Since 2004 FOCAL International Awards competition is dedicated to the promotion and celebration of archival footage and its contribution to the creative and cultural industries. We congratulate all the past winners.
'German Concentration Camps Factual Survey' is an exceptional project, in terms of both its history and its subject-matter, as well as the technical achievement of restoring and completing the film and making it more widely available.
We honour the work of the Imperial War Museums' team:
Producer - David Walsh
Director - Dr Toby Haggith
Editor - George Smith
Lucy's traits that make her an outstanding person to work with are her pleasant manner, positive attitude, optimism, and diligence. She is always on the end of the phone and keeps her head cool even when things get very complex and urgent. Lucy's help on two very large productions in the qualifying period, a feature documentary about Lance Armstrong for ABC and Passion Pictures and a feature drama on Lance for Working Title and Studio Canal, used a significant amount of material from AP and their ABC News collections. Complexities around licensing, talent clearances, technical issues and the classic chestnut of finding obscure footage of particular events without all the requisite information were never enough to phase Lucy and she was always on top of things and a reassuring colleague. Reason for submission: Lucy has always given huge dedication and attention to every project I've worked with her on - sometimes to the point of me thinking that I must surely be the only client she has! The fact that she is simultaneously working with many others on equally demanding projects, is astounding. I am grateful to Lucy for all her industrious contributions to the projects I've worked with her on from the large complex and well-resourced projects right down to the small, quick-turnaround projects that require very little archive footage. Nonetheless she always take a really active interest in the project and is never short of novel suggestions to solve problems and source the shots needed.
Soul Boys of the Western World (Wellingmax Films) 5 Years ago I retained the services of Kate Griffiths as Archive Producer for the Movie SBOTWW The brief to Kate was to find "anything and everything" archive on the band Spandau Ballet and news archive of the time - particularly 80's UK politics etc. Kate's role went well beyond the definition of archive producer as she was involved with meetings at an early stage with band members , writers and the two directors that were retained on the film. I raise this because when the production changed directors mid way through the production , Kate had to re engage with the creative/archive process, re brief the incoming director and take further instructions. Part of Kate's task was to deal with a dysfunctional band , who had not performed [or spoken] for large parts of their career. Therefore "private band archive" was continually being located during the production process , sometimes material was "found" within weeks of the final cut. Kate had to react very quickly , negotiate and clear , plus find all the masters and from so many analogue formats. Rather that a work of employment , this project was a vocation! It is worth noting that this was a small independent production . The core team was Director , two Producers , Kate as Archive Producer and Editor. For 3 years that was it! Therefore Kate was involved in all aspects of the production , did her work in a most diligent manner and added ideas to the Producers and Director[s] So the above covers length of production , material sourced and creative input On technical matters; The finished film was 110 minutes and 100% archive Kate sourced over 450 hours of archive footage Every frame of the finished film was cleared for all rights. The E&O cover had no exclusions and cover was placed at good premium with no footage being deleted [for clearance E&O issues] from the final cut prior to mastering. Footage came from all over the World , particularly Spain , Italy and the USA E-mails and contractual terms from Kate were precise , with good negotiation on price to fit our meagre budget! A lot of archive material contained music [there were over 47 independent music cues within the soundtrack] Kate had to liaise with music clearance agents and where music rights were not granted/too expensive to license , Kate had to replace archive accordingly. Scott Millaney, Director
Made in 1919 by director Robert Wiene for the Decla production company THE CABINET OF DR. CALIGARI is deemed to be the prototype of expressionist filmmaking in Germany. The psychological thriller deals with a young man called Francis, who faces the mysterious Dr. Caligari on the local fair. Caligari exhibits the somnambulant Cesare, who foretells the death of Francis' best friend. Soon murder is spread around the village. Francis finds out about Caligari being the head of the local asylum and using the sleepwalking Cesare to commit those crimes. Embedded in the background story of Francis himself being an inmate of the asylum, the plot leaves open the possibility of various interpretations. DAS CABINET DES DR. CALIGARI is one of the most influential productions of Weimar Cinema. Known for its unique expressionist style, it had great impact on genres (e.g. the horror-film). With its obscure and lunatic characters it depicts the shellshock of World War I. Previous restoration attempts couldn't measure up with the original quality of this masterpiece. Now for the first time the almost complete original camera negative was used for a full 4K digital restoration. Previous photochemical restorations couldn't transfer the specific look of the original colours. Based on detailed analysis of the toning and tinting of original distribution prints, it was possible to digitally reconstruct the colours on a level very close to the original. Frames missing in the camera negative were supplemented by using images from positive prints which were adjusted by digital compositing.
