THE RLS FILM/VIDEO

Discussions on re-editing the video copy

Comments on the film

CLICK HERE TO VIEW ALL SUGGESTIONS ON HOW THE NEW VERSION WILL BE MADE, SCRIPTED & ITS CONTENT

I have it on first hand authority that the aforementioned another of our merry band tried to carry out the fiendish plan and failed at the nth attempt to make any contact with the new head. (This is well aired here). It is believed that the old, black bakelite phone is still in use in the school and thus too heavy to hold in the female hand. My first hand authority was under the impression that the other one of our merry band was to call in to make arrangements at personal level as he lives local. Thus we have a Mexican (or is it Newcastle) stand-off.) I also have it on first hand authority that the introduction has been written and is ready to roll. Maybe Vince would call my first hand authority to arrange things again, now that his global wanderings are almost at a close. (David Silverside)

At the Hare Hall reunion July '02, I was overjoyed to be joined by many of my (very) old classmates. I mentioned this site, and the hope that the school film, by Alfie Jones and circa 1954, was about to be digitally enhanced, a soundtrack added and a current resume of RLS 2002 either intercut for comparison or added subsequently.
At the time, there was initially great enthusiasm here, plans were laid and finances given.
There was a fiendish plan to write a script for the commentary, volunteers were sought to do this and shoot the new footage at RLS at a mutually convenient time, preferably in the spring/summer months. Since when, zilch.
I was only reminded of this when one of the said classmates contacted me in response to a sardonic email regarding his fleeting appearence on TV. I reiterate his question to me.
What about the school film????? If memory serves, we "borrowed" the original from Mark Morrall. Who has it? Can we progress soonest?
I ask, not as a £75 worried financeer, but as one who believes it should not be left for too much longer. (Phil Kingham)

I really think we need to start planning what to do with the film. So far, the success or failure depended on finding the film, then transferring it.  Hopefully, by mid February, we will be ready to start work - if we know where we are going with it.  The copy on Colin Sibthorpe's server is quite good enough to see the content of the film, so why not get cracking lads? For those not blessed with a fast enough connection, I'm sure we can snail mail some CD copies to you. We also need to see who is going to do the writing and voiceover work.  Perhaps even a piece to camera, or two. (Vince Leatt)   

LATEST NEWS/VIEWS INSERTED AT THE TOP HERE:-

(22/03/02) The initial response to my earlier email proposing structuring the work around the School film has thus far been very positive. Thanks to each of you who've taken the time to reply. This includes my offer to gather all ideas together for a Requirement Spec. Still waiting for Vince to be on-line.
If you like the idea of a film which includes the '54 footage, or if you think the whole thing is a terribly boring waste of space, or whatever...
please could you write to my private email with your answers to these 10:
1) What content would make you want to pay for a film of the Lib?
2) What do you think of the 54 film activities so far (here's your chance)?
3) What do you really want from a film of the Lib?
4) What should the message be from a school film to make it sellable?
5) What values do we share on this board?
6) What role sahould ladies have in the film and it's presentation?
7) What music would you like to hear behind a school film?
8) What do you love and hate most from the Lib?
9) Should the 54 footage be central or just a part of Film 2002?
10) What can a school film offer to people of all ages?
Please try to answer with feeling, not intellect, and explain why (Ian Macauley)

21/3/02: (To MJM) You have gone out of your way to put something together - it is a personalised view, and to my mind is all the better for that. I personally thought it was the dog's bo**ocks, and although there may be fine-tuning to carry out in terms of timing, nuance, stress, use of this word rather than that, or whatever, it certainly has the core which can be worked on.
I would disagree with you on one point, however. Do not run away with the notion that this film is only of interest to those members who were actually
at the school at the time. Speaking for myself, the RLS is our school and as such I am interested in it pre-Howe, during-Howe, post-Howe. And I think you'll find that that sentiment is commonplace, not an exception. (although, of course, other members would have to substitute their own surnames and thus time-periods into the context). So let us not deviate from the goal here. We have the first draft of a commentary, courtesy MJM. We have a number of members who will aid in the fine-tuning process by positive criticism. We have the erstwhile Vince waiting in the wings once he's de-blipped. What more could we possibly need? (ash howe)

During the last few months the production of the 1954 School Film has been managed via this board. I think this is a mistake and wish to propose a solution and my own participation in that solution. We have a film, various supplementary materials, a wealth of talent, willing hands, finance, and a potential market for a final production.

In order to turn those ground materials into a high quality final product, hopefully sellable, we need a project team to manage this between themselves, using this board as reference but not as the management, nor executive tool. The material and project requires an owner and co-ordinator. Not this board, but a private venture with it's own goals, activities and time schedule. Vince (especially) and Phil - you seem like natural targets for ownership.

I suggest the project team comprises the co-ordinator, exec decision group, and responsibilities/skills for goals, content, activity schedule, finance, materials, marketing, production, packaging and sales at a minimum. I volunteer assistance with sales targeting and related goals & activities.

I suggest we use these members of this board to gather the widest set of ideas for and against the film, likes and dislikes. Suggest private email as the tool, not the board. I'll volunteer to collect ALL ideas and comments for the next 2 weeks to my private email, then put it all together in a requirement spec plus appendix of all incoming texts. Initial requirement specs are my speciality, and I promise to be neutral ;-) ian.macauley@bredband.net

Suggest that the material owner collects ideas about film, audio (narrative, music, anecdotes & quotes), video (archive, interviews), photos & pictures, written & scanned documents, anecdotes (teachers, staff, pupils, governors, neighbours, family, wives & girlfriends, boyfriends if someone is gay) & links.

Suggest the production & packaging owners explore potentials for film formats and soundtrack possibilities, stills & texts, plus quality vs economics.

I'm volunteering to help with the requirement spec in the same positive spirit as Mike and the narrative, and it's in my own field of competence and expertise. I'll gladly do it irrespective of the above proposal. I can't see Vince complaining about a helping pair of hands with something. You guys have been doing a great job so far.

So guys, if you have any ideas, feelings (love it, bored, want it), or whatever for the film, please email me using the subject '1954' and I'll put it together for Vince or whatever comes out of this proposal. (Ian MaCauley)

(5/2/02) I am wondering if the studio boss (V.L.) has managed to make any headway with the update plans? It seems that an extended version will not be easy to get ready for the summer reunion, at this rate? Or am I wrong? There has been a rather pitiful dearth of suggestions for such a bright collection of old boys, considering all the bother Vince and Michael have already gone to... and their great success too! (Robert Priddy)

(6/2/02) Yup, the film is under active discussion in this southerly quarter of ol' Blighty.  I have now seen a copy and I have to say it exceeds all my expectations.  Even my wife (normally very sceptical about anything to do with this site), thought it brought out the school in very good light.  Why do I have a copy?  Well, I am off to Inner Mongolia on Sunday for a month and have agreed to interview Stan Smith before then if it can be arranged.  I am thus working on a story board for any narration.  We are also trying to contact relevant, well-spoken and well distinguished old boys to undertake the narration otherwise you will have my dulcet tones.  Offers?

