It’s the first official ‘Non-school’ week here. I’ve had a tight schedule trying hard to get projects that I’ve been helping with off my plate, but each has sticky problems and issues that are taking lots of time! I’m sitting next to a stack of animation drawings for the Rainbow Parade titles that I can’t wait to get back to, but I know having less outside of the Thunderbean perimeters is the best strategy to focus on getting each of the projects here done.
While files were processing on various machines today for Arnold Liebovit’s Puppetoon Movie Volume 2, I spent some time today fixing and making a final version of Popeye Meets Sindbad. It’s from a lovely (and well-loved) 35mm Nitrate/ IB Technicolor print. I had a great time working on color correction and cleanup. Funny enough, watching it today reminded me of seeing it growing up on television, and later, watching a super 8mm print (one of the fist films I ever bought) over and over. I always feel like these sets are my attempt at an upgrade to the way I saw the films first.
While the set is limited to films in the public domain, it’s been a good chance to revisit the bonus features we did back in 2004 for Popeye Original Classics. I was happy to provide much of that material prepared for our DVD to Warner Brothers for the Popeye sets as well as an doing some on-camera stuff for their ‘Pop-umentaries’ that were part of those bonus features.
I’m trying hard to wrap the whole set up in the coming few weeks if it’s possible. My friend Lenny Kohl granted permission to use his interviews from the 90s and early 2000s with Jackson Beck, Dave Tendlar and others. Our own Devon Baxter did a wonderful job with some of the still galleries as well.
My post is a little short today as I work on getting back to working on this set (and others). I’ve started writing next week’s article already!
But here’s something I’m debating putting on the Popeye set. Many years back, a collector sold me two silent 35mm Technicolor work prints of later Famous Studios Popeyes. I had them scanned when they were in the early stages of Vinegar Syndrome and sold them. One of them has made it back this direction, courtesy of Paramount cartoon shorts’ #1 fan, Luke Virgin, who managed to purchase it on Ebay from the person I sold it to many years earlier! Sadly, it’s VS mess now.
Here’s a clip from the end of the print of ‘The Cyrstal Brawl’. Since it’s a work print, there’s no cropping at all, so the full peg bars and bottoms of cels are exposed here. Sometimes the final Technicolor prints would be cropped, sometimes not. I had the print transferred in standard def years back, and did a pass with the full frame showing to capture the peg bars (as in the image above).
It’s kind of a fun watch, so I thought I’d share here. I could use a vote to whether or not I should put this on the set as a bonus feature. What do you think?
Have a good week everyone – and stay safe!