaker 5>can get a pretty good estimation of the three D

487
00:25:37.599 --> 00:25:40.839
<v Speaker 5>with that stuff. I would say the best presentation, of

488
00:25:40.880 --> 00:25:45.200
<v Speaker 5>course is with shut of glasses or with polaroid glasses.

489
00:25:45.200 --> 00:25:47.920
<v Speaker 5>But if you don't have that option, don't worry. You

490
00:25:47.960 --> 00:25:50.519
<v Speaker 5>can still watch the anaglyph version on your flat set up.

491
00:25:51.759 --> 00:25:54.359
<v Speaker 2>You know, I'm not considered this is it possible even

492
00:25:54.400 --> 00:25:57.319
<v Speaker 2>to get a three D DV to the States? Like,

493
00:25:57.480 --> 00:25:59.599
<v Speaker 2>do you know of any way to import them right now?

494
00:26:00.759 --> 00:26:00.880
<v Speaker 4>No?

495
00:26:00.960 --> 00:26:02.759
<v Speaker 5>But there's still plenty of them that are out there

496
00:26:02.799 --> 00:26:05.519
<v Speaker 5>on the used market. I always tell people, go up

497
00:26:05.519 --> 00:26:08.960
<v Speaker 5>on Craigslist, go up on Facebook, marketplace. You can get

498
00:26:09.039 --> 00:26:11.119
<v Speaker 5>grab if you know what you're looking for. You can

499
00:26:11.160 --> 00:26:16.920
<v Speaker 5>grab a great like fifty inch for like three hundred bucks.

500
00:26:17.279 --> 00:26:19.880
<v Speaker 5>If you are one of those mad men that still

501
00:26:19.920 --> 00:26:22.400
<v Speaker 5>want to see the three D stuff. There are still

502
00:26:22.440 --> 00:26:26.039
<v Speaker 5>options out there, and I think before those TV sets

503
00:26:26.039 --> 00:26:29.839
<v Speaker 5>start dying, you're going to see manufacturers start bringing it

504
00:26:29.880 --> 00:26:30.640
<v Speaker 5>back anyway.

505
00:26:30.759 --> 00:26:31.920
<v Speaker 4>So I don't think.

506
00:26:31.759 --> 00:26:33.519
<v Speaker 5>There's really going to be a dead zone as far

507
00:26:33.559 --> 00:26:37.240
<v Speaker 5>as the technology is concerned for actually watching any of

508
00:26:37.240 --> 00:26:38.759
<v Speaker 5>this stuff, if you're serious about it.

509
00:26:39.640 --> 00:26:43.880
<v Speaker 2>Nice with Blonda Deevil. I think that's the most recent

510
00:26:43.920 --> 00:26:45.680
<v Speaker 2>disc that's actually been released, Is that right?

511
00:26:46.880 --> 00:26:49.519
<v Speaker 4>Yes? Yeah, that's our most latest that's our latest release.

512
00:26:49.559 --> 00:26:50.160
<v Speaker 3>Yeah.

513
00:26:50.160 --> 00:26:51.759
<v Speaker 2>Can you share a couple of the other ones that

514
00:26:51.759 --> 00:26:54.119
<v Speaker 2>were right before that for everybody that may have not

515
00:26:54.160 --> 00:26:54.880
<v Speaker 2>been paying attention.

516
00:26:55.440 --> 00:26:59.000
<v Speaker 5>Uh, all right, let me go back and my brain

517
00:26:59.119 --> 00:27:01.640
<v Speaker 5>cells here. I'm trying to think of what we had

518
00:27:01.759 --> 00:27:07.680
<v Speaker 5>just before that Robot Monster, of course, that's through Bayview Entertainment.

519
00:27:08.119 --> 00:27:14.759
<v Speaker 5>That's a classic, crazy, cheesy science fiction film from nineteen

520
00:27:14.799 --> 00:27:19.880
<v Speaker 5>fifty three where the antagonist is a guy with a

521
00:27:19.880 --> 00:27:22.240
<v Speaker 5>gorilla suit and a space helmet on his head.

