Lenkinap

Ist das der FilmKopie von 2002 oder eine alte Kopie? Meine letzte Vision auf eine Kopie der 60 (GTC) war eine Katastrophe. Fransope auf dem Cinerama BildWand, hallo die traurige Gesichter :rolleyes:

Es ist keine große Überraschung. Technicolor ist sehr schlecht von Thomson verwaltet. Es gab zu viele Fehler-Strategie (vor und seit Thomson).

Danke schôn fur die Kommentaren ! In English now... The Svema material (Shostka factory) has own internal defects, but has almost no fading. The magnetic film was also produced there and has a great tendency to loose his coating (falling to dust). But it was true for some batches and perfect for others. The duplicate sound used for Ruscico DVD was one of them, the O-sound is very good. They have since a few years a special Sondor reproducer to replace the Lomo/Kinap reproducers. It's a gear that is much more friendly for the full-coated film. All the legend about the loss of the negatives are coming from an interview of Karen Chakhnazarov. He has simplified the fact that the negatives were at Kiev (it was almost true) but has also forgotten to stipulate that the MosFilm laboratory was anymore able to handle 70mm negatives. And it was the worst problem. During the majors changes of the 90's, all the former USSR gears were removed, mostly scrapped and the chemistry went to Kodak after the demise of Svema. And only in 35mm, with Dolby Digital printing facilities. Now MosFilm is in a new area, with some more money and are taking care of their history. LenFilm too, at a different level. For your vision of Digital restoration, the coordinator is Anatoli Petritsky* (the main operator for the movie, with Aleksandr Shelenkov). He has been involved for the DVD and the last theatrical release. He has been very critical about the DVD and the last theatrical release. The main problem was the nature of the source and an over restoration of the sound. But he has retained the lesson and knows how to work. Now, they have "la creme de la creme" for the raw material, a reference-print and the money. I hope that the result will be at a very high level. For example, he likes the "lavish" of Svema; it's out of question to put flashy colors. So it will be a restoration and a preservation, not a movie like new. Only the worst defects will be removed ... For Arane, I don't know how Jean-Rene uses the machines recuperated at Kiev. I know it is installed in a room near the mechanical workshop, that it has been modified by a guy at CMP (now retired, before the death of Francois Herr). In fact, he was unable to give me a "positive answer" about 70mm negative handling at Arane. If I agree that Playtime was not perfect, it's better than nothing after the sad last print in Spain in the 90's. The negative was damaged, he had no LAD or short bands if I recollect well, he had to do an homogeneous release-print with o-neg, some dupe-neg and 4K digital restoration. And not so much money.... I have seen a lot of its others works, he is able to produce very good prints. The schematic of colors used by Jacques Tati was also very special, I have a very good recollection of the original print at the Empire. It was also a choice of F Edde to keep a "patine" (for The film's credits). It's also always hard to duplicate a color schematic when the nature of film stock have so much changed in the years. To finish, I'm involved for almost nothing in this history of "War and Peace". I am the lucky owner of a complete print from the former DIC (Kinopanorama), almost never used because it was the backup (they did receive the prints in 4 times, always with one backup, just after Moscow's premiere). After the death of JP Mauclaire, the backup print went to a French distributor called R. Gardet and has had no other theatrical release. When he died, his widow give me all the prints of former DIC. The other prints located in France (Arkéion/Sovexport/Bois d'Arcy) are late prints from duplicates or Eastman edited prints (for Gaumont Palace, dubbed in French). Very similar to the US release ... Some parts are also in private hands, but they are not sharing a lot. It's mostly Eastman and dubbed into French.... and faded at a point ! "War and Peace" is an important part of my life (as the Kinopanorama) and my only credit is to give a referential (and some relationship for money). Best regards, I will keep you informed for the progress of this epic restoration. The saddest thing is that nothing was done before... * If you look at "Anna Karenina", the main operator (L. Kalashnikov) has copied a lot A. Petritsky. He was a master to use the famous 1-KSSHR hand camera. The last scene has been inspired a lot by the work of A. Petritsky.

