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Andrea Kalas


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Andrea Kalas is Head of Preservation at the British Film Institute National Archive.

Andrea Kalas is Head of Preservation at the British Film Institute National Archive.

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  • Transcript

    • 1.
      • Lost Worlds:
      • Lessons in archive co-production
      • Andrea Kalas
      • British Film Institute
    • 2.  
    • 3. Mitchell and Kenyon
      • 8 Million viewers watched “The Lost World of Mitchell and Kenyon” on BBC
      • This three-part series moved the concept from a program to a format
    • 4. The Open Road
      • The BBC now regularly co-produce with the BFI -
      • And the productions feature not only on the footage technical, curatorial and educational expertise of archivists
    • 5. Mitchell and Kenyon
      • Mitchell and Kenyon refers to the names of two portrait photographers based in Blackburn in the north of England
    • 6. Mitchell and Kenyon
      • Business opportunity for novelty turned amazing social record
      • Ordinary people in everyday situations.
      • Lancashire, Yorkshire, the Midlands, Scotland, Ireland, the North East, Bristol and North Wales
    • 7. Mitchell and Kenyon
        • Over 800 non fiction titles produced between 1900-1913
        • Rare surviving collection of original nitrate negatives
    • 8.  
    • 9. Mitchell and Kenyon
      • Film restoration expertise, partnership with University of Sheffield meant collection was restored and interpreted
      Cuard Vessel Liverpool c. 1901
    • 10. Mitchell and Kenyon
      • Two books, a touring exhibition, DVDs, academic conferences
      • Canon-changing and a household word
    • 11.  
    • 12. Open Road
      • Between 1914 and 1929, the Automobile Association grew from 83,000 members to 725,000 members.
      • In 1926, a plan for standardizing road signs was in effect.
      • In 1927, the first car radio - Philco - was introduced.
    • 13. Open Road
      • 16mm film is available for general use by 1926
      • Concept of home movies available, like cars, to more than the very wealthy
    • 14. Open Road
      • Touring the British countryside was used in automobile advertising
    • 15. Open Road
      • Claude Friese - Greene, son of William, British Film pioneer
      • William Friese-Greene’s patent for “Biocolour” filed in 1905 was the basis of a law suit filed by William against Charles Urban, who had successfully used “Kinemacolour”
    • 16. Open Road
      • Kinemacolour process:
        • Colour filters at point of image capture
        • Continuous image recording
        • Printed B/W
        • Projected through filters
    • 17. Open Road
      • Kinemacolour because of special projection became a popular programme in large theatres like the Scala on Charlotte Street in London - 1911-13
    • 18. Open Road
      • Claude Friese-Greene was determined to take colour process one step further.
      • The camera used a filter wheel in the camera which was synchronised so that frames were shot through a red filter and then through a combination of a yellowish filter and adjustable white-light aperture.
    • 19.  
    • 20.  
    • 21. Open Road
      • The travelogues were made into shorts covering different areas of the country and played in theatres as part of a larger programme.
      • Claude Friese-Greene went on to become a well known British cinematographer who is remembered as a great influence by Jack Cardiff and Ronald Neame, to name two.
    • 22.  
    • 23. Open Road: Friese-Greene
      • Friese-Greene used a tinting process on the prints.
      • The negatives were printed and then the appropriate frames were coloured with a red tint and a cyan tint.
      • We're not entirely sure how the tints were applied but William Charles Vinten (who built the camera) had designed a tinting machine which allowed the reel to be wound over a sprocket.
      • Frames were lined up on the machine and a lid which blocked alternate frames was lowered. Once coloured, the film was wound onto a drum. The titles were left B/W.
      • In projection, the colours were 'reintegrated' allowing the scene to be seen in natural colour.