522
00:27:24.200 --> 00:27:25.759
<v Speaker 4>Lots of fun. We loaded that.

523
00:27:25.839 --> 00:27:28.720
<v Speaker 5>Up with extras too. That was really a fun project

524
00:27:28.759 --> 00:27:34.680
<v Speaker 5>to work on. Before that, The Man who Wasn't There

525
00:27:34.880 --> 00:27:38.839
<v Speaker 5>through Quino Larber, that's a more recent release that we did.

526
00:27:41.359 --> 00:27:46.640
<v Speaker 5>We did a few flat projects Before that, for Classic Flicks,

527
00:27:47.119 --> 00:27:49.200
<v Speaker 5>the first or the both seasons of The Abbin and

528
00:27:49.240 --> 00:27:52.200
<v Speaker 5>Costello Show, which we scanned in four K off the

529
00:27:52.240 --> 00:27:55.359
<v Speaker 5>camera negatives. It was an hour and ever situation. They

530
00:27:55.359 --> 00:27:59.519
<v Speaker 5>were starting to deteriorate, and we worked with the Costello

531
00:27:59.680 --> 00:28:04.319
<v Speaker 5>estate and scanned in and restored all fifty two episodes.

532
00:28:05.559 --> 00:28:06.480
<v Speaker 4>They look incredible.

533
00:28:08.799 --> 00:28:10.680
<v Speaker 2>It's so much work too, and I'm so glad that

534
00:28:10.680 --> 00:28:12.119
<v Speaker 2>people like you were doing something like that.

535
00:28:12.359 --> 00:28:14.400
<v Speaker 5>It took us months and it was a lot of

536
00:28:14.440 --> 00:28:17.880
<v Speaker 5>sweat equity for sure, a lot of sessions down in

537
00:28:17.920 --> 00:28:20.480
<v Speaker 5>my basement with Bob grading episodes.

538
00:28:21.160 --> 00:28:23.160
<v Speaker 4>Is this good? Now? Now we could push it this way?

539
00:28:23.200 --> 00:28:25.000
<v Speaker 4>We could go this way.

540
00:28:25.319 --> 00:28:27.640
<v Speaker 5>Another project that we did that was Abd and Costello

541
00:28:27.799 --> 00:28:30.519
<v Speaker 5>was there well one of their two color features, Jack

542
00:28:30.559 --> 00:28:31.279
<v Speaker 5>and the Beanstalk.

543
00:28:31.599 --> 00:28:32.640
<v Speaker 3>Yeah, And we.

544
00:28:32.599 --> 00:28:35.799
<v Speaker 5>Did that through Classic Flicks, And I'm that is probably

545
00:28:35.880 --> 00:28:40.640
<v Speaker 5>the project I'm most proud of because we spent so

546
00:28:40.799 --> 00:28:43.599
<v Speaker 5>much time on that. That was a two year production

547
00:28:44.400 --> 00:28:46.559
<v Speaker 5>and that was in the middle of COVID. On top

548
00:28:46.640 --> 00:28:48.759
<v Speaker 5>of it, we loaded it up with a bunch of

549
00:28:48.799 --> 00:28:52.640
<v Speaker 5>great special features. I mean, there's more special features than

550
00:28:52.640 --> 00:28:55.000
<v Speaker 5>there is film on it, believe it or not, And

551
00:28:56.119 --> 00:28:58.799
<v Speaker 5>that was really a love letter to Abin and Costello

552
00:28:59.000 --> 00:29:01.160
<v Speaker 5>and something for the fame, and so that one I'm

553
00:29:01.200 --> 00:29:01.920
<v Speaker 5>really proud of.

554
00:29:02.759 --> 00:29:03.240
<v Speaker 3>Nice.

555
00:29:04.200 --> 00:29:07.480
<v Speaker 2>One thing that I try to ask, especially some of

556
00:29:07.519 --> 00:29:11.559
<v Speaker 2>the smaller labels like this, is anybody that is, you know,

557
00:29:11.640 --> 00:29:12.319
<v Speaker 2>wanting to help.