Sorry to write in English, but my German is far than perfect. I want to give some more information about the 70mm original materials of "War and Peace" and what is scheduled to be conducted in the next few years. Even if given by MosFilm as lost or unusable, the O-neg and O-sound were -in fact - stored in the former Kiev Laboratory, MosFilm and GosFilmoFond. Just before the demise of former USSR block, a first preservation was scheduled in 70mm, but never released. As Russia have some non- payed bills at Kiev, the authorities have confiscated the negatives until 2004. An arrangement was done (with the help of Gazprom) and the o-neg and o-sound went back to GosFilmoFond. A first step of stabilization, consolidation and evaluation of the O-neg was done the last two years. The O-sound was transfered, with a non-destructive system- to a high-def digital format with their special Sondor dubber/reader. The Ruscico DVD came from a duplicate sound film (very poor) and the film from a poor anamorphic 35mm reduction. With - for both - many defects (over restored sound, problem of colors flickering, scratches). As most of the main former USSR studios have an important amount of 70mm negative to preserve, a next step was decided last year. A system designed by FotoKem/Imagica (a BigFoot V2) is scheduled for MosFilm. The Imagica BigFoot V2 is a 15K scanner, mostly used in 8K configuration for 70/5p. A special system for edition, restoring was also designed by ISE and NikFi. A test was done at FotoKem (Burbank) to evaluate the needs and a 20min demo reel was presented recently (sept. 2010) to private investors in Canada and in Russia. The cost of a such equipment is not realistic with MosFilm budget and even the Cultural Ministry budget. The previous 35mm restoration for the DVD was already expensive for them and it was only 80 000 US$. It has been a best seller, well done! So "War and Peace" will be restored in 70mm and digital for the next few years. You have also to notice that both Svema and Orwo are gone, the chemical laboratories and printers also gone and no-one is able to produce a single print from a 70mm negative. MosFilm has only 35mm facilities, Kiev is almost gone. It should be the same for DEFA. Only Arane has one optical printer coming from Kiev, but now fitted with 65mm sprockets ... It's mostly for archival, but one or two prints will be released, probably at FotoKem. The next one scheduled is "Dersu Uzala" (with Japan Airlines) and then "Story of the Flaming Years" and "The Optimistic Tragedy". Ruscico will release the new restorations in a new "BlueRay" line, with the correct aspect-ratio and a better sound. An article will be published, both in Russian, English and French, as soon as MosFilm decided to do the official announcement.

Obwohl gegeben als verloren, "Original-Materialien" sind nun in Gosfilmofond gruppiert. Sie wurden zwischen Kiew, Moskau und anderswo verstreut. Sie sind stabil, konsolidiert und eine Wiederherstellung "into the pipeline" . Mosfilm erwägt die Einrichtung eines Systems zur Erfassung von digitalen Imagica BigFoot II fähig zur Behandlung von negativen 70mm (KS-1866). Er verteilt eine Reihe von falschen Gerüchten über diesen Film. Dass war nur ein politisch und finanziell Problem . Ich muss sagen, dass" Mosfilm Lab" kann nicht mehr 70mm machen. Kiew ist auch demontiert.

Krieg und Frieden - SovScope 70) - Orwo Print - 6-Kanal-Magnetton - deutsche DEFA - Synchronfassung* Mi 1.12. 20.25pm LEOKINO 1, Partl 1 – Andrej Bolkonskij So 5.12. 11.00am LEOKINO 1, Part 2 – Nataša Rostova Mo 6.12. 18.40pm LEOKINO 1, Part 3 – Borodino 1812 So 12.12. 13.30pm LEOKINO 1, Part 4 – Pierre Bezuchov Das Zigeunerlager zieht in den Himmel - SovScope 70 - Orwo/Svema print - 6-Kanal-Magnetton - russische Originalfassung mit deutschen untertiteln Di 07.12. 19.00 http://www.leokino.at LéoKino, Innsbruck AT Verzeihen Sie die Fehler! Die deutsche Sprache ist nicht meine Muttersprache :blush: *ich glaube das der Berlin Film Archive hat eine originalfassung mit deutschen untertiteln. Der Originalton ist besser als Synchronfassung.

