The last films showing as part of the Museum of Moving Image's Scorsese retrospecitve are going to be films he's helped restore, including The Color of Pomegranates.

UTU Redux - resto finished in 2013

http://wellington.scoop.co.nz/?p=56813

http://www.flicks.co.nz/blog/amazing-in ... ff-murphy/

Also The Last Wave, King of Hearts and 2 x Costa-Gavras: Sleeping Car Murders and Shock Troops, and more:

http://www.festival-lumiere.org/en/prog ... tions.html

http://www.festival-lumiere.org/en/prog ... hives.html

King of Hearts trailer:
http://www.festival-cannes.com/en/actua ... r-its-time

King of Hearts has already been released on BD in France a few months ago using this restoration.
The 2 Costa Gavras have been released in the French boxset in november 2016 (but wrongly encoded in 1080i50).

At the most recent CNC session they funded, among others, restorations of Jean-Pierre Melville's When You Read this Letter, Max Ophüls' La Ronde, and Patricio Guzman's Battle of Chile.

Gaumont and Eclair laboratory to restore a further 100 films from the Gaumont catalogue:

http://www.screendaily.com/news/gaumont ... ntID=44435
Quote:
"In 2016, Eclair restored 25 Gaumont features, including Louis Malle’s My Dinner With André (1981), Maurice Tourneur’s Samson (1936) and André Barsacq’s Le Rideau Rouge (1952).
Titles selected for 2017 include Julien Duvivier’s Untel Père Et Fils (1945) and L’homme Du Jour (1937) Jacques Doillon’s La Femme Qui Pleure (1979) and Robert Bresson’s Lancelot Du Lac (1974)."

Restorations and documentaries at the 2017 Cannes festival:

1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina. Film digitized and restored by Ina with the support of the CNC. 2K restoration made from an acetate interpositive and an answer print. Technical means: Jean-Pierre Peltier. Coordination: Bénilde Da Ponte, Brice Amouroux.

1953: Le Salaire de la peur (The Wages of Fear) by Henri-Georges Clouzot (1952, 2h33, France, Italy): Grand Prix.
Presented by TF1 Studio in collaboration with la Cinémathèque française and the support of the CNC, of the Archives audiovisuelles de Monaco, of Kodak and the CGR cinémas. 4K Restoration from nitrate image negative and a sound duplicate made by Hiventy. Please note that this presentation is the preview of a major Clouzot event scheduled in France in the fall of 2017.

1956: Körhinta (Merry-Go-Round/Un petit carrousel de fête) by Zoltán Fábri (1955, 1h30, Hungary): in Competition.
Presented by the Hungarian National Film Fund - Hungarian National Film Archive. A 4K Scan and Digital Restoration from the original 35mm image & sound negatives plus additional materials: the original dupe positive and another film positive. Restoration made by the Hungarian National Film Fund – Hungarian Filmlab.
1957: Ila Ayn? (Vers l’inconnu ?) by Georges Nasser (1h30, Lebanon): in Competition.

Presented by Abbout Productions and Fondation Liban Cinema. With the generous support of Bankmed – Lebanon. The original 35mm Fine Grain Master Positive was scanned in 4k, retouched and color-corrected in a resolution of 2K. All works were carried out by Neyrac Films - France. Sound restoration by db Studios - Lebanon. In collaboration with The Talkies. World Sales: Nadi Lekol Nas.  

1967: Skupljači Perja (I Even Met Happy Gypsies/J’ai même rencontré des Tziganes heureux) by Aleksandar Petrović (1h34, Serbia): in Competition, Grand Prix Spécial du Jury ex-æquo, Prix de la Critique Internationale - F.I.P.R.E.S.C.I. ex-æquo.
Presented by Jugoslovenska Kinoteka/The Yugoslav Film Archive and Malavida. New 35mm print from the original negative in perfect shape then scanned in 2K and cleaned up. 

1966: Blow-up by Michelangelo Antonioni (1h51, United Kingdom, Italy, United States of America): Grand Prix International du Festival.
Presented by Criterion, Cineteca di Bologna and Istituto Luce - Cinecittà, in collaboration with Warner Bros and Park Circus. Restoration work carried out at Criterion, New York and L’Immagine Ritrovata, Bologna under the supervision of Director of Photography Luca Bigazzi.

1969: Matzor (Siege/Siège) by Gilberto Tofano (1h29, Israel): in Competition.
A presentation of the Jerusalem Cinematheque – Israel Film Archive, in partnership with United King Films and the support of the Rabinovich Foundation. The original 35mm black and white negatives were scanned in 4K by Cinelab Romania. It was digitally restored and finalized in 2K by Opus Digital Lab in Tel Aviv. Restoration and color grading lead by Ido Karilla, supervised by DOP David Gurfinkel. 