558
00:29:12.319 --> 00:29:14.200
<v Speaker 3>What is the best way to support the three D

559
00:29:14.240 --> 00:29:14.799
<v Speaker 3>film mark of.

560
00:29:15.359 --> 00:29:16.519
<v Speaker 4>Just keep buying our stuff.

561
00:29:18.519 --> 00:29:23.640
<v Speaker 5>We've got a Kickstarter for the road Show edition of

562
00:29:23.680 --> 00:29:24.039
<v Speaker 5>The Bubble.

563
00:29:24.079 --> 00:29:25.400
<v Speaker 4>We're calling it the road Show Edition.

564
00:29:25.440 --> 00:29:28.519
<v Speaker 5>It's the original road show version of the film before

565
00:29:28.519 --> 00:29:33.480
<v Speaker 5>it was cut for general release. And Kickstarter loved the

566
00:29:33.519 --> 00:29:36.079
<v Speaker 5>project so much that they extended the campaign.

567
00:29:36.519 --> 00:29:37.400
<v Speaker 3>Oh wow, so you.

568
00:29:37.319 --> 00:29:41.279
<v Speaker 5>Can jump up and get in on that.

569
00:29:41.440 --> 00:29:41.680
<v Speaker 4>Soon.

570
00:29:41.759 --> 00:29:45.559
<v Speaker 5>We actually were doing exclusive I think Bob said, we're

571
00:29:45.599 --> 00:29:50.000
<v Speaker 5>going to do exclusive film frames from stereo Vision for people,

572
00:29:50.079 --> 00:29:53.559
<v Speaker 5>some actual thirty five milimeter frames. So if that's something

573
00:29:53.599 --> 00:29:55.720
<v Speaker 5>you want to have up, you know, in a display

574
00:29:55.759 --> 00:29:58.480
<v Speaker 5>case on the wall, it's a great thing. We did

575
00:29:58.519 --> 00:30:01.000
<v Speaker 5>that with the ab and costell oce to. People really

576
00:30:01.000 --> 00:30:02.200
<v Speaker 5>seem to get a kick out of that.

577
00:30:02.480 --> 00:30:05.599
<v Speaker 2>Yeah, that's great.

578
00:30:06.240 --> 00:30:08.680
<v Speaker 5>Yeah, just spread the word around and show people this stuff.

579
00:30:08.680 --> 00:30:10.440
<v Speaker 5>You know, if you have a three D setup, have

580
00:30:10.480 --> 00:30:14.000
<v Speaker 5>a party. I'd have people over I do that here

581
00:30:14.039 --> 00:30:16.079
<v Speaker 5>all the time, and people get such a kick out

582
00:30:16.119 --> 00:30:20.000
<v Speaker 5>of it. I always have my go tos for people

583
00:30:20.519 --> 00:30:23.599
<v Speaker 5>who haven't seen three D for the first time, so

584
00:30:23.640 --> 00:30:25.880
<v Speaker 5>I'll go to that. But every once in a while

585
00:30:25.920 --> 00:30:28.960
<v Speaker 5>I'll have some friends over, you know, have a dinner party,

586
00:30:28.960 --> 00:30:31.480
<v Speaker 5>and then we'll sit down and watch something just out

587
00:30:31.480 --> 00:30:34.880
<v Speaker 5>of left field, like Diamond Wizard or something like that,

588
00:30:35.000 --> 00:30:35.359
<v Speaker 5>and they.

589
00:30:35.279 --> 00:30:36.240
<v Speaker 4>Get a kick out of it.

590
00:30:37.559 --> 00:30:40.920
<v Speaker 2>Speaking of projects to support, you have announced more recently,

591
00:30:40.960 --> 00:30:43.359
<v Speaker 2>I think the last one was hyper Space.

