Fleischer's semi-lost 2 reeler "The Raven"...

[Sogturtle]

Most of us will remember a little about "The Raven", it was the final 2 reeler made by the Fleischer studio (even as the studio was in its death throes). It was notable for its weird attempt by Pinto Colvig (who voiced also) and Carl Meyer at mixing Edgar Allen Poe with comedy (not sure if "satire" is the right term;)). The film has been largely lost for decades, the remains of the color original have been undergoing slow, expensive preservation... Though a couple of TV black and white 16mm prints emerged and one ended up on some cheapie tape (I have one of the other 16mm prints).

Okay... Sooooo now as things go, I'm tickled to have been blessed to get my hands on a 16mm COLOR print of "The Raven" as well (as in today!:D )... And here's were it gets a tad tricky... It was as I knew already, indeed printed long ago on Eastman stock, and you all know what that means:eek:, that it faded over into the red spectrum (though it appears to still have good overall density). A red-faded color print is preferrable to a black and white one but of course everybody wants perfection!:) I'm trying to ponder whether if I get it professionally transferred whether anything can be done to really help the skewed color balance...

[Duck Dodgers]

Most of us will remember a little about "The Raven", it was the final 2 reeler made by the Fleischer studio (even as the studio was in its death throes). It was notable for its weird attempt by Pinto Colvig (who voiced also) and Carl Meyer at mixing Edgar Allen Poe with comedy (not sure if "satire" is the right term;)). The film has been largely lost for decades, the remains of the color original have been undergoing slow, expensive preservation... Though a couple of TV black and white 16mm prints emerged and one ended up on some cheapie tape (I have one of the other 16mm prints).

Okay... Sooooo now as things go, I'm tickled to have been blessed to get my hands on a 16mm COLOR print of "The Raven" as well (as in today!:D )... And here's were it gets a tad tricky... It was as I knew already, indeed printed long ago on Eastman stock, and you all know what that means:eek:, that it faded over into the red spectrum (though it appears to still have good overall density). A red-faded color print is preferrable to a black and white one but of course everybody wants perfection!:) I'm trying to ponder whether if I get it professionally transferred whether anything can be done to really help the skewed color balance...

Oh you lucky man !

I'm happy for you , Soggie me friend !

[rex racer]

Most of us will remember a little about "The Raven", it was the final 2 reeler made by the Fleischer studio (even as the studio was in its death throes). It was notable for its weird attempt by Pinto Colvig (who voiced also) and Carl Meyer at mixing Edgar Allen Poe with comedy (not sure if "satire" is the right term;)). The film has been largely lost for decades, the remains of the color original have been undergoing slow, expensive preservation... Though a couple of TV black and white 16mm prints emerged and one ended up on some cheapie tape (I have one of the other 16mm prints).

Okay... Sooooo now as things go, I'm tickled to have been blessed to get my hands on a 16mm COLOR print of "The Raven" as well (as in today!:D )... And here's were it gets a tad tricky... It was as I knew already, indeed printed long ago on Eastman stock, and you all know what that means:eek:, that it faded over into the red spectrum (though it appears to still have good overall density). A red-faded color print is preferrable to a black and white one but of course everybody wants perfection!:) I'm trying to ponder whether if I get it professionally transferred whether anything can be done to really help the skewed color balance...

Nice fish you caught there Tim! I've heard of a liquid that is used by some transfer mills that reduces the "red' effect somewhat, but I've no experience with it personally. This might be a good question to ask at this forum: http://www.16mmfilms.com. You'll find a few of the GAC film collectors hangin out there... I know that it's possible to do some digital color correction also once a film is converted to a digital medium, I've done a bit myself, but the best work is done at the professional level...

Del

[Tom Stathes]

Once a print has turned red, there's no "Getting back" what color has been lost.
A semi-faded (but alright) print has been available as late as 1989 on Amvest Video's "Grampa's Silly Scaries";)
Tom

[Sogturtle]

Nice fish you caught there Tim! I've heard of a liquid that is used by some transfer mills that reduces the "red' effect somewhat, but I've no experience with it personally. This might be a good question to ask at this forum: http://www.16mmfilms.com. You'll find a few of the GAC film collectors hangin out there... I know that it's possible to do some digital color correction also once a film is converted to a digital medium, I've done a bit myself, but the best work is done at the professional level...
Del

Once a print has turned red, there's no "Getting back" what color has been lost.
A semi-faded (but alright) print has been available as late as 1989 on Amvest Video's "Grampa's Silly Scaries";)

Del and Tom~

Thanks for the input, it is appreciated.:) Though I know from my darkroom experience (three years in college) that it is quite possible to alter almost any color balance for the good by using filters, and the same held true for movies in printing. And although you'll never get the color vibrance back as in the Tech originals, that a fair amount of the red in theory can be softened. And that's before any possible digital sweetening...
Wonder how the offical restoration is going???:confused: Jerry???

[JERRY BECK]

Wonder how the offical restoration is going???:confused: Jerry???


UCLA is indeed restoring the original neg. I believe the restoration is complete and we are awaiting funds to stike a print.

If only Paramount would contribute to restoring their own cartoons! Funding for preserving cartoons at UCLA Film & Television Archives comes from private contributors - and mainly through the efforts of Asifa-Hollywood. Because THE RAVEN is in color, and longer length than a normal short, raising funds to complete the project have been especially difficult.

BTW, I too have a fading 16mm print of THE RAVEN.

[Patrick McCart]

It's worth noting that the UCLA Film & Television Archive is almost single-handedly responsible for the restoration and preservation of the Max Fleischer cartoons (Koko to The Raven), as well as the bulk of the Republic library all owned by Paramount. They even have restored and preserved much of the 1929-1948 Paramount features, which are owned by Universal. They have a whole era covered.

I'd spend some time going over UCLA's online listings for their holdings on the Fleischer cartoons:

http://cinema.library.ucla.edu/cgi-bin/Pwebrecon.cgi?SC=Author&SA=Fleischer%2C%20Max%2C%201883%2D1972%2E&PID=6482&BROWSE=4&HC=369&SID=2