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