We hope it will be ready for July.  Plans are well advanced for the format but any suggestions in addition to those already received would be welcome. (David Silverside)

Enter your vote today!  A new poll has been created for the RLSOldBoys group: We have had many offers of financial help towards the cost of remaking the 1954 RLS film.  To date, we have spent 525 pounds.  Please would donors tick one of the following answers to the question:-

I would like to contribute the following amount to the cost of the remake of the 1954 RLS film.

   25 pounds      50 pounds      75 pounds      100 pounds

To vote, please visit the following web page: http://groups.yahoo.com/group/RLSOldBoys/polls

Note: Please do not reply to this message. Poll votes are not collected via email. To vote, you must go to the Yahoo! Groups web site listed above.

Vince: Well done, sir! The 36-second clip played perfectly in Real Player and WMV. Both hold up well at full-screen. It was clear as mud as usual. I think the clip is a great idea. Just prefer to save the emails till it's fully tested and working. As it now is..

My first impressions, for any soul that cares? "What the hell was I thinking about in 1965 going to such a stuffy boring school!" This film clip instantly provoked memories of endless

boredom waiting to go home at nights to see my friends with normal hair, and maintain normal healthy relationships with girls. Suddenly I relived the freedom of leaving Summer 1970 and the pleasures of Rush Green. It felt like getting out of jail, and now I can see why. It was going from a Grey Winter in Black-and-White to a Rainbow Summer in Colour.

In that respect, this film is worth pure gold. It can hardly leave any of us untouched with memories. Good or bad. In my case it was the "boredom" (our eternal adjective back then) which inspired me to better things. No complaints - a lot of the guys were TGBs - even more so today!!!! - and I'm constantly reminded about that special RLS sense of humour. Watch the film - you needed a sense of humour to survive the place! Chuckling heartily at the old boys in Batman outfits... (Ian MaCauley)

Won't someone give us the names of all the known prefects/masters on view in l. to r. order, please? Faces make names and stories come more alive. (Robert Priddy)

I know it was only a year before my time but I don't remember Aggie looking that young. John Tydeman seems to be growing his moustache. Fox still needs a shave. (Peter Pearson)

Here goes, don't forget it was over forty years ago that I left school! Starting under the wreath on the wall to the left of the stained glass window .
Oscar Mould?
Webber?
John Tydeman,
Aggie Guy (under the Essex shield in window)
?,
?,
?,
Fox,
Peasey (sp?),
?,
?,
Fred Holmes,
Tug Wilson? 
Can any one else confirm my failing memory and fill in the gaps? (Chris Pearson)

Suggested addenda to Chris/Peter Pearson's identifications:

Starting under the wreath on the wall to the left of the stained glass window .

Oscar Mould?         confirmed

Webber?              confirmed

John Tydeman,

Aggie Guy (under the Essex shield in window)

?,

?,

?,

Fox,

Peasey (sp?),         there was a A.P. Pease B.A. and a C.H. Pezey B.Sc.

?,

?,                    Morley

Fred Holmes,

Tug Wilson?           confirmed

(Andy Lee)

Stan Smith standing next to Oscar,and possible Jock Pryde to his right Taffy Thomas (?) next to Guy Bell next to him Morley, it's definitely him next to Fred Holmes.

The science lessons after assembly (with Richards,and then Graham) were filmed with our science set. From this unclear old version I can recognise a few pupils in these scenes, incl. myself. I expect we can identify a lot more in the new version. (Terry Turner)

I have just viewed the 20second snip and it is very good quality. My recollection of the Masters from the left as you look at it, some unrecognisable images, then

Wilkerson, who taught Spanish,  with a very white face- just to the left of the window.

Jock Pryde ?

Fred O'Hare ?    taught French

J S  Spook Smith- partially hidden -taught maths in room 1

Mold ?

Webber was in the CCF (Navy?)

Tydeman  with the moustache

Guy

Taffy Thomas  shorter than most

Dinger Bell sports/geography master

J R Fox  French master

Sam Pezey  taught maths and sports, particularly keen on cross country running.

"Ben" Bradshaw - some time 7th Romford Scouts

Askew?

LeMin

Tug Wilson

I recognise some pupil faces from the 51 intake, but I cannot put names to them.

Wonderful film, more please (Robert Stevens)

Names to faces: Would it be helpful if I were to go thro my copy of the film, shot by shot, and write down & send on who I think these people might be? Could take a little time but worthwhile to put several opinions in. (Phil Kingham)

...I watched and from the miscellaneous faces came Michael Course singly lustily!. The faces of the Masters were incredibly clear. Tug Wilson for instance looks as if he is in his 20's or early thirties (which he probably was) Sam Peazy and Johnnie Bell, Bradshaw et al. Magnificent! I look forward to assisting in any way possible, in the plans to provide sound to this classic. (Mike Merry)

I agree with most of the names suggested by Robert S. with the following additions/mods.: To the right of Pryde could be Richards and Graham.
There is someone between Bell and Fox who is not yet identified. After Bradshaw come Morley,Holmes and Wilson ( not Askew,Lemin ).
I have also seen that our set is shown in the Maths scene (as well as being in the Chemistry sequence ). I remember that when we came into the Room 1 we were surprised to see the chalked up info. on the board. Then Spook explained about the film shot. I think he usually liked to develop/explain theorems etc. in real-time, starting with a virgin board and ending up with the final version, involving the class on the way. ..and a v. good method it was too.  Great upgrade to the film,Vince. (Terence Turner)

Today, MPL and I went to Soho Images and transferred the film to DV tape. I would say that the quality of the film is superb, except for some scratches at the end.  So that you can see for yourselves, I will be posting a short sample on the web in the very near future.

Alan, the engineer, was on of the most helpful guys you could hope to meet, and took great care to grade each scene of the film - and there are a lot of them!  This took some time, as you can imagine, and we overran our original time estimate by some way.

By the time we had purchased two master tapes, the total was 525 pounds - paid for at present by Hon. member MPL - thanks, Michael.

Many of you have offered contributions towards these costs.  As there have been some public, and some private, all of different amounts, I have attempted to set up a poll to determine what the total may be.

Please would you vote as soon as possible, as the poll closes in the next 7 days.  If I have done it correctly, I have hidden individual names, so no-one should be giving away how much they are prepared to offer. After the poll closes, I will calculate the average donation, and post a message giving payment details.  The more offers we have, the less the individual burden.

Now, it's over to the creative team to start creating. Please remember, you have seven days only to vote.  You can change you vote at any time, and I have thoughtfully provided a get-out box if you vote by mistake.

When I get the mpeg posted on the web, I hope you will take the time to download it to see just how good the film really was.  You will have to be a little patient.  I will try to time it so that a 56K modem will download it in two or three minutes.  I would expect you

will get perhaps 15-20 seconds of film for that download time.  Enough to see what has been achieved so far. (Vince Leatt)

Thank you all who have answered.  I too, agree that we should push ahead with what we have.

