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Author Topic: Old color films never fade away! Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 06-27-2003 04:28 PM                        羅生門？ Rashomon?  |  IP: Logged Hillary Charles Jedi Master Film Handler Posts: 748 From: York, PA, USA Registered: Feb 2001 posted 06-27-2003 04:35 PM                     RASHOMON! Thanks! You know, Paul, we must have seen the same picture, but I must have recalled the title being spelled differently.  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 06-27-2003 05:29 PM                        Actually I wasn't very clear there was I? I was thinking more along the line that Rashomon was filmed in glorious black & white. I'm not a lab maven, but I guess B&W onegs have their own fade issues, just not as glaringly obvious as the ones for color monopacks. Paul Anyone want to hire me? I'm a B&W projectionist--all black or all white  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 06-27-2003 07:22 PM                     While I stand corrected on the SPARTACUS restoration, Claude, I do think Mr. Harris explained well why seperations aren't always the way to go in these restorations. You seem to think they are the ONLY way to go at all times, and have stated such in thread after thread, here and in other forums.  |  IP: Logged Hillary Charles Jedi Master Film Handler Posts: 748 From: York, PA, USA Registered: Feb 2001 posted 06-28-2003 07:28 AM                     Paul M, I should have clarified my reference. Just using Rashomon as an example of several people witnessing the exact same event (or post) and coming away with their own interpretation of it. Wasn't that movie filmed in Technigray...? Hillary, playing  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 06-28-2003 08:06 AM                        If the original negative was stored properly and is in good condition, it is usually the BEST element to use in any restoration. Likewise, today's color master positives on Kodak VISION Color Intermediate film 2242 (ESTAR base) provide a very good long term storage option when processed and stored properly, and are ready for immediate use right out of the vault for printing or digital transfer (no need to recombine separations). But as noted, silver separation positives should still be part of any preservation strategy --- just be sure to "proof" them before they are sent to the vault.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 06-28-2003 10:47 AM                        Are B&W seps now made for pretty much every major release? Will we have sep masters so that we can watch "From Justin to Kelly" in one hundred years?  |  IP: Logged David Stambaugh Film God Posts: 4021 From: Eugene, Oregon Registered: Jan 2002 posted 06-28-2003 11:31 AM                        Since Hillary was speaking of playing Devil's Advocate: (Sorry, couldn't help myself)  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 06-28-2003 06:26 PM                        Me too Hillary, just playing. As for the Rashomon reference, boy am I dense. Which is fine for an oneg, but otherwise... Heh heh, my 500th post, heh heh... Paul Not a whole lot is required of an extra in a Godzilla film.  |  IP: Logged Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 07-01-2003 12:01 AM                     I must admit that I just re-read my comments and could not make head or tail for a few points. The end of a long day. What I was attempting to say, and LAD patches are an integral part of any proper lab work as John as mentioned, is that there is a difference between creating a heavy IP and the resultant thin dupe... and a normal IP in a day for night situation, with the resultant normal dupe which can be printed down five or eight or ten or however many points necessary to get the print exposure desired. There is more print information printing an average exposed dupe with higher lights than a thinner dupe with lower lights. Or am I still confusing the issue? RAH  |  IP: Logged Claude S. Ayakawa Film God Posts: 2738 From: Waipahu, Hawaii, USA Registered: Aug 2002 posted 07-01-2003 03:07 PM                        Paul, There is no way to produce a decent looking print from a still or motion picture negative if it had faded or was badly damaged. The whole purpose of some studios creating seperation negatives or interpositives from the original negatives was to make sure that it is possible to make prints almost as good as the original long after the master became unprintable such as "SPARTACUS". Yes, there were many films that had seperations prepared that could not be used because a wrong filter was used or two sets of negatives were made for either the cyan, majenta or yellow dye and none made for another. I saw a print of "CAROUSEL" in 1961 at the State Theatre in Santa Barbara along with "THE KING AND I" and both were very badly faded. I have both of the movies on DVD and the color for "CAROUSEL" is very good and "THE KING AND I" is excellent. I have a special edition of "THE KING AND I" on both laserdiscs and DVD and I seem to recall that the source material was the seperation elements. -Claude  |  IP: Logged Robert Harris Film Handler Posts: 95 From: Bedford Hills, NY, USA Registered: May 2003 posted 07-01-2003 07:54 PM                     I saw a print of "CAROUSEL" in 1961 at the State Theatre in Santa Barbara along with "THE KING AND I" and both were very badly faded. I have both of the movies on DVD and the color for "CAROUSEL" is very good and "THE KING AND I" is excellent. I have a special edition of "THE KING AND I" on both laserdiscs and DVD and I seem to recall that the source material was the seperation elements. -Claude  Claude, I believe that Fox transferred directly from their 55mm Onegs on these titles. Both show fade. RAH  |  IP: Logged

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