<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Thanks, Ted.<div><br></div><div>The Lenticular process was 35mm double system as the film stock (at least initially) had no way to record optical to it according to the Broadcasting article. Kines were double system to maintain quality for the network runs, particularly the TZD's. Art Schneider talks about syncing sound and picture for the hot kines in his book. So there had to be a separate mag somewhere.</div><div><br></div><div>The question that still is unanswered for me is how did a 35mm Lenticular color recording end up on 16mm color film? </div><div><br></div><div>If they did a 16mm back up, it would have been in black and white for TZD. If they did a 16mm on color film, it wouldn't have been processed in time to make the 3 hour delay. Could they have made a THIRD kine to 16mm color film for client/sponsor purposes? Would they have gone to that expense?</div><div><br></div><div>Thanks again,</div><div>Richard</div><div><br></div><div><br></div><div><div><div>On Dec 30, 2013, at 9:12 PM, Richard Wirth wrote:</div></div><br></div><div><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><br class="Apple-interchange-newline"></span><br class="Apple-interchange-newline">
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