Andrea Kalas

Slide 1: Lost Worlds: Lessons in archive co-production Andrea Kalas British Film Institute

Slide 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

Slide 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

Slide 5: Mitchell and Kenyon Mitchell and Kenyon refers to the names of two portrait photographers based in Blackburn in the north of England

Slide 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

Slide 7: Mitchell and Kenyon Over 800 non fiction titles produced between 1900-1913 Rare surviving collection of original nitrate negatives

Slide 9: Mitchell and Kenyon Film restoration expertise, partnership with University of Sheffield meant collection was restored and interpreted Cuard Vessel Liverpool c. 1901

Slide 10: Mitchell and Kenyon Two books, a touring exhibition, DVDs, academic conferences Canon-changing and a household word

Slide 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.

Slide 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

Slide 14: Open Road Touring the British countryside was used in automobile advertising

Slide 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”

Slide 16: Open Road Kinemacolour process: Colour filters at point of image capture Continuous image recording Printed B/W Projected through filters

Slide 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

Slide 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.

Slide 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.

Slide 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.