![]() ![]() No way to score: Cyril gets more than fresh with Anny. Here, the slower preserved transfer is far more natural and realistic, allowing for the actors’ movements and facial expressions to be seen much more clearly. This is the only major issue I have with the otherwise brilliantly restored Hitchcock 9. Both silent and sound versions appear to be around 7,660 feet in length, so I have no idea why the restoration is so fast it actually equates to running at 28fps, rather than the BFI’s stated 24fps. But I will say that however historically accurate it may be, the latter runs much too quickly, making the actors’ movements throughout seem almost comical. It almost goes without saying that the preserved and restored silents’ respective running times of 82 and 76 minutes are due to different transfer methods both are equally complete. ![]() In the end, the restoration has produced an exceptionally clean picture which retains the essence, texture and beauty of the original photography.” – BFI programme notes The dissolves between shots are a crucial part of the film’s narration and, where possible, they have been reconstructed from the two separate shots. The intertitles were present at full-length – rather than the ‘flash-titles’ which often exist in other silent negatives – and have been preserved as part of the new master. In this technology, the film is immersed in a fluid at point of scanning in order to greatly reduce or eliminate the many fine scratches on the surface.Īfter scanning, which was carried out at 4k resolution, the negative’s remaining damage and several multi-frame tears were removed by digital repair. The film is one of the first features to be scanned on the BFI’s scanner and it has benefited from the use of a wet-gate for sections of the film. ![]() Eventually, despite the curl of the film emulsion and the delicate splices, a sharp scan with excellent tonal range was achieved. Without this, the sharpness of the images would have been severely compromised. This, in combination with very narrow joins between shots, meant careful digital scanning was required to prevent further damage and to make the film lie flat in the scanner’s gate. However, the negative had suffered extensively from ‘curling’ as a result of one side of the film stock having shrunk more than the other. “Fortunately the BFI National Archive holds the original negative of the silent version. The silent version was restored in 2012 as part of the BFI’s Hitchcock 9 project and transferred at 24fps (76min). ![]()
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