Hello, Despite the death of Francois Herr in early April (the man who has manufactured the Cinerama sprockets for Bradford), we have been able to control four programs at his Cinerama screening room in Paris. He has done this screening room for his own pleasure. He has only one movie, the advert for Renault "Dauphine" and some trailers. http://www.cine-materiel-paris.fr/pages/30.html It was not difficult to align the projectors for Kinopanorama* and four programs were checked in Cinerama sound configuration, only with 7-tracks. No problems were encountered... Two program are mounted on Cinerama reels (2400m) because they were spare prints for Marseilles, never used. Photographs to follow. We have checked some uncontrolled prints and they are perfectly aligned (both sound and picture) * we have an alignment film called "Eclair" (from the name of the lab).

Just have a look here: http://www.widescreenmuseum.com/widescreen/wingcm2.htm

Hello, I wrote in French (sorry but I know only French, English Russian but not German) Ich schreibe ein wenig, aber nicht sehr gut an almost complete story of the Paris Kinopanorama: You have the external link here: http://www.silverscreens.com/forum/viewforum.php?f=14 Follow all Kinopanorama links, you have the story of the theater from soviets to Gaumont. It's not completely finished, I have some copyright problem for the last years (1985-1992). The technical part of the process is detailed. If someone here wants to do the translation to German, feel free to do it with a credit and copyrights for pictures. Best regards.

:D :D :D :D Herbert is already doing a great job to promote every 70mm (and from any country) or WS format that a such job is not needed. But if he wants to do it .... just remember how the first Cinermiracle was projected, the projector were into the theater, without booth. As reported by Thomas, "It's unfortunate you sit on these prints and cannot have them shown anywhere - doesn't make sence. it's worthless film unless shown to people ". It's wrong, we are not sitting on the prints ... its dangerous for them. We are open but we do not want to leave into unknown hand prints that have a such value (not money, but I don't think Gosfilmofond has still the material to reprint them) for many weeks and do trials or alignments when times permits. It could be scheduled ! I was maybe one of the last to project the French 70mm OV/ST print of "Around the World in 80 days" in the 80's. The distributor use to give us the print the early morning, we use to do a screening test and then the show during the day and the print came back to distributor's storage ASAP. No platter was allowed, reel to reel only. It was the same for the 35mm mag IB print for "Voyage to the center of the earth". So we are not asking Bradford WSF team to climb Everest, we are just very careful.

Hello, Thanks a lot. We all hope to be able one day to do a show in England, Germany, France .... with two or three programs of real Kinopanorama (not extracted 70mm-> 3-strips). If we can discuss of the interest of "Kinochoc" (the worst program), the other travelogues are good in term of quality. For the two first ones Roman Karmen was involved. Volga Volga is a very good movie (narrative), but it needs to be translated "live" or subtitled.

Some photographs about Paris, Perm and Kiev Kinopanorama The central booth with 1 Vic X and one KPP1 6-perfs KPP-1 projector during a show launching - 1200 m reels The central booth with 2 Vic X and Two "Baker " KPP-1 Kinopanorama projectors Amplifiers wall (Perm) Sound reproducers (Perm) When the screen is not there. Soviet Kinap speakers and STS sound system (1986-1987) The control of Kinopanorama picture an sound (Kiev 2008) Moscow Mir Panorama 1958

Hello, Here is the list of Kinopanorama prints saved in 1995-96: - Two hours in USSR - French dubbed - 2 SVEMA prints (one on 1200 m reels one in 2400 m reel for Cinerama Marseilles) and one Eastman print faded*. - USSR At Open Heart - French Dubed - 2 SVEMA prints on 1200m reels - A Frenchman in Moscow - French dubbed - 2 SVEMA prints on 1200 reels - Eclair - B&W alignment test for both sound and picture - Kinochok - 1 SVEMA print in average shape in 1200 m reels - Naughty Curves (the unedited version of extracts include in program Kinochock) - 1 SVEMA print NEW (1200 m reels) - Volga- Volga - 2 SVEMA Prints one in very poor shape (water) the other like new (1200 m reeels) - only one 10 sec buzz on the RC channel - The optimistic tragedy : 1 B& W (and some parts in colors) print - extracted from 70mm (1200 m reels) - The law of the Antarctic: 1 SVEMA print not synchronized but complete.The print could be edited with a cut of 20-30 seconds. Extracted from 70 mm. Several unknown prints, not listed in any books, archive. It could be test edited by JP Mauclaire and not exhibited in Paris. We have Winter Studies, some circus shorts, helicopter shorts, but they are in the "classical programs", excepted Winter Studies. This one was a Short by himself a first par of the last program. All the prints listed are how they are, it's SVEMA not glorious Technicolor. All the SVEMA prints are not faded, but the colors are very similar with ORWO or Agfa prints. Excepted one sound print, the sound is clear, without buzz, excessive hiss , noise in all the 9 channels (tested on a sound reproducer with a new 9-tracks head). The magnetic coating is not falling to dust even if we are very careful with the surface quality of the magnetic head of the reproducer. You know almost everything of what we have; this is not the trash reels exhibited in the picture from 1996. As I can't publish photographs now because I have not the number of post to do it, I will publish in the close future some unknown picture of both Moscow, Leningrad, Kiev, Perm, Brussels and then Paris Kinopanorama. I think it's a problem to limit spammers, but I am not a spammer but a rule is a rule :wink: * this print is a mister for us, it was released by Eclair laboratory near Paris.

