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    Senior Member Cary Knoop's Avatar
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    Quote Originally Posted by Mitch Gross View Post
    Nice restoration, all 819 lines worth. Is that from The T.A.M.I. Show?
    Yes, it is.


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    Senior Member Cary Knoop's Avatar
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    Two masters at work on this 1972 composition:



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    Sergei Lemeshev (I posted a few of his clips before) was one of the greatest tenors of the 20th Century. What made him even more unique was his vibrato.

    This is Lensky aria from Tchaikovsky's "Eugene Onegin"



    And here's Fritz Wunderlich, whom many consider to be the greatest tenor of the 20th century (he wasn't but Gigli didn't sing either the German or the Russian arias), with the same aria but in German)



    And here's a young Placido Domingo (in Russian, no less), the vocal parts starts around the 3rd minute mark.



    And here Nicolai Gedda, (a Swede with Russian ancestry, who grew up in Germany and fluently spoke five languages)



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    NF My Stress ;P


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    Senior Member Cary Knoop's Avatar
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    This dream scene was originally planned to be recorded in Technicolor, but it did not happen.



    I know, way too early, but a Technicolor masterpiece:



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    Senior Member Cary Knoop's Avatar
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    A 70s bestseller with scenes from Mutiny on the Bounty filmed in 2.76:1 Technicolor.



    Tahitian dance and drum scene from the same movie:



    Marlon Brando got married to the girl in the clip.
    Last edited by Cary Knoop; 09-10-2019 at 01:35 PM.


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    Senior Member Cary Knoop's Avatar
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    More TAMI Show from 1964





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    RIP, Rick.











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    Quote Originally Posted by DLD View Post
    RIP, Rick.
    In the spirit of this board, think we have to include:



    The video was groundbreaking in many respects. It's probably hard for those who came along later to appreciate the complexity of what was done here. It was made by the NY production company Charlex who were doing pioneering work in the visual effects field. As I recall from an article I read at the time, each individual element that was shot (on Ikegami HL-79's, the top video camera of the day) was laid onto separate tape machines spread out amongst the facility, all wired into the same suite. This was before the technology existed to synchronize tape decks together automatically, so each machine had to be manually rolled at the same time with the hope that the timing would be just right. If it didn't work, they'd keep trying it until it did. When you look at how many elements are in some of these sequences, it's really impressive.
    Charles Papert
    charlespapert.com


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