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Posted: |
Jul 20, 2010 - 12:09 PM
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By: |
manderley
(Member)
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In its favor, THE PRIDE AND THE PASSION also had a lively main title by Saul Bass. The ending of the main title is particularly effective, too, where the vivid blood-red background of the titles, in dye-transfer Technicolor, does a VERY slow dissolve through to the war battlefield in the first live-action scene.
.....Add the Hollywood Paramount to your horizontal vistaVision projectors list, too, Ed. Apparently at least STRATEGIC AIR COMMAND and TO CATCH A THIEF played there in horizontal VV.
I shot the second-unit, including special effects sequences, for De Palma's MISSION TO MARS in vistaVision, and we would look at our dailies in horizontal vistaVision. Spectacular process!
The projector we were using was one of the original Century horizontal vistaVision projectors, stripped-down, and synced to a sound reproducer for the double-system workprint. I can't imagine where they still found an old projector from the 1950s.
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Lovers of Antheil's music for The Pride and the Passion should seek out his Ballet Suite "Capital of the World", written and recorded in the early-to-mid 1950s, inspired by a Hemingway story whose setting was Madrid. Marvelous stuff.
- James.
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Posted: |
Jul 20, 2010 - 1:39 PM
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By: |
Ed Nassour
(Member)
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I shot the second-unit, including special effects sequences, for De Palma's MISSION TO MARS in vistaVision, and we would look at our dailies in horizontal vistaVision. Spectacular process!
The projector we were using was one of the original Century horizontal vistaVision projectors, stripped-down, and synced to a sound reproducer for the double-system workprint. I can't imagine where they still found an old projector from the 1950s.
When the Warner Beverly Hills converted to 70mm, they removed their two Century horizontal projectors, replacing them with two Norelco DP-70's.
Paramount studios owned two horizontal projectors. So the one you used could have been a stripped down version one of those.
I understand Paramount still has a horizontal projector in storage.
Now with digital acquisition replacing film, the use of Vistavision for special effects photography will evaporate.
The other night I watched the silly film "2012" which was photographed mostly by a Panavision Genesis digital HD camera. Just about every single time where the images were moving rapidly, I noticed terrible strobing which is caused by the digital camera's shutter being adjusted to allow for more exposure. When I ran post for 20th Century Fox Television I'd notice this anomaly with Fox TV series that were shot using digital cameras. When I complained about it I was told no one else could see it.
Like with every new innovation in the entertainment industry, those who utilize it tend to misuse it.
Back to the score for "Pride." It sounded like Antheil's score was played by smaller orchestra than was the usual case for a blockbuster film. If a new version is to be produced, hopefully it could be expanded for a larger orchestra.
Also, I wonder just how much Ernest Gold contributed to that score.
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Maybe I should just try and source the scores [to QUO VADIS] from elsewhere???
You don't need to ask permission! As you say, EMI's on board; the Rozsa family may control access to the written scoresheets, but they don't own the music. I realize that full-scale reconstruction is arduous and expensive, but as long as you think you can get an accurate transcription of the music as it appears in the film, and aren't dissuaded by the cost, please, please, please forge ahead.
I do wonder, though, whether Nick Rozsa should be compelled to fish or cut bait on access to the materials after holding up such a project for two years based on nothing but a vague statement about future "plans." Just what are Syracuse University's rules on granting such access, anyway?
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Posted: |
Jul 20, 2010 - 5:19 PM
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By: |
Ed Nassour
(Member)
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The other night I watched the silly film "2012" which was photographed mostly by a Panavision Genesis digital HD camera. Just about every single time where the images were moving rapidly, I noticed terrible strobing which is caused by the digital camera's shutter being adjusted to allow for more exposure. When I ran post for 20th Century Fox Television I'd notice this anomaly with Fox TV series that were shot using digital cameras. When I complained about it I was told no one else could see it.
Nope Rich, not the only one. I saw 2012 in the cinema and didn't notice the motion blur in a darkened theatre. It looks like the film was a hybrid, now you see it, now you don't. All the effects sequences don't feature the dreaded blur (for instance). I then saw the dvd and sure enough, the dastardly tell-tale afterimage from sudden motion on screen became apparent everywhere in the live action bits. The Kevin Spacey feature, '21' also contained the same awful home video crappy imagery. This digital baffoonery is, to quote Mr. Connery from somewhere, 'not perfected yet.'
Edit: I think this trend started (maybe) with the husband and wife feature 'Open Water.'
This anomaly seems to only show up when a production shot in digital is shown on TV. In the theater when film is projected it seems to diminish.
Actually, the technology has been perfected a lot more than you think. The problem occurs when the DP decides to play around with the variable shutter. I went out to Panavision to see what they felt should be recommended parameters for adjusting the shutter and took that info back to the studio. When I presented it I was told it's more important to reduce the amount of lighting on the set than to eliminate some motion blurring which I was repeatedly told no one other than me could see. That's the chief reason why they fool with the shutter. After a while I just gave up. It was all academic. Most of the series I supervised shooting digital were crap.
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Posted: |
Jul 20, 2010 - 5:34 PM
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By: |
paul rossen
(Member)
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Maybe I should just try and source the scores [to QUO VADIS] from elsewhere???
You don't need to ask permission! As you say, EMI's on board; the Rozsa family may control access to the written scoresheets, but they don't own the music. I realize that full-scale reconstruction is arduous and expensive, but as long as you think you can get an accurate transcription of the music as it appears in the film, and aren't dissuaded by the cost, please, please, please forge ahead.
I do wonder, though, whether Nick Rozsa should be compelled to fish or cut bait on access to the materials after holding up such a project for two years based on nothing but a vague statement about future "plans." Just what are Syracuse University's rules on granting such access, anyway?
Perhaps Nick Rozsa was referring to the FSM release of the original tracks as they probably didn't want a new recording up against the archival sound of the original soundtrack. Well worth another shot at getting 'permission'.
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