Robin - I am not going to throw my hands up in horror as most of what you say is true.  The negative will probably be of the best quality as far as scratches etc. go, because it has probably only been out of the box once or twice to make a positive (or two).

Unfortunately, the technique of making a positive film from a negative one produces different results to electronically 'flipping' a video signal from a negative film to make a positive video picture.

This does not worry me because (a) the film is monochrome, and the problems of inversion are not as bad as for a colour film and (b) this is why we are sitting in on the transfer, to see that the best possible corrections are made in the studio.

My hope is that the results will be very reasonable, unless we have severe shrinkage of the film due to age, or the splices keep coming apart.

I think one or two of you may have missed the point slightly.  From what I have heard, the positive we would have been looking for contained original sound recording at the time of the filming.  I am *not* talking about the John Williams soundtrack that we have on our VHS copy.

Someone said if the soundtracked positive came to light later, it would be a bonus.  I agree 100% because we would probably pop back into the studio to grab the soundtrack, and remake our remake using it.

I will see if I can contact Mark Morall tomorrow, but will go ahead nd book studio time as soon as possible. Watch this space. (Vince Leatt)

It is of course possible that Steve's memory is playing tricks - I don't remember any sound when we were show the film.  But then my memory is just as likely to be at fault.   However there most certainly was a positive 16mm copy, sound or no. (John Bailey)

The '66 intake was shown the film once (and once only,  if I remember  correctly) during its collective career at school, one day when a particularly nasty (possibly electrical ) storm swept through the area and cancelled both footie and a road run (oh joy!).  The film was shown to us in (I think) our 3rd form (so that makes it 69 - other 66s comments?).  It was shown to us on the side of the building containing either the Chem Labs or the Physics lab (or possibly the adjacent Geog or Arts stuff).  The film was silent.  I cannot imagine that the school had the wherewithall to produced a narrated sound version, but then not have had the means to display it. This, presumably,  is still the same film that begins with ex-Hon. member M. Summers (53 intake?) undergoing preparation for the day? (Pete Isaac)

Yesterday, MPL and I agreed to attempt a telecine transfer within the next few days, and had made our final decision on the company to do it.  Then it got complicated! This morning, I received a phone call from non-member Steve Attridge.  The film was mentioned in passing, and he said he had seen it.  I assumed he meant he knew someone with the video, but when I said how awful the quality was, it turned out he was shown the film during a German lesson around 1969 on a 16mm projector.  (Probably by Aubrey Pope).

When I mentioned the John Williams soundtrack, he told me that the film he saw had a PROPER soundtrack on a mag. stripe down the side of the film.

This means that there used to be a positive copy, with original soundtrack, but can not have been known about when the VHS version was made five or six years ago, as this had music all of the way through.

The question raised here is - do we transfer the silent version we have, or do we feel there is any chance of recovering the soundtracked version? I would appreciate as many replies as possible over the weekend to know whether I should go ahead and book studio time. (Vince Leatt)

If it is at all possible to find the film as described, I think we should make a strong effort to track it down. Then a comparison can be made with what you have and an intelligent conclusion reached. Financial support still committed. (Geoffrey Styles)

I recommend you go with what you've got without more ado. if the 16mm positive turns up treat that as a separate issue. You won't find anything other than positive financial support, which could be offset against selling nominally-priced copies. Make the best of what you have or this risks never ending. (Ian Macauley)

My two penn'orth is to plough ahead with the original plan. The chances of finding the positive/spoken-soundtrack version must be pretty slim.  If it had been available 5/6 years ago when the video copy was made (do we know who did that?) it would presumably have been used then. [Thinking about it, a positive/musical-soundtrack version must have been used.  I wonder where that is.] Perhaps an early 'phone call to Mr. M. to confirm that the p/s-s is not sitting in the cupboard where the negative was found might be worthwhile, just to eliminate the "Oh I didn't realise you meant *that* one" possibilty. (Andy Lee)

I have no recollection of ever having heard a recorded at the time soundtrack or dubbed on commentary. My gut reaction is to progress what we have and treat the other copy, if it does exist, as a bonus. (Phil Kingham)

My vote is to go with what you have and if a better turns up refloat the issue. (David Silverside)

We have a negative. Positives are made from negatives, not vice versa.  In consequence any 'next' copy will be better from a negative rather than a positive. We are short of an original soundtrack. It seems to me that if we can create a good quality and stable film then we can add soundtrack later, especially if the whole thing is made 'digital'.... I will fully support any decision taken by Vince as he is the one that knows what he's doing. (Robin Hackshall)

Just spoken to David Strellis in Basildon. He is much cheaper than the Soho lady, and told me the following:

1.  Cost of transfer would be less than 100 quid.

2.  They transfer it optically (not as good as flying spot scanner)

3.  He recommends I contact 'Larry' in London as he has the dogs b*ll*cks of telecine equipment, but to expect London rates.

4.  An obvious point - if the original is bad quality, the master tape will be.

5.  We can deliver and collect personally, but will not be able to be present during the transfer.

6.  Transfer will be 'one-light' - i.e. no adjustment between individual scenes.

I will contact Larry tomorrow to check on prices, and to see if we can be present during transfer. I would like your views on the following -

1.  How comfortable are we to leave the film with a stranger, even overnight?

2.  Are we interested in saving money, or do we want the best possible master? (Vince Leatt)

My vote is for quality. Count me in for investment of £50. I think that we'll have enough promises to underwrite the project on a quality basis. (Robin Hackshall)

I have had a second look at the film.

1. Although this means nothing, clue number 1 is that the can states 'A Day at the R.L.S. Original Negative'

2. More importantly, the film has 'A Day at the R.L.S.' scratched on the emulsion at the end (It is reeled up with the end outermost)

3. Unless the film was shot at night, and the RLS was populated with albino negros, it is most certainly a negative.

I know nothing about photography, but with over thirty years of experience in video systems, I know when I am looking at a negative, and I'm looking at one now. How it got there, where it came from I don't know. The bits I've seen appear to have some sort of CCF ceremony which looks like some guy in a peaked hat presenting something to a sergeant while a woman stands by - ring any bells?  Also there may be some cricket practice going on.

The ending appears to close with a flag.  Its all really rather difficult in tiny negative. Comments, anyone? (Vince Leatt)

Vince - In answer to your questions: 1. Totally happy - we know where he lives! 2. Quality is important. We're only going to do this once. Money no object!! As regards the question of the film itself.  I gave you a CD of the poor quality version so if you can endure giving it a run through, it should answer your concerns. (M.P.Large)

I have compared it with the few feet of film I examined under the glass.  As far as I can tell, I have the original, negative copy. (Vince Leatt)

As was said in The Full Monty - if we're going to do this, lets do it right. (Richard Hall)

My vote - go for quality. As previously stated, I am more than happy to pay my share or whatever! (Geoffrey Styles)

Quality! (Andy Lee)

1. ...the majority (if not all of us) want a quality transfer mainly because this will never have to be repeated again.