1. Describe the element/s used for restoration, stating gauge and nature and specific problems associated with them:
Original camera negative from 1919 (Bundesarchiv-Filmarchiv, Berlin) Base for the restoration. Contains original intertitles as flashtitles. Problem: First act missing. Perforation damages, numerous jump cuts caused by missing frames. 16mm copy from 1935 (Deutsche Kinemathek, Berlin) Reference for missing intertitles. Two 35mm copies for Latin-American distribution from before 1923, tinted and toned (Filmmuseum Düsseldorf, Archivo Nacional de la Imagen-SODRE, deposited at Cineteca di Bologna) Completion of missing shots, Reconstruct historic colouring, Identification of editing mistakes in the negative. 35mm tinted and toned copy from 1920s (Cinémathèque francaise, Paris), two 35mm tinted copies from mid 1920s (British Film Institute, London, Cinémathèque Royale, Bruxelles) Completion of missing shots. Problem: Inferior to the camera negative in terms of contrast and focus, numerous scratches.
2. State the original aspect ratio and format:
35mm, 1:1,33, tinted and toned
3. Outline the restored aspect ratio and format:
2K and 4K DCP, coloured, 1:1,33 (side matted), stereo 2.0 (music) HDCAM SR, coloured, 1:1,33 (side matted), stereo 2.0 (music)
4. Explain where the work was carried out for each title (including labs and facility houses) and broken down where there are multiple titles in an entry:
Friedrich-Wilhelm-Murnau-Stiftung, Wiesbaden: Supervision of the restoration, research and collating of material, reconstruction of editing, colour map. L'Immagine Ritrovata - Film Restoration and Conservation, Bologna: 4K scan from nitrate sources, digital image restoration, colour correction, data preservation, 35mm duplication from camera negative and intertitles reconstruction. Documentation of the source material's tints and tones by Dr. Barbara Flückiger of Swiss research project DIASTOR for digital recreation of historic tinting and toning. 2eleven II zeitgenössische musik projekte and Hochschule für Musik Freiburg for the score inspired by original music pieces from Giuseppe Becce of the DCP, HDCAM SR and DVD/BluRay release
5. What methodology was used?:
Identification and dating of original export prints in order to reconstruct the colour map of the lost German distribution version. Latin American prints identified as the most original surviving prints. Identification of editing mistakes in the camera negative due to multiple re-conforming of the negative. 4K scan (Arriscan) of camera negative and additional sources. Reconstruction of 67 missing shots by using various distribution copies. In cases of large differences in quality of the materials, digital compositing was used to adjust missing frames. Retouching of physical damages. Automatic pass for dust removal. Removal of thick scratches only in cases, when possible without creating digital artefacts. Analogue artefacts which resulted in the film's production history were respected.
6. What preservation elements have been generated and where will they be stored?:
Photochemical duplication of camera negative (b/w dupe positive) Data preservation on LTO of 4K raw scan, 4K DSM
40 years ago, the Polish-born France-based artist-turned-animator-turned-live action director Walerian Borowczyk was an arthouse giant, but he has since come perilously close to being forgotten altogether. Comprising brand new 35mm-sourced HD restorations of five features (Theatre of Mr & Mrs Kabal, Goto Isle of Love, Blanche, Immoral Tales, The Beast) and fifteen shorts alongside numerous context-setting extras and a 344-page book, this isn't so much a box set as a full-scale attempt at artistic rehabilitation, and is an essential release for anyone interested in world cinema at its most adventurous. Walerian Borowczyk is a filmmaker and artist whose work has been long overdue for rediscovery and re-evaluation. This year, Arrow Films, with the participation and involvement of Borowczyk's widow and close collaborators, embarked on a lengthy and complex project to restore a number of his key features and short films, many of which had been long unavailable to see in any format for many years. The aim was to create definitive restorations of these neglected but important films, as well as to provide archival materials that would support the preservation of Borowczyk's work.
