4k Restorations
Title | scan | restoration | colorist | supervisor | 4K release |
---|---|---|---|---|---|
"It’s a Mad, Mad, Mad, Mad World" (1963)[1] | FotoKem 65mm scan via Imagica XE | ||||
"Gladiator" (2000)[2] | "original camera negatives were scanned at 6K on a Northlight scanner" | Lou Levinson on Baselight 8 | 4K UltraHD | ||
"Saving Private Ryan" (1998) | "original camera negatives were scanned at 6K on a Northlight scanner" | Lou Levinson on Baselight 8 | 4K UltraHD | ||
"The Graduate" (1967) | "Deluxe Culver City scanned the 35mm original camera negative on a DFT Scanity in 4K resolution"[3] | "dirt, debris, scratches, splices and warps were manually removed by a team at The Criterion Collection in New York City using Digital Vision Phoenix and MTI Correct." | Joe Gawler
"If we need The Graduate in HDR, I can change the output display to 1000 nits and not lose the work I did for the Rec. 709 master" |
||
"King of Jazz" (1930) | negative "scanned by Cineric New York on a modified Oxberry"
"nitrate prints were scanned by Prasad in Burbank with a DFT Scanity and by Universal with an ArriScan outfitted with a special transport and wet gate."[4] |
"Universal team performed extensive dirt removal, scratch repair and image stabilization with a host of tools, including HS Art’s Diamant for stabilization and de-flicker, and Digital Vision’s Phoenix for auto-filte" | Mike Holgate | ||
"Close Encounters of the Third Kind" (1977)[5] | Cineric Laboratory |
Prasad Corporation[6] |
4K UltraHD | ||
"The Invisible Man" (1933) | Technicolor Creative Services Director of Restoration Services Tom Burton[7] | ||||
"Jaws" (1975) | Cineric Laboratory [8]"4K Oxberry film scanner modified for liquid gate" [9] | "a combination of MTI Film's Correct DRS dust-busting tools and Autodesk Inferno as well as proprietary software for grain management." | Leo Dunn | NBCUniversal senior VP Technical Operations Michael Daruty | 4K UltraHD |
"The Bridge on the River Kwai" (1956) | Scott Ostrowsky | Grover Crisp | 4K UltraHD | ||
"Lawrence of Arabia" (1962) | scanned on two large format 65mm Imagica XE scanners at FotoKem at 8K[10] | Prasad Corporation[11]
MTI Film |
Scott Ostrowsky | Grover Crisp | 4K UltraHD |
"Taxi Driver" (1976) | Scott Ostrowsky | Grover Crisp | |||
"The Doors” (1991) | original negative, scanned in 4k 16 bits on ARRISCAN at Fotokem US[12] | Restoration managed by L'Immagine Ritrovata in Italy | 4K UltraHD | ||
“The Shining” (1980) | 4K scan of the original 35mm camera negative[13] | mastering was done at Warner Bros. Motion Picture Imaging | Janet Wilson | Kubrick’s former personal assistant Leon Vitali | 4K UltraHD |
“Moulin Rouge” (1952 | 35mm Original Nitrate 3-Strip Technicolor Negative. 4K scanning by Cineric | Daniel DeVincent | The Film Foundation and Grover Crisp | ||
“Easy Rider” (1969) | 4K scanning and digital image restoration by Immagine Ritrovata[14] | Roundabout Entertainment | Sheri Eisenberg | Grover Crisp | 4K UltraHD |
"Ben-Hur" (1959)[15] | Ned Price | ||||
"Doctor Zhivago" (1965) | scanned the original camera negative at 8K resolution[16] | ||||
"A Clockwork Orange" (1971) | Ned Price[17] | ||||
“Pandora and the Flying Dutchman” (1951) | Prasad Corporation[18] | Tim Lanza, the archivist and vice president of the Cohen Media Collection[19] | |||
"Richard III" (1955)[20] | ""Dr. Kevin Manbeck, MTI Film's CTO, who creates the various algorithms used for the software"
"Correct DRS [MTI Film's full featured restoration toolset "[21] |
Sheri Eisenberg | Grover Crisp
The Film Foundation |
||
"Taxi Driver" (1976) | Cineric | "MTI Film had just developed proprietary technology, AutoClean, designed to find very small dirt that can be overlooked by the human eye" [22] | Scott Ostrowsky | Grover Crisp | |
"A Star is Born" (1954) | scanning A Star Is Born in 6K[23] | Daphne Dentz, VP, digital service[24] | |||
"2001: A Space Odyssey" (1968) | 8K | Ned Price and Leon Vitali | 4K UltraHD | ||
"House of Wax" (1953) | "4k scans of the 3-strip positive protection masters (YCM’s) for both left eye and right eye negatives for a total of 6-reels of film to restore the 3-D color composite image"[25] | Warner Bros. Motion Picture Imaging | Janet Wilson | ||
"The Front Page" (1931) [26] | 4K wet-gate scanning of the complete 35mm print at ImagePro, Burbank | "automated and customized restoration at MTI Film’s facilities in Hollywood and Tianjin, China, using its proprietary DRS™NOVA technology."
