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lent to sound fi

lms, as well as productions using recent
Email: ly developed technology. The Paramount production of
Redskin in 1929 w

as a technological milestone in the industry. The production shot on location in the Gallup and Acoma areas, using the huge two-strip Technicolor camera. The camera ran two rolls of film simultaneously with a beam-splitter that separated the red and blue-green contents of the image. The results were very good, yet very expensive; the director filmed only the Indian world in color, the outside world in a toned monochrome. The story of Billy the Kid has been an enduring subject for film work in New Mexico, evolving along with style and technology. Gallup also drew the accomplished director King Vidor when he made Billy the Kid in 1930 (starring Johnny Mack Brown). The advent of sound in motion pictures -- "talkies" -- brought chal

lenges to location filming similar to those facing the Edison Company when they began to film outside the studio. In this case the decision of where to hide the microphone was as pressing as the camera setup. MGM's gift to help Vidor capture the essence of the Southwest expanse was a new wide-screen process they called "Realife." Shooting Billy the Kid on 70mm film in an extreme rectangular image, twice as wide as high, provided tremendous sharpness. Vidor said Realife seemed to "see around each object . . . I thought this was the way that all scenic films would go eventually." But it wasn't to be. Theater owners were not about to inves

t in new projection equipmen

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