1970: Soleil O (Oh, Sun) by Med Hondo (1h38, Mauritania, France): Semaine de la critique.
Presented by The Film Foundation. Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in collaboration with Med Hondo. Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project. 

1976: Babatu, les trois conseils by Jean Rouch (1h33, Niger, France): in Competition.
Presented by the CNC, Inoussa Ousseini, the Comité du film ethnographique and the Fondation Jean Rouch. Digital restoration made from the 2K digitization of the 16mm negatives. Restoration carried out by L21.

1976: Ai no korîda (In the Realm of the Senses/L’Empire des sens) de Nagisa Oshima (1h43, France, Japon): Quinzaine des Réalisateurs.
Presented by Argos Films and TAMASA. Digization and 4K resoration from the original negative by Eclair. Sound restoration from the original magnetic sound by L.E. Diapason. The film will be released in French theaters.    

1979: All that Jazz (Que le spectacle commence) by Bob Fosse (2h03, United States of America): Palme d’or ex-æquo.
Presented by Park Circus. 4K restoration by Twentieth Century Fox and the Academy Film Archive in collaboration with The Film Foundation. The restoration was produced from the original camera negative at Sony Colorworks in Culver City California.

1981: Człowiek z żelaza (Man of Iron/L’Homme de fer) by Andrzej Wajda (2h33, Poland): Palme d’or.  
A presentation of the ZEBRA Film Studio (Studio Filmowe ZEBRA) with the collaboration of the Polish Film Institute. 2K film restoration from original colour 35 mm negative. Restored sound from original magnetic tape. Restoration lead by Daniel Pietrzyk, colour grading lead by Aleksandra Kraus, at Yakumama Film, Warsaw. Sound restoration lead by Tomasz Dukszta.
Artistic supervision by: Andrzej Wajda (director), Jerzy Łukaszewicz (DOP), Piotr Zawadzki (sound).

1982: Yol – The Full Version (The Way/La Permission) by Yilmaz Güney, directed by Serif Gören (1h53, Switzerland): Palme d’or ex-æquo à l’unanimité, Prix de la Critique Internationale – FIPRESCI.
Presented by DFK FILMS LTD. Zürich. Restoration from the original 35mm negative, from the interpositive and the positive print. Restoration and new sound mix from the original digitized tapes. International Sales: The Match Factory.

1983: Narayama Bushikō (Ballad of Narayama/La Ballade de Narayama) by Shôhei Imamura (2h13, Japan): Palme d’or.
Presented by Toei. 4K Scan, image restoration ARRISCAN and sound Golden Eye in 2K from the 35mm original negative, a duplicate and video tapes.

1992: El sol del membrillo (Le Songe de la lumière) by Victor Erice (2h20, Spain): Prix du Jury ex-æquo, Prix de la Critique Internationale - FIPRESCI
Presented by the Filmoteca de Catalunya and Camm Cinco SL. 6K scan, restoration and color-grading from the 35mm negatives and other original video tapes. Digitazing and sound restoration from 35mm magnetic tapes. Technical support made by the Filmoteca de Catalunya, supervised by Victor Erice. Variations on the initial editing brought by the director.

1951-1999: A short history of short films presented by the Festival de Cannes. A program curated by Christian Jeune and Jacques Kermabon.
Spiegel van Holland (Miroirs de Hollande) by Bert Haanstra (1951, 10mn, The Netherlands) / La Seine a rencontré Paris by Joris Ivens (1958, 32mn, France) / Pas de deux  by Norman McLaren (1968, 13mn, Canada) / Harpya by Raoul Servais (1979, 9mn, Belgium) / Peel by Jane Campion (1986, 9mn, Australia) / L’Interview by Xavier Giannoli (1998, 15mn, France) / When the Day Breaks by Amanda Forbis and Wendy Tilby (1999, 10mn, Canada).

OTHER EVENTS, OTHER RESTORED PRINTS, OTHER GUESTS
Madame de… by Max Ophüls (1953, 1h45, France)
A Gaumont restoration. A show to pay a tribute to Danielle Darrieux for her birthday and presented by Dominique Besnehard, Pierre Murat and Henri-Jean Servat who will screen the latest filmed interview of Danielle Darrieux.

L’Atalante by Jean Vigo (1934, 1h28, France), restored 35mm print
Presented by Gaumont, la Cinémathèque française and The Film Foundation of Martin Scorsese. First digital restoration in 4k and conversion to a 35mm print. A new discovery of the closest version of the director’s work thanks to Gaumont, Luce Vigo and historian Bernard Eisenschitz. Restoration carried out at L’Image Retrouvée laboratory in Bologna and Paris.

