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Post by Sue Butcher on Sept 21, 2017 12:17:55 GMT
I think "Clone-A-Man" was made by students at the Western Australian Institute of Technology (now Curtin University). I had nothing to do with it, though!
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Post by Archive on Sept 22, 2017 8:09:41 GMT
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Post by Archive on Sept 24, 2017 6:53:36 GMT
This unidentified kine appeared a while ago, BBC cricket of some kind - how does sport fare in the UK in terms of "missing material?" appears cant post thumbnails here try link below.. https://ibb.co/gdwRb5
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Post by Paul Vanezis on Sept 24, 2017 7:35:06 GMT
This unidentified kine appeared a while ago, BBC cricket of some kind - how does sport fare in the UK in terms of "missing material?" appears cant post thumbnails here try link below.. https://ibb.co/gdwRb5
Yeah. Not a kinescope at all, but a BBC film recording. The BBC haven't kept all their match coverage but they do have a pretty good collection of highlights and full international cricket matches. Always worth checking though. Paul
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Post by Archive on Sept 24, 2017 8:29:11 GMT
They were known as kine's here (same as the americans) - although I have seen "video film" used as a term a lot in the 60's, especially GTV9 which appeared to make a fair amount of kines for other stations at one time.
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Post by Paul Vanezis on Sept 24, 2017 10:20:13 GMT
They were known as kine's here (same as the americans) - although I have seen "video film" used as a term a lot in the 60's, especially GTV9 which appeared to make a fair amount of kines for other stations at one time. Kinescope is an entirely reasonable term for US recordings. They are quite awful, effectively converting a 30fps interlaced production to 24fps progressive. Repeats add 3:2 pull-down on live TX or transfer, introducing motion judder in 525 and all sorts of other artefacts when converted off tape to 625. By contrast, film recordings capture frame for frame the original material, obviously rendering the field structure as frames, making an interlaced production progressive. I use these terms to properly differentiate between the two as they are quite different formats. I also use the term to make a clear differentiation between a film recording and a telerecording, which so many people, including some in UK archives, use to describe a programme that exists on film. That is a misuse of the term. The telerecording term was introduced by the BBC to highlight to viewers that a programme was not live, but pre-recorded. A telerecording can be on film or tape and refers to the broadcast rather than the programme itself. So, a programme is often described as "telerecorded on [insert date]" in paperwork, regardless of whether film was involved or not. A film recording can also be a telerecording, but not always. It's only a telerecording if the physical film or print is the broadcast master. If the programme went out on tape, that is either an edited programme or a telerecording. Subsequent film copies are film recordings. It gets more complicated when a programme was a telerecording on 35mm and broadcast from film. 16mm copies of that would be a film reduction! Paul
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Post by Martin Dunne on Sept 26, 2017 4:56:50 GMT
I think "Clone-A-Man" was made by students at the Western Australian Institute of Technology (now Curtin University). I had nothing to do with it, though! Curtain have taken this seriously and are checking their archive to see if they have anything on Clone-A-Men. Thanks, Sue!
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Post by Sue Butcher on Sept 28, 2017 2:50:23 GMT
Just for the record, Curtin had two areas of student film and video production, the Film and TV department, and the Arts department which ran an animation course. (Around 1981, Oliver Postgate was resident head of the Arts animation course, to mention a UK connection.) Another place material may have been kept was the Perth Institute of Film and TV (PIFT) in Fremantle, which was the main venue for screening student productions.
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Post by Robert Lia on Sept 30, 2017 0:18:24 GMT
Question for you James
Do you have any knowledge of the archive status of the GTC-9 Crawford Series "Hunter" is. I know that it aired in New York City on WPIX 11 when I was a child in the mid 1960's sold as tele recording / kinescope. I know that Crawford's has a very good track record with saving its shows but apparently most of "Hunter" survives only as film recordings when the show was shot on PAL 625 Video Tape. Why would film recordings have been made when the show was shot on video tape to be shown only in Australia. Would Channel 9 back then have needed film recordings for its stations that were out of the Capitol City's transmission area ?