You are right, but when you do not open your eyes, you see nothing. I have done recently a private screening of "War and Peace", with mixed people (journalists, sponsors, Russians, usual spectators). I was expecting 100-150 patroons, finally we were full, 434 patroons. I have seen only a few (read 2-3) leaving the theater during the show (in 5 parts). It's a plan for a long term project to restore the o-neg of "War An peace" .At least , it has now returned in good hands after a long battle. So there is an interest, but people needs to be open and curious to see "something else" than Lawrence of Arabia, Battle of the Buggle or This is Cinerama.

For souvenirs:

Hello, You are free to publish the mails. I am shocked by the picture: - because it's only a little part of spares prints; - it was 13 years ago and we have worked on the collection; - I'm a professional and my honor is to show a movie in te best condition, not a peace of crap. The rest is stored in wooden boxes, the sound film in a plumbed box. The prints are lubricated with Film Guard once a year and are stored in a cold and vented place (with acetic captors). I say and I repeat: the reason is somewhere else ....

The changeover system was only because in USSR the show was permanent. So it could be risky with a single projector, even if the KPP-1 was a workhorse. The last show in Paris in 3-strip was in 1963 and a small series in 1964, including one day in 3-strips another in 35/70mm in the weekly program. An itinerant Kinopanorama show was launched in two town (at least) in Paris suburb in late 1963 early 1964 (Romainville). The central projectors were removed in the late 60's for a project to transform them for a restoration of Gance's Napoleon (6 to 4 perfs), but never done. The last run of the Paris Kinopanorama's prints was for the closure of Perm Cristal Panorama theater in 2004, still equipped with the 3-strips system, but unused since 1966. The chief projectionist put the system back in working order and make a week of special events, including Kinopanorama presentation ... in French. After a good alignment, the prints run without a single problem !!!! Now The Perm Cristal, first scheduled to be rebuild as Imax theater has been demolished and most of the old equipment carefully stored.

Hello, The impolite man was me ! The prints are (and were) perfectly checked and synchronized. They have run for the closure of Perm Cristal Kinoanoarama theater just a few months after the proposal to Bradford. We are from the Kinpopanorama (Paris) and we know how to test a print. The reason was coming. The reason is somewhere else ...

Hello, Sorry for posting in English. It was the Director himself, that's the problem (Mr. Bill Lawrence) and it's mostly known that Thomas Hauerslev is not a fig fan of Russian's movies; his sentence at the last Berlinade was that "The Optimistic Tragedy" was boring, even if that movie is mostly recognized as a great film. And most of the decisional members of WSW are "US" oriented (addicts) for movies. Former USSR epics, and Kinopanorama movies were mostly politically oriented, but This is Cinerama was a political promotion for ... America. For me, a Festival promoting a way to see a movie on a wide screen must be open, politically free and her role is to show wide-screen movies from everywhere. It's also a good way to learn how other countries did for the change from 3-strips to 70mm. Some of the first 70mm Russian movies were with a separated 35mm full coated 9 tracks sound (Desna for ex.). It's sad because the prints are available in different language, in good shape (the French print of War an Peace in Russian with French ST is like new, the one dubbed in French is also very correct). And it's not a problem to put a video subtitling on Russian print, it's just a problem of time an passion. Regards and many respect to Herbert Born much more open.

