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Post by Richard Marple on Nov 13, 2019 13:16:18 GMT
HTV were using TK for showing films into the 1980s, with at least one occasion where it started to give trouble while they were screening a film.
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Post by garygraham on Nov 13, 2019 19:14:30 GMT
These things are never as clear cut as people like them to be. Sure, there are patterns, but as with every rule there have always been plenty of exceptions, so it's never correct to say "this would never happen". And you can't tell if film is broadcast from film or from tape having been transferred beforehand. But editing is completely different with various clues. Until digital editing and AVID came along, video equipment was expensive to have tied up for months editing 13 hours of a single camera drama series and there was no benefit to doing so for a series that was originated on film. In fact an edited master on video was a serious downside if it was to be sold abroad to non PAL countries. Whereas 16mm could be edited on a Steinbeck and sometimes away at a third party company in a cheap office and then be telecined for foreign sales as needed.
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Post by richardlatto on Jul 2, 2021 12:27:52 GMT
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Post by Chris Singh on Aug 1, 2021 9:12:34 GMT
So Worzel Gummidge IS being restored for a HD release that's great news.
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Post by Marie Griffiths on Nov 11, 2021 15:35:13 GMT
So Worzel Gummidge IS being restored for a HD release that's great news. People were asking about the original version on the Bald Explorer Group, I think there is interest out there.
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Post by richardlatto on Jan 20, 2022 19:57:14 GMT
Hello. Does anyone have a copy of The Scarecrow Wedding recorded off-air at all? Either from original TX or a repeat on ITV, Channel 4 or UK Gold. Thanks.
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Post by richardlatto on Mar 24, 2022 18:01:32 GMT
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Post by John Green on Mar 24, 2022 22:48:56 GMT
"With renewed interest in Worzel Gummidge thanks to Mackenzie Crook’s brilliant re-imagining of the stories, this is an ideal time to revisit the late-70s ITV version, where the loveable scarecrow was portrayed by Jon Pertwee. New copies have been made from the original camera negatives, and we’re delighted to debut these pristine restorations (three episodes), prior to a future HD release from Fabulous Films on Blu-ray."
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Post by Richard Marple on Mar 25, 2022 22:10:18 GMT
I'm pleased to hear about this, as even the DVDs were mastered from down the line copies.
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Post by richardlatto on Apr 7, 2022 6:39:34 GMT
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Post by garygraham on Apr 8, 2022 1:08:00 GMT
Example 1: Trumptonshire trilogy... the first so-called "restored" DVD set was restored from 2" tape dubs made in the 70s... by the BBC, even though the BBC itself always TX'd it from film. I do believe they did the same with the Paddington and Mr. Men films, maybe with a view to keeping them as safety copies if the films fell apart. Which they almost were by the ends of their respective runs. That doesn't make sense though. The films would have been shot on colour negative. The neg would be cut to match the editor's workprint (A and B rolls with 16mm) and then a print made for TX. The BBC very probably only ever made one print from the neg and it was that print it screened repeatedly. Negs usually ended up untouched in a vault for decades. In general the only negatives that fell to bits were those for Hollywood films where hundreds of prints were made for distribution around the world.
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Post by markboulton on Apr 11, 2022 7:51:55 GMT
Well it was prints I was referring to as falling to bits, in no way would I have expected the negatives to, but these films being independent productions (as also with Smallfilms, FilmFair, David Yates, etc) wouldn't necessarily have the negs kept by the BBC or in any kind of secure storage. Witness the poor state of the Bods that the BBC didn't keep their 2"s of.
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Post by simoncurtis on Apr 11, 2022 23:02:20 GMT
Well it was prints I was referring to as falling to bits, in no way would I have expected the negatives to, but these films being independent productions (as also with Smallfilms, FilmFair, David Yates, etc) wouldn't necessarily have the negs kept by the BBC or in any kind of secure storage. Witness the poor state of the Bods that the BBC didn't keep their 2"s of. I'm no expert on this subject but i believe, because an original negative is unstable, spliced together using adhesive. A positive made from the original negative became the master, and the original negative, because of its fragility was often junked. A transfer of the master would then be made for broadcast, and the original master stored away in the archives. Make a good Dr Who story this
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Post by garygraham on Apr 12, 2022 7:18:43 GMT
Well it was prints I was referring to as falling to bits, in no way would I have expected the negatives to, but these films being independent productions (as also with Smallfilms, FilmFair, David Yates, etc) wouldn't necessarily have the negs kept by the BBC or in any kind of secure storage. Witness the poor state of the Bods that the BBC didn't keep their 2"s of. Very good point.
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Post by garygraham on Apr 12, 2022 7:21:35 GMT
Well it was prints I was referring to as falling to bits, in no way would I have expected the negatives to, but these films being independent productions (as also with Smallfilms, FilmFair, David Yates, etc) wouldn't necessarily have the negs kept by the BBC or in any kind of secure storage. Witness the poor state of the Bods that the BBC didn't keep their 2"s of. I'm no expert on this subject but i believe, because an original negative is unstable, spliced together using adhesive. A positive made from the original negative became the master, and the original negative, because of its fragility was often junked. A transfer of the master would then be made for broadcast, and the original master stored away in the archives. Make a good Dr Who story this It is possible for a cement splice on a negative to come apart but they are pretty stable. The other type of sticky adhesive tape splices would never usually be used on negative. With 16mm neg it is cut A and B roll with the cement splice always on the black section so the splices don't show.
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