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Restoration of Motion Picture Film Editors Restoration of Motion Picture Film Butterworth-Heinemann Series in Conservation and Museology Series Editors: Arts and Archaeology Andrew Oddy British Museum, London Architecture Derek Linstrum Formerly Institute of Advanced Architectural Studies, University of York US Executive Editor: Norbert S. Baer New York University, Conservation Center of the Institute of Fine Arts Consultants: Sir Bernard Feilden David Bomford National Gallery, London C.V. Horie Manchester Museum, University of Manchester Sarah Staniforth National Trust, London John Warren Institute of Advanced Architectural Studies, University of York Published titles: Artists’ Pigments c.1600–1835, 2nd Edition (Harley) Care and Conservation of Geological Material (Howie) Care and Conservation of Palaeontological Material (Collins) Chemical Principles of Textile Conservation (Tímár-Balázsy, Eastop) Conservation and Exhibitions (Stolow) Conservation and Restoration of Ceramics (Buys, Oakley) Conservation and Restoration of Works of Art and Antiquities (Kühn) Conservation of Brick (Warren) Conservation of Building and Decorative Stone (Ashurst, Dimes) Conservation of Earth Structures (Warren) Conservation of Glass (Newton, Davison) Conservation of Historic Buildings (Feilden) Conservation of Historic Timber Structures: An Ecological Approach (Larsen, Marstein) Conservation of Library and Archive Materials and the Graphic Arts (Petherbridge) Conservation of Manuscripts and Painting of South-east Asia (Agrawal) Conservation of Marine Archaeological Objects (Pearson) Conservation of Wall Paintings (Mora, Mora, Philipot) Historic Floors: Their History and Conservation (Fawcett) A History of Architectural Conservation (Jokilehto) Lacquer: Technology and Conservation (Webb) The Museum Environment, 2nd Edition (Thomson) The Organic Chemistry of Museum Objects, 2nd Edition (Mills, White) Radiography of Cultural Material (Lang, Middleton) The Textile Conservator’s Manual, 2nd Edition (Landi) Related titles: Concerning Buildings (Marks) Laser Cleaning in Conservation (Cooper) Lighting Historic Buildings (Phillips) Manual of Curatorship, 2nd edition (Thompson) Manual of Heritage Management (Harrison) Materials for Conservation (Horie) Metal Plating and Patination (Niece, Craddock) Museum Documentation Systems (Light) Risk Assessment for Object Conservation (Ashley-Smith) Touring Exhibitions (Sixsmith) Restoration of Motion Picture Film Editors: Paul Read and Mark-Paul Meyer for the Gamma Group OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 2000 © Caleidoscope 2000 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 9HE. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 7506 2793 X Composition by Scribe Design, Gillingham, Kent Printed and bound in Great Britain by The Bath Press, Bath Contents Editors’ preface vii PART 4 TECHNIQUES AND CASE STUDIES 21 Menschem am Sonntag: a 1 Introduction to the restoration of reconstruction and documentation motion picture film 1 case study 231 Mark-Paul Meyer Martin Koerber 22 The reconstruction of F.W. Murnau’s PART 1 CINEMATOGRAPHIC Faust (1926): a case study 242 TECHNOLOGY Luciano Berriatúa 2 Light, sound and audiovisual 23 Film bases and tests 247 perception 9 24 Deshrinking and other treatments 252 3 Before motion pictures 12 25 Scratch treatments 255 4 The film making industry 18 26 Film cements 257 5 Talking motion pictures 25 27 Printers for shrunken film 258 6 Editing, cutting and post-production 35 28 Production of a grader training aid 262 7 Colour 40 29 Black and white duplication 8 Motion picture film materials 45 methods 266 30 Flashing techniques for film 269 PART 2 RECONSTRUCTING A FILM 31 Original tinting and toning techniques 9 Identification of archive film and and their adaption for the restoration interpretation of historical data 53 of archive film 271 10 Principles of film restoration and film 32 Recording and reproducing the reconstruction 69 original tints and tones of Quo Vadis (1912): a technical case study 281 PART 3 IMAGE AND SOUND 33 The Desmet method for restoring RESTORATION tinted and toned films 287 11 Film damage, repair and preparation 83 34 Laboratory Aim Density values and 12 Sensitometry and quality control 105 other useful data for duplication 291 13 Printing 126 35 Duplication of colour negatives 14 Grading 149 using colour intermediate film 15 Principles of duplication and contrast stocks 293 control 157 36 Duplication of colour prints using 16 Processing 167 colour internegative (or camera 17 The restoration and duplication of negative) film stocks 295 early coloured films 180 37 Black and white separations for 18 Restoration of natural colour film 195 duplicating, preserving and restoring 19 Restoration of film sound 210 colour negatives and prints 298 20 Video images and digital restoration 38 Notes on the schematic diagrams of of archival film 216 Technicolor restoration routes 304 v vi Contents 39 Notes on restoring subtractive Glossary of terms 317 two-colour process prints 310 Bibliography 342 40 Sound restoration case studies 314 Index 357 Editor’s preface This book has been written from material explain a technique, or where the historical supplied by members of the Gamma Group. technology is not widely known or under- This committee of individuals represent their stood. The first part provides a quick over- organizations on the Group with the common view of film technology from the standpoint purpose of researching, sharing and promot- of a film restorer and conserver, and is there- ing the technology of preservation and restora- fore highly focused. However, the bibliogra- tion of archive film. The group came together phy lists a number of basic texts. as partners in the European Union FORCE The coverage will never be complete, or Film programme in 1990 in order to create a perfect, we know. As an example, some 150 training programme for young technicians in different colour systems have existed as film archives and specialist film laboratories, finished films, and we certainly have not been and then stayed together in order to carry out able to give more than a handful a specific several research and evaluation programmes, reference. Sound restoration is another area some with similar funding. that certainly warrants its own publication, and In an unusual relationship, the member the sound content of this book is not intended organizations comprise film archives, and to be definitive. commercial laboratories and specialists that have Finally there is the issue of digital restora- traditionally provided archives with preservation tion and digital access, which is given some and restoration services. The group is essentially space here but will clearly become the major a group of individuals, whose speciality is medium for access, will be used for restora- archive film technology, rather than just the tion, and could become important for preser- cultural issues surrounding film. vation as well. This technology is changing Although the membership is restricted, due and developing so quickly that this should to the limitations on funding both meetings really be the content of the next edition! and projects, and because the group was Two of the original members retired since established with a European membership, in the manuscript was begun, some new recent years a number of “corresponding members joined as the Gamma Group members” have been drawn into the group to members increased in number, and two of our complete programmes and to provide more corresponding members have contributed to world wide coverage. this text. Some of the following list contributed Although in origin some of the content was a great deal to this book, but all of them part of training programmes, and some has played at least some part in its content. already been presented as technical papers at conferences and film festivals, more than half Alfonso del Amo, Filmoteca Española, was written for this book. Madrid, Spain Our intended readership is archivists and Luciano Berriatua, Filmoteca Española, technologists, and so we not seek to explain Madrid, Spain photographic or motion picture technology, Richard Billeaud, Cine Audio Lab, Paris, except where it is considered necessary to France viii Editor’s preface Claude Lerouge, Cine Audio Lab, Paris, João Socrates d’Oliveira, National Film & France Television Archive, Berkhamsted, UK Filipe Boavida, Cinemateca Portuguesa, Brian Pritchard, Henderson’s Film Lisbon, Portugal Laboratory, London, UK Philipe Brunetaud, Archives du Film du Johan Prijs, Haghefilm
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