F For Fake restored from original negative

Discuss two films from Welles' Oja Kodar/Gary Graver period
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Wellesnet
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F For Fake restored from original negative

Post by Wellesnet »

Restored ‘F for Fake’ to be shown at Cannes:
https://www.wellesnet.com/f-for-fake-ca ... A5m8TIa83g
admusicam
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Re: F For Fake restored from original negative

Post by admusicam »

Criterion edition is superlative, but a new blue ray edition of this new restauration could be welcom for this increadible masterpiece.
Wellesnet
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Re: F For Fake restored from original negative

Post by Wellesnet »

The restored F FOR FAKE will have its North American premiere on Thursday, January 27, 2022, at MoMA in New York. It will be repeated on Friday, February 4.
https://www.wellesnet.com/fake-restoration-moma/
RayKelly
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Re: F For Fake restored from original negative

Post by RayKelly »

Back to One podcast host Peter Rinaldi on the restored F FOR FAKE shown at MoMA:
"4K digital restoration of F FOR FAKE at MoMA. The Welles-shot footage was breathtaking. The Reichenbach footage looks better than ever but I bet they weren’t getting to the negative of that stuff. Grained out and a bit soft still. But no doubt the best it’s ever looked/sounded."
Roger Ryan
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Re: F For Fake restored from original negative

Post by Roger Ryan »

RayKelly wrote:Back to One podcast host Peter Rinaldi on the restored F FOR FAKE shown at MoMA:
"4K digital restoration of F FOR FAKE at MoMA. The Welles-shot footage was breathtaking. The Reichenbach footage looks better than ever but I bet they weren’t getting to the negative of that stuff. Grained out and a bit soft still. But no doubt the best it’s ever looked/sounded."
That's good to hear. My main concern is that the colors will start looking wildly different from the older prints and DVD/Blu-ray releases since so many of these restorations being done by Europe's top laboratories, including Hiventy, inexplicably lean to teal or yellow shadings as kind of a "house style".

Also, I would be shocked to hear that the restoration team attempted to reconstruct Welles' film by going back to locate better elements for the Reichenbach footage! The negative the restoration team used was Welles' negative of the assembled film, complete with the inferior quality of Reichenbach's footage.
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