I'm just surprised as Crawford's has hinted that only 2 episodes exist on PAL 625 video tape, I don't see them being wiped by Crawford's when they saved all of Homicide, Division 4 (bar 1), Matlock Police (bar 1), The Box (bar 5) from the same era. Also as Hunter was broadcast in New York after it was shown in Australia would Crawford's have made the sales prints them selves or would they come from GTC-9's copies. I'm also curios if the "Hunter" film prints might be the ones that were returned from WPIX in New York
Thanks
Bob
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Post by Archive on Sept 30, 2017 3:04:07 GMT
Hi Bob,
GTV9 had its own kinescope equipment and it appears they were also was utilised by other networks at the time for their distribution prints.
Kines would have been the natural solution to air material in New York, being NTSC and 60hz, a 16mm film print is a film print, international standard anywhere, and would have readily fit the telecine equipment, rather than a conversion from PAL 625, to NTSC 525 videotape, which was harder to do and expensive at the time.
I'm not sure of the reasoning as to why Hunter seems to be kept primarily as a Kine, but your right that there is some thinknig that at least some videotape material exists.
On another note, i have seen an interesting practice on some "Australian Kines" where the original film location inserts are spliced into the actual kine...essentially making only the studio based scenes "kines", the whole program including the location scenes were kinescoped, then the film inserts placed back in. This was a great idea, as it of course dramatically improves picture quality.
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Post by Paul Vanezis on Sept 30, 2017 11:00:40 GMT
...i have seen an interesting practice on some "Australian Kines" where the original film location inserts are spliced into the actual kine...essentially making only the studio based scenes "kines", the whole program including the location scenes were kinescoped, then the film inserts placed back in. This was a great idea, as it of course dramatically improves picture quality. That is interesting. In 1958, the BBC produced 'Quatermass and the Pit' which went out live. For the 1960 two part repeat, new 35mm prints were struck and then the original 35mm film inserts were inserted into the new version, replacing the film recorded film. When the BBC commissioned the new restoration for the DVD release, the episodes were VidFired, but the original film inserts culled from the 1960 repeat version were reinstated. Other material could be done in the same way now, such as the 1954 version of '1984'. This method of dropping in film inserts became the norm in the early 1960's, partly as a cost saving measure. It was a method that I think was pioneered by the production managers in the drama department at the BBC working on things like Quatermass and Alan Bromly's Francis Durbridge productions. So, for example, 'The Desperate People' was a six part Durbridge serial from 1963, one of the series I located in Cyprus in 1989. When I eventually got to see the films, I was struck by the high quality of the film inserts. They were obviously not film recorded. Then I discovered that the NFA had the BBC's originals, 35mm masters. With a view to maximising quality and reducing expensive 35mm film costs, the method was to avoid the use of videotape and film record direct to 35mm only the scenes undertaken in the studio. Film was not used to record poorer quality versions of the film played into the studio. The negative would then be edited, dropping in the high quality 35mm film inserts and broadcasting the production from film. The same process was used with many other BBC productions right up until the late 1960's. Paul
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Post by Simon Mclean on Oct 1, 2017 12:48:40 GMT
I'm just surprised as Crawford's has hinted that only 2 episodes exist on PAL 625 video tape, I don't see them being wiped by Crawford's when they saved all of Homicide, Division 4 (bar 1), Matlock Police (bar 1), The Box (bar 5) from the same era. Also as Hunter was broadcast in New York after it was shown in Australia would Crawford's have made the sales prints them selves or would they come from GTC-9's copies. I'm also curios if the "Hunter" film prints might be the ones that were returned from WPIX in New York If you don't mind me asking, what's missing from Division 4? I know there was a double episode that was left off the DVD releases, is that the one?
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Post by Robert Lia on Oct 1, 2017 21:23:21 GMT
Yes apparently its episode 190A or 190B that is missing for some reason. it is the first double episode. One of the color Matlock Police episodes after Michael Pate left the series was also left off of the DVD . The tapes could me damaged and not actually missing. On the releases of the soap opera The Box when ever there is a missing episode they have this caption
Not available - Original Episode Damaged or Missing
followed by a description of the missing episode.
I have not yet purchased the DVD sets of Division 4 and Matlock Police with the missing episodes yet so I don't know how Crawford's handled it for those releases
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Post by Archive on Oct 2, 2017 6:09:02 GMT
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Post by John Smith on Oct 2, 2017 9:52:46 GMT
I take it this is the missing Matlock Police episode, was looking forward to this one on the repeats then nada and ditto with the DVD release, wonder if they still have it and it's just damaged?
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