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How to do

CELLULOID ANGELS is the first crowdfunding platform dedicated to the restoration of our highly treasured cinematographic and audiovisual heritage.

How can you contribute?

1Choose your favourite films

Join CELLULOID ANGELS and help us resurrect your favourite films.

Restoration of films is expensive. The films listed are those in need of your contributions to complete our budget and launch the restoration work.

Give those films their chance with a charitable donation or go that step further and select one of the offered packs. You can then follow the restoration adventure from the inside and receive some exclusive rewards!

2Step behind
the scenes!

Have you chosen or been offered a pack? Once the target funds collected, you get to step behind the scenes at the restoration lab.

Over the coming months, you and the professionals involved will be accompanying each stage of the rebirth of the film.

Join the exclusive club of those sharing some fun incidents, the telling moments in the process, or even some insider secrets!

3Receive
exclusive rewards​!

Each pack its own rewards. At the end of the restoration work, you will receive the rewards presented with the pack you selected.

For you personally or to offer as a gift, unique deals, exclusive experiences, enough to gratify collectors and film buffs!

Donate
securely

CELLULOID ANGELS is an approved CI (Crowdfunding Intermediary) and calling upon the trusted payment options of MANGOPAY to collect the donations.

All donations are withheld until the campaign to raise funds ends; the funds are then allocated for the film restoration.

If the target funds are not achieved, all the donations are returned to the original donors.

  • République Française

    Celluloid Angels is registered at Orias under n° 16002028

  • MangoPay

Want to find out more?

Go to the FAQs

The restoration of a cinematographic or audiovisual document consists of returning it to its original condition by using modern and powerful image and sound technologies.

It is first a real quest to solve the puzzle of amassing the best elements at hand, overcoming the legal obstacles linked to beneficiaries holding entitlements and tracing back time to when the document was actually filmed.

Experts, technical teams and all those with possible information to give, are called upon to determine the restoration strategy in partnership with beneficiaries.

Next come the technical stage as such, from one specialist task to specialist task, often lasting several months. A long process therefore, costly because of the craftsmanship involved. Each project is a human adventure, one that is unique for writing its own story.

The end of the long process is always a moment to behold. For all those who have directly helped to recreate this great gem and now getting to discover something more beautiful than they had ever imagined.

For the general public and all those joyfully attending the new screenings...albeit not really knowing how it all came to be.

CELLULOID ANGELS invites you to join these exceptional adventures.

Intro

Amassing the best elements at hand

The ideal way is to start from a negative, but if it is unusable we look for the best available elements, which could well be an interpositive or internegative. For magnetic elements, we prefer to use the “masters”. Original projected rolls, audio elements, rare documents (cut scenes, making of) and any documentation mentioning the project, come to complete the all-important elements before starting the work.

To restore a film forces decisions on us and these must be underpinned by an understanding that is the clearest possible of the film’s past, the way it got to be produced and options taken at the time.

Photo © Agnes Janin

Find

Repairing the original elements

The filmstrip is manually examined for material frailties such as damaged perforations, failing ashesive paste that was used, moulds, tears. The physical repairs to the filmstrip are done manually and the exercise ends with the filmstrip being cleaned to remove dust particles, fingerprints and all chemical residues.

For the magnetic elements, we may choose to heat them to eliminate deposits. These measures also go a long way in preserving these original elements. We could take the opportunity to change the cans and do an acidity level test (vinegar syndrome risk).

Photo © Agnes Janin

Repair

Digitising original elements

The film is methodically scanned each picture at a time to ensure stability for the chosen resolution (2k or 4k depending on intended use), sometimes undergoing a bath to reduce scratches on the material. For magnetic originals, the process varies depending on the material, playback media and image converters available. The image and sound files must be fully checked to see what adjustments to make.

The final report serves as the basis of discussions, on the restoration options to go for, between the technical professionals involved and beneficiaries.

Photo © Agnes Janin

Digitise

Restoring image and sound

This is a vital stage given that that is what we call the whole process itself! For the image, it is a long task to restore the light and colours (calibration). At the same, the technicians work to reduce visible errors (tiny dust particles, light scratches, instability...) and to arrive at the best balance so we do not get a denatured film.

For the sound, it is about reducing breathings, cracklings and distortions, without touching the voice tonalities nor the atmosphere. These tasks can prove to be very complex if images are missing or the sound non-existent.

Photo © Agnes Janin

Restore

Preparing for actual use

Once the restoration achieved, an uncompressed file is created in view of its safekeeping. The different formats are made for the various playback media: DVD, Blu-ray, VoD, cinema screenings.

If done, this is when to insert the various language versions (Dubbing and/or subtitles). A “shooting” session can be undertaken to preserve the films (creating negatives or from the restored file). Solutions equally exist for digital storage over time.

Photo © Agnes Janin

Preparing