Editing 4k Restorations

{| class="wikitable sortable"
|+
!Title
!scan
!restoration
!colorist
!supervisor
!4K release
|-
|"The Graduate" (1967)
|"Deluxe Culver City scanned the 35mm original camera negative on a DFT Scanity in 4K resolution"<ref>http://digital.copcomm.com/i/749700-november-2016/27?m4=</ref>
|"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."<ref>http://digital.copcomm.com/i/749700-november-2016/27?m4=</ref>
|"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)<ref>https://www.cinematheque.fr/seance/24589.html</ref>
|Cineric Laboratory<br />
|Prasad Corporation<ref>https://twitter.com/PrasadCorp/status/994184444658380802</ref><br />
|
|
|[https://amzn.to/3dpL3Ss 4K UltraHD]
|-
|"The Invisible Man" (1933)
|
|
|
|Technicolor Creative Services Director of Restoration Services Tom Burton<ref>http://cinelicious.tv/tag/michael-daruty</ref>
|
|-
|"Jaws" (1975)
|Cineric Laboratory <ref>http://cinelicious.tv/tag/michael-daruty</ref>"4K Oxberry film scanner modified for liquid gate" <ref>https://library.creativecow.net/kaufman_debra/JAWS-Resoration/1</ref>
|"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
|[https://amzn.to/2BiiGaw 4K UltraHD]
|-
|"The Bridge on the River Kwai" (1956)
|
|
|Scott Ostrowsky
|[[Grover Crisp]]
|[https://amzn.to/2Bouo3A 4K UltraHD]
|-
|"Lawrence of Arabia" (1962)
|scanned on two large format 65mm Imagica XE scanners at FotoKem at 8K<ref>https://library.creativecow.net/article.php?author_folder=kaufman_debra&article_folder=Lawrence-of-Arabia-Restoration&page=1</ref>
|Prasad Corporation<ref>https://twitter.com/PrasadCorp/status/1173506982495416320</ref>
MTI Film
|Scott Ostrowsky
|[[Grover Crisp]]
|[https://amzn.to/3dwfiXJ 4K UltraHD]
|-
|"Taxi Driver" (1976)
|
|
|Scott Ostrowsky
|[[Grover Crisp]]
|
|-
|"The Doors” (1991)
|original negative, scanned in 4k 16 bits on ARRISCAN at Fotokem US<ref>https://www.indiewire.com/2019/04/cannes-classics-2019-alfonso-cuaron-the-shining-1202128389/</ref>
|Restoration managed by L'Immagine Ritrovata in Italy
|
|
|[https://amzn.to/2U4xlMY 4K UltraHD]
|-
|“The Shining” (1980)
|4K scan of the original 35mm camera negative<ref>https://www.indiewire.com/2019/04/cannes-classics-2019-alfonso-cuaron-the-shining-1202128389/</ref>
|mastering was done at Warner Bros. Motion Picture Imaging
|Janet Wilson
|Kubrick’s former personal assistant Leon Vitali
|[https://amzn.to/3cvE9tL 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<ref>https://www.indiewire.com/2019/04/cannes-classics-2019-alfonso-cuaron-the-shining-1202128389/</ref>
|Roundabout Entertainment
|Sheri Eisenberg
|[[Grover Crisp]]
|[https://amzn.to/3cvjOEK 4K UltraHD]
|-
|"Ben-Hur" (1959)<ref>https://www.youtube.com/watch?v=rp1BsqMsAUQ</ref>
|
|
|
|[[Ned Price]]
|
|-
|"Doctor Zhivago" (1965)
|scanned the original camera negative at 8K resolution<ref>http://iwantmytwodollars.com/2011/12/interview-ned-price-rita-tushingham-doctor-zhivago-remastered-blu-ray/</ref>
|
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|-
|"A Clockwork Orange" (1971)
|
|
|
|Ned Price<ref>https://www.youtube.com/watch?v=VV6ro-74bL4</ref>
|
|-
|“Pandora and the Flying Dutchman” (1951)
|
|Prasad Corporation<ref>[http://moveablefest.com/the-reincarnation-of-pandora-and-the-flying-dutchman-and-how-the-cohen-film-collection-restores-soul-to-cinema-classics/?fbclid=IwAR21-LP6dT8EETo7BkPYCYJQOV4mIuqMmsoN9x_ODTWiAFSAv6NrYaJBYFQ http://moveablefest.com/the-reincarnation-of-pandora-and-the-flying-dutchman-and-how-the-cohen-film-collection-restores-soul-to-cinema-classics/]</ref>
|
