Gone With the Wind (MGM) (1967)

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Olin Howland AGHIEN DG@AD Es... fee. feet a ie Ay ee Yakima Canutt His). GONMPANION? 2020 eee. Blue Washington Tem, AU ANKEE CAPTAIN os occ... 0 es Ward Bond DGtie OEE PUTER 60h soil evens Cammie King eS ho caked. Ton aan Satis saab, saees Mickey Kuhn BONWTE'S: NURSE oes ia ce Lillian Kemble Cooper CREDITS IN METROCOLOR. PRODUCED BY DAVID O. SELZNICK. DIRECTED BY VICTOR FLEMING. BASED ON MARGARET MITCHELL’S NOVEL, “GONE WITH THE WIND.” SCREEN PLAY BY SIDNEY HOWARD. PRODUCTION DESIGNED BY WILLIAM CAMERON MENZIES. ART DIRECTION BY LYLE WHEELER. PHOTOGRAPHED BY ERNEST HALLER, A.S.C. MUSICAL SCORE BY MAX STEINER. COSTUMES DESIGNED BY WALTER PLUNKETT. A SELZNICK INTERNATIONAL PICTURE. AN MGM RE-RELEASE. NEWEST CINEMATOGRAPHY TECHNIQUES ENHANCE “GONE WITH THE WIND” SPLENDOR IMAGE AREA SCANNING DEVICE .. . designed and developed by MGM Laboratory engineers to scan the image of each 35mm frame of “Gone With The Wind” on the old aspect ratio of 1.33 of 1, to select that portion to be enlarged to wide screen in the aspect ratio of modern projection screens. The operator controls the movement vertically of the frame or mask, electronically coding each movement to be matched in the optical printer when the new negative was being made. Still-5170 (GWTW) “Gone With the Wind” bigger, more spectacular and more exciting then ever. This is an accurate description of MGM’s release in wide screen and stereophonic sound of the famous David O. Selznick production. Through the miracle of modern technology it was printed from its original small screen 35mm Technicolor negative and placed on the newwide-screen ratio more familiar to modern motion picture audiences. And the miracle doesn’t stop here. Because of this skillful transference, “Gone With the Wind” is now safe, free from fading, shrinking or breaking and insured for the viewing of generations to come. It all started in 1965, shortly after the release of “Dr. Zhivago,” filmed in 35mm, from which the MGM Laboratory transferred to 65mm. The proposed re-release of “Gone With the Wind” was already in the air. On one of his visits to Culver City and the studio, President Robert H. O’Brien brought up the question as to whether or not it would be possible to prepare “Gone With the Wind” for modern widescreen presentation. Ray Klune, vice president and general manager of the studio, immediately discussed the possibility with Alan Jackson, head of the MGM Laboratory and Engineering Department. Jackson, together with Walter Eggers of MGM’s Research and Development and Ralph D. Whitmore, Chief Engineer of MGM Laboratories, Inc., went to work on the project. Many months of tireless experiments and tests followed. At last it paid off and a test-reel was produced and dispatched to New York for viewing by President O’Brien and other top executives. The result was sensational. O’Brien, delighted at the results, sent word to start work immediately, not only on the wide screen prints but also on electronically re-recording the original sound for stereophonic effects. This project was taken over by the MGM Sound Department, headed by Frank Milton. Some twelve months later, the master print in wide screen and stereophonic sound was completed and heralded as one of the most remarkable technical achievements in the history of the industry. ““Gone With the Wind’ was photographed almost thirty years ago, using what at the time was the most advanced color photography process,’ explained Walt Eggers who, together with Alan Jackson and Ralph D. Whitmore, spearheaded the complicated enlarging process. “In this process, three black and white separation negatives were exposed simultaneously behind their respective red, green and blue filters,” he continued. “These negatives were used to derive matrices for producing dye-transfer type color release prints.” MGM Laboratories designed a key piece of equipment to circumvent the above-mentioned hazards: “The Metro-movement.”’ This is a projector movement for an optical printing machine which can be adjusted to accommodate various degrees of shrinkage and is suitable for use in the so-called “wet gate’ technique previously perfected for printing ‘Doctor Zhivago.” Also, a method was devised for re-registering scenes that showed serious mis-registration. These developments led to the following techniques which are necessarily briefly described. A specially designed 35mm projector with a movable mask at the screen indicating the 1:85-1 aspect ratio was used to “re-edit” the picture. Nine up-and-down positions of the movable mask were available to the operator. Any of these nine positions can be arrived at during a closed shutter cycle, or can be approached at one of two rates of speed. Thus it was possible to create what seems to be a new scene with a MAT 2X different camera angle, or simulate a camera’s up-and-down pan. The result of these manipulations is that the action and center of interest is not cut off by the incompatability of the original 1:33-1 ratio. Converting “Gone With the Wind’s” original one-track sound to stereophonic was also a challenging electronic procedure. “We started originally with a photographic or optical sound track which, by this time (even though it had been redone through the years ), had multiple scratches, plus direct and photographic noise,’ explained Frank Milton, head of the MGM Sound Department. “Little by little we worked this track over to eliminate all noise possible, thus recovering intelligibility in dialogue. “Rather than stereophonic, as it is called, you can refer to our process as ‘electronically engineered for stereo reproduction,’ ”’ Milton continued. “In ‘utilizing this process to use multiple horns instead of one, we had to dissect the original single track composed of dialogue, music and effects, with no separation or elements to work from separately.” And so today, “Gone With the Wind,” one of the great pictures of all time, is as modern in its presentation as though it had been filmed yesterday. The motion picture industry has been loud in its praise of the MGM technicians who, through making this possible, have paved the way for even more technical achievements. THREE OF THE MEN RESPONSIBLE FOR “GONE WITH THE WIND”... (left to right) Walter Eggers, Research and Development Director at MGM Laboratories; Alan Jackson, General Manager of MGM Laboratories; and Ernest Haller, Cinematographer. Haller won an Oscar when he photographed “Gone With The Wind” in 1938 in the old Technicolor three-strip process. Jackson and Eggers were in charge of the scientific work on enlarging ‘‘Gone With The Wind” for its present release. Still-5174 (GWTW) MAT 2Y