Difference between revisions of "Lawrence of Arabia restoration"
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== 1988 restoration == | == 1988 restoration == | ||
| − | Robert A. Harris supervised the 1988 photochemical restoration, which was released in 70mm to theatres in 1989. | + | [[Robert A. Harris]] supervised the 1988 photochemical restoration, which was released in 70mm to theatres in 1989. |
| + | |||
| + | == 2001 audio clean up for DVD release == | ||
| + | |||
| + | [[Robert A. Harris]]: <q>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.</q> <ref> [https://www.thedigitalbits.com/site_archive/articles/022701htfchat.html Chat Transcript Robert Harris | ||
| + | on Home Theater Forum] </ref> | ||
== 2011 restoration == | == 2011 restoration == | ||
| − | [[Grover Crisp]] supervised the 2011 digital restoration | + | [[Grover Crisp]] supervised the 2011 digital restoration. |
| − | <q> 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. <ref>[https://www.soundandvision.com/content/hollywood-4k-way-page-2#ZZH1beV4PYU4DZY4.99 Hollywood, The 4K Way Page 2]</ref> </q> | + | '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.' <ref>https://variety.com/2012/film/news/advanced-tech-in-lawrence-restoration-1118060183/</ref> |
| + | |||
| + | It took six months to capture around 325,000 frames. <ref>[https://www.thestar.com/entertainment/movies/2015/07/15/how-to-restore-a-movie-masterpiece.html How to restore a movie masterpiece]</ref> The result was released to theatres in 4K and to Blu-ray <ref> [https://www.avsforum.com/forum/187-official-avs-foruma-blu-ray-disc-reviews/1421386-sony-pictures-celebrates-50th-anniversary-david-leans-masterpiece-lawrence-arabia.html Sony Pictures Entertainment Celebrates: 50th Anniversary of David Lean’s Lawrence of Arabia] </ref>. A 4K UHD Blu-ray release has yet to happen. | ||
| + | |||
| + | <q>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. <ref>[https://www.soundandvision.com/content/hollywood-4k-way-page-2#ZZH1beV4PYU4DZY4.99 Hollywood, The 4K Way Page 2]</ref> </q> | ||
| + | |||
| + | == 2012 Restoration Credits == | ||
| + | |||
| + | |||
| + | <nowiki>Restored in 4K by | ||
| + | Colorworks | ||
| + | |||
| + | Colorist | ||
| + | Scott Ostrowsky | ||
| + | |||
| + | Project Manager | ||
| + | Mike Eisenberg | ||
| + | |||
| + | Baselight Conform | ||
| + | Reza Amidi | ||
| + | |||
| + | Opticals | ||
| + | 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 | ||
| + | |||
| + | Research | ||
| + | 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 | ||
| + | |||
| + | Fotokem | ||
| + | |||
| + | 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 | ||
| + | </nowiki> | ||
== References == | == References == | ||
<references /> | <references /> | ||
| + | |||
| + | [[Category:4K Restoration]] | ||
Latest revision as of 17:13, 28 July 2020
Contents
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 Colorworks Colorist Scott Ostrowsky Project Manager Mike Eisenberg Baselight Conform Reza Amidi Opticals 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 Research 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 Fotokem 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
References[edit]
- ↑ [https://www.thedigitalbits.com/site_archive/articles/022701htfchat.html Chat Transcript Robert Harris on Home Theater Forum]
- ↑ https://variety.com/2012/film/news/advanced-tech-in-lawrence-restoration-1118060183/
- ↑ How to restore a movie masterpiece
- ↑ Sony Pictures Entertainment Celebrates: 50th Anniversary of David Lean’s Lawrence of Arabia
- ↑ Hollywood, The 4K Way Page 2