|Tim Lanza, the archivist and vice president of the Cohen Media Collection<ref>[http://moveablefest.com/the-reincarnation-of-pandora-and-the-flying-dutchman-and-how-the-cohen-film-collection-restores-soul-to-cinema-classics/?fbclid=IwAR21-LP6dT8EETo7BkPYCYJQOV4mIuqMmsoN9x_ODTWiAFSAv6NrYaJBYFQ http://moveablefest.com/the-reincarnation-of-pandora-and-the-flying-dutchman-and-how-the-cohen-film-collection-restores-soul-to-cinema-classics]</ref>
|
|-
|"Richard III" (1955)<ref>http://www.mtifilm.com/news/2013/5/1/richard-iiis-meticulous-4k-restoration.html</ref>
|
|""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 "<ref>https://library.creativecow.net/article.php?author_folder=kaufman_debra&article_folder=Restoring-Richard-III&page=1</ref>
|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" <ref>https://library.creativecow.net/kaufman_debra/taxi-driver-restoration/1</ref>
|Scott Ostrowsky
|[[Grover Crisp]]
|
|-
|"A Star is Born" (1954)
|scanning A Star Is Born in 6K<ref>https://www.soundandvision.com/content/truth-about-6k-page-2#RWqSIV7EmF7xOsih.99</ref>
|
|
|Daphne Dentz, VP, digital service<ref>https://artsdocbox.com/Movies/71504342-Inside-top-studios-sign-up-with-dcss-studios-agree-digital-cinema-deployment-story-on-p-03.html</ref>
|
|-
|"2001: A Space Odyssey" (1968)
|8K
|
|
|[[Ned Price]] and  Leon Vitali
|[https://amzn.to/2XuNfTe 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"<ref>http://www.3dfilmarchive.com/an-interview-with-ned-price</ref>
|Warner Bros. Motion Picture Imaging
|Janet Wilson
|
|
|-
|"The Front Page" (1931) <ref>https://www.broadcastbeat.com/mti-film-delivers-the-front-page/</ref>
|4K wet-gate scanning of the complete 35mm print at ImagePro, Burbank
|"automated and customized restoration at [http://www.mtifilm.com/restoration 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)<ref>http://www.postmagazine.com/Publications/Post-Magazine/2017/November-1-2017/Restoration-I-A-Matter-of-Life-and-Death-I-.aspx</ref>
|4K scanning at Cineric, New York
|L’Immagine Ritrovato
MTI Film, Hollywood
|Sheri Eisenberg
|[[Grover Crisp]]
|
|-
|"Dr. Strangelove" (1964)<ref>https://pure.uva.nl/ws/files/2370126/163448_369986.pdf</ref>
|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]]
|[https://amzn.to/2ACEKMC 4K UltraHD]
|-
|"The Sound of Music" (1965)<ref>https://library.creativecow.net/wilson_tim/FotoKem-Sound-of-Music-Restoration/1</ref>
|digitized at 8K by FotoKem
|FotoKem
|Mark Griffith
|Andrew Oran
Schawn Belston
|
|-
|"''Schindler’s List" (1993)''<ref>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</ref>
|6K scan of original negative
|
|
|Michael Daruty
|[https://amzn.to/2TZE7ni 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"<ref>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</ref> 
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<ref>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</ref>
Senior Producer: [[imdbname:0219873|Daphne Dentz]]
Producer: Billy Patten
|
|-
|"The Godfather" (1972)<ref>http://www.postmagazine.com/Publications/Post-Magazine/2008/November-1-2008/RESTORATION.aspx</ref>
|Chris Gillaspie and the Thomson Spirit 4K
"FilmLight Northlight for scanning subtitles and a few pick-up shots in 6K"
|[https://www.motionpictureimaging.com/feature-services/digital-restoration/ 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)<ref>https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-rebel-without-cause-20131101-story.html#axzz2lKNyTKmG</ref>
|
|
|Janet Wilson
|Film Foundation
[[Ned Price]]
|
|-
|"Beverly Hills Cop" (1984)
|
|
|