592
00:30:45.079 --> 00:30:50.039
<v Speaker 5>Yeah, Hyperspace is on the plate. We just finished and

593
00:30:50.119 --> 00:30:53.559
<v Speaker 5>it will be out shortly. The Glass Web from nineteen

594
00:30:53.640 --> 00:30:57.079
<v Speaker 5>fifty three, that's a universal mystery film with Edward g.

595
00:30:57.279 --> 00:30:57.839
<v Speaker 4>Robinson.

596
00:30:59.519 --> 00:31:04.799
<v Speaker 5>Where about halfway through Paramount Pictures with Money from Home,

597
00:31:04.839 --> 00:31:08.720
<v Speaker 5>which is a Dean Martin and Jerry Lewis comedy that

598
00:31:08.839 --> 00:31:12.000
<v Speaker 5>was shot in kind of a unique process. It was

599
00:31:12.519 --> 00:31:15.640
<v Speaker 5>three D Technicolor, and for those of you who know

600
00:31:15.680 --> 00:31:19.599
<v Speaker 5>your film technology, you know, Technicolor cameras used to run

601
00:31:20.279 --> 00:31:23.079
<v Speaker 5>three strips of film through it at once, recording red,

602
00:31:23.160 --> 00:31:24.000
<v Speaker 5>green and blue light.

603
00:31:24.640 --> 00:31:25.519
<v Speaker 4>So we had.

604
00:31:25.319 --> 00:31:30.920
<v Speaker 5>To scan in six strips of film and recombine them

605
00:31:31.000 --> 00:31:34.359
<v Speaker 5>for this project. So it's We've been really careful about

606
00:31:34.400 --> 00:31:37.680
<v Speaker 5>realigning it, making sure there's no registration problems, and then

607
00:31:37.720 --> 00:31:39.920
<v Speaker 5>aligning with three D on top of it, and the

608
00:31:40.000 --> 00:31:43.039
<v Speaker 5>grading on top of it. So this has been probably

609
00:31:43.079 --> 00:31:46.799
<v Speaker 5>one of our most challenging projects today.

610
00:31:46.960 --> 00:31:49.880
<v Speaker 3>I mean, that is so much.

611
00:31:50.480 --> 00:31:52.640
<v Speaker 2>You know, we talked about some of these older films

612
00:31:52.680 --> 00:31:57.359
<v Speaker 2>being you know, closer to deterioration or needing the best restoration.

613
00:31:57.480 --> 00:32:00.440
<v Speaker 2>But when you're talking about that and the prices increase,

614
00:32:00.839 --> 00:32:03.319
<v Speaker 2>you can see why they don't get the love and

615
00:32:03.359 --> 00:32:04.480
<v Speaker 2>attention they truly need.

616
00:32:04.559 --> 00:32:07.599
<v Speaker 5>Right then, No, and to be fair, and this is

617
00:32:07.839 --> 00:32:11.880
<v Speaker 5>totally in credit to Paramount Pictures, they footed the bill

618
00:32:11.960 --> 00:32:15.880
<v Speaker 5>for the scan wow. So they are treating this like

619
00:32:15.920 --> 00:32:22.599
<v Speaker 5>a preservation project. So we're working really closely with them

620
00:32:22.640 --> 00:32:26.240
<v Speaker 5>to make sure that this is done properly. And it's

621
00:32:26.279 --> 00:32:28.279
<v Speaker 5>being done all of course in four K two.

622
00:32:29.160 --> 00:32:30.599
<v Speaker 3>Jeez. That's fantastic.

623
00:32:30.680 --> 00:32:32.599
<v Speaker 2>And now that we've got the most information out of

624
00:32:32.599 --> 00:32:35.559
<v Speaker 2>that film, it will be preserved as long as we can.

625
00:32:35.640 --> 00:32:36.960
<v Speaker 3>That's incredible work.

626
00:32:37.559 --> 00:32:40.519
<v Speaker 5>Yeah, And I think the one thing that we did

627
00:32:41.559 --> 00:32:44.079
<v Speaker 5>out of the gate was we made sure that we

628
00:32:44.079 --> 00:32:46.039
<v Speaker 5>were working in an HDR workspace.

