4 Stars

Help us save and restore Abbott and Costello’s AFRICA SCREAMS for Blu-ray release!

www.tinyurl.com/SaveAbbottAndCostello

Please share this campaign and spread the news. Thank you very much!

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Robert Harris

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Brilliant, just brilliant. Hopefully this time around, the damn dirty bootleggers* will keep their stinking paws off your transfer!

*Film Chest/Film Detective and others too numerous to mention. :angry:
I don't know if the legal point is still viable, but I recall the concept of "conversion," taking someone's work, into which they have expended funds, and grabbing it as PD.

Best handled with a discrete watermark on selected frames.
 

bigshot

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Copyright covers creative works. That can include derivative works that embody new creative ideas. But restoration is just returning something to its intended state. It isn't covered by copyright. The people who do the restorations of PD material are using someone else's work for their own gain too, so it's only fair. The idea of the Public Domain is that you are *contributing* to it. You shouldn't consider it something you can reclaim and own yourself. That goes against the spirit of the Public Domain.
 
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Bob Furmanek

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We are only 24 hours into the campaign and have already reached 77% of our goal. That is simply fantastic and to say that we are overwhelmed would be an understatement!

To show our appreciation, we’re going to fast track an upload of the 35mm nitrate test clip and plan to have that posted for you tomorrow.

Thank you very much to our wonderful backers and please help spread the news of this project and get us to $7500!

 

Bob Furmanek

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You've done it!

Reaching our goal of $7500 in less than 29 hours is simply remarkable. On behalf of the entire 3-D Film Archive team, thank you VERY much!

AFRICA SCREAMS will finally be preserved and available in outstanding quality. Every single backer should feel quite proud for what they've done.

Please continue to share the campaign for potential backers that would like the various rewards that we've offered. Stay tuned for tomorrow's update to see a sample clip scanned from the original 35mm nitrate master!

 

Bob Furmanek

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This footage was scanned in 4K resolution from the composite nitrate 35mm fine grain master positive. There is some baked-in jitter on the raw scan from film shrinkage but that has been stabilized. We have not yet done image grading, dirt clean-up or audio sweetening. I wanted to share this clip ASAP and as you can see, the incredible quality of the original nitrate material speaks for itself!

Please continue to share our campaign. Extra funds that we raise will enable us to do additional restoration work on Africa Screams and pursue other licenses for future Abbott and Costello (and 3-D) restoration projects.

We'll be announcing some very cool stretch goals within the week. Thank you!
 

Johnny Angell

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Copyright covers creative works. That can include derivative works that embody new creative ideas. But restoration is just returning something to its intended state. It isn't covered by copyright. The people who do the restorations of PD material are using someone else's work for their own gain too, so it's only fair. The idea of the Public Domain is that you are *contributing* to it. You shouldn't consider it something you can reclaim and own yourself. That goes against the spirit of the Public Domain.
I don’t know the law, so this is just my opinion. When some spends money and labor to restore a film, I think they should be able to copyright it. The original, unrestored versions is still PD and nothing has been taken from the public. Why expends funds and labor over something for which you will not be rewarded?
 

dana martin

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I don’t know the law, so this is just my opinion. When some spends money and labor to restore a film, I think they should be able to copyright it. The original, unrestored versions is still PD and nothing has been taken from the public. Why expends funds and labor over something for which you will not be rewarded?
i get what you are saying, read this article

https://nypost.com/2010/02/17/film-...temple-randolph-scott-and-public-domain-hell/

interesting that yes it can be done, just not the way you would think
 

Bob Furmanek

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Many years ago, I sought out original 35mm elements on my own time and put my own modest funds into new scans of 4 public domain films. This was in the days of laserdisc and very little money (if any) was made on these four titles.

On every single film, my work was copied and exploited by bottom feeders who came along that didn’t lift a finger or invest a penny to do the heavy lifting.

None of this was easy. In fact, it took over a year of intense research to find the nitrate originals on Africa. At that point, I stopped looking for master elements.

Just yesterday, I learned that image entertainment, the company who originally released my scan on laserdisc, put out Africa Screams on DVD in 2006 and promoted it as a new scan from 35mm negatives. That’s an outright lie (my scan was done in 1987) and I was never notified or saw a penny on the release.
 

bigshot

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I don’t know the law, so this is just my opinion. When some spends money and labor to restore a film, I think they should be able to copyright it. The original, unrestored versions is still PD and nothing has been taken from the public. Why expends funds and labor over something for which you will not be rewarded?
Copyright isn't a reward for work. It's a protection for a creative idea for a limited amount of time. After that time passes, the idea belongs to everyone to use and benefit from. Work in this case would be rewarded by selling copies of the film, and perhaps adding additional features, like commentaries and documentaries. Those would be new creative works and could be copyrighted. But once a film is in the Public Domain, it is there forever, and it belongs to all of us.

Without the Public Domain, we wouldn't have the stories to Walt Disney animated features, archive.org or silent films on blu-ray. You wouldn't have an Africa Screams kickstarter either!
 
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Malcolm R

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Why expends funds and labor over something for which you will not be rewarded?
This is precisely why so many PD films remain dormant, with studios and labels often unwilling to spend the money on restoration and distribution when their finished product will just be stolen and resold by many others.