Schuster's comments on the race came from his memoir. As his book was written in the past tense, we decided to shoot his scenes as if he were telling us a story from his gas station in Springville, New York after the race. And we used his unpublished memoirs.
Thursday, June 17, 2010
The Greatest Race Dramatic Scenes Overview
Schuster's comments on the race came from his memoir. As his book was written in the past tense, we decided to shoot his scenes as if he were telling us a story from his gas station in Springville, New York after the race. And we used his unpublished memoirs.
Thursday, June 10, 2010
Old meets New
We were amassing a huge number of original photos. One of the goals of the project was to create the largest archival fond on The Greatest Auto Race on Earth which would include photos, film, original manuscripts etc. However, managing the photos took two paths: one for film and one for the archives.
The post production process we were using was strictly HD 1080 24p with the option to output a film print at 2K resolution. That's complicated film talk but what it basically means is that we wanted the absolute highest resolution we could get now, and protect it for future visual/video/digital formats.
All of the photos were therefore scanned at 600DPI and saved to discs and hard-drives. The original photos (at mid 2005)were removed from their folders and inserted into archive/acid-free photo slip covers and deposited at the Bank of Montreal for safe-keeping. The discs and drives were then backed up twice to ensure that everyone working on the project (look at the list of credits at the end of the film just to see how many people were involved!)had acccess to the very best quality photos/images.
And they had to all be tagged the same so that when Adam (visual editor) was needing a shot worked on by Rat Creek (digital wizards) or colour corrected by Presto Digital, everyone had the same photo. A numbering system was created for each disc/drive and then a name given to that collection.
For instance, the Buffalo attic photos became known as "BufAttic600DPI." There were about 30 such discs/drives created which just contained photos. Right up to the week before we were mastering, however, we were getting new photos.
Robert Rampton (one of the historians we interviewed in the film and now a good friend) had been rumagging around the Library of Congress in June 2008. He found a file folder whose slip covered noted it had not been opened since the 1950s. It was close to the other photos we had already received copies of. In this file folder were about 30 photos no one knew existed. He got us copies, and they ended up in the film ... just in time. The disc/drive became known as "Rampton Pics 600DPI."
In December 2007 we had accumulated about 24 feet of stacked research including thousands of photos. It was time to write the script.
Over Christmas I sat down and for the first time took all of that material and began putting it in order. We cross referenced as much of the material as possible. For instance, there were reports in Koeppen's book of a certain incident which did not jive with the NYT's report which was, though, the same as a local eye witness in a local newspaper.
There was a wonderful story about Capt. Hansen and St. Chaffrey in Chicago. It was reported in Le Matin that Hansen was leaving the French team in order to take a ballon ride across the western US and be a "tourist." The NYT's reported it differently noting that Hansen and St. Chaffrey had had a huge blow-out. Schuster's memoir noted the NYT's report as accurate.
January saw the first draft of the script ... unfortunately it was about six hours in length. At that point, Scott Parker and I began cutting it down. It was hard. We had so much detail gathered that we wanted to share. Cutting it down was difficult. In fact, the final script was not arrived at until July when it was given to Terence Harding (fabulous writer)to do a "clean up" version. I was too close to it and Terence was able to bridge the gaps and just make it flow for the Narrator.
Fortunately, the first draft still exists. I am still proud of the research process.
Friday, June 4, 2010
The Photos
Please note that the story begins at the bottom of the site.
Through the internet we were able to identify a number of libraries, archives, and museums that had a few photos. The New York Library had a number that we had not seen as had the Library of Congress. We eventually located a number of photos never before seen at the Chicago Library and soon after that a number at the Detroit Library. But there were not nearly enough to make the film. We had heard about a bit of news reel that had been shot at the beginning of the race. We tracked it down to the Library of Congress. When we phoned the head archivist we were told that the nitrate film had been lost to flooding in the 1960s... as had the "paper" copyright version. The paper version was a process where they would make an 8x10 photo from each frame of the original negative. This was done because nitrate was so unstable. A dead end.
We had read that a photographer from Denver had driven to Cheyenne with his new "moving picture camera" and did in fact film the arrival of the cars in Cheyenne. It was later shown in Denver as news reel. After much phoning, emailing, and writing of letters to archives and his estate, we discovered that this footage was also lost and thought destroyed. During the 1950s and 1960s massive amounts of old nitrate film was destroyed because of its tendency to ignite spontaneously.
