Author Topic: Film Restoration and Preservation  (Read 13587 times)

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wilder

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Re: Film Restoration and Preservation
« Reply #60 on: July 05, 2018, 06:25:53 PM »
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Jacques Rivette's The Nun a.k.a. La Religieuse (1966) has been restored in 4K. GREAT movie. UK blu-ray coming on September 10.





And the new restoration of Barbara Loden’s Wanda (1970) opens in NY July 20, with a national tour (and eventual Criterion release) to follow.

Wanda Trailer - Vimeo

wilder

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Re: Film Restoration and Preservation
« Reply #61 on: July 17, 2018, 06:37:28 PM »
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Arbelos Films' 4K restoration trailer for Dennis Hooper's The Last Movie (1971)



The film, written by Rebel Without A Cause screenwriter Stewart Stern, stars Hopper as a stuntman on a movie crew making a Western in a remote Peruvian village. He meets a woman and after the movie wraps and he decides to stay with her, and is soon enlisted by the locals to make their own movie minus the understanding that the action isn’t real.

Opens at the Metrograph in NY August 3rd and plays at Los Angeles' Egyptian Theater on August 16th. The rest of the cities it's touring are listed here.

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The plan is for Los Angeles-based Arbelos to mine the Cinelicious library it now reps to release both older and newer films. Also on its upcoming slate and Béla Tarr’s 1994 film Sátántangó.

wilberfan

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Re: Film Restoration and Preservation
« Reply #62 on: July 18, 2018, 03:01:00 PM »
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Arbelos Films' 4K restoration trailer for Dennis Hooper's The Last Movie (1971)

The film, written by Rebel Without A Cause screenwriter Stewart Stern, stars Hopper as a stuntman on a movie crew making a Western in a remote Peruvian village. He meets a woman and after the movie wraps and he decides to stay with her, and is soon enlisted by the locals to make their own movie minus the understanding that the action isn’t real.

Opens at the Metrograph in NY August 3rd, also scheduled to play at Los Angeles' American Cinematheque at a later date.



Ah, this film.  I came of age in the 70s, devouring almost everything that came along in those halcyon days.  Even I skipped this one.  Has anyone here ever actually seen it? Is it as bad as legend has it? 
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eward

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Re: Film Restoration and Preservation
« Reply #63 on: July 19, 2018, 02:21:19 PM »
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I saw it at BAM a year or two ago on 35 and really enjoyed it, but I do recall a small handful of meandering stretches which flirted with boredom... Still an overall pretty wild experience and totally worth checking out as, if nothing else, a unique cultural artifact which really encapsulates the time/environment in which it was made, not to mention the notoriously drug and booze-addled creative mind from which it sprang. This news excites me! Now if Criterion would just get to Out of the Blue already....
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wilder

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Re: Film Restoration and Preservation
« Reply #64 on: July 19, 2018, 07:39:23 PM »
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Speaking of...

Out of the Blue is getting a 4K restoration from Discovery Productions

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Discovery Productions, Inc. (John Alan Simon and Elizabeth Karr) plans now to undertake a 4K digital restoration of this landmark film. - so that we can make it available to a whole new generation of cinema audiences.    Because Out Of The Blue exists only as a 35mm print, its audience has been limited to those who are fortunate enough to see it in a theatre like BFI, Cinemateque, Anthology Film Archives, The Roxie, Metrograph and other art house / indie cinemas.

As on the previous successful 35mm restoration, Robert Harris has been kind enough to offer his advice and expertise to us in this process - Robert is currently working with the Cinematheque on the much more difficult digital restoration of Abel Gance's Napoleon - and we are already benefiting from this learning curve.  Other of his restorations include Lawrence of Arabia and Rear Window.

eward

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Re: Film Restoration and Preservation
« Reply #65 on: July 19, 2018, 08:17:25 PM »
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Commence joyful tearing out of hair!

I've long had a very poor DVD copy of it, but fortunately I got to see a 35 print at Anthology some time ago, and it's just one of the all-time great American films. Rips me apart.
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wilder

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Re: Film Restoration and Preservation
« Reply #66 on: August 22, 2018, 04:30:15 PM »
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Jean-Pierre Melville’s When You Read This Letter (1953) has been restored in 4K by Gaumont and opens at New York’s Film Forum September 12th.

An English-subtitled blu-ray is currently available in France.



After her parents' sudden death, Thérese (Juliette Gréco) decides to leave the convent to run the family business and care for her younger sister, who is involved with local lowlife Max (Philippe Lemaire). Then rape, attempted suicide, blackmail, a rigged car accident, and a one-sided love affair crash to a startling conclusion. Cinematography by Henri Alekan (La Belle et la Bête).

wilder

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Re: Film Restoration and Preservation
« Reply #67 on: September 19, 2018, 07:53:40 PM »
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and

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Cronenberg is currently supervising a restoration of his original cut of Crash

Sleepless

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Re: Film Restoration and Preservation
« Reply #68 on: September 25, 2018, 12:14:00 PM »
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The Indie Film Preservation Crisis: We Are Losing the Films That Defined the ’80s and ’90s

Many movies are costly to preserve. Others have disappeared. It's a problem no one saw coming.

When curating the recent retrospective “NY Indie Guy: Ira Deutchman and the Rise of Independent Film” – a Columbia University exhibit honoring the 40-year career of a leading American independent film producer, marketer, and distributor – programmers Rob King and Jack Lechner made an upsetting discovery: Many of the films they picked to screen were unavailable in any form.