2.  We have had enough offers of cash to enable us to use a London facility - thank you all.

3.  Regarding leaving the film to be transferred without our presence has resulted in one person for, and one against.  I am also against, not because I think it will be stolen, but as Andy said, accidents happen.  Also, for best quality, we need to be present to control the grading, and as I was one of the visitors to the school, I feel responsible, so I have the casting vote - we do NOT leave the film alone.

So, it looks as if we will be using a London based facility.  We already have a contact at Soho Images who will let us do everything we want to.  I have yet to contact Larry (recommended by the guy in Basildon) to check his prices and see how helpful he is.  I will

probably see if I can get at least one other quote.  Finally, whoever we decide upon, I shall try to screw the price down based on the fact that we are not a rich advertising company, but a load of sad old farts who want to see their old school. (Vince Leatt)

We have a winner, I hope. Having followed up DES's recommendation of Dave in Basildon, I ended up talking to Larry of London. We started off very well, but then it got better.  As the conversation progressed, I mentioned my previous work with telecine development, and it turns out he is putting together a history of telecine machines and the like for a museum collection. I was able to put him in touch with one of the original designers of a machine on which he was trying to obtain information.  Needless to say, we managed to build up quite a rapport.

He also has studios in Stansted and Basildon.  Basildon can not accommodate people (I think this is the original DES lead) but they can at Stansted.  The machine at Stansted is in use for the next ten days, but after that, we are welcome to go there to do the transfer.

The original cost quoted for 1000 feet onto DV was 250 pounds - 35 less than the Soho lady, and I have a faint hope that if he gets a lot of useful information from my contact, he may be grateful enough to reduce the price! Even if not, he fits the bill on all counts.  Latest equipment, price within our budget, we can attend, and I'd rather drive to Stansted than Central London.

I guess that closes this thread for a short while, unless anyone has anything to add. Oh, and apparently there is a four part series on TV at the moment called 'To kill and kill again'.  He says he appears on the credits for supplying the vintage footage, so his quality can't be that bad. (Vince Leatt)

Are you suggesting that we hope to recoup our expenses by selling only to our members, and any surplus to be donated to the school?  If so, what happens if we don't have a large enough take-up?  How would you propose to make up the deficit. I don't actually think there is much chance of this happening, because we know there was considerable interest from the list members for the original tape, and the same people would probably want the updated version, if only to see the better quality original footage which we will no doubt include.

The digital master is our goal.  We can transfer to whatever we want. We may want to be involved in distribution until expenses are repaid.  After that, the school can be as efficient (or not) as they like. Phil.  As you did most of the talking to Mark Morall about the financing of the film, could you like to share your views on what was agreed with him? (Vince Leatt)

To clarify my thoughts on the financial matter.  I thought the point of a few of us throwing in a hundred pounds to the project was to effectively underwrite it and pay the out of pocket costs.  If we then produce and distribute for our own members only, that cost ought to be easily recovered at a cost of say #20 each to 30 members (allowing for production costs etc). Once that is achieved we could still sell to our members to build up a small

kitty to cover costs at Reunions etc.

The school would have a master from which they could produce VHS tapes as before, or whatever other format they felt appropriate, and sell to the much wider audience of RLS Old Boys at "official" reunions and to members of the existing school.  If our share of the proceeds became excessive, we could always make a one off donation to the school. (Michael P.Large)

In our negotiations, it was agreed that, following loan of the original film and its enhancement in whatever shape or form, and at no cost whatever to RLS: it would be returned to the school for their keeping, along with a copy of the new/improved in whatever format (probably VHS) they requested. Although it was not mentioned, I guess, as there is no copyright, that any parties concerned (RLS or we OB's) may make and sell copies, firstly to defray any expenses and then on a non commercial basis.

Obviously, if the 1954 footage has additional shots interspersed, and/or commentary added OR a new 2002 comparative epic is filmed, then these "bits" may be subject to our ownership of copyright. Bit of a grey area legally, but that’s what we said and that’s how I see it.

Count me in for a share of the cost (Phil Kingham)

Today I contacted the local cine transfer company as promised.  I chose the one with the best looking advert - mistake! 

The receptionist quoted 75 pounds for 1000 feet of 16mm, but when she realised it was getting a bit technical, she got 'Dave' to phone me.  'Dave' can't convert negative to positive.  'Never mind,' said I, 'I can.'  When asked if I could take the film in person and wait while it was transferred ('I daren't let it out of my sight') I was told, 'No, not really, because I don't have it set up in me front room all the time.'

It turns out that this professional looking outfit simply sends the film to 'Dave' who points his projector and camera into a twenty quid box from Argos.  This is out of the question, as we can not adjust the lighting to suit the negative/positive conversion.

Back on the 'net, I found more possible sources -

1.  Frank Gray, University of Brighton - answerphone, waiting for reply.

2.  Michael Page, Surrey History Centre - ditto.

3.  Filmatic, London W11 - phone number not recognised.

4.  The Machine Room, London W1 - answerphone.

5.  My favourite so far.  Tamsin at Soho Images, London.  Can output positive image from negative film.  Any film format to any video format.  Will either adjust image lighting according to first few feet, then run the film end-to-end, or (more expensive) will adjust

for 'best light' where each scene is individually examined and tweaked.  Has no problems with one of us being present to direct the transfer.

The drawback is, of course, that the equipment is broadcast standard, and in that area of London, she is much more expensive than the other ladies in Soho - about 285 pounds per hour + vat, to be exact.

The film runs for about 30 minutes.  She estimates that this would take 45 minutes studio time for the cheap version.  For 'best light' he says it takes up to 2.5 times the film running time on average.

Personally, I am prepared to gamble(say)100 pounds on the project.  I believe that it must be possible to sell enough copies to recoup the outlay.  This would be the only expense.  All of the rest is our time.

If there are enough others prepared to put into the pot, we can do this.  Otherwise, I am open to suggestions as to how we should proceed.  I believe (PHIL - can you confirm this?) that Mark Morall said they had made 3000 pounds from the previous sales of the video, which means 1200 copies at 3.50 each less the cost of the tape.  Actually, I wonder where J_Allen got the 3.50 from as I seem to remember them asking 10 pounds a copy?  Can anyone confirm?

Anyway, it doesn't really matter.  If the school really made 3000 pounds from sales at whatever price it sold for, we should be able to cover our costs. I think we may be able to (legally?) avoid the vat by getting the school to pay for the transfer (they are exempt, aren't they?) and for us to make an equivalent 'donation' to the school funds.