Around 2004 we received an email from a lady in Las Vegas (Lisa). She had some photos of the race and wanted to know if we would like them. Wow! Kerrie and I made travel arrangements and headed to Vegas. We met Lisa in one of the restaurants at the Mirage. There in the dim light she opened a shoe box. It was filled with large format negatives and a contact sheet that she had had a local photographer made. I had seen some of them before ... but then we saw probably 20 that we had either not seen ... or not seen the entire original photo! We were able, for instance, to show the shot of the Thomas with Monty at the wheel rolling into Cheyenne! That same photo had been heavily cropped in earlier books and noted as "the drive through Buffalo." In fact, it wasn't. We arrived at a price, I went to the ATM, got a handful of money and Lisa was as happy about that as the fact that we were going to use her photos in the film. The next day she graciously drove us to the Hoover Dam. It was a great trip...and we had discovered almost 2 dozen never before seen Alaska and Cheyenne photos.
We knew that a big part of the story was going to be the Italian and German points of view. We had read the memoirs and seen the photos. We knew there had to be more. We asked Miriam if she might check to see if there were any still in Berlin, the home of Koeppen's publisher. Much of Berlin (and its archives) had been destroyed with the bombing of WWII. But, in the end she discovered about 40 photos of the race in a German archives...again, most which had never been seen before.
Over the years we received photos from enthusiasts in Vladivostok, Moscow, Japan, Paris, and across the US. During Miriam's research in Paris she even found the archives for the Le Matin newspaper ... most people thought it was long gone, but she found the remains, in Germany.
During our US research we had heard that most of the auto makers of the day would take photos of their cars to show to prospective buyers: how they were made and to show them off in beautiful settings. We knew that the ER Thomas company also did this. And we knew that the New York Times reports on the trip had taken numerous photos. In fact, they were mandated by the editor to take a certain number of photos per day.
We finally learned that such a "book" of photos was somewhere in Buffalo. It was supposed full of ER Thomas promotional pictures and the NY Times collection. It was known as the Fink collection, but no one we had talked to had seen it since the 1950s. At least we knew it existed. During one of our trips to Buffalo we met with Jeff's parents in the small town where George Schuster had lived and died. When we walked in the back door there was a stack of old photograph albums on the table. It was them! 1000s of original photos. With all of our research we had only been able to discover who last held them but could not find his family. Jeff's Mom knew the family name. She opened the phone book, found a number, dialed it, and yes they still existed. They were in the attic of Fink's family and had not seen the light of day since the 1950s. Wow! We made a deal with the estate immediately and had them shipped to our Edmonton office where they were immediately scanned at 600dpi to discs and hard drives. We almost had enough to make our film!
Friday, May 28, 2010
The Memoirs
Early in the research stage we discovered Jeff Mahl, the great grandson of the American driver/mechanic George Schuster. We met with him several times in Florida and Buffalo. In the end, we used the unpublished memoirs of Schuster in the film as it felt more authentic than the Schuster/Mahony book.
Wednesday, May 26, 2010
In the Beginning
It was during the winter of 2000 that Ray and myself started chatting about the race after a commercial shoot. I had heard of the Greatest Auto Race but knew very little about the details. Ray had been a fan since he was 12 years old when he read George Schuster's brief memoir. I liked the idea and decided to do some research. Afterall, if we were going to do a film we would need to have it completed for the 100th anniversary ... and we would need the research to tell the story.
And it started. The internet was able to tell me the story, but mostly from the Schuster point of view. We did find Scarfoglio's and Koeppen's memoirs which we purchased. We did find a relative, Jeff Mahl, of George Schuster. We started piecing it together. Yes, there was a story here but we would need massive amounts of Photos (which we did not know if they still existed), any motion picture footage (which we heard had been shot as news reel footage), interviews with historians ... oh, and picture cars for the actors to drive "around the world in." By the end of 2000 we had decided to make this film ... or at least follow it as far as we could. As the research process began, producers started looking for funding/broadcasters ... and doing up the budget.
Thursday, May 20, 2010
1908 Greatest Auto Race: In the beginning...
The Greatest Auto Race on Earth took place in 1908. Today, it's hard to even imagine what these men went through as they travelled from New York, across the USA, across Japan, Mother Russia, Germany, and on to Paris. The film The Greatest Auto Race on Earth is a documentary we produced to advance the story and tell this fantastic adventure story to a new audience. www.thegreatestautorace.com
We're going to try to let you know how the film was made. One of the interesting details is in the construction of the Thomas Flyer and German Protos replica cars. Yes, we built exact full scale running replicas of the cars. If you look at the photo closely, you'll notice that the brakes are not period but modern GM disc brakes. This was, of course, for safety. The challenge was to mount hand-made (by Dale Anderson at Anderprop) wooden artillery wheels to the discs. This was ingenously designed out of foam core, then a CAD drawing, and then made out of steel using a computer assisted cutting system. So, we have a safe car ... but they are not period and some of the brass era enthusiasts would see that; as a result, through careful editing, Computer Graphics by Rat Creek, and colour correction the disc brakes never appear in the film. The cover of the DVD case had the discs Photoshopped to appear as old school riveted drums.
But, why don't we go back to the very beginning ... January 2000.