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|-
|"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"''<ref>https://thedigitalbits.com/columns/my-two-cents/052620-1430</ref>
|
|
|Andrea Kalas
|
|-
|"It's a Wonderful Life" (1946)
|Eric Chilpa (Technicolor)
|
|Michael Underwood (Technicolor)
|Andrea Kalas
Laura Thornburg (Executive Director Preservation at Paramount)
|[https://amzn.to/2Mr5p1G 4K UltraHD]
|-
|"The Seven Samurai" (1954)<ref>https://av.watch.impress.co.jp/docs/topic/744265.html</ref><ref>https://kotaku.com/the-seven-samurai-looks-glorious-in-4k-1761457283</ref>
|
|Tokyo Lab, "Use MTI's restore software to correct scratches and dust, shake the screen, and adjust grain."
|
|
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|-
|"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."<ref>https://www.hometheaterforum.com/community/threads/kino-lorber-insider-read-guidelines-post-3.355034/page-28</ref>
|Thad Komorowski
|Greg Kintz
|
|
|-
|"Wings" (1927)<ref>https://jservin85.wordpress.com/preservation-and-restoration/restoration-of-wings/</ref>
|"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."<ref>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/</ref>
|
|
|Andrea Kalas, 
Laura Thornburg

Jeff Cava
|
|-
|"Apollo 13" (1995)
|"35mm camera negative was scanned at 6k resolution"<ref>https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015</ref>
|
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|NBCUniversal StudioPost
|[https://amzn.to/2zXnphD 4K UltraHD]
|-
|"Citizen Kane" (1941)
|"reconstructed from three nitrate fine grain master positives as the original camera negative no longer survives."<ref>https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015</ref>
|
|Janet Wilson
|Ned Price
|
|-
|"The Third Man" (1949)
|"Intermediate film print, 2nd generation of nitrate film (non-existent original negative), scanned in 4K" <ref>https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015</ref>
|"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"<ref>https://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-2015</ref>
|"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"<ref>https://soundandpicture.com/2013/11/colorworks-completes-brilliant-4k-restoration-of-frank-capra-classic-it-happened-one-night/</ref>
|"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)<ref>https://whatson.bfi.org.uk/lff/Online/default.asp?BOparam::WScontent::loadArticle::permalink=sweetcharitylff19</ref>
|"picture source element for this 4K restoration was the 35mm original negative of the roadshow version"
|
|
|[https://www.universalstudioslot.com/picture-services/3337/film-restoration 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"<ref>https://www.blu-ray.com/movies/Tootsie-Blu-ray/44344/</ref>
|Prasad Group
|Scott Ostrowski
|Grover Crisp
|
|-
|"Spartacus" (1960)
|original 8-perf negative scanned on Northlight<ref>http://digital.copcomm.com/i/607566-november-2015/35?m4=</ref>
|"MTI Film's Nova software was deployed for dust busting"
StudioPost, MTI FIlm and Prasad Digital
|
|[https://www.universalstudioslot.com/picture-services/3337/film-restoration NBCUniversal StudioPost]
|[https://amzn.to/2MplzZk 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" <ref>https://markets.businessinsider.com/news/stocks/universal-pictures-continues-silent-film-initiative-will-restore-10-additional-titles-1025929659</ref>
|"stabilize and deflicker the film as well as repair scratches, warps, and dirt.  The 4K digital restoration was completed by NBCUniversal StudioPost."