1. Describe the element/s used for restoration, stating gauge and nature and specific problems associated with them:
All the films were restored to a 2K standard using the best original elements in existence. In many cases this meant using the original 35mm camera negative, although in some cases a combination of elements were used (such as on GOTO, ISLE OF LOVE, which utilised both Interpositive and Internegative elements) when this proved the best method. In all cases the original 35mm elements were scanned, graded and digitally restored in 2K. The work was conducted carefully to maintain the original grain, textures and feel of the film materials without any overt digital tinkering.
2. State the original aspect ratio and format:
The original aspect ratios were 1.37:1 or 1.66:1 from the original 35mm camera negatives used, or the combination of best available elements as provided by the rightsholders.
3. Outline the restored aspect ratio and format:
All films were restored to their original aspect ratios (the majority of which were 1.37:1 or 1.66:1). The restored format is 2K DPX data files stored on LTO drives, with 2K DCP formats for theatrical and HQ ProRes 422 files made available for HD/Blu-ray presentations.
4. Explain where the work was carried out for each title (including labs and facility houses) and broken down where there are multiple titles in an entry:
All restoration work was overseen by James White, Arrow's Head of Restoration. The Borowczyk project was jointly produced by Daniel Bird and Michael Brooke, world-renowned experts of Borowczyk's work. All scanning, grading and restoration work was completed at Deluxe Restoration in London. Copies of all the restoration materials including the archival scans have been delivered back to the French rightsholders for preservation purposes.
5. What methodology was used? (up to 100 words):
All the features were scanned in 2K resolution on a pin-registered Arriscan and were graded using the Nucoda Film Master colour grading system. Restoration work was carried out using a combination of software tools and techniques. Thousands of instances of dirt, scratches and debris were carefully removed frame by frame, damaged frames were repaired, and density and stability issues were improved. Some minor picture and audio issues remain, in keeping with the condition of the film materials. The soundtracks were also remastered, minimising audio issues such as pops, bumps, clicks and audible buzz.
6. What preservation elements have been generated and where will they be stored?:
The restored format is 2K DPX data files stored on LTO drives, with 2K DCP formats for theatrical and HQ ProRes 422 files made available for HD/Blu-ray presentations.
On January 28, 1986, seven astronauts "slipped the surly bonds of earth to touch the face of God." America's space program was never the same. Those who saw it never forgot: the Space Shuttle Challenger launched on January 28, 1986 only to break apart 73 seconds later, killing seven astronauts, including the first "teacher in space" Christa McAuliffe. Retro Report revisits the tragic event and the 2003 Columbia disaster through interviews with key participants, and explores the forces that lead groups within large organizations to make dreadfully wrong decisions.
http://retroreport.org/space/m...
The archival footage in this web report is the central player in the narrative of the story. Unlike many reports that use archival footage as a minor participant, this piece relies on it to convey the sights, sounds, feelings and tragedy of this momentous event. The footage is seamlessly edited together in a way that makes the viewer feel they are watching the events unfold in real time and the heart-stopping emotions are almost as real as they were on that fateful day.