Personally, I am prepared to gamble(say)100 pounds on the project.  I   believe that it must be possible to sell enough copies to recoup the outlay.  This would be the only expense.  All of the rest is our time. I look forward to your comments and/or suggestions. (Vince Leatt)

Count me in for #100 and I also don't mind sitting with the young lady in Soho or did I speed read your note too quickly?  Let me know how I can help and I'll be there.  Best not to involve the School as I'll just put the invoice through the Company and sort the VAT that way. (Michael P. Large)

Please count me in! I'll cough up my share (or more) in July when I see you at the school. A pleasure, I'm sure! (Geoffrey Styles)

If we are going that route (and further checks on prices reveal a great similarity in London) I would prefer to have a second person with me, if they will allow it.  Sounds as if you may be on for a trip to the West End? Thanks also to Geoffrey, who has agreed to put in, so it looks as if we are there already. If we get any more volunteers, we can have a vote on whether we reduce the individual financial commitments on the 'one light' option, or spend a little more money and go for the 'best light' option. In view of the changes from outdoor to indoor scenes throughout the film, and as a firm believer in 'If a job's worth doing,' etc. I would rather do the latter.

I think we should let this run until the end of the week, and see where we are.  Apparently, the studio can normally be booked with a few days notice.

If you are happy to do the vat that way Michael, then fine - I am very brave about the Customs and Excise until they come for their routine inspections, and am not sure of the position, but I agree that the less the school has to do with this the better.

Before we go much further, I should point out that after expenses have been repaid Mr. Morall is expecting all proceeds to go to the school.  I am in favour of that, and I assume that all others involved will be as well.  Our way of giving something back, and immortality for those that will be speaking. (Cecil B. deVince)

I'll put in a share. Let me know what the going rate is. (Richard Hall)

I agree the proceeds should go to the school but perhaps, in view of past experience, we need to be a little canny!  I would suggest that a better option may be to give them back the film and a new master from which they can make their own copies and sell them but we will reserve the right to sell through the list to our current members.

It may be worthwhile for us to do this by transfer to vcd or even dvd but as long as we have a digital master, it doesn't really matter as the technology will soon be there to transfer it to minidisk or whatever.   We don't want to get involved with distribution as that will just take away any incentive for the school to do anything themselves. At the 2000 reunion I paid for a copy of the video but never received it.  I seem to remember that Colin Calvert had a similar problem and may be others as well. (That means other people having the same problem - not Colin having other problems!) (M.P. Large)

Yes I had heard this misfortune happening to others in the past. I would put my 100% support behind MPL's suggestion. Before we go too mad, are you guys 100% sure this is a negative of the school film? From memory, admittedly bad, the H16 took 16mm film which was returned processed into positive. Equally I am sure there never were 2 copies of Jones's lifework in existence, especially 1 pos and 1 neg. Would suggest close scrutiny and a 2nd photographic opinion. (Phil Kingham)

Count me in for a cost-share to £100. '54 was a very fine year indeed. (Ian MacCauley)

At crack of dawn (well at 1100GMT) I contacted the Maidstone Photo Factory Ltd (01622 730730) Unit 13, Newnham Court, Bearsted Road to ask what they could do.  This unit is amazing and bends over backwards to do anything photographic for anybody, quality is a must.  They do some work for my wife's company and a lot for us peasants. 

Can they convert 16mm negative?  Sure.  Slightly more expensive than 8mm.  But this work is passed to a company in Basildon, 01268 412048, contact David Strellis.  If this is your Dave, do as you will, if not give him a bell.  I cannot vouch for him but I certainly would for the MPF Ltd.  They say that Strellis does work for the Beeb. Over to you. (David Silverside)

I concur with those who feel that the RLSOB List should at least keep its own digi-master for something more like cost-price distribution. Those of us who live abroad have problems with bank charges both for valuta exchange and for sending money. In addition, many UK banks charge at their end too!! A fiver or tenner in the post is the way around this, but bills with exact amounts from R$LS would cause unnecessary cost and trouble. Still, I think that those who are doing the work and/or contributing cash have the moral right to decide on this. (Robert Priddy)

The good news: Is that the film looks in good condition.  I was expecting that it would be very brittle, but this does not seem to be the case.  I have examined one or two frames under an eyeglass, and the definition appears to be reasonable, although it is difficult to tell at that magnification.

We have a microscope here, and I hope to give it a better examination later today.

The bad news: Well, quite a bit, actually -

1.  Phoned the man rebuilding the telecine machine.  He has now been diagnosed with a heart condition, and is forbidden to do any heavy lifting.  (Lots of bits of the machine are heavy) I offered to go up and help him for a couple of days if that would get the heavy lifting out of the way, but it seems that it would be more like a month.  The scheduled completion has been put back to end of the year.  However, the apparent good condition of the film means that it may be very easy to transfer it by more traditional methods.

Yes, I I do have the film but it is the original NEGATIVE!  This means that some form of conversion will have to take place, but at least we must have the absolute best possible quality master.  It may be possible to invert the video signal to produce a positive, but

this method may produce a washed-out effect.  An alternative would be to have a new positive print made from the negative, then transfer that.

My current plan of action is to find a friendly cine-to-video transfer facility as local as possible so that I can take the film with me and watch over it while the transfer is done.  I am scared stiff of losing the film.  I have a few leads to follow up on Monday.  If these fail, I shall be asking the interested list members to assist in locating a facility.

I also believe that there must have been a positive version for the original transfer - unless of course, my prediction about the washed-out appearance above is true, which would explain why the video is such poor quality.

We have a fair way to go, but we are not stuck yet. (Vince Leatt)

 The following notice has been available in the Old Libertians' E-Mail Directory for some time.  It would be a good idea to tie up with Mervyn Wright. (J. Alan Smith)

The only expense I envisage is the transfer of the original film to video, and I expect this to cost less than 100GBP.  If so, I will foot the bill, and reclaim the money from the first sales that the school makes.  By my reckoning, there are probably enough interested OB's on this list who would take a copy to pay for this. If the costs rise substantially above that, I will ask for any voluntary contributions.

For any that have not been paying attention at the back, the reason we are re-transferring is that either the first generation copy has disappeared, or the original transfer was badly done.  The 'master' copy that they showed Phil and I last Thursday, had two serious quality problems that were definitely of electronic origin.  That is to say, it was nothing to do with the film, but the transfer process.  By re-transferring, we should at least eliminate those two issues.

I have now examined the (negative) film under our video microscope and converted it to positive using software, and believe that although it could have been better, we may see much more detail from the new transfer.  It's all rather difficult because I don't have a low enough power magnification.  I am about 4 times too high, so I am seeing the film grain as well.  Also, I guess that the grain on a moving image becomes less noticeable than that of a single frame, as it moves randomly, and therefore tends to cancel itself out.

I don't believe that the film has deteriorated as much as we had been led to believe, and should hold together during the transfer.

