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Country of Origin of cited work: Switzerland
First Transmission / Publication Date since restoration: 2014-8-3
Where published (Channel/Website) since restoration: https://www.olympicchannel.com/en/
Programme Duration (mins): 6000
Number of episodes in Series (If applicable): 100
Brief Synopsis in English (up to 100 words): All Olympic Games since 1904 have, to varying degree, produced a moving image legacy. At the beginning this was limited to newsreel coverage and short films, but starting in the 1920s, world famous film directors were commissioned by the Organizing Committees to create full length documentaries about the Games. Since 1930 these films have been mandated by the IOC in its charter and from 1948-on the term "Official film" has been used to differentiate these films from others productions made at the Olympic Games. Together the Olympic films form a body of work that provides a unique audiovisual legacy of the Olympic Games.
Reason for submission in English (up to 100 words): In 2005, the IOC started an ambitious project to ensure the restoration and long term preservation of all the most important Olympic films. That project is now completed: more than 40 long form documentaries and 60 additional short films have now been meticulously researched and restored using the best elements for each and taking advantage the latest digital technologies available. To illustrate our submission, we selected six titles which give a good overview of the eighty years of films covered by our project - from the first Olympic short films of 1912 to the last Olympic film shot on 35mm in 1992 - and show the various challenges we faced in working on them.
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): The original 35mm and 16mm film negatives, or the best surviving film elements, were used for each restoration. The IOC did not produce these films itself, so did not own the original elements for most of them. We had to collaborate with more than 40 film archives, studios and producers around the world to acquire, or get access to, the original film elements for each film. Specific details for the six selected titles will be provided separately.
2. Original and restored aspect ratio and format (up to 100 words): All the films were originally shot on either 16mm or 35mm film and had aspect ratio varying between 1.33:1, 1.66:1, 1:78:1 and 2.39:1. The restored films were output on 35mm film, DCP, HDCAMSR and LTO. All OARs were respected in the restorations. Specific details for the six selected titles will be provided separately.
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): Olympic films have historically been produced in multiple versions for specific territories. The general policy we set up was to restore the films in their original language and original form. Additional language versions, alternate cuts or inserts were also researched and restored where possible. Some films had not been seen in their complete form since their original release, some other films were thought to be lost, and generally all the films were only accessible, if at all, in standard definition copies. Specific details for the six selected titles will be provided separately.
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): Our project used various labs and facility houses across Europe, the US and Asia throughout the years: Arane-Gulliver, Digital Film Lab, Haghe Film, Deluxe 142, Edit Store, L'Immagine Ritrovata, Cineric, Fotokem, Imagica to name but a few. Since 2007, Audio Mechanics in Burbank has carried out the sound restoration of nearly all our films. Since 2010, Warner Bros Motion Picture Imaging has been used nearly exclusively for the picture restoration.
5. What methodology was used? (up to 100 words): Each restoration followed a similar workflow: research of textual and film sources, video-based comparisons of source elements, restoration of the best elements for picture and sound, creation of deliverables for exploitation and long term preservation. Collaborations with the archival community and respect of its best practices were key points in our project. Specific details for the six selected titles will be provided separately.
6. What preservation elements have been generated and where will they be stored? (up to 100 words): 35mm filmouts, composite prints, track negatives and mags, all polyester-based have been created for most of the restored films. They are stored at the Swiss Cinematheque, which holds most of the IOC's film collection. Restored image files have been recorded on two LTO sets and restored audio files on two archival DVD sets. These will be stored in the IOC's vaults and servers. Specific details for the six selected titles will be provided separately.
7. How and where has the restoration been presented and made available to the public? (up to 100 words): The restored films have been screened at festivals, film archives, and other cultural institutions worldwide, as well as being shown on the IOC's online platforms. They are also slated for release on home video, video on demand and theatrical re-release in certain territories. Specific details for the six selected titles will be provided separately.
