The Chinese Technicolor Ib facility was razed many years ago. On Dec 19, 2015 9:54 AM, "Robert Withers" <withe...@earthlink.net> wrote:
> Dear Frameworkers, > Thanks for all the interesting responses to this issue. There is such a > wealth of knowledge here! > > Glad to know there are some digital restoration possibilities, though > sounds like something that should be done sooner before further shifts > happen. Aii, the tension between preserving the old and making the new. > > I wonder how Kodak color prints and negatives of today will behave? Were > they improved after the 70's? > Once converted into digital, we're into the ever-shifting technology > stream that still seems to have no practical archival process that won't > require constant updating. > > I think of the B/W paper prints in the Library of Congress that are still > preserving films of the early 1900s. Illuminated manuscripts on vellum have > held up pretty well for 600 years, if limited to beautiful blue, red, and > gold. I wonder if the Technicolor process with three B/W separation > negatives still exists in China, where Technicolor sold it? > > Or should we think of movies as an essentially ephemeral art, like dance, > with a life span similar to our own? > > Cheers, > Robert Withers > > > > WithersWorks.com > > > > On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrote: > > > > *From: *cbifi...@gmail.com > *Subject: **Re: [Frameworks] 16mm prints turned pink* > *Date: *December 18, 2015 2:17:53 PM EST > *To: *Dominic Angerame <frameworks@jonasmekasfilms.com>, Experimental > Film Discussion List <frameworks@jonasmekasfilms.com> > > > I did a pretty good job of colour correcting a red print by shooting it > with a video camera set to auto colour balance. The shutter could be > adjusted in 10ths to eliminate flicker. It brought it right back to where > it should be colour-wise and was just slightly more muted than the original > likely was. > > Sent from my BlackBerry 10 smartphone on the Rogers network. > *From: *Dominic Angerame > *Sent: *Friday, December 18, 2015 10:23 > *To: *Experimental Film Discussion List > *Reply To: *Experimental Film Discussion List > *Subject: *Re: [Frameworks] 16mm prints turned pink > > Alas all of this is true. A Canyon Cinema I found most of the color prints > made in the 70's had turned red. This even happens when the film is never > projected. When I worked at the Encyclopedia Britannica in the early 70's > most of their prints had turned red. I am inspecting the 16mm film > collection at the SF ARt Institute and am finding the same situation with > some prints made during the 70's and some 1980 print. > > > On Thu, Dec 17, 2015 at 8:13 PM, Jeff Kreines <j...@kinetta.com> wrote: > >> Eastmancolor was very bad in terms of magenta fading. >> >> I’ve seem excellent work scanning faded prints and restoring the color >> (using lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by >> VFS, now merged with Colorlab. >> >> The trick is to have at least a tiny bit of the missing colors present in >> the scan, to give the software something that it can work with. >> >> > On Dec 17, 2015, at 9:46 PM, Scott Dorsey <klu...@panix.com> wrote: >> > >> > I don't remember whether it had to be slightly acid or slightly basic, >> and >> > it was _just_ a thing with the Agfa/Ansco chemistry which is very >> different >> > (and can be a lot more stable than) the modern Eastman chemistry. I >> think >> > there is a discussion of it in Mees' book, though. >> > --scott >> > _______________________________________________ >> > FrameWorks mailing list >> > FrameWorks@jonasmekasfilms.com >> > https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> Jeff Kreines >> Kinetta >> j...@kinetta.com >> kinetta.com >> >> > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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