Andrea Kalas


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

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  • Andrea Kalas

    1. 1. <ul><li>Lost Worlds: </li></ul><ul><li>Lessons in archive co-production </li></ul><ul><li>Andrea Kalas </li></ul><ul><li>British Film Institute </li></ul>
    2. 3. Mitchell and Kenyon <ul><li>8 Million viewers watched “The Lost World of Mitchell and Kenyon” on BBC </li></ul><ul><li>This three-part series moved the concept from a program to a format </li></ul>
    3. 4. The Open Road <ul><li>The BBC now regularly co-produce with the BFI - </li></ul><ul><li>And the productions feature not only on the footage technical, curatorial and educational expertise of archivists </li></ul>
    4. 5. Mitchell and Kenyon <ul><li>Mitchell and Kenyon refers to the names of two portrait photographers based in Blackburn in the north of England </li></ul>
    5. 6. Mitchell and Kenyon <ul><li>Business opportunity for novelty turned amazing social record </li></ul><ul><li>Ordinary people in everyday situations. </li></ul><ul><li>Lancashire, Yorkshire, the Midlands, Scotland, Ireland, the North East, Bristol and North Wales </li></ul>
    6. 7. Mitchell and Kenyon <ul><ul><li>Over 800 non fiction titles produced between 1900-1913 </li></ul></ul><ul><ul><li>Rare surviving collection of original nitrate negatives </li></ul></ul>
    7. 9. Mitchell and Kenyon <ul><li>Film restoration expertise, partnership with University of Sheffield meant collection was restored and interpreted </li></ul>Cuard Vessel Liverpool c. 1901
    8. 10. Mitchell and Kenyon <ul><li>Two books, a touring exhibition, DVDs, academic conferences </li></ul><ul><li>Canon-changing and a household word </li></ul>
    9. 12. Open Road <ul><li>Between 1914 and 1929, the Automobile Association grew from 83,000 members to 725,000 members. </li></ul><ul><li>In 1926, a plan for standardizing road signs was in effect. </li></ul><ul><li>In 1927, the first car radio - Philco - was introduced. </li></ul>
    10. 13. Open Road <ul><li>16mm film is available for general use by 1926 </li></ul><ul><li>Concept of home movies available, like cars, to more than the very wealthy </li></ul>
    11. 14. Open Road <ul><li>Touring the British countryside was used in automobile advertising </li></ul>
    12. 15. Open Road <ul><li>Claude Friese - Greene, son of William, British Film pioneer </li></ul><ul><li>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” </li></ul>
    13. 16. Open Road <ul><li>Kinemacolour process: </li></ul><ul><ul><li>Colour filters at point of image capture </li></ul></ul><ul><ul><li>Continuous image recording </li></ul></ul><ul><ul><li>Printed B/W </li></ul></ul><ul><ul><li>Projected through filters </li></ul></ul>
    14. 17. Open Road <ul><li>Kinemacolour because of special projection became a popular programme in large theatres like the Scala on Charlotte Street in London - 1911-13 </li></ul>
    15. 18. Open Road <ul><li>Claude Friese-Greene was determined to take colour process one step further. </li></ul><ul><li>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. </li></ul>
    16. 21. Open Road <ul><li>The travelogues were made into shorts covering different areas of the country and played in theatres as part of a larger programme. </li></ul><ul><li>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. </li></ul>
    17. 23. Open Road: Friese-Greene <ul><li>Friese-Greene used a tinting process on the prints. </li></ul><ul><li>The negatives were printed and then the appropriate frames were coloured with a red tint and a cyan tint. </li></ul><ul><li>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. </li></ul><ul><li>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. </li></ul><ul><li>In projection, the colours were 'reintegrated' allowing the scene to be seen in natural colour. </li></ul>