Country of Origin of cited work: Germany
First Transmission / Publication Date since restoration: 2016-8-9
Where published (Channel/Website) since restoration: Blu-ray Disc(s) KINO Lorber USA, TCM (broadcast) USA
Programme Duration (mins): 95Min Canadian Pacific / 82 Min The Cariboo Trail
Number of episodes in Series (If applicable):
Brief Synopsis in English (up to 100 words): CANADIAN PACIFIC: Western legend Randolph Scott plays Tom Andrews, a man desperately trying save the railroad with the help of demolitions expert, Dynamite Dawson (J. Carrol Naish). Opposing them is a band of trappers headed by Dirk Rourke (Victor Jory) who sabotages the railroad construction and incites the local tribes to rebel against the project. Jane Wyatt and Nancy Olson co-star in this action-packed western featuring wonderful direction by Edward L. Marin and rousing score from legendary composer Dimitri Tiomkin. Distributed originally by 20th Century Fox. THE CARIBOO TRAIL: Randolph Scott stars with Bill Williams as cowboys leading a small herd of cattle from Montana to the Northwest Territories, one looking for rangeland the other for gold. While driving their cattle along The Cariboo Trail, all hell breaks loose as they have to confront a devious conman and his hired gunmen in this action-packed western that has it all. George Gabby Hayes (Tall in the Saddle) leads the supporting cast that includes Karin Booth, Jim Davis (TV's Dallas) and Victor Jory. Directed by Hollywood veteran Edwin L. Marin (A Christmas Carol), distributed originally by 20th Century Fox.
Reason for submission in English (up to 100 words): These two Hollywood western feature productions, made in 1949 and 1950, respectively, by actor and producer Tim Holt (The Treasure of the Sierra Madre, The Magnificent Ambersons), were originally filmed in CINECOLOR, a 2-component color process that between the 1930s and early 1950s attempted to rival Technicolor. However, due to its rather short time of manufacturing life, many of the elements could no longer be copied or preserved properly for many decades. Both, CANADIAN PACIFIC and THE CARIBOO TRAIL, had to be restored and preserved FRAME BY FRAME, first re-combined from B/W protection/seperation masters (one holding the Orange/Red "record" the other the Cyan/Blue one) and then just as extensively restored in Color re-timing to bring back to its original form as best as technically possible and preserve the CINECOLOR color palette. It was literally a total of 750,000 frame piece of a puzzle for both prictures combined, whcih underwent also the more than 13 / 15 months long restoration phase(s).
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): [Nitrate] Original Camera Negative no longer existent Used for these restorations: 2nd generation and 3rd generation Fine Grain MPs and Dupe Negative B/W Protection/Seperation Master elements CINECOLOR [35mm/Nitrate and Safety] 35mm Print Elements [Eastman] Both pictures 1.37:1 All elements (except the print, used for the end credits which were cut on the protection masters) had to be re-combined and re-aligned digitally FRAME BY FRAME to prevent layer seperations. All materails were incomplete, fragile and warped, partially severly shrunk, poorly color timed in photochemcial means and badly scratched (some also suffering from Vinegar Syndrome) - but, fortunately, most footage missing on one was available on another. Many frames had to be restored digitally, which was esecially challenging when one color "record" was missing . In the end not a single frame was cut, both pictures are now complete.
2. Original and restored aspect ratio and format (up to 100 words): CANADIAN PACIFIC 1.37:1 THE CARIBOO TRAIL 1.37:1
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): This is the first time that these pictures can be seen in their respective true (CINE)color registration since their original premiere. All later distributions and, eventually, (TV) telecine transfers were based on improperly handled and copied materials, most of them after 1953 made in Eastman Color, which could not replicate the CINECOLOR palette correctly. In both cases the films were even presented B/W only from the Orange/Red Records. The improvements are, well, extremely significant - see documentaries on supplied DVDs/Blu-ray Discs
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): TLEFilms Film Restoration & Preservation Services, Birkenwerder, Germany
5. What methodology was used? (up to 100 words): Photochemical, Photooptical and Digital Restoration for Preservation
6. What preservation elements have been generated and where will they be stored? (up to 100 words): Digital Preservation Elements (2K Academy Format DPX) and 2K Academy Uncompressed MOV Files the former ready for minting of 35mm protection Negative and Positive elements Storage at TLEFilms FRPS, Germany and at UCLA Film & Television Archive, CA
7. How and where has the restoration been presented and made available to the public? (up to 100 words): First presentations on TCM (broadcast) and Blu-ray Disc(s) with licensee KINO LORBER, as well as in Spain (broadcast)
Country of Origin of cited work: United Kingdom
First Transmission / Publication Date since restoration: 2016-11-8
Where published (Channel/Website) since restoration: BBC Four
Programme Duration (mins): 90
Brief Synopsis in English (up to 100 words): First broadcast in 1954, Zoo Quest was one of the most popular television series of its time and launched the career of the young David Attenborough as a wildlife presenter. Broadcast ten years before colour television was seen in the UK, Zoo Quest was thought to have been filmed in black and white. Until now! Thanks to a recent remarkable discovery in the BBC's Film Vaults, the best of David Attenborough's early Zoo Quest adventures can now be seen as never before " in stunning HD colour " and with it the fascinating story of how this pioneering television series was made.