This sent Deutchman into detective mode, to discover what happened to many of the films he helped introduce to the world. He walked away from his initial examination shocked by the situation and with a grim assessment: We are in danger of losing many of the films that defined recent movements in American independent film.

“During the height of in the independent boom back in the ’80s and into the 90s, it was always considered the holy grail for independent filmmakers that to be truly independent they would eventually get back the rights or control the rights, or control their copyrights,” Deutchman said in an interview. “All that type of stuff was bandied about as being really important. Here we are 20 years later and we’ve got this crisis developing where if somebody doesn’t do something about it, they may end up being lost.”

Deutchman holds up Nancy Savoca’s 1993 film “Household Saints” as a poster child for the problem. When he was at Fineline Features, Deutchman put together the film’s financing and distribution partners . One by one, he went to all the companies that inherited various rights – Warner Brothers now controls the Fineline library, Sony now controls what was the RCA-Columbia library, and the TV company Jones Entertainment is now defunct. Each company said its rights had expired.

“We have no idea who controls the rights at this point. We’re still trying to find out,” said Deutchman. “And worse yet, the film was never released on DVD. It was never released on any streaming format. The only copy of it we have been able to find is a 35mm print at the UCLA film archive, but it has a damaged reel, and I have VHS cassette of it, and that’s it.”

Part of the problem is storage and proper care of the materials costs money and for independent filmmakers, who are no longer making income on these movies — Netflix and the other profitable streamers aren’t interested, according to Deutchman – so the cost of preservation is a hardship.

Yet even when a film is well-preserved, restorations can still be expensive. For example, IndieCollect, a non-profit attempting to tackle the indie preservation crisis, recently restored the 1979 documentary “The War at Home,” for which directors Glenn Silber and Barry Brown remain the rights holders. Years ago, they made sure to properly archive all their original film and sound elements at the Wisconsin Historical Society. IndieCollect borrowed the elements from WHS and scanned the original negative using its in-house Kinetta Archival Scanner at 5K to produce a true 4K DCP.

“As is common with vintage film, the negative showed some warping and shrinkage, but was in quite good shape overall,” said Sandra Schulberg, President of IndieCollect. She sent it to Colorlab in Rockville, MD, where the audio was restored. “They created 24 fps WAV files for us and our editorial team uses those files to sync sound to raw film scans,” she said. “Then color correction and restoration could begin.”

In total, the process took 72 hours, while the color correction and restoration took 160 hours to date. The total cost was $18,000, which doesn’t include IndieCollect’s internal costs — including multiple scans and project supervision — that adds another $10,000, but the non-profit treats as its contribution to the restoration. And “The War at Home” was one of IndieCollect’s easier restorations.

“They are unusual in that respect,” said Schulberg. “Many of the filmmakers who come to us have lost or lost track of their film negatives and sound tracks. In that case, we have to work with best surviving print.”

Because of the interest in the film (which will screen at the New York Film Festival on October 9 and receive a weeklong run at The Metrograph on October 12), IndieCollect was able to raise most of the funds for the restoration in two weeks through its donor platform that it customizes for each film.

Deutchman sees money as the key problem. Without a profitable market for these restorations, nor the sort of government funding available in other countries, non-profits like IndieCollect have limited resources. He expressed concern that this problem could continue with the preservation challenges facing new movies in the digital age.

“In many cases, digitally-shot films present a potentially worse problem,” said Deutchman. “File formats change, hard drives disappear and break. Just look at video games that can’t be played anymore, now think of the first digital indies that we shot on DV tapes, which require operational decks. How to preserve digital cinema is a constantly moving target as technology evolves.”

Deutchman said the best practices for preserving digitally shot movies is currently to have a 4K scan — though he acknowledged that it’s often too expensive for low-budget films — and store it on multiple hard drives kept in different locations.

Deutchman’s recent discovery of the looming crisis has led him to try to build awareness, especially among filmmakers he said should lead the charge of finding and preserving their work. In the meantime, IndieCollects continues its mission of making restorations obtainable, allowing filmmakers to use its donor platform to raise tax deductible gifts to restore their films. The company has had several recent successes beyond “The War at Home,” including restored versions of “The Atomic Cafe” and “In the Soup” that recently reentered distribution.

“Our mission is to bring down the cost of restoration,” Schulberg said, “so that more and more filmmakers can market their films in state-of-the-art digital formats.”
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wilder

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Re: Film Restoration and Preservation
« Reply #69 on: October 01, 2018, 10:52:36 PM »
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The best part of seeing The Hateful Eight earlier tonight for me was listening to a few guys in line geek out about something called Star Wars: The Legacy Edition, where a dude named Mike Verta has taken it upon himself to scan several prints (including a technicolor print) of the original unaltered Star Wars films in 4K, and painstakingly color-correct them frame by frame to be as close as possible to the original colors committed to film, which according to him have been incorrectly altered in all of the home video releases.

I can't vouch for the accuracy of his project, but if you scan through his videos on Vimeo and look at the clips from the home video releases compared to his version, it does, admittedly, look better. Check out the colors from his Legacy version in this shot at 2:33 compared to the blu-ray release screengrab at 2:23.

There's another independent restoration effort called Project 4K77, which finished restoring a New Hope release print in May '18 and distributes via usenet.

They've detailed their process on their website, and also through various videos on their youtube channel.







Project 4K83 is in the works, and someone else is restoring Empire (although Project 4K may be doing their own version, as well).

Sleepless

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Re: Film Restoration and Preservation
« Reply #70 on: October 03, 2018, 04:28:10 PM »
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Library of Congress launches online National Screening Room

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