I did say that I would be contacting companies tomorrow, but I now have to visit a customer in Lichfield.  If I get back at a reasonable time, I may still be able to do this, but it may have to wait until Tuesday. I will keep you all informed. (Vince Leatt)

Comments on the film

Terence Turner wrote: "Colin (Calvert) mentioned he had ordered the video....” yes, Colin you will get a laugh out of it, and maybe you will see yourself & Ian in it. It is b/w, and silent, although some scratchy music has been added. I think it was made by Jonas with his movie-camera.
I also remember him once showing the school another of his movies...the one when he went on holiday to the Rheinland. He himself appeared in many of the scenes, e.g. getting on/off the boat, pointing at sights....so presumably his partner took those.
I recognised many pupils in the ' 54 video (& obviously all the masters, incl. JSS). The funniest scenes are those of the CCF, including march-by and what also looks like a court-martial scene, with Tug Wilson, Nicholson & co. ( Any ex-cadets reading this will probably not agree that these scenes were funny....I 'm just jealous, as I never joined. Happy viewing...nice to have seen you again, Colin, after 40+ years. (Terry T.)

I watched the Video for the first time yesterday evening. My wife and one of my children watched it with me and I think they were as amazed as I was. When we reached Room 1 and Stan Smith appeared my wife remarked "That's the master you spoke with when we arrived at the reunion" She recognized Stan immediately, even although there was a time interval of some 47 years between the Video and the face to face meeting.
As many of you have mentioned, the movie is in bad shape. It does need to be re-recorded with digital upgrading. Can anyone do this? I can get my copy re-engineered here but its US format. Colin S. has provided me with a copy on disc but I have not tried this yet for quality.
Who did I immediately recognize during this first showing? Well there's a very good scene of Rowe as a boy scout chopping off a large branch. Some good shots of Morley and Mold and one of Harris (I believe) as Head Boy. Bert Peade of course creeping about and Bob the horse showing his best end. Tennis being played on the court in front of the Bird Sanctuary and Scruff doing his assembly thing, with Gussy looking down on him from his portrait.
There's a shot of a young lad (who looks very much like Andy as a matter of fact) looking at the pictures that used to adorn the spiral staircase, (what ever happened to all of those I wonder). A view inside the Pr*f*cts room (Loud booo's from the audience) and some good shots of Tug Wilson. Some good sports shots which contain what seemed to me to be an "own goal" and I just know that David couldn't have been the 'keeper for that. What looked like a shot of Dave (Tubby) Seddon eating a cream bun? So much more but I want to see it slowly next time and see who else I recognize.
What a trip back in time! From the boys arriving at Gidea Park Station in the train (this was definitely post '51 because my first term we still had a steamer on the line. The 87 bus drawing up at Upper Brentwood and the old blazers, ties and yes, caps! It's a classic all right and something everyone should see. (Mike Merry)

...the RLS video. The conception of it was very good, I thought - covering so many aspects of school life & showing all the then-extant teachers. The great problem with it is, of course, that it appears as badly over-exposed, so facial features are almost always virtually absent and only shapes of head and haircut are distinguishable. I wonder whether this was due to the original filming, to degeneration during storage or maladjustment during conversion to video... perhaps the video was made on a more primitive machine than nowadays? Does anyone have any idea where the original film footage - or copy of same - might be found? Otherwise, I can't see much point in re-editing the present version, unless perhaps someone can identify the masters and boys on the soundtrack as they appear. However, the experience was interesting anyhow... and figuratively, a chunk of the long past (1954) seen by a myopic elderly fellow half blinded by the light. (Robert Priddy)

Yes, the picture quality of "A Day at the RLS" is quite poor, but I think that gives it some atmosphere, a feeling of being a long time ago. I believe that the current RLS Head, Mark Morrall, has the original film, but I don't know if it has better definition. What is the CD soundtrack you mentioned? Isn't it a silent movie? I was with Neil McGonigle aka Magoo (RLS English teacher, 1988 - 2000, now RLS's "Learning Resources Co-ordinator") earlier today. The RLS is re-issuing the 1950s film, but Magoo hasn't decided quite what he's going to do with the editing of it. Probably nothing, knowing him. (Adrian Thompson)

(One may perhaps contact) Phil Kingham (1952-1957) phillip.kingham@btinternet.com" to find out details of the original location and condition of the school film. I understand that Phil was involved in the conversion to VHS video format. (DGM)

I don't know whether you've seen the school film c.1953. I am the 12 year old playing the bassoon far right on the school orchestra shots, I still play and just as badly. (Phil Kingham)

EARLIER RE-EDITING DISCUSSIONS ETC.

Adrian wrote: Vince's post regarding the possibility of "enhancing" the RLS1 movie brings up a myriad of possibilities.
1. I agree, digital editing is not that expensive once the additional materials are available for insertion. Many people do this on an amateur basis these days are there are programs which will enable you to do this. Of course, someone would have to volunteer to do this editing or we would have to farm it out.
2. The new footage and interviews would have to be done. This would take time but not that much time.
3. A lot would depend on the people who undertake the project.4. I can help financially but anything done in the US means the actors would have American Accents (not really) but the VHS format is different. I have not had my copy of the RLS1 movie translated into US format yet.
5. As for a name? Jonah II? Return to Paradise? The possibilities are endless. I'm all for it if someone has a solution. (Mike Merry)

Those who have not seen the 1954 film in video copy (yet) may like to know that this was discussed a lot last year, esp. with the idea of upgrading it, adding a better sound track and introducing new current material (comments from those on it, for eg.) Mike Merry noted at the time "the movie is in bad shape. It does need to be re-recorded with digital upgrading. Can anyone do this?" (Robert Priddy)

I did the conversion from UK to American format and also the sampling into CD (AVI) format but the original video was not particularly good - if there is anything I can do to process it further - please let me know (Colin Sibthorpe)

Given the current state of response from our dear old school, I have given up hope of ever seeing the video.  Therefore, I have no idea of its condition.

Technology that is within the reach of the ordinary person seems to lag 5-10 years behind state-of-the-art stuff. Ten years ago, it would have been impossible to put the Reunion video together at all.  Even to do simple edits - cutting from scene to scene would take ages.  Now, it is possible to drive over to The Ship at 11:00 on a Saturday morning, shoot a few seconds of a bloke walking in through the door, back to the PC, make a completely new intro, stick the old intro on the end, and have it all up on the web within four hours. Ten years ago, even second generation copies were looking decidedly the worse for wear, and you could forget third generation copies completely.

However, if the original material is a scratchy over-exposed film, then I doubt whether we could do anything about that.  I know that major studios are now able to release digitally re-mastered films, where computers can remove the scratches, but as far as I know, that

kind of equipment is not yet within our reach, and probably never will be.

1.  We can capture videotape to digital format.

2.  We can add and remove soundtracks.

3.  We can cut and mix in new footage.

4.  We can create VHS, CD, and DVD output formats.

Performance: From what Robert has said, it would seem that some List members appear on the video.  Soundtrack contributions from them could be added.  Geographical location is no problem.  Six months ago, I asked for soundbyte contributions from members, and got a good response.  These could be recorded at home, and emailed to the edit location.

Script: We must have loads of members who could assist here. This could not be a one-man project.  We would need to set up a group of volunteers to discuss, write, perform, and edit.  Andy may wish to create another list so that the project discussions could take place without interfering.  Obviously, the list should be open to all, but only those who want to be involved.