Jim Hannafin, MTI Film Senior Vice President for Business Development Director of Restoration and Preservation Bridgid O’Donnell-Farquhar |
Alex Chernoff | Michael Pogorzelski
Heather Linville The Academy Film Archive The Film Foundation |
|
A Matter of Life and Death (1946)[27] | 4K scanning at Cineric, New York | L’Immagine Ritrovato
MTI Film, Hollywood |
Sheri Eisenberg | Grover Crisp | |
"Dr. Strangelove" (1964)[28] | Cineric's "Oxberry Cinescan 6400 scanner, equipped with a wet gate"
"The film was scanned at 10 bit depth logarithmic to dpx files" |
"Daniel DeVincent, Cineric’s Director of Digital Restoration" | Grover Crisp | 4K UltraHD | |
"The Sound of Music" (1965)[29] | digitized at 8K by FotoKem | FotoKem | Mark Griffith | Andrew Oran
Schawn Belston |
|
"Schindler’s List" (1993)[30] | 6K scan of original negative | Michael Daruty | 4K UltraHD | ||
"The Ten Commandments" (1956) | "This is a brand new restoration made from a 6K scan of the original film negatives and takes full advantage of the production's VistaVision cinematography"[31]
Scan and Record Manager: Chris Gillaspie |
Motion Picture Imaging
Prasad VP of Engineering: Bill Baggelaar Data, Conform & Graphics: Kathleen Largay Compositor: Valerie McMahon |
Jan Yarbrough | Ron Smith[32]
Senior Producer: Daphne Dentz Producer: Billy Patten |
|
"The Godfather" (1972)[33] | Chris Gillaspie and the Thomson Spirit 4K
"FilmLight Northlight for scanning subtitles and a few pick-up shots in 6K" |
Motion Picture Imaging
Bill Baggelaar, VP/engineering at MPI MPI’s VP of digital services: Daphne Dentz Kate Largay: conformist and media data wrangler Steve Sanchez heads digital repair |
Jan Yarbrough | Robert A. Harris | |
"Carousel" (1956) | Cineric
55mm Cinemascope Oxberry Cinescan 4K capture to 10-bit log DPX files |
Danny DeVincent | |||
“Rebel Without a Cause” (1955)[34] | Janet Wilson | Film Foundation | |||
"Beverly Hills Cop" (1984) | |||||
"To Catch a Thief" (1955) | "6K 16-bit scan of the original VistaVision negative, making it the first time the original negative has been directly sourced for a home entertainment release"[35] | Andrea Kalas | |||
"It's a Wonderful Life" (1946) | Eric Chilpa (Technicolor) | Michael Underwood (Technicolor) | Andrea Kalas
Laura Thornburg (Executive Director Preservation at Paramount) |
4K UltraHD | |
"The Seven Samurai" (1954)[36][37] | Tokyo Lab, "Use MTI's restore software to correct scratches and dust, shake the screen, and adjust grain." | ||||
"The Maze" (1953) | "Laura Thornburg and Andrea Kalas at the Paramount Archive provided access to the camera original 35mm elements. The 4K scans were done at PRO-TEK in Burbank, CA."[38] | Thad Komorowski | Greg Kintz | ||
"Wings" (1927)[39] | "digitally scan the duplicate negative. This was done at 4K resolution" | Technicolor | Laura Thornburg | ||
"Raiders of the Lost Ark" (1981) | " The original negative had been scanned at 4k – full resolution – which without the analogue cover of generations of dupes from original to theatrical print, made matte lines and effects a bit more obvious than they had original been on screen."[40] | Andrea Kalas,
Laura Thornburg Jeff Cava |
|||
"Apollo 13" (1995) | "35mm camera negative was scanned at 6k resolution"[41] | NBCUniversal StudioPost | 4K UltraHD | ||
"Citizen Kane" (1941) | "reconstructed from three nitrate fine grain master positives as the original camera negative no longer survives."[42] | Janet Wilson | Ned Price | ||
"The Third Man" (1949) | "Intermediate film print, 2nd generation of nitrate film (non-existent original negative), scanned in 4K" [43] | "restored frame by frame in 4K by Deluxe" | STUDIOCANAL | ||