Native Son (Sang noir) by Pierre Chenal (1951, 1h47, Argentina)
A presentation by Argentina Sono Film. Restoration with the collaboration of the Library of Congress.

Paparazzi by Jacques Rozier (1963, 18mn, France)
Presented by Jacques Rozier and la Cinémathèque française. 4K Digitization and 2K restoration works made from image and sound negatives at Hiventy laboratory, with the support of the CNC and in collaboration with Les Archives Audiovisuelles de Monaco, la Cinémathèque Suisse and Extérieur nuit. The film will be introduced by Jacques Rozier.

Belle de jour (Beauty of the Day) by Luis Buñuel (1967, 1h40, France)
Presented by STUDIOCANAL. Digitization from the original negative and 4K restoration carried out by Hiventy laboratory for STUDIOCANAL with the support of the CNC, of la Cinémathèque française, of the Fonds Culturel Franco-Américain and the Maison YVES SAINT LAURENT. French theater distribution: Carlotta.  

A River Runs Through It (Et au milieu coule une rivière) by Robert Redford (1992, 2h04, United States of America)
Presented by Pathé. 4K Scan and 4K restoration from original image and sound 35mm negatives. Restoration carried out by Pathé at Technicolor France laboratory for the image in collaboration with Philippe Rousselot, cinematographer of the film, and L.E. Diapason for the sound restoration.

Lucía by Humberto Solas (1968, 2h40, Cuba)
A presentation of the Film Foundation. Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). Restoration funded by Turner Classic Movies and The Film Foundation’s World Cinema Project.

DOCUMENTARIES ABOUT CINEMA
La belge histoire du festival de Cannes (The Belgian’s Road to Cannes) by Henri de Gerlache (2017, 1h02, Belgium)
Presented by Alizé Production. Produced by Alizé Production, co-produced by RTBF (Belgian television) & Proximus.

David Stratton - A Cinematic Life by Sally Aitken (2017, 1h37, Australia)
Presented by Stranger Than Fiction Films. Produced by Stranger Than Fiction Films, with Screen Australia, ABC TV Arts, Screen NSW and Adelaide Film Festival.
Filmworker by Tony Zierra (2017, 1h29, United States of America)
Presented and produced by True Studio Cinema.

Becoming Cary Grant (Cary Grant - De l’autre côté du miroir) by Mark Kidel (2017, 1h25, France)
Presented by ARTE France and Showtime Documentary Films. Produced by YUZU Productions, coproduced by ARTE France, in association with ro*co films productions. 
Jean Douchet, l’enfant agité by Fabien Hagège, Guillaume Namur, Vincent Haasser (2017, 1h30, France)
Presented and produced by Carlotta and Kidam.

Downloadable press kits:
http://www.festival-cannes.com/fr/festi ... staurees-7

Yol will be nearly 30 minutes longer in this version:
http://the-match-factory.de/films/items ... rsion.html

L´Atalante:
http://www.film-foundation.org/latalant ... s-classics

Jonathan Rosenbaum on this resto:
Quote:
"February 13, 2017: Bernard Eisenschitz is currently carrying out a new restoration, reportedly in order to correct the more fanciful changes in the previous restoration that is being considered here.]"
- it seems that Eisenschitz will delete some outtakes added to the film in 1990.
https://www.jonathanrosenbaum.net/2017/ ... -s-secret/

On the 1990 resto:
http://www.ailesdudesir.com/bac/atalant ... alante.pdf
http://1895.revues.org/1402

Gaumont DVD and Blu lineup for 2017, some films restored, some not:
http://www.dvdclassik.com/news/line-up-gaumont-2017

Includes a Feuillade box (Fantomas, Les Vampires) and Gance´s J´Accuse (1919 and 1938 versions), on Blu, in a box, also including the 50s edit of J´Accuse, Gaz mortels (1916) and Le fin du monde (1930)

Upcoming in 2018, Mollenard (Siodmak), L´Homme du Jour (Duvivier) and more

2017 interview with Jérômê Soulet, Gaumont boss for video, TV and new media:
http://www.dvdclassik.com/article/entre ... umont-2017
Upcoming: Malle´s Le Voleur and Viva Maria, restored on Blu
Soulet wants to do a complete Malle box but it remains for Gaumont to get the rights to three titles
He also wants to do a big Claude Autant-Lara box, but some titles are owned by parties that do not finance restorations. "Douce" is not yet HD-ready (problems with one of the rights holders). Soulet says: "If I wait until it is all restored in HD, the box will never be released" (my paraphrase).

