posted 02-26-2005 06:32 PM                       

quote: Mark Gulbrandsen

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There is an excellent book titled "Colour Cinematography" that has alot on the exact science of the Techniicolor Dye Transfer Process. I believe its a british book!!

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posted 02-26-2005 07:56 PM                    

quote: Leo Enticknap

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It's by Adrian Cornwell-Clyne and is very rare. Copies of the 1950 second edition change hands for between £50 for a dog-eared one and several hundred for a pristine one.

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posted 05-16-2005 03:25 AM                       

quote:

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See below. This is reposted from rec.arts.movies.current-films. I have
no idea about the accuracy of the list.

--
Scott Norwood: snorw...@nyx.net, snorw...@redballoon.net, sen...@mail.wm.edu
Cool Home Page: http://www.redballoon.net/
Lame Quote: Penguins? In Snack Canyon?

[Snipping header junk]

From dhi...@email.com Sun Nov 8 20:50:22 In article <Pine.GSO.4.05.9811061322070.20255-100...@paladin.cc.emory.edu>,
Jason Richard Edgecombe <jedg...@emory.edu> wrote:

> I read today that WIZARD OF OZ is being distributed in both Eastmancolor
> and 3-strip Technicolor prints. If i'm going to see it, i'd really like
> to see it in a theater with a Technicolor print. Does anyone know of a
> way to find out what theaters might be showing them? I haven't checked
> today's paper, but I checked the website and they didn't seem to make any
> mention of it. Or, if anyone knows of a theater in the Atlanta area
> showing one, please speak up. Reply a copy via email, too, please.
> Thanks.
> jason.

To answer Jason's question---the following was written by a guy named Scott
Schechter. He has just co-produced a Judy Garland CD, and he seems to be
pretty knowlegeable about both Garland and "Oz". Anyway, he posted this in
the Judy Garland discussion group---it answer's Jason's question pretty well.

Dave

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Thought everyone would like to know which theatres accross the country will
be showing the superior DYE TRANSFER prints of OZ (Only 50 prints were made;
some are being held as "back-up" prints.) Here they are :

Boston area : W.Newton Cinema, Boston
Cinema 140, New Bedford
Fine Arts, Acton
IOKA, Portsmouth

New York : Astor Plaza, New York, NY
Lincoln Square, New York, NY

New Jersey : Berkeley, New Jersey

Washington, DC area : Uptown, Washington
Downtown Mall, Charlottesville, VA
Senator, Baltimore
Regal Ridge, Richmond, VA
Greenbelt, Greenbelt, MD
Berkeley, Martinsburg, WV

New Orleans area : Palace, Harahan
Plaza, Pasagoula

Chicago area : Northbrook Court, Yorktown
Marcus, Addison
Marcus, Orland Park
Gurnee, Gurneee
Western Heights, Chicago

Des Moines area : Paramount, Ankeny

Indianapolis : Clearwater

Minneapolis : Mall of the Americas

Denver : Greenwood, Englewood

Los Angeles : Century City
GCC, Sherman Oaks
National, Westwood
Chinese, Hollywood
Uinversal, Universal City
GCC, South Bay

San Francisco area : Colfax, Colfax
Sieraa, Grass Valley
Lark, Larkspur
Southland, Hayward
Met, Oakhurst
Signature, Visalia
Broadway, Ureka
Grand Lake, Oakland
The Oaks, Berkeley
Raven, Healdsburg

Seattle : The Pacific Place, Seattle
Metro, Seattle

Montreal : Loews, Montreal

Toronto : Uptown, Toronto

Vancouver : Centre, Vancouver

>From the LA Times October 24th piece on OZ :

"Technicolor President Ron Jarvis says there's no substitute for going back
to the original negative. 'It's incredible what we've been able to extract
>from the negatives,' he says. 'And with improved dyes and (film) stocks, we

can make 'Oz' look like it's never looked before. I wish we could've done
'Gone With The Wind' this way. If they'll let me, I'd still like to go back
and do it right.

Of course getting here has required some very meticulous registration
correction that we can only do because we have the records,' Jarvis adds.
'Those negatives have to be lined up just right, shot by shot. There was
misregistration in the camera and misregistration due to shrinkage over the
years. It won't be perfect. But we can correct most of it.' About the only
complaint about this ultimate OZ is that there's a bit too much contrast in
the brighter scenes. Even so, the splashy use of color looks like eye candy.

Unfortunately, few moviegoers will be seeing OZ in it's original Technicolor
glory or in it's proper 1.33:1 aspect ratio. That's because of the
accelerated release schedule (from December 25th, to November 6th), and
extremely large print order (for 1,835 theatres), as well as the fact that
most multiplexes don't want to be bothered renting special lenses or making
correct aperture plates.

As a result, Technicolor was asked to make two different sets of prints :
about 1,800 standard color compositives for conventional multiplexes, and
about 50 superior dye transfers for special theaters (including the Mann
Chinese in Hollywood), recalling the old road-show engagements of the 50's
and 60's. That's not to say the color positives won't be superb. They'll
look just fine, thanks to entire pre-fitting done by Technicolor. Still, they
won't have the vibrancy, the 3D-like sharpness or velvety blacks of dye
transfer. Nor will the color positives be shown unadulterated. 'We're going
to shrink the image slightly so most theaters can play it using a 1.85 lens.'
'But you won't lose any actual picture information.' This is preferable to
the tortuous process used on 'Gone With The Wind,' which actually degraded
the image quality."

"According to Aljean Harmetz, author of 'The Making Of The Wizard Of Oz,' to
be reprinted next month by Hyperion, the landmark fantasy has earned
approximately $300 million in its nearly 60-year history, including $225
million in home sales over the last 10 years. (By comparison, it's $5.4
million in theatrical revenues seems meager, until adjusted for inflation,
which makes it a much more impressive $219 million.) To be a success (this
release), the film needs to do at least $25 million at the box office."

Scott Schechter

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