We also have to consider copyright, which I presume is owned by the school.  I also thought that Adrian mentioned that the school were thinking of revitalising the video.  Did that die, Adrian?

I , for one, would be pleased to offer the resources I have for this project.  Unfortunately, I can not help in any areas other than technical, or for visits to the school to shoot current-day footage/interviews. By the way, I think our Mr. Silverside would make an excellent interviewer.  You haven't seen him in video action yet, but I am going to present that one as soon as I get some time. 

The more I think about it, the better I like the sound of producing a video which incorporates material from the school old and new. I say 'Go for it!' Any others? (Vince Leatt)

Vince, your keen response and offer of technical expertise is the invaluable element to get things moving, seems to me. Also that you are 'on the spot', so to speak. I received a copy of the video in various formats from generous Colin Sibthorpe. I think David Silverside 'reads' like just the kind of commentator we need! Perhaps, when you see the video, Vince, you will find it too badly over-exposed to be usable in the context of fresh and digitally recorded materials. It is worth seeing, definitely. But the main problem, as I see it... is how to get to a first generation video copy (preferably loan of the film itself) to see whether the over-exposure was/is as bad on the original as on the video copy. It would be a shame if a lot of work were invested in using a video copy while the film still existed somewhere. Surely it must. This might be a task for us to organise on - getting the Rls to respond, explaining what we hope to achieve?

The soundtrack consists in a bit of Segovia (I think) and some Beatles tunes played on a guitar (not by the Beatles, though). It is rather nice - but poorly recorded etc.

As to enhancing sound, I have the full equipment. (software Sound Forge, Nuendo and Wave Lab). I think a commentary would be more useful, though, with just a bit of the orig. music fading in and out perhaps. (Robert Priddy)

I too, would like to see the original.  I feel that it is highly probable that the school took it to the nearest, and cheapest person who could transfer it to VHS (or did it themselves with a home transfer kit?) without paying too much attention to quality.  If we were able to obtain the original, we could see for ourselves.  It is much more likely that we could extract a better picture from the film than from the video, for technical reasons I won't explain here.

We need someone with time and patience to contact the school and elicit information as to the whereabouts of the original, and if we could borrow it.  I guess we would have to promise them that any monies from sales would go to the school.  We could probably also promise them that there are a significant number of our group who would purchase a copy.

I know I am near, but I do not think I am the right person to get the information out of the school, although I would be able to collect it from them.

Perhaps we should have a clearer notion of what we want to achieve before we approach them in order to sell the idea.  Mr. Morall is a very friendly character, who will give anyone the time of day, so I would expect a favourable reply.  Just don't actually ask him to DO

anything!

If we consider that it woudl be worthwhile to re-transfer the film, there would be a cost involved for the process.  I guess if we have a panel of writers/performers as I suggested, we would all be willing to contribute towards this cost?  I am happy to foot the bill

personally for any enhancement plugins for the edit software, as I will be able to use these in the future. Semper Procedens, (Vince Leatt)

Back in the early 1990s, I was instrumental in encouraging the then head to transfer the film onto VHS format, from memory I paid half the cost...however I had no hand nor say in who did the transfer. Thus all copies emanate from the 2 original tapes. On recent (1998) enquiry, was told the original film was degenerating to the degree at which it would be unwise to run it. Dont know the current whereabouts, presume still at the school. The soundtrack is atrocious, as indeed is the view of the 13 year old bassoon player in Freds band. From memory we were playing the overture to Iphigenie in Aulis. Good job Alfie Jones never had a sound stripe. (Phil Kingham)

OK - so it is degenerating.  Aren't we all?  The question is - in your opinion, is the quality of the film better than the video?  If not (meaning we have a true and faithful reproduction on VHS) there is no point in attempting to find the film.  However, if the film is better, we must be able to do something? (Vince Leatt)

I could send you a copy {ed. of the RLS video} on CD if you like. This offer also applies to any others - if a lot in the UK require it I could send a single package with a number of CDs in it (less postage) or one copy for you to duplicate - either way ... for your reference the soundtrack was John Williams - not sure of album title but included many film themes including the Deer Hunter (Colin Sibthorpe)

Ref 1954 Video. As one who has not seen the original since 1954 I would ask that anything that is done to it, however clever does not remove any of the original material. Whatever updating/commentary is added please ensure that the original remains intact for those of us with historical, sentimental associations. I know it is deemed not PC to think of one's past or one's school with anything other than disapproval but as I have written before I enjoyed my life at RLS as indeed I have all my life except for the 2 years spent wasting my time doing National Service and the Historian in me appreciates an accurate record of the past even if it is one man's record "Jonah Jones Music - man, White-russian emigre" (KLS)

The video copy is as good as the film was in 1994. Inevitably, because of missing/broken spool "gates" on the original 16mm stock, the tape snurdles and pops here & there, especially at the start. The music was dubbed onto the video by the tranferrer, and is not original.

Of my 2 copies, 1 is with Aggy Guy's widow, and the 2nd is available for loan/viewing/copying, free, gratis and for nix, on receipt of home address (via direct Email if you like), and on a 1st come 1st served, and let me have it back before I send it on again, basis. (Phil Kingham)

Phil, What do you mean by 'unwise to run it'?  If it is degenerating so fast (and I know it can) it will eventually be just a pile of dust and we could all look and say 'here lyeth a pile of dust which was the old school video'.  Surely it would be better to run it once into

digital format and look at the pile of dust which it might become.  (Or are we talking about ash here?) I agree it should be left exactly as shot, enhancing as necessary. Somebody (Vince?) suggested I should interview.  Was this for a new or the old film?  I don't see it necessary for the old and I would be happy to do the new one given a 'sketch out'.  (David Silverside)

 KLS (aka Ken Saxby?) is worried that the original version will be altered. But fear not, it is eternalised on video and cd already... and on free offer from Colin Sibthorpe! As to the film itself, it seems to be changing beyond recognition and seems ready for an urn! Good if someone could get what's left (what use is it to the RLS now, I ask???) and see if some bits, at least, have survived with more grey tones in between the extremes so we can recognise people a little better.

I see in my mind's eye some/many of your great photos of school locations added in, here or there at the new Directors' pleasure, Vince. Also a video panning around the grounds perhaps?   (Robert Priddy)

Given Phil's opinion of the video, I think we should forget trying to get it from the school... there would be little point in expending the huge effort that would be needed to get the school to release the video to us. (Vince Leatt)

 Vince, you wrote: "I would welcome any views on how we should pay the school for copies made." 

The boot should rather be on the other foot! So far the video has been distributed privately without charge, toll-fees, duties, VAT or other ways of getting something for nothing. Humbug, I say. The RLS don't seem to care about money - or they'd have taken up Colin Calvert's offer!