The marine ecosystem off the coast of British Columbia is in trouble. Wild fish populations have declined to a fraction of their historic levels of abundance. Just prior to the declines, open net pen fish farms began operating on the coast. Canadian and Provincial seemed unconcerned even after biologist Alexandra Morton noticed dramatic declines in salmon populations in her area. When Alexandra sent me a photograph of a small herring with bleeding fins, I realized the story was much bigger. After several years of investigation, I was able to link many fish population crashes to the introduction of open net fish farms. I present a case that diseases incubated, especially viral hemorraghic septicemia, on fish farms spread into wild fish populations in both the Atlantic and Pacific oceans causing the drop in Northern cod, capelin, Atlantic salmon, herring, and Pacific salmon and many other species. This drop in wild fish populations has, in turn, caused a trophic cascade that has dramatically impaired the carbon fixing function of marine ecosystems. This has resulted in ocean acidification and is, I believe, a large contributor to carbon dioxide being released from the ocean into the atmosphere making it a major factor in climate change. A lot of stock footage was used in the film. Dick Harvey was a filmmaker who dedicated his life's work to Pacific salmon. I use footage of chum salmon that were raised in the test farm at the Pacific Biological station and his underwater footage of the early fish farms off the BC coast that raised Chinook salmon. He captured the presence of herring in the pens. This illustrates and supports the thesis that I present that open net fish farms were designed to supplement the farmer's food costs by grazing on wild juvenile fish. I also use the CBC's footage that shows the social-political conflicts that erupted when the cod fishery collapsed. And I draw on other filmmaker libraries to support Alexandra's story and historical facts the we revisit during the film.
In this exquisitely crafted and spine-tingling spot we remember Bill McLaren, the legendary commentator whose career was cut short by a diagnosis of TB the day before he was due to play for his country. While that might break lesser men, McClaren found the closest thing to sport whilst incarcerated in a sanitarium: he began commentating on the hospital's ping pong matches over the radio. The footage has a real sense of how much he was loved and revered. It's an inspiring tale of overcoming the odds and making the hand you're dealt with work to your advantage. Footage is central to the success of this film which has been tirelessly and lovingly assembled from a Pandora's box of rare and unseen archive. With the very inventive and innovative use of re-appropriating unusual archive and exclusive access to never seen family pictures we perfectly encapsulate the spirit of Bill whilst emotionally allowing our audience to connect with this great story. In a research period that straddled 4 months the team beautifully blended early archive footage and match day content with stunning family photos brought to life with the clever use of 2.5D parallaxing.
An Ordinary Hero looks back and celebrates the colourful life of Mike Hailwood, one of the legends of motor racing. His untimely death in a car crash alongside his daughter sent shock waves through the motorcycling community in 1981. The film sets out to show the immense dangers of motor sport back then and the way in which guys like Hailwood managed to cope with that. His inspirational story is told by his family and friends, supported by incredible archive material. Archive was always going to be vital in bringing Hailwood to life for this film. Interviews and race footage only show one side of the man, but by working closely with the family estate and his friends, we were able to unearth amazing colour film of the Hailwood family from the 1950s which had never previously been broadcast. Additionally some behind the scenes original super 8 footage of his famous 1978 comeback was discovered, which added so much to an already incredible story.
Charting his journey from rhythm and blues to funk, Mr. Dynamite: The Rise of James Brown features rare and previously unseen footage, interviews and photographs chronicling the musical ascension of "the hardest working man in show business," from his first hit, "Please, Please, Please," in 1956 to his iconic performances at the Apollo Theater, the T.A.M.I. Show, the Paris Olympia and more. Mr. Dynamite: The Rise of James Brown features rare and previously unseen archival footage that were believed to be lost. The film benefited from the unique cooperation of the Brown estate, which opened its archives for the first time. In addition, researchers worked closely with many local archives, libraries and state archives to unearth never before seen footage including film of the historic "March Against Fear". Our comprehensive research and unique finds makes this documentary a great fit for the FOCAL International Awards for Best use of Footage.
Regarding Susan Sontag is an intimate and nuanced investigation into the life of one of the most provocative thinkers of the 20th century. Passionate and gracefully outspoken throughout her career, Susan Sontag became one of the most important literary and political icons of her generation. The feature-length documentary explores Sontag's life through evocative experimental images, archival materials, accounts from friends, family, colleagues, and lovers, as well as her own words, read by actress Patricia Clarkson. Regarding Susan Sontag is a fascinating look at a towering cultural critic and writer whose works on photography, war, illness, and terrorism still resonate today. Regarding Susan Sontag is a creative portrait of the groundbreaking critic and icon that relies heavily on archival footage to tell Sontag's story, from the 1930s through her death in 2004. It features archival footage and stills from 130 archives around the world, used both traditionally (in talking head interviews) and creatively. Innovative uses of footage include projecting archival materials through water, onto surfaces and letters, and combining and layering them in artistic "collage" sequences. The film's reflexive use of archival footage adds depth to the storytelling, conveying a greater sense of the inner life of its central character.
