Journal of Film Preservation - FIAF
Journal of Film Preservation - FIAF
Journal of Film Preservation - FIAF
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
y different processing techniques, and have sustained different forms <strong>of</strong><br />
use and storage, and therefore cannot be subjected to a single ‘universal’<br />
method <strong>of</strong> color restoration. Our research indicates that all <strong>of</strong> the<br />
Chinese-processed copies <strong>of</strong> the same kind <strong>of</strong> Agfa color cine positive<br />
have roughly the same relatively high color stability and slow fading rate,<br />
and thus color restoration <strong>of</strong> these prints is easily accomplished. <strong>Film</strong><br />
processed with the former Soviet [HNKON] technology manifest nearly<br />
100% fading in the cyan layer within a short period <strong>of</strong> time. Our color<br />
restoration process has not obtained appreciable results in the case <strong>of</strong><br />
these films.<br />
4. Color Restoration <strong>of</strong> Eastman 5381 Oil-soluble Color Prints<br />
In the mid-1970s, it was noted that film prints from a Chinese<br />
laboratory using Eastman 5381 color print film showed serious fading in<br />
the magenta color layer within a relatively short time. The loss <strong>of</strong> the<br />
yellow-green color range at levels approximating 50% were quite<br />
common, along with loss <strong>of</strong> density. To address this problem, a process<br />
<strong>of</strong> color restoration using the technique <strong>of</strong> oxidation-reduction was<br />
developed by a Shanghai laboratory, using immersion in an iodinepotassium<br />
iodide oxidation solution, a wash, and then immersion in a<br />
sodium sulphide solution. The method is outlined in Table 2:<br />
Restorating Technology<br />
Table 2: Restorating Technology<br />
Proceeding Temperature Time<br />
Iodine-potassium iodide 24±0.5°C 3 min<br />
Water-wash 21–24°C 15 sec<br />
Sodium sulfide 24°C 2 min<br />
Water-wash 21–24°C 4 min<br />
Formaldehyde stability solution 24°C 15 sec<br />
Note:<br />
(1) The print to be processed is not pre-washed in water; the film should be dry<br />
when immersed in the iodine-potassium iodide solution.<br />
(2) The water-wash step between the first solution (iodine-potassium iodide) and<br />
the second solution (sodium sulphide) must be strictly controlled (less than<br />
15 seconds); otherwise, this stage produces a failure <strong>of</strong> the dye restoration.<br />
(3) The iodine-potassium iodide must be completely dissolved in solution; all<br />
sediment must be filtered.<br />
(4) The treatment can be repeated if the density and magenta values are not<br />
satisfactory after the first pass.<br />
(5) Care must be taken to maintain the purity <strong>of</strong> the sodium sulphide and<br />
formaldehyde solution; contaminants in this phase <strong>of</strong> the process have a<br />
tendency to adhere to the surface <strong>of</strong> the emulsion layer.<br />
43 <strong>Journal</strong> <strong>of</strong> <strong>Film</strong> <strong>Preservation</strong> / 58/59 / 1999<br />
Color image restored with oxidative singlebath<br />
technology (comparison before and after<br />
restoration) (cine film “Kim Ok-hi”)<br />
Restauración de películas en colores<br />
La degradación, generlizada y rápida, de la<br />
imagen de películas en colores se ha<br />
transformado en un impotante motivo de<br />
preocupación. Fabricantes de películas,<br />
exhibidores y conservadores coinciden en<br />
concentrar esfuerzos para mejorar la<br />
estabilidad de las imágenes en colores. Los<br />
fabricantes aportan mejoras a los<br />
procediamentos químicos de duplicación y<br />
revelado con el objeto de retardar el proceso<br />
de degradación, los expertos de la<br />
conservación mejoran permanentemente las<br />
condiciones de almacenamiento y<br />
preservación de películas. Numerosos<br />
métodos han sido adaptados para corregir<br />
los colores al nivel del copiado. Todos ellos<br />
implican procedimentos tecnológicos<br />
complejos y costosos. A partir de los años<br />
70, los autoros de este artículo han<br />
desarollado una serie de procedimientos de<br />
restauración de los colores. Se trata, según<br />
ellos, de un tratamiento químico destinado a<br />
atenuar o intensificar de manera directa y<br />
selectiva las sombras de imágenes<br />
subsistentes, de manera a recuperar los<br />
colores perdidos y restablecer el equilibrio<br />
entre los colores originales. Los inventores<br />
del método esperan obtener los mejores<br />
resultados de este procediento que estiman<br />
corresponder a criterios de rapidez, costos,<br />
seguridad y fiabilidad óptimos.