Award
for Post Production Work on an Archive-based Production
SPONSORED
BY
Imperial War Museum & The Wellcome Trust
Nominations details
Cited Work |
Virtual History: The Secret Plot to Kill Hitler
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| Production Company |
Tiger Aspect |
Post Production |
The Moving Picture Company + Arena P3 |
Technicians |
Loraine Cooper (MPC), Blair Wallace & Todd Dalton (Arena P3) |
| Producer |
Dunja Noack |
Director |
David McNab |
| Film/VT Editor |
David Fairhead |
Archive Researcher (s) |
Aileen McAllister |
| Top Sources of Footage |
Imperial War Museum |
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NARA |
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Bundesarchiv |
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Krasnogorsk |
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Duration |
90 minutes |
First Shown |
Discovery Channel, 28/10/2004 |
Country of Origin |
UK |
Synopsis |
Virtual History: The Secret Plot to Kill Hitler tells the 24 hours of one day during the Second World War from the perspective of the four war leaders: Hitler, Churchill, Roosevelt, and Stalin. The 20th July 1944 is the day when renegade German Generals tried to assassinate Hitler. The film portrays the micro-history of one crucial day and how the course of the war could have changed if this assassination had been successful.
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Reasons for Submission |
Virtual History aimed to create new virtual archive of the Second World War by recreating the scenes which we know happened on that day. The dramatic recreations were filmed in the style of 1940s home movies, avoiding modern camera moves and framing. To further create the impression that this was actual archive of the 1940s we replaced the faces of the modern day actors with computer generated and animated masks of the historic personalities. To seamlessly integrate the recreated 'new' archive into the historic archive of the time, we invested in a high end post-production by which we graded and distressed the 'new' archive. Loraine Cooper at Moving Picture Company created three distinctive grade looks which resembled the archive of the different countries of the time (USA, Britain, Germany), and Blair Wallace at Arena P3 created the Soviet archive look. Finally the whole film was effected and distressed in Smoke by online editor Todd Dalton at Arena P3. |
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JUDGES COMMENTS |
Ground breaking computer animation used for reconstructions is seamlessly integrated with original archive to bring the events of WWII to life. |
Cited Work |
Japan's War |
| Production Company |
TWI/Carlton Production |
Post Production |
The Machine Room & Ascent Media |
Technicians |
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| Producer |
David Batty |
Director |
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| Film/VT Editor |
Stephen Moore |
Archive Researcher (s) |
Adrian Wood & Polly Petit |
| Top Sources of Footage |
NARA |
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NHK + private Japanese collections |
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Imperial War Museum |
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Footage Farm |
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Technovid |
Duration |
120 minutes |
First Shown |
Channel 4, 17/01/04 |
Country of Origin |
UK |
Synopsis |
For eight years the Japanese fought what they believed was a Holy War that became a fight to the death. Using never-before-seen colour footage, Japan's War tells a previously untold story. It recounts the history of the Second World War from a Japanese perspective, combining original colour film with letters and diaries written by Japanese people. It tells the story of a nation at war from the diverse perspectives of those who lived through it: the leaders and the ordinary people, the oppressors and the victims, the guilty and the innocent. |
Reasons for Submission |
The 1,000 stitch belt is an army film shot during the occupation of China. Fragments from a rushes reel were found in a Russian archive. In a bad state of repair, the clips were comped together, hand cleaned, then wet gate telecined. A sequence was edited together, stabilised and speeds changed to give a more natural motion using Arid Symphony. It was passed through puritan to remove some of the vertical lines, and then hand painted on the MTI box to remove as many of the remaining lines, splats and marks as possible. Finally the sequence was graded. The 1937 Tokyo street scenes were shot with early Kodacolor, a 3 colour lenticular system which produces a high speed print containing vertical lines. The colour was first recovered using a system developed by Film Technology in Hollywood. The sequence was cut, slowed down and stabilised in avid, and was then graded on poggle with electric sunroof and finally de-spotted in smoke. The 1937 Prince Chichibu film was discovered mouldy and cracked. After extensive hand cleaning and re-sprocketing, some portions were able to be wet gate telecined. After a one pass grade, colour was brought back but the mould had left green marks. With a re-grade on the final programme and time in smoke painting out some of the larger splats, the results are a watchable colour film, never seen before on television.
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JUDGES COMMENTS |
Using never before seen colour archive which has been painstakingly restored and graded to create a documentary of epic proportions. |
Cited Work |
Forum Barcelona - Voices Exhibit |
| Production Company |
Tomato Films |
Post Production |
Smoke & Mirrors |
Technicians |
Sean Broughton |
| Producer |
Abi Hodson |
Director |
Simon Taylor |
| Film/VT Editor |
Sean Broughton |
Archive Researcher (s) |
Anne Hummel |
| Top Sources of Footage |
BBC Motion Gallery |
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ITN Archive, Granada Collection |
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National Geographic Film Library |
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APTN Library |
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Moving Image Communications |
Duration |
10 minutes |
First Shown |
Forum Exhibition, 9/05/2004 |
Country of Origin |
UK |
Synopsis |
Audio visual content for Forum 2004 Voices exhibit, which ran from May 2004 for 5 months in Barcelona. Voices is dedicated to diversity, one of the core themes of the Forum. The objective of the exhibition is to celebrate human communication and linguistic and cultural diversity. The central dome structure comprised of 28 screens of various sizes positioned around an amphitheatre 32m in diameter. The film, directed by Simon Taylor, was programmed through a central server to incorporate the 28 screens. Multiple and single images along side typography were choreographed making the most of the three dimensional space creating an immersive environment. In addition a 100m wall, comprising of 24 screens, featuring 96 separate languages ran along side the central audio visual, resulting in a total of 52 different films shown simultaneously. Sometimes the screens showed the same image everywhere; other moments featured different images on every screen. The films were synchronized to merge in a moment of ‘collapse’ at one point in the ten minute show. |
Reasons for Submission |
Combines specially shot with archive footage to make a linear film 52 mins in length, which when projected onto 28 screens has a screening duration of 10 mins. Technically this was a challenge when editing and programming server. Graphics and music are combined with footage to create a stimulating experience. The languages, images and graphics featured explore diversity through linguistics, The film includes diverse cultures from around the world, and shows how they communicate in their own individual ways. It looks at communication through gesture, facial expression, language, the written word, music, clothing, This exhibit proved to be both stimulating and informative, educating audiences in a non traditional way and promoting those languages nearing extinction. |
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This facility available to FOCAL Members only. Email: info@focalint.org for your unique Password. |
| JUDGES COMMENTS |
Editing and showing 52 films in synchronization is a true feat which results in a unique experience. |
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