Sir Bruce Forsyth worked with legendary entertainer Sammy Davis Junior on a TV special in 1980. Now, three decades later, Sir Bruce tells the story of his friend, the boy from Harlem who took to the stage at just three years of age, and went on to overcome racism, prejudice, personal tragedy and adversity to become an American superstar. He came to be regarded as the greatest entertainer of all time, but since his death in 1990, his cultural legacy has been largely overlooked. Sir Bruce aims to put that right. For this film it was important not only to showcase some of Sammy Davis Jr's finest performances, but also present the American socio-political context in which he rose to stardom.For that reason Archive Producer Susan Tiplady used her extensive contacts to access rare footage unseen since its original transmission - a particular moment from the 1960 Democratic Convention, a specific incident on a long-forgotten 1952 variety show. It was crucial that the archive was used sympathetically to evoke the real mood of the period, enhanced by beautiful photography and a presenter who engaged completely with the story and material.
During the chaotic final days of the Vietnam War, the North Vietnamese Army closes in on Saigon as South Vietnamese resistance crumbles. The United States has only a skeleton crew of diplomats and military operatives still in the country. As Communist victory becomes inevitable and the U.S. readies to withdraw, some Americans begin to consider the certain imprisonment and possible death of their South Vietnamese allies, co-workers, and friends. Meanwhile, the prospect of an official evacuation of South Vietnamese becomes terminally delayed by Congressional gridlock and the inexplicably optimistic U.S. Ambassador. With the clock ticking and the city under fire, a number of heroic Americans take matters into their own hands, engaging in unsanctioned and often makeshift operations in a desperate effort to save as many South Vietnamese lives as possible. The film tells a part of the story of the Vietnam War that had not been told before. Most Americans had seen the iconic image of the helicopter on a roof that final day, but few people know of the bravery of American men and women whose loyalty and heroism saved the lives of a great many at-risk South Vietnamese who otherwise would have faced certain imprisonment or deaththat admist one our country's most shameful moments, there was no shortage of courage.
A documentary on the life of Ian Paisley that charts his journey from rabble-rousing preacher and divisive demagogue to his role in finally delivering political stability to Northern Ireland. The film features interviews with many of those closest to Paisley at crucial junctures in his life and with people who knew Paisley as a young preacher, and discuss Paisley's complex and often contradictory relationship with loyalism. The film is a frank and comprehensive assessment of Paisley's role in the conflict in Northern Ireland, as well as his role in its conclusion, told by those who dealt with Paisley first hand. "Ian Paisley: A Life" was the first major opportunity for the TVCA department in Belfast to test the capacity of the new Cinegy archiving system in handling the requirements for the production of an hour-long, archive-heavy obituary film. The research brief was to locate footage of Ian Paisley and from the events that he was involved in and marry it to a script that would take both a critical and appreciative look at his career, using footage that was not familiar to viewers, but was part of the archive of one of Northern Ireland's most recognisable political figures.
This is the story of the liberation of the German Concentration Camps. Using remarkable archive footage and testimony from both survivors and liberators, it tells of the efforts made to document the almost unbelievable scenes that the Allies encountered on liberation. The film explores how a team of top filmmakers, including Sidney Bernstein, Richard Crossman and Alfred Hitchcock, came together to make a film to provide undeniable evidence of what the Allies found, but the film was stopped in its tracks by the British Government and only now 70 years on, has it been completed. Each new generation deserves access to this evidence. Night Will Fall not only uses archive film, it shows the fundamental importance of film as witness to history and the crucial role it plays in the understanding of humanity.
