American Cinematographer - May 2000 - 102
Jndelible
Compressions
DVD
technology is driving efforts to restore
and preserve
classic films.
by Bob Fisher
bother with this
never
safeguard.
Archivists say a better solution is to
make yellow, cyan and magenta
(YCM) black-and-white separations,
using the original negative as a
master.
Each of these black-and-
white films contains
a
record of the
density of the three primary colors. If
they are put together on a contact
printer, one can make a faithful
duplicate negative. Beverly Wood,
vice president of technical services
and
client
relations
for
Deluxe
Laboratories, estimates that it costs
$40,000-$50,000 to make black-andwhite
separations for a feature-length
(depending on its length). That's
film
less than Vio of
percent of the
budget for a studio film.
The good news is that the
surging DVD home market and the
anticipated demand for HDTV
content are driving a renaissance in
film restoration, according to Rami
Mina, vice president and general
manager of the Technicolor Film
Restoration
Company in Los
Angeles. The bad news is that if cine¬
matographers aren't involved in the
one
average
n
1913,
legendary
Sarah Bernhardt
stage actress
accosted
by
I a
newspaper
critic, who
demanded to know why she was
■ wasting
her valuable time
performing in films. Bernhardt
replied that she made movies for
posterity. If she only knew.
According to Michael Friend,
archivist for the Academy of Motion
was
Picture Arts and Sciences, at least half
of the films made in the United States
during the industry's first 50 years
are probably
irrevocably lost. One of
the
reasons
1950s, all
was
96
May 2000
motion-picture emulsion
on a
highly flammable
base. Films occasionally
coated
nitrate
for this is that until the
caught fire, but much more often, the
gradually dissolved into a
jelly-like mass. (Kodak scientists
invented a safety base during the
1920s, but it took the industry about
30 years to accept it.)
Color negative film came into
vogue during the 1950s, and by the
nitrate base
1970s, Martin Scorsese and other
filmmakers were sounding the
alarm, pointing out that dyes in color
negatives, intermediate and print
were
fading and thus destroy¬
ing the heritage they were creating.
Color film will resist fading for as
long as 100 years if it is properly
stored in a cool, dry environment,
but many content owners simply
films
restoration process, new
are
audiences
likely to experience those
the way they were meant to be
not
films
seen.
Technicolor
on
recently worked
the restoration of Oh, God!,
a
1977
comedy directed by Carl Reiner
and photographed by ASC President
Victor J. Kemper. The film stars John
Denver as an assistant manager of a
grocery store who has an encounter
with God (played by George Burns).
One key scene, in which Denver's
character
meets
God for the first
Enteraim.
ABnocchauofrtreysy
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American Cinematographer - May 2000
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