I was having a conversation with Jerry Beck a few days back about film preservation; in that conversation we were talking about how being able to see so many things in great quality was unimaginable a handful of years back, unless you were in a handful of cities around the country lucky enough to have both theatrical showing or collectors putting on various shows. We also talked about how we really are in a lucky period in that there’s a possibility of managing to get so many things out that otherwise wouldn’t be available – sometimes it honesty just takes a single person or company championing a particular thing.
The gap between the 16mm shows and things being available on DVD and blu-ray meant that the only way to see so many things for years was in fair at best VHS copies. DVDs and now Blu-ray had given a good reason for studios to make better quality copies of many of their films because there was a market to do so; funny enough, the further accessibility of films on-line actually has made it harder to get more niche things restored, since there is now a smaller market for physical product.I have to admit that one of the reasons to run Thunderbean is so I can see a lot of things I had always wanted to – what was better about that is has allowed *lots* of people to see things that were harder to see. It’s the busiest time here that we’ve ever had, at least in terms of the projects in progress, with every machine working on some project right now, rendering this and that away. Many freelances are joining in operations here in the coming weeks.
After a hold on replication for a few changes, Abbott and Costello Rarities is finally getting pressed in replication after being in a holding pattern there for a while. The replication plates needed to be redone, but now all collaborators are happy with the set, and I’m happy it’s on it’s way to coming back here! Mid Century Modern Volume 1 and 2 are in replication as well, and several of the other sets are nearly wrapped up.
I’m taking a break from examining and cleaning film to write this, so I’m very much in film mode. On Thursday morning we’re happily transferring more films again right here in Detroit; the Da Vinci (color correction and controller) has a new hard drive (after the one from the 90s or very early 2000s died) and the system is working just grand. We’re not doing the ‘Flip’ stuff on this machine for the most part now- we’re doing 4ks on those on a lasergraphics scanner.A big batch of nitrate is on its way back to UCLA to make room for more… and this next batch will be the final ‘Flip the Frog’ films to be scanned. 38 films with almost always more than one element transferred for each. It’s now the second most expensive projects we’re done. I’ve been breathless seeing the original negs on these films getting scanned; it’s hard to believe those films can look *that* good. I was tearing up at the last session seeing the material in 4k. I made my final choices of what to pull material-wise today for the set. I’m working on digitally editing together original neg and Fine Grains for many of these right now, including Stormy Seas, Ragtime Romeo, Milkman and more. There isn’t an original neg on all of them, but almost all have a Fine Grain.
The Noveltoons blu-ray set has two machines dedicated to it right now. One of my freelances, while cleaning up some title sequences, pointed out different sets of cels for the same animation on two of the titles… they look almost identical except for the blur/dry brush around the smears on the bells of the jester’s hat!
The Lou Bunin set is moving forward again as well. This one is now years and years in process… mostly waiting for permissions on various materials.
Tomorrow there are both 16mm and 35mm films being transferred; the most exciting to me are the Kinex shorts that have shown up since the original DVD set of Stop Motion Marvels in 2010. Interestingly, my good friend Chris Buchman just informed me he’s managed to find another one of the Kinex horse race game films, so there’s now two of five we think. Other collaborators have managed to find nearly the whole series now. 35mm prints exist on the sound films Pepper the Pup (1931) and Hector the Pup (1935). We posted the raw transfer of it here a while back – here. Many thanks to the preservation efforts of the Library of Congress for saving this fun short.
Some of these films are clearly not classics… but interesting just the same I think. One collector I know and respect said he didn’t know if the Kinex shorts were worth saving! I think they’re all historically important. I’m excited to come closer to doing when we wanted to do on the DVD of that title- get as close as possible to presenting the entire series.
Sometimes I wish we could move faster on licenses and getting some of the holy grails. I guess patience will pay off at some point, though some of my friends and collaborators have suggested otherwise at times! There are several projects I’ve been chasing for years with varied results.
The Betty Boop and Popeye special set gets its final transfers this next week. The machines are humming here copying all the ’special’ discs. Many thanks to the cartoon collectors; you’ve very much made it possible to replicate and transfer many of these films much more rapidly.
A major hurdle was crossed this last week on a project I can’t talk about yet, but I’m very happy it’s moving forward.
Now: the cartoon for this week!
Recent news reminds me of the Private Snafu cartoon Going Home (1944). This particular short was pulled from the Army/ Navy Screen Magazine, likely because of its reference to a bomb that seems to be similar to the then-in-progress Atomic Bomb. The message is this particular short is similar to many Snafu’s: keep military secrets. It’s one of my favorites of the series, especially because of the free and flowing Bobe Cannon animation in the last scene. Watch some of this footage in slow motion on youtube (under the little settings gear) and you’ll be amazed at some of the really varied and fun poses. This copy appears on the Private Snafu blu-ray. It’s taken from the fine grain master positive held at the National Archives.