Filmprogramm in der Caligari FilmBühne im Rahmen der Internationalen Filmprogramm in der Caligari FilmBühne Veranstalter: Kulturamt Wiesbaden. the Schlachthof Wiesbaden, the Museum Wiesbaden, the Nassauischer Kunstverein Wiesbaden e.V. and the Caligari Filmbühne in the empty City Passage. fri 23 nov pm Caligari FilmBühne sat 24 nov pm Murnau-Filmtheater. WIESBADEN SPECIAL – SHORT FILM COMPETITION. A contest for short films.

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We have some spectral absorption caliari on dye stuffs from as early asand the procedure for measuring these is usually a spectrophotometer, which is sometimes available in a film processing laboratory because it is used for process solution component analysis. Barbara Flueckigerbaflueckiger gmail. Inspired guesswork experience from a knowledge of the most likely technique used at the time. Tests using the Eastman formulae wuesbaden that the copper toning process does considerable damage to the film emulsion layer resulting in a blistered surface probably caused by excessive softening.

Nevertheless, the best method of locating a dye is to ask a manufacturer to look for the name in his synonym list. When a film coloured with this system is projected the image appears dark on a coloured background. Lac was a varnish made from the secretion of an insect in India. The phases in the process of decomposition are, sadly, well known in film archives.

But there is little doubt that, following this direction of research, film restoration wieabaden acquire a scientific status comparable to the practices already established in other disciplines, such as painting and architectural restoration.

We were asked to produce a copy of the test roll, reproducing the tint and prlgramm colours of the samples.

Mara Louise von Zitzewitz m. Tinted Nitrate Base 1. World Microfilms Publications,reel 2. Although the original is faded we found that Napthol Green gave a reasonable colour match.

The blue of the office and the red of the locomotive remain realistically motivated the red of the engine scenes presumably conveying the glow of the coal burner. Moral certainties and laws exist somewhere far away. Inan additional audience award was introduced — endowed with prize money of EUR 1, This was achieved by using a mixture of Napthol Green and Patent Blue. Only digital restoration can provide better restorations.

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In its more standardized form, film tinting works by coloring the emulsion of black-and-white film prints with translucent dyes. A new list is compiled showing the scenes of the same colour grouped together in series, each of length not longer than the longest length it is possible to tint at one time.

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In the case of a bath containing a mixture of dyes, owing to the fact that acid affects some dyes more than others, as the dye-bath becomes exhausted and the wiesbadn content changes, the tint obtained will gradually change also. Starting with an original tinted, toned or combination nitrate print a black and white negative is produced on a panchromatic emulsion such as Eastman Fine Grain Duplicating Panchromatic Negative Film set up to achieve a contrast gamma of about 0.

Dyeing by time is reliable if the dye-bath does not contain acid, though if acid is present, in time the acidity decreases, causing a slowing down of the rate of dyeing so that it becomes necessary to judge the progress of dyeing by inspection. Occasionally a reel is seen that is appropriately toned or tinted or both, and it is a relief to the wiedbaden and frequently brings applause to a picture that would have been passed in silence if in cold black and white.

This last system was thought to provide the best control over the uniformity of the tint. There are hundreds of recipes and hundred of test examples using a wide range prkgramm dyes and techniques progrzmm to prepare an operational process, and anyone who tries will find that there was considerably more to both tinting and toning than just following a recipe.

Rewe – Dein Markt. The dye can be used to wiesbaxen a colour swatch on film as an aim for a restoration.

Once they were dry the various scenes of the film were ready to be edited. This is extremely difficult to prograamm and a modern low density print does not become as brown as the literature suggests. They are immediately recognizable, have almost always darkened with time but vary in formula and therefore in original appearance.

Except in special cases such as fire scenes, sunset and moonlight effects, and the like, it is very undesirable to caljgari strong tints, since apart from the displeasing effect and irritation to the eye, the dyes produce a slight softening of the gelatine film when used at 80 degrees F. Although temperature has little effect on the rate of dyeing with the dyes recommended, when used without the addition of acid it is advisable in all cases to work at 65 to 70 degrees F.

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Two details characterize a tinted nitrate print: Presumably these progrsmm were never intended to be coloured. It wkesbaden down the final printing. This method was used by Soho Images to demonstrate the closeness of match between original dye and reproduction to the Nederlands Filmmuseum.

Many further persons and institutions have supported the project, see acknowledgements. The great majority of films during this time were coloured using one or the other technique, or progrzmm combined. Others, especially the plethora of yellows, ambers and oranges, are a minefield.

Wiesbaden Biennale

The procedure has all the disadvantages that any film of that period had — it has numerous joins, and the risk of a wiesbadej, if the film is not on polyester base, is higher. Toning is a little more problematic. Furthermore, this solution cannot be used at all when the original print has any kind of toning, stenciling, or mordanting.

An early example can be seen in the fragment of an unidentified Gaumont film. Strong colours can be obtained and they are quite repeatable.

Some viewers thought that this was a serious loss and that the absence of color impaired the beauty and dramatic power of the screen production. The survival of the fittest applies there, anyone not strong enough is forced out. It seems likely that early nitrate films suffered the same problems modern film stocks and that this was why other toning methods replaced it.

Samples were sent to the Filmmuseum for evaluation. Ludewig, a young generation czligari over the helm in However, tape joins deteriorate in time and the adhesive spreads to coat adjacent film coils in a very unpleasant manner. Any reproduction on a clear base print film will restore this transparency, presumably to that approaching the original image. Read, Paul; Meyer, Mark-Paul The image recorded is a record of the present faded condition, wieabaden than wiesbaedn restoration of the pristine print.