"The Lady from Shanghai" (1948) | "nitrate original negative was scanned in 4K at Deluxe in Hollywood"[44] | "digital restoration, part of the work completed at MTI Film in Los Angeles" | "Restoration in 4K at Colorworks at Sony Pictures" | ||
"It Happened One Night" (1934) | "newly manufactured wet-gate Fine Grain Master, which had been made from the Original Negative, and was scanned at 4K"[45] | "lengthy digital film restoration process at Prasad Corporation, to address dirt, tears, scratches and other artifacts" | Scott Ostrowsky | Rita Belda, Sony Pictures Entertainment’s Executive Director of Asset Management, Digital Mastering and Film Restoration | |
"Sweet Charity" (1969)[46] | "picture source element for this 4K restoration was the 35mm original negative of the roadshow version" | NBCUniversal StudioPost | |||
"Tootsie" (1982) | Cineric, New York
"digital transfer was created in 4K resolution on an Oxberry wet-gate film scanner from the 35mm original camera negative"[47] |
Prasad Group | Scott Ostrowski | Grover Crisp | |
"Spartacus" (1960) | original 8-perf negative scanned on Northlight[48] | "MTI Film's Nova software was deployed for dust busting"
StudioPost, MTI FIlm and Prasad Digital |
NBCUniversal StudioPost | 4K UltraHD | |
"The Man Who Laughs" (1928) | "primary source element for this restoration was a 35mm composite fine grain from the Universal Studios Vault, created in 1954 from the nitrate original camera negative" [49] | "stabilize and deflicker the film as well as repair scratches, warps, and dirt. The 4K digital restoration was completed by NBCUniversal StudioPost." | NBCUniversal StudioPost | ||
"The Civil War" (1990) | ArriScan 4K of 16mm original negative[50]
Technicolor PostWorks and George Eastman House |
Jack Lewars | Daniel J. White | ||
"My Fair Lady" (1964) | FotoKem scan at 8K[51]
"original Eastman Kodak 5251 65mm negative"[52] |
"color correction and dirt clean up was done in 4K Rec.709" | Mark Griffith | Robert A. Harris | |
"One-Eyed Jacks" (1960) | "new restoration was created from the original 35mm, 8-perforation Vista Vision negative and the 35mm Y-layer separation master (to recover faded blue). These film elements were scanned, using pin registration, at 6K resolution on a Northlight film scanner"[53] | Prasad
MTI Film "negative and Y-layer files were digitally recombined using 3D image manipulation tools. The film elements were configured for A/B printing, so all transitions, such as fades and dissolves, were recreated to conform to the theatrical cut of the film. Dirt and damage removal was accomplished with a host of digital tools, including MTI Film's Nova, Digital Vision's Phoenix, HS-Art's Diamant, and Autodesk's Flame" |
NBCUniversal StudioPost |
External Links
References
- ↑ https://www.hometheaterforum.com/community/threads/a-few-words-about-%E2%84%A2-its-a-mad-mad-mad-mad-world-in-blu-ray.306560/page-4
- ↑ https://www.studiodaily.com/2011/04/colorist-lou-levinson-on-restoring-and-sometimes-re-thinking-movies-with-the-baselight/
- ↑ http://digital.copcomm.com/i/749700-november-2016/27?m4=
- ↑ http://digital.copcomm.com/i/749700-november-2016/27?m4=
- ↑ https://www.cinematheque.fr/seance/24589.html
- ↑ https://twitter.com/PrasadCorp/status/994184444658380802
- ↑ http://cinelicious.tv/tag/michael-daruty
- ↑ http://cinelicious.tv/tag/michael-daruty
- ↑ https://library.creativecow.net/kaufman_debra/JAWS-Resoration/1
- ↑ https://library.creativecow.net/article.php?author_folder=kaufman_debra&article_folder=Lawrence-of-Arabia-Restoration&page=1
- ↑ https://twitter.com/PrasadCorp/status/1173506982495416320
- ↑ https://www.indiewire.com/2019/04/cannes-classics-2019-alfonso-cuaron-the-shining-1202128389/
- ↑ https://www.indiewire.com/2019/04/cannes-classics-2019-alfonso-cuaron-the-shining-1202128389/
- ↑ https://www.indiewire.com/2019/04/cannes-classics-2019-alfonso-cuaron-the-shining-1202128389/