629
00:32:46.599 --> 00:32:47.039
<v Speaker 3>Oh wow.

630
00:32:47.480 --> 00:32:51.359
<v Speaker 5>And so the composites were done that way. The grade

631
00:32:51.440 --> 00:32:56.119
<v Speaker 5>is going to be done in SDR, but it still

632
00:32:56.240 --> 00:32:59.279
<v Speaker 5>looks tremendous. I mean, the ten eighty of it that

633
00:32:59.319 --> 00:33:02.680
<v Speaker 5>you'll end up seeing blu ray is going to look perfect.

634
00:33:03.079 --> 00:33:07.119
<v Speaker 2>Other than just buying the discs. Is there anything that

635
00:33:07.240 --> 00:33:08.559
<v Speaker 2>three D Film mark ive ever?

636
00:33:08.640 --> 00:33:08.960
<v Speaker 3>Does?

637
00:33:09.440 --> 00:33:11.799
<v Speaker 2>You know, like the kickstarters that is a general way

638
00:33:11.799 --> 00:33:14.480
<v Speaker 2>for people to find you or follow along with what's happening.

639
00:33:14.519 --> 00:33:18.079
<v Speaker 5>Oh yeah, well, obviously all our social media's check us

640
00:33:18.079 --> 00:33:21.519
<v Speaker 5>out on Facebook, Instagram, Twitter, all that stuff. We're all

641
00:33:21.559 --> 00:33:23.960
<v Speaker 5>out there. Just look up three D Film Archive you'll

642
00:33:24.000 --> 00:33:30.480
<v Speaker 5>find us. But we do occasional kickstarter campaigns and sometimes

643
00:33:30.480 --> 00:33:34.000
<v Speaker 5>there for offbeat projects that aren't just restorations of films,

644
00:33:34.000 --> 00:33:37.799
<v Speaker 5>like we did a Robot Monster graphic novel this year.

645
00:33:37.880 --> 00:33:40.720
<v Speaker 5>The kickstarter for that that did very well, So that's

646
00:33:40.759 --> 00:33:43.799
<v Speaker 5>going to be out there. And the nice part about

647
00:33:43.799 --> 00:33:46.079
<v Speaker 5>this too is it's employing a lot of people we

648
00:33:46.160 --> 00:33:51.480
<v Speaker 5>know in the in the graphic novel case, there's a

649
00:33:51.519 --> 00:33:56.240
<v Speaker 5>handful of artists, editors. This is not money that's just

650
00:33:56.279 --> 00:33:59.200
<v Speaker 5>you know, lining our pockets. We're paying people here, so

651
00:33:59.240 --> 00:34:01.000
<v Speaker 5>this is this is making jobs.

652
00:34:01.039 --> 00:34:02.440
<v Speaker 4>We're making jobs here.

653
00:34:03.319 --> 00:34:05.880
<v Speaker 3>Oh man, that's great future projects.

654
00:34:05.880 --> 00:34:08.280
<v Speaker 2>Anything that you can share that has not been announced

655
00:34:08.360 --> 00:34:09.880
<v Speaker 2>or want to.

656
00:34:09.400 --> 00:34:10.920
<v Speaker 3>Share with the world to get them excited.

657
00:34:11.639 --> 00:34:14.199
<v Speaker 5>Well, I mean, I am trying to hype people up

658
00:34:14.199 --> 00:34:17.119
<v Speaker 5>on Glass Web and Money from Home. Money from Home

659
00:34:17.199 --> 00:34:19.519
<v Speaker 5>is going to be a really great looking release. I

660
00:34:19.599 --> 00:34:22.840
<v Speaker 5>think everyone's going to be really excited about that one.

