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The ad for the Easter show Tinseltoes wrote about
Makes you want to jump in the car and head on over to the
Showplace of the Nation doesn’t it
Sorry to hear about the miscue, to quote Swanson “All those beautiful people out there in the dark"
How big was the crowd
How was it presented, how did they dress the stage, curtain used?
Must have been nice to hear and see that projector humming along again
I hope someone will report on the Kevin Smith screening I believe is on for tonight.
Tinseltoes, you forgot Herman the pidgon :)
RCDTJ,First of all I so much appreciate your input on matters such as that, thanks also for clearing that up, I am satisfied that the decision was yours and not the studio. I still wonder why not use a MUTT, is it not more reliable and safer to use than a platter? I am curious about your thoughts.
Just so that and the others here can understand, the reason not to run reel to reel is so as not to disturb the 3-D set up. Would you kindly explain how many of the three 70/35 machines are used
for 3-D; is one set up to back up one of the others required for 3-S? Also what of the standard 35mm projectors can they no longer be used for reel to reel?
REndres I knew you would jump in and add to the screen size issue, many thanks as always
Bill,wish you could have been there as well, puting on a show rather than just threading film and making changeovers was my passion.
Bill: intersting question,perhaps one of our experts can answer that I imagine they were refering to CinemaScops and not Cinerama.
Are you still keeping your fingers and toes crossed for a 50th annniversary film screening of WSS?
I wish you could have been with me at the Syosset all those wonderful weeks where we played the movoe big and loud. There were just times in that picture I just could not keep my hands off the volume control (fader) You would have loved that.
Although I wonder if Bobby Wise ot his mixing staff would have ;)
bangs head on wall
PLATTERR???? Good grief Have they not yet learned that so much more can go wrong running on one of those contraptions than could possibly happen running reel to reel. Even they want back up they couild still run it reel with a MUTT back up.
One of the best things about digital is it means the end of those platter systems
Sorry, just grouchy ole Vito off on one of his tears again
RCDTJ we can all cross our fingers and toes for film.
Heck lets go nuts and show it on 2k reels
Serously Mr Smith we can still run reel to reel.
Here is the ad to the “Knights of the Round Table”
Tinseltoes posted about
The original ad from that first Roxy christmas show in 1927
The original ad to go with Tinseltoes post on the first
RCMH Christmas show
ok RCDTJ you have our attention spill it, what else do you know?
Come on…you know you want to tell us :)
Simon,the nitrate era Jeff and wrote about used silver screens
now-a-days they are necessary today with the 3-D craze
Jeff,What you wrote about the quality of the nitrate image is so true; nothing we have today compares to that B&W image projected on a silver screen with a carbon arc light source. Of course we also had brilliant three strip Technicolor which has also never been duplicated.
I wanted to add a comment on what Jeff wrote regarding Nitrate stock. It was dangerous stuff but as he wrote controllable. Projectionists attended safety classes which included fire training. The booth was unlike todayâ€™s we had metal film containers called magazines at top and bottom of the projector to hold the film, there were also safety rollers at the bottom (feed) of the upper magazine and top of the bottom (take up) which the film had to pas thru before entering the projector. In early years the projector was modified to accommodate several fire extinguishers with nozzles aimed at the film gate. The extinguishers automatically trigger if a piece of flammable fabric placed near the gate starts to burn. In the event of a fire the fire rollers and metal magazines would prevent a fire from spreading to the spools of film and igniting them. In addition there were fire shutters attached by a chain to the porthole windows, in the event of a fire the projectionist would pull a cord located at the exit which would release the shutters closing the ports and prevent the fire from spreading into the theatre. There was also a safety link attached between the chain and the shutter which when hot would melt and cause the shutter to fall. The feature was stored in a heavy metal vault which looked like a huge safe (some of those still exist today) when the reels were not in the projector magazine they had to be stored in those vaults. Fire marshals visited the booth often and any projectionist or theatre owner not following fire safety to the letter were fined.
Yes my friends the dangers of nitrate were taken very seriously.
I wanted to share this article on projectionists. I found the part about working the porno house rather amusing.
The occupation is disapearing fast which is rather sad.
One of the big ones “On The Town” which played Christmas 1949
Click on image to enlarge
OK Bill, call me I’ll bring my tools.
I hope the speakers are on wheels
Bill I know WSS is one of your all time favorites and I am sure you are salivating over the thought of a 50th anniversary showing to come. As to the original 6 tracks I believe, as someone already mentioned here, he picture is unlikely to be shown that way at the Ziegfeld. I am thinking they removed the regular stage speakers for left/right center and replaced them with sub woofers. If they were to acquire a 6 track print with the original recording they would have to replace the subwoofers. As I recall, and someone please correct me if I am mistaken, Back when 70mm first arrived Mike Todd felt that the huge (in those days ) screen would have a dead spot between the left/right and center speakers so the six tracks were born to correct that problem. Of course, todayâ€™s image sizes do not compare with what we had with Oklahoma, for example, so the need for left/right center speakers is no longer an issue, plus the addition of the fifth track used for mono boom sub woofer, and the sixth track used for stereo surrounds added a nice touch. What a magnificent idea for the Ziegfeld to put the original speakers back for a proper 70mm WSS showing, perhaps they are still back there somewhere collecting dust. I wish that for you my friend
Well we all know that 70mm DTS prints of “The Sound of Music” are out there and we also know that the Ziegfeld has a 70mm DTS reader so ….
Poor Craig who must be thinking, gosh there is no pleasing these Cinema Treasure guys. Well….we are after all a tough lot, but even a second best 35mm showing will be appreciated
Hey, it could be worse they might have shown the 35mm print with a mono optical track, member those?
Sound of Music in 35mm not 70mm, Gosh Craig that’s too bad, oh well at least it’s not Digital, I’m sure a four track mag print was not struck so I assume Dolby digital sound format?
saps, I my be able to help with ads which ones are you looking for?
Welcome NewYorker64 have fun perusing in here I am sure you will find it informative snd entertaning. Have fun!
I have fond memories of that Gleason show, I took my parents to see it and my mother talked about it for months.
Here is the original ad.