Reason for submission in English (up to 100 words): The 60 year old Kodachrome colour reversal originals show animals filmed for the very first time, as well as being a unique cultural record of a bygone era. David Attenborough 'I was astonished when someone said we've got nearly all the film of the first three expeditions you did - in colour! I said it's impossible - I had never seen it. It had an extraordinary quality, quite unlike modern colour film and certainly unlike modern colour television.' Charles Lagus BSC 'I was absolutely staggered at the quality - quite staggering for the period that it was filmed in. I was astonished.'
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words): 16mm Kodachrome reversal camera originals of the 1950's Zoo Quest series (Zoo Quest to West Africa; Zoo Quest to Guiana & Zoo Quest for a Dragon). Problems included: frequently high-contrast photography with some extremes of exposure; some soft camera focus; flash-frames and end-of-roll fogging. Some emulsion marks, possibly light fungus attack. Occasional dust, blemishes and swarf in camera gate.
2. Original and restored aspect ratio and format (up to 100 words): Original: It was all 16mm Kodachrome reversal camera originals in 4:3 aspect ratio with each film can usually comprising eight camera reels made up into a larger roll. Restored: Original 4:3 aspect ratio is retained in pillar box format within 16:9 HD master intercut with 16:9 interview of David Attenborough and Charles Lagus.
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words): Original version was broadcast in 1954 in Black and White; this version has never been seen before this 2016 restoration from the original colour reversals. 'Zoo Quest in Colour' was broadcast in the UK in May 2016 and repeated in August 2016 and then available for a month on iPlayer. This latest version differs from the original Zoo Quest series in being in colour restored and up-converted to HD.
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry (up to 100 words): BBC DMS (Digital Media Services Division), London: Tim Emblem-English and Harvey Williams. BBC Digital Village Bristol: Freelance Editor, Mike Denny. Doghouse Post Production, Bristol: Fred Tay and Ric de Mowbray
5. What methodology was used? (up to 100 words): The 60 year old reels where transferred by Tim Emblem-English and Harvey Williams at BBC DMS, making "best-light" HD transfers in reverse anamorphic format on the Philips Spirit telecine and recording the result on HDCamSR videotapes. These where then matched up to the original sound and recut with the interviews, by Editor Mike Denny. Further digital restoration was completed by Fred Tay in DaVinci Resolve for sequence colour matching and noise reduction. Additional dust busting on key sequences was also completed in After Effects using Neat Video plug-in and manual paint effects. Audio Mix was by Ric de Mowbray.
6. What preservation elements have been generated and where will they be stored? (up to 100 words): HDCamSR tapes of all the original rushes/uncut footage, and also digital files of both the uncut footage and the edited footage (generated during the final conform). HDCamSR tapes are stored at the BBC Natural History Unit, Bristol. Digital files are stored at the BBC NHU, Bristol and the BBC Archives Centre, Perivale.
7. How and where has the restoration been presented and made available to the public? (up to 100 words): 'Zoo Quest in Colour' was broadcast on BBC Four in May and August 2016. It has sold to the following territories to date: US, Poland, New Zealand, BBC Earth Global Channels " Pan Africa, Pan Scandinavia, Pan Far East, Pan Eastern Europe, Pan Latin America and Poland which covers about 140 territories. The programme was made available via iTunes and released as a DVD via Amazon, HMV and WH Smiths, etc.