661
00:34:24.760 --> 00:34:28.400
<v Speaker 5>Delmo Rogatto is also on the plate. That's obviously something

662
00:34:28.440 --> 00:34:32.760
<v Speaker 5>that if you're a fan of The Bubble, which is

663
00:34:32.760 --> 00:34:35.000
<v Speaker 5>also another project we're going to do. They go sort

664
00:34:35.000 --> 00:34:40.719
<v Speaker 5>of hand in hand. You can finish the Archobler trifecta

665
00:34:40.800 --> 00:34:45.360
<v Speaker 5>of three D movies after Juana Devil. Of course, Delmar

666
00:34:45.440 --> 00:34:47.519
<v Speaker 5>Argatto is out the door. It's going to be going

667
00:34:47.559 --> 00:34:51.239
<v Speaker 5>out to the Kickstarter patrons first next month, and then

668
00:34:51.239 --> 00:34:53.639
<v Speaker 5>it'll be a general release in February.

669
00:34:53.679 --> 00:34:56.480
<v Speaker 4>For that, Glass.

670
00:34:56.039 --> 00:35:03.039
<v Speaker 5>Web is early twenty twenty five, and then Money from

671
00:35:03.039 --> 00:35:07.760
<v Speaker 5>Home is summer of twenty twenty five. And Hyperspace is

672
00:35:07.800 --> 00:35:10.159
<v Speaker 5>to be determined at this point, and then we have

673
00:35:10.320 --> 00:35:12.519
<v Speaker 5>I can't say anything yet, but I can tease it.

674
00:35:12.840 --> 00:35:16.480
<v Speaker 5>We have a little interesting mystery project on board. But

675
00:35:16.719 --> 00:35:19.480
<v Speaker 5>I guarantee everybody who's listening to this and even the

676
00:35:19.519 --> 00:35:23.079
<v Speaker 5>most hardcore three D fans. It's nothing you've ever seen

677
00:35:23.679 --> 00:35:27.840
<v Speaker 5>and never heard of before, but it's amazing. It's really

678
00:35:27.880 --> 00:35:30.239
<v Speaker 5>cool stuff. So I'm just gonna set that there and

679
00:35:30.280 --> 00:35:32.960
<v Speaker 5>tease that out, but we'll be announcing that probably in

680
00:35:32.960 --> 00:35:37.159
<v Speaker 5>the next few months, and that is really exciting stuff

681
00:35:37.599 --> 00:35:38.480
<v Speaker 5>when we get to it.

682
00:35:39.559 --> 00:35:41.320
<v Speaker 2>Jack, I don't know how to thank you for this.

683
00:35:42.280 --> 00:35:44.559
<v Speaker 2>There's so much that I've adored about three D throughout

684
00:35:44.599 --> 00:35:48.880
<v Speaker 2>the years. This has been an enlightening conversation for multiple ways.

685
00:35:49.039 --> 00:35:50.719
<v Speaker 2>The last thing I was gonna ask for anybody that

686
00:35:51.000 --> 00:35:53.960
<v Speaker 2>doesn't know like the history of three D, do you

687
00:35:53.960 --> 00:35:56.079
<v Speaker 2>know have any great resources that they could go to

688
00:35:56.119 --> 00:35:59.000
<v Speaker 2>find just the technology, all the films that have been

689
00:35:59.000 --> 00:36:02.400
<v Speaker 2>done in three D, anything that would get them excited

690
00:36:02.440 --> 00:36:03.320
<v Speaker 2>about what you're doing.

691
00:36:04.960 --> 00:36:07.679
<v Speaker 5>There is a book that is in the works right now.

692
00:36:08.559 --> 00:36:10.639
<v Speaker 5>It has not been published yet, it's in the middle

693
00:36:10.679 --> 00:36:14.880
<v Speaker 5>of being edited, and it's by a very talented writer

694
00:36:14.960 --> 00:36:18.039
<v Speaker 5>by the name of Mike Blou. And forgive me, Mike

695
00:36:18.079 --> 00:36:20.039
<v Speaker 5>if I mangle the title of this one, but I

696
00:36:20.079 --> 00:36:23.599
<v Speaker 5>believe his tentative title for it right now is so

697
00:36:23.800 --> 00:36:25.960
<v Speaker 5>close you can touch it, or close enough to touch,

698
00:36:26.599 --> 00:36:28.800
<v Speaker 5>and it is going to tell the complete history of

699
00:36:28.800 --> 00:36:32.239
<v Speaker 5>three D films. He has interviewed many people that never

700
00:36:32.280 --> 00:36:35.519
<v Speaker 5>got interviewed. He's dug and dusted off files that never

701
00:36:35.559 --> 00:36:38.519
<v Speaker 5>saw the light of day when they got stuck in archives.

