Your SlideShare is downloading. ×
Andrea Kalas
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×

Saving this for later?

Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime - even offline.

Text the download link to your phone

Standard text messaging rates apply

Andrea Kalas

1,308
views

Published on

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.


0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
1,308
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
0
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide
  • 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.