Lawrence of Arabia restoration

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1988 restoration[edit]

Robert A. Harris supervised the 1988 photochemical restoration, which was released in 70mm to theatres in 1989.

2001 audio clean up for DVD release[edit]

Robert A. Harris: From what I've been told by Grover Crisp, they cleaned up the track a bit, but other than that it should be the same. One interesting note: right after the main titles, there was an error in the track. We attempted to get it out in '88 but lost audio with it as we didn't have the digital tools that we have now. If you listen carefully just as Peter gets on the cycle you'll hear (on previous) versions: a "3" pop. This has been eliminated along with some generator noise, which we also could not get out at that time. [1]

2011 restoration[edit]

Grover Crisp supervised the 2011 digital restoration.

'The 65mm original negative was scanned on two large format 65mm Imagica XE scanners at FotoKem at 8K to capture the resolution of the 65mm negative, resulting in a file size of 8192x3584 pixels. "I reserved half of 2010 to do this work," said Crisp.' [2]

It took six months to capture around 325,000 frames. [3] The result was released to theatres in 4K and to Blu-ray [4]. A 4K UHD Blu-ray release has yet to happen.

A longer shot from Lawrence that was also taken in the desert showed a series of fine concentric lines near the top of the frame in a pattern reminiscent of a fingerprint. These, Crisp explained, are cracks in the film emulsion caused by its melting in the desert heat and then healing over. The lines have always been there in the negative and result in an unusual rippling artifact when viewing the movie, but until now there hasn’t been a way to fix it. “We’ve never been able to see this kind of detail before—it’s always been kind of submerged,” he says. “But now, with this 8K scan, it’s more obvious.” Sony commissioned a third party to develop software to minimize or eliminate this distracting artifact for the restored version, which is due out on Blu-ray and in theaters later this year. [5]

2012 Restoration Credits[edit]

Restored in 4K by

Scott Ostrowsky

Project Manager
Mike Eisenberg

Baselight Conform
Reza Amidi

Jesse Morrow

Image Restoration Services

Prasad Group
Channai Restoration Team
Hollywood Restoration Team

MTI Film

Research and Development
Kevin Manbeck
Larry Chernoff

Restoration  Artists
Bridgid O’Donnell
Stephanie Farley
Carlos Iniguez
Tony Catanese
Larry Chernoff

Audio Restoration Services

Chase Audio by Deluxe

Restoration Re-Mastering / Mixing
James B. Young

Editorial / Foley
Nick Beljic

Al Ramirez

Preservation Transfer
Robert Rieger

Digital Restoration
Gene Hobson
Ellis Burman

Project Coordination
Lisa Davidson
Alex Chane
Amy Rosenbloom

Film Scanning and Recording Services


65mm 8K Film Scanning and 4K Film Recording

Project Management
Andrew Oran
Jeff Heacock
Daniel Rapo

Technical Supervisor
Vince Roth

I/O Supervisor
David Rosenthal

I/O Operations
Les Meek
Rick Lopez
Paul McGhee
Les Vary
Jerry Callaghan

70mm Color Timer
Kristen Zimmermann