702
00:36:38.880 --> 00:36:41.719
<v Speaker 5>It's going to be the complete history of the format.

703
00:36:42.800 --> 00:36:47.079
<v Speaker 5>There's also as far as resources go, our friend Eric

704
00:36:47.159 --> 00:36:50.599
<v Speaker 5>Curland runs three D Space in Los Angeles and he's

705
00:36:51.199 --> 00:36:55.440
<v Speaker 5>always doing demonstrations out there, screenings out there, So if

706
00:36:55.440 --> 00:36:57.480
<v Speaker 5>you're in the Los Angeles area, definitely.

707
00:36:57.239 --> 00:36:57.880
<v Speaker 4>Look that up.

708
00:36:58.480 --> 00:37:02.480
<v Speaker 5>The National Stereoscopicusociation has had us at their convention almost

709
00:37:02.480 --> 00:37:06.159
<v Speaker 5>every year. They have a great resource including Stereo World

710
00:37:06.239 --> 00:37:08.599
<v Speaker 5>magazine I believe is the one they published forgive me.

711
00:37:08.599 --> 00:37:09.440
<v Speaker 4>If I got that wrong.

712
00:37:12.000 --> 00:37:14.480
<v Speaker 5>Yeah, there's a bunch of resources for just general three

713
00:37:14.559 --> 00:37:18.800
<v Speaker 5>D stuff. As far as three D filmmaking goes, there

714
00:37:18.800 --> 00:37:21.639
<v Speaker 5>have been books books published in the past and they've

715
00:37:21.639 --> 00:37:25.519
<v Speaker 5>been hit or miss. There's a book called Amazing three

716
00:37:25.599 --> 00:37:27.920
<v Speaker 5>D that's now out of print by Dan Simms and

717
00:37:27.920 --> 00:37:31.119
<v Speaker 5>how Morgan that that's a great formative starting point.

718
00:37:32.039 --> 00:37:35.760
<v Speaker 4>Uh. There's a book called three D Movies by R. M. Hayes.

719
00:37:37.119 --> 00:37:39.000
<v Speaker 5>Take that one with a grain AsSalt. There's a lot

720
00:37:39.039 --> 00:37:42.000
<v Speaker 5>of misinformation in that, but it gives you at least

721
00:37:42.119 --> 00:37:47.000
<v Speaker 5>like a general checklist, I suppose. But yes, if you

722
00:37:47.199 --> 00:37:49.440
<v Speaker 5>if you're really interested in the in the subject matter,

723
00:37:49.599 --> 00:37:52.880
<v Speaker 5>definitely keep an ear to the ground for Mike Blue's

724
00:37:52.880 --> 00:37:53.800
<v Speaker 5>book coming up soon.

725
00:37:54.599 --> 00:37:55.840
<v Speaker 3>That sounds incredible.

726
00:37:56.760 --> 00:37:59.199
<v Speaker 2>There's there's been a lot out there, but like you

727
00:37:59.239 --> 00:38:02.119
<v Speaker 2>just mentioned, there's there's been some misinformation. I would love

728
00:38:02.159 --> 00:38:05.159
<v Speaker 2>to have there's the definitive book on the shelf for sure.

