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Welcome Torsten Kaiser

Torsten Kaiser

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10 replies to this topic

#1 of 11 Adam Gregorich

Adam Gregorich

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Posted August 12 2010 - 12:37 PM

I'd like to welcome our newest Insider Torsten Kaiser!



#2 of 11 Vincent_P

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Posted August 12 2010 - 12:42 PM

Welcome Torsten!



#3 of 11 Torsten Kaiser

Torsten Kaiser

    Film Restoration & Preservation

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Posted August 12 2010 - 07:21 PM

Hello from Berlin. I may not always be able to immediately respond to questions every time or on the same day even, but I will give it my "all" ;o) In any case I try to answer the questions (be it about the technical nitty gritty, films in general or the philosophy of restoration/preservation) as best I can. As I said to Ron: Let's see how this pans out. I am certainly curious - I hope many of you are too. Thanx for the welcome ! TK


Torsten Kaiser
-----------------------
TLEFilms Film Restoration & Preservation Services
www.TLEFilms.com

#4 of 11 Bleddyn Williams

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Posted August 14 2010 - 04:42 PM

Great to hear you're on board, Torsten - welcome!



#5 of 11 Stefan Andersson

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Posted August 15 2010 - 06:35 PM

Hello Torsten and welcome to HTF!

 

Several years ago I read about your work on McLINTOCK! Is it out on DVD?

 

I´m happy to read about the restoration of Ignite Films´ Preminger library. Any possibility a DVD release for these restorations? I assume they were not used for the recent Warner R1 DVD releases.



#6 of 11 Torsten Kaiser

Torsten Kaiser

    Film Restoration & Preservation

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Posted August 17 2010 - 02:42 AM

Hello Stefan,

 

Glad you like them.  Our restoration master of "McLintock!" can be seen on HDNet, the BBC, ARD channels in Germany and, also on NHK's BBS HD channels in High Definition.  BBC, ABC Australia and NHK have opted for all the Premingers, as well in HD, ARD for some.  No DVD editions were licensed AFAIK so far, though.  That is up to the owner; unfortunately we can do very little in that respect.  The WB versions are based on (SD NTSC) masters made by WB.


Torsten Kaiser
-----------------------
TLEFilms Film Restoration & Preservation Services
www.TLEFilms.com

#7 of 11 KarenID

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Posted August 20 2010 - 05:18 AM

 

Hi Torsten -

 

I was wondering how much you rely on the notes or journals of a filmmaker like Preminger when restoring a film. Do things like this give you clues about the artist's intent and preferences which might influence the way in which you craft a restoration?

 

Thanks and welcome to HTF!



#8 of 11 Torsten Kaiser

Torsten Kaiser

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Posted August 20 2010 - 07:01 PM

Originally Posted by KarenID 

 

Hi Torsten -

 

I was wondering how much you rely on the notes or journals of a filmmaker like Preminger when restoring a film. Do things like this give you clues about the artist's intent and preferences which might influence the way in which you craft a restoration?

 

Thanks and welcome to HTF!


Hey Karen,

yes and no would be probably the most honest and accurate answer to your question.  It is very much like comparing notes, really; as the journals or even interviews or notes of a filmmaker or DP are certainly helpful to put things into context (lighting, framing, etc - ADVISE AND CONSENT is a good example), but can merely provide one (potentialy large) part of the picture puzzle.  I would never go on that basis alone.  The other aspects to consider are the various materials themselves, the records of the lab, possibly censor cards and most notably and importantly REFERENCE DUPLICATES (answer prints or approved (color) registration samples that are or should be in the lab as well or with the estate). Knowing how a scene was lit, what lenses and archs were used is no doubt of tremendous support, but at least the other half is to know how the coping process was finalized and intended.
 

It also "works" the other way around:  we had cases where materials stored and records kepts did not reflect in the end the original intent, where parts or even entire reels were developed with conflicting color renditions down the line.  Then things can get very complicated and notes, indeed, can help a great deal.  In the final analysis it is also just as vital to know what a certain status of an element means with regard to its processing.  A fine grain has to be treated differently with regard to the final result than a Master Positive or Print, a negative, especially the PN/OCN warrants extra attention.
 

All elements of different status have different characteristics. A Fine Grain for instance was/is never intended for (theatrical) projection. It is not the end product.  The intent is to capture as much information as is possible from the Negative - in the best scenario with perfect color timing right there - in order to make a new duplicate negative for printing. It (the FG) in turn - when used for transfer - has to be modified on telecine or scanning/later color re-timing acc to the reference materials. Only then do you get the correct presentation.  In many cases - even today's film output (see AMERICAN GANGSTER, GALAXY QUEST, EVENT HORIZON etc) this (the references) was unfortunately not considered [to the degree it needed to be].


Torsten Kaiser
-----------------------
TLEFilms Film Restoration & Preservation Services
www.TLEFilms.com

#9 of 11 KarenID

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Posted August 23 2010 - 06:31 PM

 

Thanks so much for your reply. It sounds like a complex process to weigh what may or may not be the artist's original intent in restoring their work.

 

Just curious - it also sounds like the process of managing assets (digital and otherwise) is becoming an increasingly larger part of the work of restoration and mastering. Is that the case? If so, how do you stay organized and stay on top of the process?

 

Thanks again!



#10 of 11 Torsten Kaiser

Torsten Kaiser

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Posted September 04 2010 - 08:48 PM

Hello Karen,

 

Sorry I could not get back earlier.  Yes, managing the assets is part of our work, and though not everything may turn out to be essential it certainly is nonetheless important to get as complete a picture of the project(s) as one can.  The less reference materials available, the more important other assets become.  However, it is just as vital to keep in mind that especially transfers to tape or digital files are not references in the strict sense.  A transfer/master can be already significantly altered in many ways, AR, framing, color definition and gradation.  Often only the colorist is working on such a mastering and his/her personal, subjective perceptions, likes and dislikes for colors or shades become often part of the picture where that actually should not happen.  Even authorized masters tend to present an altered (re)vision of things, and with regard to true restoration or preservation work have to be seen in that way.  That is why photochemical reference materials are so improtant and helpful.

 

TK   

Originally Posted by KarenID 

 

Thanks so much for your reply. It sounds like a complex process to weigh what may or may not be the artist's original intent in restoring their work.

 

Just curious - it also sounds like the process of managing assets (digital and otherwise) is becoming an increasingly larger part of the work of restoration and mastering. Is that the case? If so, how do you stay organized and stay on top of the process?

 

Thanks again!




Torsten Kaiser
-----------------------
TLEFilms Film Restoration & Preservation Services
www.TLEFilms.com

#11 of 11 FoxyMulder

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Posted July 06 2012 - 03:42 AM

I just saw that Koch have The Tall Men scheduled for release in September 2012, did you work on this or do you have any information on this title with regards what to expect of the Blu ray release.


Also i see you make note of fine grain masters in your post above, should films like Psycho or Apocalypse Now be using fine grain masters to make the Blu ray or would it be better if they used the original camera negatives, i ask because to me they seem a little "smooth" as far as the look goes and i do like a little bit more grain texture when viewing a film, the reviews were all positive for those and some other films which have used fine grain masters as their source but i am not that keen whenever i hear that they have used a fine grain master, is there any reason a fine grain master shouldn't be used for making an HD master and is there a reason that it should be used. ?


I have read various reviews of Event Horizon and seen people mention that the image appears to be slightly wrong, that people are slightly thinner than they should be, is this how you view it too or is that release just fine. ?


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