- ↑ https://www.youtube.com/watch?v=rp1BsqMsAUQ
- ↑ http://iwantmytwodollars.com/2011/12/interview-ned-price-rita-tushingham-doctor-zhivago-remastered-blu-ray/
- ↑ https://www.youtube.com/watch?v=VV6ro-74bL4
- ↑ http://moveablefest.com/the-reincarnation-of-pandora-and-the-flying-dutchman-and-how-the-cohen-film-collection-restores-soul-to-cinema-classics/
- ↑ http://moveablefest.com/the-reincarnation-of-pandora-and-the-flying-dutchman-and-how-the-cohen-film-collection-restores-soul-to-cinema-classics
- ↑ http://www.mtifilm.com/news/2013/5/1/richard-iiis-meticulous-4k-restoration.html
- ↑ https://library.creativecow.net/article.php?author_folder=kaufman_debra&article_folder=Restoring-Richard-III&page=1
- ↑ https://library.creativecow.net/kaufman_debra/taxi-driver-restoration/1
- ↑ https://www.soundandvision.com/content/truth-about-6k-page-2#RWqSIV7EmF7xOsih.99
- ↑ https://artsdocbox.com/Movies/71504342-Inside-top-studios-sign-up-with-dcss-studios-agree-digital-cinema-deployment-story-on-p-03.html
- ↑ http://www.3dfilmarchive.com/an-interview-with-ned-price
- ↑ https://www.broadcastbeat.com/mti-film-delivers-the-front-page/
- ↑ http://www.postmagazine.com/Publications/Post-Magazine/2017/November-1-2017/Restoration-I-A-Matter-of-Life-and-Death-I-.aspx
- ↑ https://pure.uva.nl/ws/files/2370126/163448_369986.pdf
- ↑ https://library.creativecow.net/wilson_tim/FotoKem-Sound-of-Music-Restoration/1
- ↑ https://entertainment.time.com/2013/03/05/restoring-schindlers-list-a-qa-with-film-restoration-expert-michael-daruty/?utm_source=dlvr.it&utm_medium=twitter
- ↑ https://www.highdefdigest.com/news/show/Film_Restoration/Paramount/The_Ten_Commandments/Charlton_Heston/Michael_S._Palmer/Cecile_B._DeMille/High-Def_Digest_Takes_a_Trip_to_Paramount_to_see_Behind_the_Scenes_of_The_Ten_Commandments/6201
- ↑ https://www.hometheaterforum.com/community/threads/he-just-restored-the-ten-commandments-now-ron-smith-wants-to-hear-from-you-what-paramount-films-yo.303596/page-2
- ↑ http://www.postmagazine.com/Publications/Post-Magazine/2008/November-1-2008/RESTORATION.aspx
- ↑ https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-rebel-without-cause-20131101-story.html#axzz2lKNyTKmG
- ↑ https://thedigitalbits.com/columns/my-two-cents/052620-1430
- ↑ https://av.watch.impress.co.jp/docs/topic/744265.html
- ↑ https://kotaku.com/the-seven-samurai-looks-glorious-in-4k-1761457283
- ↑ https://www.hometheaterforum.com/community/threads/kino-lorber-insider-read-guidelines-post-3.355034/page-28
- ↑ https://jservin85.wordpress.com/preservation-and-restoration/restoration-of-wings/
- ↑ https://www.hometheaterforum.com/community/threads/while-we-wait-for-a-few-words-about-%E2%84%A2-raiders-of-the-lost-ark-in-blu-ray.317114/
- ↑ https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015
- ↑ https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015
- ↑ https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015
- ↑ https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015
- ↑ https://soundandpicture.com/2013/11/colorworks-completes-brilliant-4k-restoration-of-frank-capra-classic-it-happened-one-night/
- ↑ https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=sweetcharitylff19
- ↑ https://www.blu-ray.com/movies/Tootsie-Blu-ray/44344/
- ↑ http://digital.copcomm.com/i/607566-november-2015/35?m4=
- ↑ https://markets.businessinsider.com/news/stocks/universal-pictures-continues-silent-film-initiative-will-restore-10-additional-titles-1025929659
- ↑ http://digital.copcomm.com/i/607566-november-2015/36?m4=
- ↑ http://digital.copcomm.com/i/607566-november-2015/37?m4=
- ↑ https://www.hometheaterforum.com/community/threads/a-few-words-about-%E2%84%A2-my-fair-lady-take-two-in-blu-ray.343802/
- ↑ https://www.blu-ray.com/movies/One-Eyed-Jacks-Blu-ray/162187/