729
00:38:05.199 --> 00:38:07.039
<v Speaker 5>I mean, there's so I mean, when we started, there

730
00:38:07.039 --> 00:38:10.840
<v Speaker 5>were so many films that people thought were in three

731
00:38:10.920 --> 00:38:14.039
<v Speaker 5>D but they weren't. And now things are starting to

732
00:38:14.039 --> 00:38:16.519
<v Speaker 5>get money in the waters because there are a lot

733
00:38:16.519 --> 00:38:20.679
<v Speaker 5>of AI conversions of three D titles being done and

734
00:38:20.760 --> 00:38:23.760
<v Speaker 5>they are really tremendous. I mean I've seen a number

735
00:38:23.840 --> 00:38:26.559
<v Speaker 5>of those, and when it's done well, it's done really well.

736
00:38:26.800 --> 00:38:28.760
<v Speaker 5>But I think it's going to confuse some people as

737
00:38:28.800 --> 00:38:31.079
<v Speaker 5>to what is native three D and what isn't. So

738
00:38:31.639 --> 00:38:34.559
<v Speaker 5>having a good like master checklist, I think first and

739
00:38:34.639 --> 00:38:36.280
<v Speaker 5>foremost is important.

740
00:38:37.599 --> 00:38:40.840
<v Speaker 2>Jack, Again, thank you. This has been incredible. I can't

741
00:38:40.840 --> 00:38:43.239
<v Speaker 2>wait to see what people think and share this around

742
00:38:43.280 --> 00:38:45.960
<v Speaker 2>because I every time the words three D film mark

743
00:38:45.960 --> 00:38:48.239
<v Speaker 2>ive is just associated with the title. I get excited

744
00:38:48.280 --> 00:38:49.960
<v Speaker 2>because I know it's going to look great, and I

745
00:38:50.000 --> 00:38:51.239
<v Speaker 2>hope people feel the same.

746
00:38:51.880 --> 00:38:53.800
<v Speaker 4>Pleasure is all mine. Thanks for having me Ryan.

747
00:38:54.719 --> 00:38:57.559
<v Speaker 2>Thank you for listening to the Disconnected podcast. There's one

748
00:38:57.599 --> 00:38:59.360
<v Speaker 2>big thing that you could do to help the show,

749
00:38:59.440 --> 00:39:01.320
<v Speaker 2>and that is to leave a rating and review on

750
00:39:01.360 --> 00:39:08.599
<v Speaker 2>the podcast service of your choice. Thank you, do me.

751
00:39:31.719 --> 00:39:32.039
<v Speaker 4>No.

752
00:39:35.480 --> 00:39:40.719
<v Speaker 6>Hello, This is Matt and Emily from Scarecrow Video in Seattle, Washington.

753
00:39:41.320 --> 00:39:43.639
<v Speaker 6>Did you know that we have the largest video collection

754
00:39:43.679 --> 00:39:46.119
<v Speaker 6>in the world. We have over one hundred and forty

755
00:39:46.119 --> 00:39:50.119
<v Speaker 6>six thousand titles and growing. That's over three times more

756
00:39:50.159 --> 00:39:53.360
<v Speaker 6>than Netflix, Amazon Max, and Hulu combined.

757
00:39:53.719 --> 00:39:54.199
<v Speaker 3>Plus a.

758
00:39:54.199 --> 00:39:56.920
<v Speaker 7>Scarecrow now offers rent by mail service throughout the US,

759
00:39:57.159 --> 00:40:00.159
<v Speaker 7>so check out Scarecrow Video dot org for details. You

760
00:40:00.159 --> 00:40:02.639
<v Speaker 7>can catch Emily and I or Matt and I if

761
00:40:02.639 --> 00:40:04.360
<v Speaker 7>that was going to be you saying that on our

762
00:40:04.400 --> 00:40:08.039
<v Speaker 7>bi weekly YouTube show Viva Physical Media for video recommendations

763
00:40:08.079 --> 00:40:08.840
<v Speaker 7>and so much more.

764
00:40:09.119 --> 00:40:09.960
<v Speaker 4>Cia bye e.

765
00:40:16.039 --> 00:40:18.880
<v Speaker 1>Thank you for listening to hear more shows from the

766
00:40:18.920 --> 00:40:22.719
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767
00:40:22.760 --> 00:40:23.320
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