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I just read a blog reporting from the TCM 2014 festival. Leonard Maltin made a comment before the showing
of a flawed print of "Easter Parade" that new Technicolor prints of old films are no longer possible due to the process and equipment no longer existing, apparently anywhere.

Is this true? Is it now digital or nothing?

I read that some of the festival's b&w prints were pristine. I wonder if they were new.

The Technicolor dye transfer process was last used in a major release for GODFATHER II.
The company revived it in the late 1990s, but it was not commercially successful. Accomplishing the needed precision from three elements, transferring dyes to the final print film, was a big problem with the needs of a large volume of prints on short notice.
Preparing a color negative from the Technicolor separations can be done, using contemporary printing technology, with very good results.

I recall reading that the last lab to print Technicolor on a regular basis was in China, including prints of some Zhang Yimou titles.

You're right. I understand the equipment from the British lab went to China. The late Jeffrey Selznick worked with them to try to make a print of DUEL IN THE SUN from the original negatives. A screening of a reel or so of this, along with some comparisons, was held at the Academy's Goldwyn Theater for an invited audience (I was one of them).
It was interesting, and it worked, but not very well.
This was several years before Technicolor Hollywood rebuilt the dye transfer equipment. I think the printing machines in China went away a long time ago. The process was just too cumbersome in comparison with modern color films.

Phillyrich wrote:I read that some of the festival's b&w prints were pristine. I wonder if they were new.

The following films were shown in 35mm :

5TH AVENUE GIRL
ALICE DOESN'T LIVE HERE ANYMORE
BACHELOR MOTHER
BELL BOOK AND CANDLE
BEST BOY
CAT ON A HOT TIN ROOF ( not new but splice free and clean )
CHEAPER BY THE DOZEN
EASTER PARADE ( had they advertised IB tech I would have attended; instead I saw the repeat of EMPLOYEE'S ENTRANCE )
EMPLOYEE'S ENTRANCE ( not listed as a new print but in excellent condition ) - another fun buried treasure
FATHER OF THE BRIDE
FREAKS
THE GOODBYE GIRL
THE GREAT GATSBY (1949)
HANNAH AND HER SISTERS
HAT CHECK GIRL ( World Premiere Restoration )
THE HEIRESS
HER SISTER'S SECRET
HOBSON'S CHOICE
I NEVER SANG FOR MY FATHER
THE INNOCENTS
INVASION OF THE BODY SNATCHERS ( Martin Scorcese's personal print )
THE LION IN WINTER ( billed as Restored by Sony & Academy Film Archive but not a premiere )
MAKE WAY FOR TOMORROW
MY SISTER EILEEN (1942)
THE NAKED CITY
ON APPROVAL ( New print struck for TCM, but showed some negative wear and speckles ) - wonderful film !
THE PAWNBROKER ( print appeared to be new )
THE STRANGER'S RETURN ( vault print in excellent condition )- missing short coda at end of print but Leonard Maltin says it doesn't affect the story- reportedly may be restored from 16mm negative) ( Loved it - becoming a huge Miriam Hopkins fan after this and TEMPLE DRAKE )
STAGECOACH
STELLA DALLAS ( new print - was very nice )
SUNDAY IN NEW YORK
THE THIN MAN
WHY WORRY? ( listed in the program as digital but obviously a (very good) print, with noticeable reel changes and focus issues with projector # 1)
THE WORLD OF HENRY ORIENT
WRITTEN ON THE WIND

I've never seen a truly bad print at any of the 5 TCM Fests I've attended, although I heard from friends that both PAJAMA GAME and SEVEN BRIDES were a little rough in previous years. Based on the comments before ON APPROVAL, TCM has the clout to get a new print made of something they want to show, although I suspect they have to foot the bill to get it done. Much of the programming seems to be built around films that have had recent restorations each year, with both famous and obscure titles. I saw new digital restorations of MR DEEDS , A MATTER OF LIFE & DEATH and STORMY WEATHER and they were all spectacular.

Over the years my approach has been mostly to try and see things that are rare or I haven't seen before, with a couple of old favourites that I have never seen on the big screen mixed in. ( How can you resist a chance to see BEN-HUR on the big Chinese screen, or ALL ABOUT EVE with a full house ? ) Biggest thrill was last year's program of UCLA-restored Laurel & Hardy shorts in 35mm, which I had never before seen in a real theatre.

I love film as much as the next guy, but the digital DCP of THE ADVENTURES OF ROBIN HOOD at the Egyptian was some of the most beautiful eye candy I have ever seen.



Carl Davis about to conduct his new score for WHY WORRY ?

http://www.digital-intermediate.co.uk/e ... icolor.htm" target="_blank