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Post by brianfretwell on Dec 1, 2018 19:38:30 GMT
The Peter Cushing Dalek films were released on 16 & 8mm according to list of merchandise in Dr Who: The Sixties. Super 8 prints were from Walton films (edited down to about 80 minutes) a couple of extracts from the second were also issued in full "CinemaScope" ratio as was the trailer from Derann Films. I had thought the 8mm of Harry worth was from a negative that was sneaked out of the library, as with the 16mm Dr Who dupes that have been around for years. |
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Post by Sue Butcher on Dec 3, 2018 0:30:07 GMT
That'd be the cheapest way to make a good copy in those days, vision on 8mm and sound on a tape you'd run during projection.
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Post by Paul Vanezis on Dec 3, 2018 9:13:04 GMT
The Peter Cushing Dalek films were released on 16 & 8mm according to list of merchandise in Dr Who: The Sixties. Super 8 prints were from Walton films (edited down to about 80 minutes) a couple of extracts from the second were also issued in full "CinemaScope" ratio as was the trailer from Derann Films. I had thought the 8mm of Harry worth was from a negative that was sneaked out of the library, as with the 16mm Dr Who dupes that have been around for years. Let's not confuse commercial 8mm releases with those made for specific sales reasons and the pirated Doctor Who films of the 1980's. The Harry Worth 8mm film of 'James Bond, Where Are You?' was made for the purpose of screening on airlines. The small size of the film meant that small projectors could be used and was ideal for the small screens that were used on aircraft in the late 60's and early 70's. Several episodes were made and used and when they were finished with, were spread to the wind. Several have turned up over the years, but only one has survived and was returned to the BBC Archive some time ago. The 8mm films of Doctor Who that were made in the 80's were obviously done for nefarious financial gain. Most weren't "sneaked out of the library" though, but borrowed from the film collectors who had them at the time, hence the very high quality of some of them. But 8mm versions of some of these were also made, despite them being less straightforward to make; they can only be made optically which would require a laboratory optical printer. Paul |
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Post by garygraham on Dec 3, 2018 14:57:49 GMT
> But 8mm versions of some of these were also made, despite them being less straightforward to make;
> they can only be made optically which would require a laboratory optical printer.
> Paul
There was quite a market for 8mm and Super 8 porn films so there were obviously labs that were willing to handle illegal material.
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Post by Ronnie McDevitt on Dec 3, 2018 15:27:15 GMT
IIRC football matches e.g. previous FA Cup Finals were advertised for sale on 8mm in e.g. 'Shoot' magazine in the 70s. Yes it was a Romford based company called Quality Products who did indeed take out full page ads in Shoot. I have an old catalogue of theirs which also listed vinyl recordings of radio commentaries to some big matches, mostly FA Cup Finals as well as Super and Standard 8 films. I know of at least one match released on 8mm which; is missing from the relevant TV archive -they used footage from both BBC and ITV Sport. They were certainly trading into the early 1980s before presumably becoming a victim of the home video boom. It appears they chose not to move with the times and change to the VHS market. |
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Post by Ray Langstone (was saintsray) on Dec 3, 2018 16:29:43 GMT
IIRC football matches e.g. previous FA Cup Finals were advertised for sale on 8mm in e.g. 'Shoot' magazine in the 70s. Yes it was a Romford based company called Quality Products who did indeed take out full page ads in Shoot. I have an old catalogue of theirs which also listed vinyl recordings of radio commentaries to some big matches, mostly FA Cup Finals as well as Super and Standard 8 films. I know of at least one match released on 8mm which; is missing from the relevant TV archive -they used footage from both BBC and ITV Sport. They were certainly trading into the early 1980s before presumably becoming a victim of the home video boom. It appears they chose not to move with the times and change to the VHS market. What's the missing match, please? I'd love to find out. |
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Post by Ronnie McDevitt on Dec 3, 2018 21:11:50 GMT
Yes it was a Romford based company called Quality Products who did indeed take out full page ads in Shoot. I have an old catalogue of theirs which also listed vinyl recordings of radio commentaries to some big matches, mostly FA Cup Finals as well as Super and Standard 8 films. I know of at least one match released on 8mm which; is missing from the relevant TV archive -they used footage from both BBC and ITV Sport. They were certainly trading into the early 1980s before presumably becoming a victim of the home video boom. It appears they chose not to move with the times and change to the VHS market. What's the missing match, please? I'd love to find out. Its highlights of the 1976 Scottish Cup Final Ray - Rangers 3 Hearts 1. Both Scottish channels retained only the goals and likely the trophy presentation. Quality Products released different versions of their titles often on 100, 200 and sometimes 400 feet reels for the same game. They also sold black and white and colour editions of the same game as well as silent an sound. The game in question was only released in black and white and is from BBC Scotland with Archie MacPhersons commentary. |
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Post by Alex Weidmann on Dec 17, 2018 10:56:49 GMT
At the screening on Saturday, I noticed the "Morcambe and Wise" episode was a possible candidate for partial Colour Recovery by Richard Russell's process.