I can't imagine them getting the time and energy to sue us for intellectual property rights or anything. They should be glad and thankful to have the video in the first place. (Robert Priddy)

The quality of the video is very poor and I wonder if it may not be worthwhile to start again with a better copy of the video as one has been offered from another source.  It should also be possible to re-dub the sound track which has obviously been added afterwards. (Michael P. Large)

Looks like things are moving.  We must now be looking for volunteers for the panel (for want of a better word) who will be writing/performing, etc. I would guess that all input is welcomed.  Even members with slower connections should be able to review clips if we split it into sections.  Each piece can be posted on the web as we attack it.

It may be useful to know what sort of download time is bearable to members for viewing clips, then the compression and picture size can be altered to suit. (Vince Leatt)

Well, Michael kindly delivered a CD-Rom to my office today, and we spent a few minutes looking at it. The quality is indeed very poor.  Much of this may be due to the fact that it appears to be a second (or third) generation copy.  The beginning shows signs of 'tearing' as the video machine fights to stay in synchronisation, and although it is a monochrome film, the copy keeps trying to produce colour with the result that many scenes take on a greenish hue. All of the above may be cured if we were able to obtain the original video.

Either the film is over-exposed, or the transfer has been made with incorrect levels. Once again, if we could obtain the original film, despite the warnings that we won't be able to run it, we would be able to see if it is over-exposed. Scratches on the film are evident, but are insignificant against all of the other problems. I REALLY believe that the original film holds the key.  Can we find it?  Even if it breaks every so often while transferring to video, we can piece the fragments back together during the edit, so nothing should be lost.

Do we have any volunteers with information as to the whereabouts of the film, or to try to find out what happened to it? The soundtrack IS terrible, but we can add a new one - no problem. Also - still waiting for volunteers for writing/narrating and wandering round the school while being videoed. (Vince Leatt)

Encouraging to hear your keen opinions, Vince. I felt that a better copy would be possible, and this is the ultimate in memorabilia for 1950s alumni. I left the year prior to the video and could supply a few comments, identifications - but nothing like what other already have on this List. I freely volunteer Mike Merry for working on the commentary writing team. Graham Jackman would be able to help - he is also in the film... (Robert Priddy)

Regrettably, the 1st generation video exhibits the same faults as described by Vince, so yes, access to the original 16mm celluloid will be the only answer to a better reproduction.

It was last seen and handled at school in 1998/9. I possessed the only video copy which was loaned to rls for them to recopy and distribute. As a result of this, I was invited to the school and still photos were taken of Morrall, Stan Smith, me and two current 5th formers, all admiring the epic. Believe said photos were for an article about rls in the local press. Never got to see the pix or article, but the film WAS there 3 years ago.

As a claimant to being one of the stars in the original, I claim the right to appear in the sequel "RLS 2, pilgrims progress" Have engaging visage, own teeth, new syrup and womanly physique. (Phil Kingham)

May I suggest that it should be you to make the approach to the school to borrow the film with a view to making a more acceptable master (digital) copy.  You obviously have the best chance of success due to your previous involvement.  Failing that, perhaps Adrian would be able to approach the School given the amount of contact he has had since leaving and the first hand contact with the present Head.

It may well be that the film will get damaged in the transfer process, but a reel of film that can not be shown is of no value in itself so nothing would actually be lost and a new master would be obtained of greater value.  There is obviously going to be a cost attached to carrying out the transfer but I am quite happy to pay this and amortise it out over the first copies sold and then let the school keep the rest. (Michael P. Large)

Michael has already proposed you (ed. Phil K.) for recovery of said original, and made a very generous offer - thanks, Michael.  I second that.  If you are able to go to the school, at least you can speak with conviction that the original DOES exist, and MUST be somewhere. (Vince Leatt)

Even if the original film can't be had - or can't be improved - I think a new version, interspersing each 'consistent section' of the original with new materials (eg. clear still of the memorial window when that appears on the video - and many other such items. Clear stills of the masters, rooms, grounds, keynote events etc. from the photo library etc.). This would help make the result accessible to a wider range of RLSers. There could also be a historical intro with Adrian's photo material from Hare Hall in the 1st WW with Adrian commentating? (Robert Priddy)

By the way, I would be happy to help with any project involving the video. Today is my meeting with Jones III. I am looking forward to it. (Mike Merry)

Vince/Michael: I have no objections in making approaches to school re. borrowing the film for further reconstruction and think Mr Morrall would see a certain logic in the argument, especially if he knows the school may ultimately benefit. I would prefer to be accompanied by somebody with more knowledge of the intended process than I possess. Between the 2 of us we could put an unanswerable case for the loan. Adrian, MPL,or who? (Phil Kingham)

I have been following the debate of the RLS film with interest, but have (and do) lack sufficient time to comment fully at the moment. Ironically this is due to me having to write lots and lots of essays about early cinema. I have been teaching myself to use the Final Cut Pro digital editing software at the University (teaching yourself is standard procedure, you see) and may be able to utilize it for whatever it is we do when we sort ourselves out. I can also access plenty of 'professional' recording equipment, but I have to stress that something simple will work best, in my humble opinion. Having said that (...really starting to sound like my lecturers now) , the non-linear editing will give us plenty of scope for experimentation.

Am willing to undertake 'on the ground' work within the RLS, but will be in Taiwan for two weeks plus, as of Jan 18th. (Adrian Thompson)

Surely, he (ed. Mr. Holmes), Stan Smith, and other ex-masters should be roped into providing material for Liberty II - the sequel providing they are willing?

I think, Robert that we all feel that the soundtrack is best replaced by spoken commentary over the pictures.  If this were to come from those who were actually there at the time, this would surely make it that much better?

If taken to the limit, this project may stretch into several months, but then, we have no time restraint. (Vince Leatt)

 We have a very slim chance of being able to capture the film to video with the best possible results that can be achieved. On Sunday, I remembered writing some software for a client to operate the film transport mechanism of a telecine machine - so I phoned him. He is currently engaged in assembling the last one ever, for delivery in March.  It is 16mm. format, and I believe that the school film is in the same format?

This machine is interesting in that it does not have a gate.  The film is pulled through the mechanism at a constant rate - very similar to a reel-to-reel tape recorder.  Although the tension is such that splices will come apart, it may be a kinder way to get the tranfer executed rather than using a clunky old projector.

This is a broadcast standard piece of kit - I don't think the beeb would agree, but in lesser countries, it is.  It would be better than most of the cheaper film transfer companies we would be likely to contact.

There are many IFs -

IF we can get the film from the school in the first place.

IF the film format matches the telecine machine format.

IF he actually builds it and gets it working in time for the customer.

IF the tension is not too much for the film.

IF there are not too many splices.

But I am an optimist.  Lets keep our fingers crossed.  If Phil gets an appointment, I shall go to the school with him.  Nothing at all can happen unless we obtain the original. Even if he fails to build the machine, he does service others, although there would have to be a payment to the owners, rather than just a few pound notes thrust in his back pocket. Lets keep moving. (Vince Leatt)