Sorry, It was done by Google translate. If I can write in English, for me the worst problem with Bradford WSW is that the Direction of the Festival (an many members too) are locked on that sentence: "70 mm movies are American, European" but forget that former USSR has done much more movies filmed and projected in 70 mm, more than US for ex. And not the worst ... Try to suggest to the organization of the Festival a single Russian movie (War and Peace for ex), you will be received by this sentence: "it's crap and boring" They prefer blow-up, pink prints than a Svema - not faded - print. It's the same for 3-strips movies. I am one of the member of "Triple Ecran", a non-profit society that has collected, stored and restored, synchronized now 70-75 % of former Paris Kinopanorama Prints. They are in SVEMA, the sound film is perfect and we have proposed three or four years ago to WSW to exhibit two of them: - Two hours in USSR - Volga-Volga ... with very little requirement. We wanted: - to be located somewhere during the alignment and screen testing, - to supervised the DGB and plater building of the show (we are stored on 1200 m reels) - and an insurance for the prints. We didn't ask to go to the Hilton, eating in a 3 stars restaurant. In our mind, it was to change for the sempiternal TIC, HTWWW or the poorly faded Windjammers. Was it too much ? Yes because the manager refuse the deal !!! He has only asking us to send the prints (they are unique) to Bradford and the tests would be done when times permits. Its not very professional. That's all, and that's my commentary about WSF. It's trusted by Toddd A O, 70mm Panavision and Cinerama addicts, and everything else is crap. The only try with "Cinerama" Russian Adventure was a disaster and a stupid disaster: all the prints are complete (not only extracts, but the travelogues or narrative movies), not faded ... Are we responsible of stupidity of some guys ? For them, the cold war is not over ... But Kinopanorama, Kinopanorama 70 or Sovscope 70 movies are a very important part of Wide Screen. Much more important tan a poor blow-up a a digital recomposition of Windjammers. Herbert Born is much more open and his festival is a real universal Wide Screen Festival.

Hallo alle, Ich bin nicht sehr gut mit diesem Forum zu starten, weil ich zwei Nachteile auf: - Ich schreibe sehr schlechtes Deutsch; - Ich stimme überhaupt nicht mit der Politik des WSF von Bradford. Ich erkenne die Programmierung der Auffassung, massiv, dass die vorgeschlagene 70mm unten kocht für amerikanische Filme, aber manchmal Europäer. Aber die sowjetische Kino ist nicht verfügbar. Aber, wie der Film Schauenburg, sind Kopien gibt und sehr vorzeigbar für ihr Alter. Vergessen Sie die Fanatiker mit 70mm "SuperPanavision" oder "Cinerama" hoch über den T-Shirt, das die Russen die größte Anzahl an Filmen in diesem Format produziert haben, sind viele Filme, die sehr bunte und zugänglich sein. Aber sie sind "Made in USSR". Das ist eine politische Ideologie, sicherlich, aber auch amerikanische Filme. Und sie sammeln, sind massive ... Ich bin ein Vertreter der Vereinigung "Triple-Screen", speichert, verwaltet und synchronisiert die Kopien der geplanten Ausgaben um 70% auf Kinopanorama Paris. Wir haben zwei Filme Brdaford für eine Änderung der "IKT" vorgeschlagen, "HTWWW" und den pathetischen Kopie der Windjammer. Unsere Anforderungen wurden Kopien der Versicherung, Unterkunft für die technische Umsetzung und Kontrolle und Überwachung der Installation und Anpassung DGB oder Platen (wir sind in 1200 Meter). Kein Geld, um nur geben, dass die Öffentlichkeit etwas ändert. Die Abteilung verweigert, er hat uns gebeten, Kopien zu versenden, und sie würde es selbst tun. Es war "Zwei Uhr der UdSSR" und "Wolga-Wolga". Die Weigerung, uns die Hand ... Kopien natürlich einzigartig und wertvoll. In Französisch-Version, wir könnten eine englische Übersetzung der wichtigsten bieten, wie wir im Perm, die Zerstörung der Halle sind. Der Tag der Organisation von Bradford zu verstehen, dass nicht alles im Westen große Fortschritte Reise wird zu tun, und wir können wieder sprechen. Ich schreibe das gleiche für drei Jahre, jetzt sind wir auf Windjammer eine Kopie eines 35 und zog in digital ... Ich ließ der Richter. Guten Abend.