There was a lot of chrominance patterning; though unfortunately the focus was inconsistent.
The right-hand margin of the frame had softer focus than the rest of the image, and the focus across the frame was constantly shifting between soft and sharp.
Presumably there was an issue with the film recorder when this telerecording was made.
You could recover maybe 50-60% of the colour, and the rest would have to be recolourised using an alternate process.
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Post by martinjwills on Dec 17, 2018 11:15:33 GMT
Richard Russell posted this Illustrated using a frame from one of the Morecambe & Wise episodes, the main stages in the Colour Recovery process: 16 mm B&W film scan, measurement of geometric distortion, determination of the signs (+/-) of the U&V chroma, recovered original-colour image. Coded in BBC BASIC! |
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Post by Alan Hayes on Dec 17, 2018 11:33:47 GMT
That's astonishing - to see the process visually broken down like that somehow it seems even more akin to magic than it did before. Really enjoyed MBW on Saturday. And I'm finally back, logged in to my original account. Only took 8 months!  |
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Post by John Wall on Dec 17, 2018 11:40:55 GMT
Both the M&Ws are being shown in colour on Boxing Day on BBC2.
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Post by Alex Weidmann on Dec 17, 2018 13:45:55 GMT
Probably should've checked Richard's website before I posted!
I wonder how he handled the issue with soft focus?
Suppose it could've been something to do with the projection system in NFT1?
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Post by Alex Weidmann on Dec 17, 2018 16:04:08 GMT
Richard Russell posted this Illustrated using a frame from one of the Morecambe & Wise episodes, the main stages in the Colour Recovery process: 16 mm B&W film scan, measurement of geometric distortion, determination of the signs (+/-) of the U&V chroma, recovered original-colour image. Coded in BBC BASIC! Where was this posted? I don't see it on Richard's website under processed programmes. |
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Post by Paul Vanezis on Dec 17, 2018 16:16:35 GMT
Probably should've checked Richard's website before I posted! I wonder how he handled the issue with soft focus? Suppose it could've been something to do with the projection system in NFT1? Episode 5 is slightly warped, which means that it doesn't lie flat against the 16mm gate on the Spirit telecine it was transferred on. For the BBC2 repeat, we scanned the film at R3store on their Scanity. It has a 180 degree film wrap which means we can retain focus edge to edge even if the film is warped. The 1920 x 1440 files we created weren't compatible with Richard Russell's colour recovery software and initially we didn't think the colour could be recovered, but Richard came to the rescue and solved the problem. Paul |
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Post by Alex Weidmann on Dec 17, 2018 16:26:51 GMT
Interesting, thanks for the info.
Am guessing Richard resampled the footage with a high quality algorithm, to create a 1920 x 1080 video for his colour recovery process.
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