2011 interview:
http://www.dvdclassik.com/article/entre ... -mars-2011

Interview with TF1 Vidéo:
http://retro-hd.com/documents/interview ... video.html

Upcoming: a Clouzot box and The Black Tulip (1964). They´ve also released La Vie en Chateau and several early Philippe de Broca films.

I hope this is the relevant sub-forum where I could post this topic, since these studios are in Europe and tackle mainly with international films' restorations.

I think it's time there was a seperate topic about these 2 studios, because we see many posts here and there about certain films and how they change their colors to a specific palette despite year, DOP, director, ethnicity.
At best, the teal affects mainly the greys-blues.
At worst the teal affects the whole image like in this situation:



So, my questions are:

-Do you agree, that there is evidently a trend in the restorations by these 2 studios or is it just a pure coincidence (or a conspiracy theory ) that dozens of films look exactly the same?
if you agree with the first part of my previous question I go on:
-Why do these studios keep going and do what they do?
-Why this problem hasn't been addressed more officially on the internet but we turn the blind eye?
-Why don't any of the more knowledagble and in the restoration business persons say anything about it and do something to stop it?

Anyway, I hope we have a civil converstation on this matter, which has proven most controversial at other times.

edit:
I see, my thread was moved.
Well, this is exactly what I meant.
Why can't we have a seperate thread, and maybe draw the attention to what's happening there?
if we keep burrying the subject, this thing will go on an on.

Report of the most recent CNC sessions (April) lists restorations of Jacques Rivette's L'amour fou, Godard's Grandeur et décadence d'un petit commerce de cinéma, Resnais' Last Year in Marienbad, Bresson's Trial of Joan of Arc and Renoir's Rules of the Game amongst others.

Are silent film restorations of films before 24fps became standard, generally restored to playback at the correct speed at when show at 23.97/24p? I'm wondering specifically whether this was the case before HD was standard and the expectation was that they would primarily be seen on a PAL DVD?

With an HTPC, I can get my PAL DVDs playing back at 24p. Do I want to watch the Chaplin Keystone and older Edition Filmmuseum titles like so, or am I introducing slowdown when they were specifically restored for PAL viewing?

Finally the Come and See restoration is complete!

It's great to see Kadokawa finally stepping up their game.

Tantalisingly the rushes for Zero de Conduite are shown with the restored Gremillon but unfortunately we have only the 48 minute butchered version of Dainah to savour.

The rushes program at Bologna for Vigo were for l'Atalante, Kevin. I don't recall any rushes program there for Zero. There was a short commentary on the extra minute or so (in three shots basically) for Zero which all amplify the part of Tabard, the queer kid. They are sublime, including a long bedside lover's good night between Tabard an one of the other boys where they start the first talk of a revolt. The first slightly longer shot is the gruesome chalk covered old teacher who fondles Tabard's hand for too long provoking hm to the great outburst ("je vous dit merde!"). And there's a silhouette shot of the "inpector" sticking a hypodermic into his arse.

The 11 reels of rushes are all for l'Atalante and are essential for life. Amongst it all, the cats, Vigo himself snapping the clap board, are four single takes of the Peddler singing his nonsense song to the bar, shot from above, each side of the "cage": with the couple on the other side and within the cage with a tilting camera, all with audio unlike most of the 11 reels. Esienschitz narrated this powerhouse live from offscreen in French, his contribution is of course critical to any possible BD release.

No-one knows?

The Novecento restoration is a new one?
The Eureka version wasn't restored?

Probably, I think Venice usually only screens premieres of new restorations in its Classics line up.

The newest CNC report includes funding for restorations of Rivette's La Religieuse, Borowczyk's Immoral Women, Grémillon's Daïnah la métisse, and 300 Lumière films.

At long last- I was starting to be concerned A Matter of Life and Death wouldn't see the fancy Archers restoration treatment for some reason!

That may well explain why the DVD / Blu of Frantz Fanon kept getting delayed.

Had a feeling La Verite would be on the docket one day. L-Shaped Room is a very nice surprise.

That animation programme ‘From Jealous Dolls to Brutish Bulldogs’ is right up my street. Hopefully BFI can find a way to put those remastered titles out too.

The archive films are the only reason I'm usually interesting in the LFF. Ticket prices are so high for the interesting films; at least these are at regular BFI prices.

Even in Argentina they have restored several films but not the impressive ones Leopoldo Torre Nilsson made in the 50-60s.

http://www.recuperar.org/es/noticia-sal ... or_titulos