That's perhaps already been answered but OPUS 1 was restored by Filmmuseum
Munich and they worked for years on it so it should be a serious result. If I
remember correctly they based their efforts on both a few feet of coloured film
in a forgotten tin and on a colouring chart. Stockholm and Moscow were the two
places of the sources. Once again: if I remember correctly...
Ingo
Am 31. Januar 2015 23:08:45 MEZ, schrieb Laura Trager <tragerla...@gmail.com>:
>Hello Frameworkers,
>
>I have a question regarding color preservation of Walter Ruttmann's
>"Opus"
>films, and was hoping you might be able to point me in the right
>direction
>or share your insights with me. I am currently researching the use of
>color
>(or lack thereof) in the early "absolute" animations by Viking
>Eggeling,
>Hans Richter and Walter Ruttmann, and recently came across an essay by
>William Moritz titled "Non-Objective Film - The Second Generation"
>(1979).
>He states that "we have only fragmentary black-and-white silent prints
>of
>Ruttmann's originally hand-coloured films" - and yet, these
><https://www.youtube.com/watch?v=od0MxuD4xxQ> digital color versions of
>his
>films are widespread online.
>
>So, my question is: What do we actually know about the use of color in
>Walter Ruttmann's Opus films, and what sources is this knowledge based
>on
>if his colorized films are not preserved? Have there been any new
>insights
>since Moritz' essay was published? And who made these digital color
>versions of his films - are they just amateur work, or are they a legit
>institutional reconstruction project?
>
>Any leads you might have regarding the use and preservation of color in
>Ruttmann's films or in early abstract films in general will be greatly
>appreciated.
>
>Thanks so much!
>Laura
>
>
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