|
|[https://www.universalstudioslot.com/picture-services/3337/film-restoration NBCUniversal StudioPost]
|
|-
|"The Civil War" (1990)
|ArriScan 4K of 16mm original negative<ref>http://digital.copcomm.com/i/607566-november-2015/36?m4=</ref>
Technicolor PostWorks and George Eastman House
|
|Jack Lewars
|Daniel J. White
|
|-
|"My Fair Lady" (1964)
|FotoKem scan at 8K<ref>http://digital.copcomm.com/i/607566-november-2015/37?m4=</ref>
"original Eastman Kodak 5251 65mm negative"<ref>https://www.hometheaterforum.com/community/threads/a-few-words-about-%E2%84%A2-my-fair-lady-take-two-in-blu-ray.343802/</ref>
|"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"<ref>https://www.blu-ray.com/movies/One-Eyed-Jacks-Blu-ray/162187/</ref>
|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"
|
|[https://www.universalstudioslot.com/picture-services/3337/film-restoration NBCUniversal StudioPost]
|
|}

== External Links ==
[https://twitter.com/4K_Aficionado/timelines/1267558493797650434 4K restoration scans]

== References ==
<references />
@@ Line 7: / Line 7: @@
 !supervisor
 !4K release
-|-
-|"The More the Merrier" (1943)<ref>http://digital.copcomm.com/i/1189824-december-2019/0?m4=</ref>
-|Cineric
-|"blending of duplicate and original picture negative to eliminate damaged frames"
-|Sheri Eisenberg
-|Rita Belda, SPE’s vice president for asset management
-|
-|-
-|"The Hunchback of Notre Dame" (1923)
-|"primary element was scanned, dry-gate, on an Arri scanner"<ref>http://digital.copcomm.com/i/1189824-december-2019/0?m4=</ref>
-|
-|
-|Peter Schade
-|
-|-
-|"Patton" (1970)<ref>http://digital.copcomm.com/i/1189824-december-2019/0?m4=</ref>
-|65mm original negative scanned at 8K by FotoKem
-|"the team at FotoKem began with addressing flicker, dust, dirt and damage on the negative"
-|Kostas Theodosiou grading in Resolve
-|Andrew Oran, SVP and GM of feature sales and marketing
-|
-|-
-|"It’s a Mad, Mad, Mad, Mad World" (1963)<ref>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</ref>
-|FotoKem 65mm scan via Imagica XE
-|
-|
-|
-|
-|-
-|"Gladiator" (2000)<ref>https://www.studiodaily.com/2011/04/colorist-lou-levinson-on-restoring-and-sometimes-re-thinking-movies-with-the-baselight/</ref>
-|"original camera negatives were scanned at 6K on a Northlight scanner"
-|
-|Lou Levinson on  Baselight 8
-|
-|[https://amzn.to/30iB1yR 4K UltraHD]
-|-
-|"Saving Private Ryan" (1998)
-|"original camera negatives were scanned at 6K on a Northlight scanner"
-|
-|Lou Levinson on  Baselight 8
-|
-|[https://amzn.to/2UlADeU 4K UltraHD]
 |-
 |"The Graduate" (1967)
@@ Line 228: / Line 186: @@
 |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, created look up tables (lut) designed to optimize the scan of each element in order to achieve the dynamic range of 35mm black-and-white film."<ref>https://www.researchgate.net/publication/27716381_From_Grain_to_Pixel_The_Archival_Life_of_Film_in_Transition</ref>
 |"Daniel DeVincent, Cineric’s Director of Digital Restoration"
 |
@@ Line 452: / Line 408: @@
 == References ==
 <references />
-[[Category:4K Restoration]]