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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The Cine Blue dye appears much redder by artificial light than by daylight, especially before drying the film, as do all tints containing Cine Blue. Specifically, color became relatively less obtrusive, pushed to the background of the image, but from this position its sensuality remained and was to a degree even enhanced by its potential to immerse the image and viewer, unobtrusively, into a world of carefully gradated tints and tones.

The dye can be used to make a colour swatch on film as an aim for a restoration. If drums are used for drying it is advisable to remove the surplus water by whirling the drum previous to drying.

Only numerical values of density allows colour to be plotted on a trilinear display and ignores the overall density. 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. Even under the best storage conditions, the nitrate frames in these books are bound to disappear eventually.

In its more standardized form, film tinting works by coloring the emulsion of black-and-white film prints with translucent dyes. This cutting pattern is underscored by the switches between different tints. This is one of the the most useful display techniques.

Their main intention is to show pleasant, exotic places; calgari is used to emphasise this theme. The corrosive action of the dye itself. Always carefully remove any surface moisture from the film with a damp chamois, before drying.

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In some cases, it was even possible to provide a gradual transition from one color to another for example, from blue to amber, in order to show the coming of daylight. Tinting, as carried out by film laboratories, is a simple process. Batch processing continued, at least in America, until about Thus, in toning, the highlights remain colorless caligqri all half-tones and shadows take on the hue of the coloring compound.


Subscribe to the blog to receive all the news: With Martin Hammer and Maria M. We also received a set of samples of the original tints and tones protramm nitrate stock. Multiple copies were made by multiple positive cutting.

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Tone dyes are the image, and when these fade the image will be destroyed too, where there is no retained silver. New Brunswick et al.: The hydrolysing action of acid which in many cases is added to assist dyeing. The twelve tints above are given merely as examples; other tints may be readily obtained by making a trial with a small amount of Solution on a short length of film, taking care to match the tint in artificial light and not by daylight, since any dye containing Cine Blue appears redder by artificial light than by daylight.

Even without considering the huge cost of restoring a film in color, the fact remains that current technology has proved unable to avoid the progressive decay of color film stock, even under the best possible conditions of preservation. A plausible explanation for the absence of reliable evidence on chronological priority might be that tinting and toning were adopted by different producers more or less at the same time.

Status V or A or to a photographic film sensitivity e. Audiences, Institutions, Practices, ed. In the s uranium was not only a common toner but was also the basis of a very common mordant used as the starting point for a wide range of dye toned colours.

This granted, I would maintain that tinting the dyeing of a shot with a single over-all color especially demonstrates the metaphoric power of silent cinema, because even when realistically motivated, the singularity of color can seem to dominate the screen in a way that multiple colors rarely do.

In Roger Smither ed. One early method of applying these dyes onto films grew out of hand-coloring techniques and simply entailed using a wider brush than the single-camel hair ones used for selective hand-coloring work and broadly applying the dye over a swath of frames.

Caligari FilmBühne

Already have an account? All the volumes offer precise information about the chemical formulae used in order to prepare the dyes, the timing and methods of their use, the technical problems arising from inaccurate treatment of caliggari film, and the possibilities of combining different coloring methods on the same positive print.

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As the rate of dyeing slowed down, the solution would be replenished with concentrated dye solution. Film which has been fixed in a bath containing ordinary, or chrome alum, dyes more quickly than that treated with plain hypo and hardened with formalin. A second and more rudimentary strategy involves reproducing tinted scenes by printing on color stock from black-and-white negatives, using a color filter. A two-reel vertical winder, with or without a synchronizer, is useful.

The most important I need to thank is Bob Mabberley, of Soho Images, London, who discovered most recipes and tested out hundreds of formulae with modern dyes on a small scale and wiesbwden on to tint and tone complete features using these original techniques.

The most fascinating example of this effect of tinting I have seen comes from one of the few surviving tinted prints of a Griffith Biograph film, the print of The Lonedale Operator held by the Nederlands Filmmuseum. WALKS — big tour.

However, since a tint is an overall colouring, anywhere on the image would give readings that would plot in the same position on a trilinear display, and cancel out the brightness. In the case of a feature film there may be separate rolls of film to be coloured. However, these tints were slightly lighter than the corresponding tints on nitrate base. After tinting and toning the film is then reassembled. Detailed records kept with the examples must be kept as a reference collection to refer back to select, identify or research into the images produced.

The term Digital Desmet comes from Thomas Christensen of the Danish Film Institute, who has experimented with digital techniques for tint and tone restorations.

This demonstrates that the first attempts at tinting positive film stock in western Europe were made quite early. Toning differs in that the clear portions of the film remain unaffected—only the silver image of the positive film becomes colored.

Most experimenters had rejected the entire concept of using the original techniques because it was felt that positive cutting resulted in an increased risk of break in projection.