Difference between revisions of "4k Restorations"
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Revision as of 17:22, 28 July 2020
|"The More the Merrier" (1943)||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"||Peter Schade|
|"Patton" (1970)||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)||FotoKem 65mm scan via Imagica XE|
|"Gladiator" (2000)||"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"||"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."
|"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)||Cineric Laboratory
|"The Invisible Man" (1933)||Technicolor Creative Services Director of Restoration Services Tom Burton|
|"Jaws" (1975)||Cineric Laboratory "4K Oxberry film scanner modified for liquid gate" ||"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||Prasad Corporation
|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||Restoration managed by L'Immagine Ritrovata in Italy||4K UltraHD|
|“The Shining” (1980)||4K scan of the original 35mm camera negative||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||Roundabout Entertainment||Sheri Eisenberg||Grover Crisp||4K UltraHD|
|"Ben-Hur" (1959)||Ned Price|
|"Doctor Zhivago" (1965)||scanned the original camera negative at 8K resolution|
|"A Clockwork Orange" (1971)||Ned Price|
|“Pandora and the Flying Dutchman” (1951)||Prasad Corporation||Tim Lanza, the archivist and vice president of the Cohen Media Collection|
|"Richard III" (1955)||""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 "
|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" ||Scott Ostrowsky||Grover Crisp|
|"A Star is Born" (1954)||scanning A Star Is Born in 6K||Daphne Dentz, VP, digital service|
|"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"||Warner Bros. Motion Picture Imaging||Janet Wilson|
|"The Front Page" (1931) ||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
The Academy Film Archive
The Film Foundation
|A Matter of Life and Death (1946)||4K scanning at Cineric, New York||L’Immagine Ritrovato
MTI Film, Hollywood
|Sheri Eisenberg||Grover Crisp|
|"Dr. Strangelove" (1964)||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."
|"Daniel DeVincent, Cineric’s Director of Digital Restoration"||Grover Crisp||4K UltraHD|
|"The Sound of Music" (1965)||digitized at 8K by FotoKem||FotoKem||Mark Griffith||Andrew Oran
|"Schindler’s List" (1993)||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"
Scan and Record Manager: Chris Gillaspie
|Motion Picture Imaging
VP of Engineering: Bill Baggelaar
Data, Conform & Graphics: Kathleen Largay
Compositor: Valerie McMahon
|Jan Yarbrough||Ron Smith
Senior Producer: Daphne Dentz Producer: Billy Patten
|"The Godfather" (1972)||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|
Oxberry Cinescan 4K
capture to 10-bit log DPX files
|“Rebel Without a Cause” (1955)||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"||Andrea Kalas|
|"It's a Wonderful Life" (1946)||Eric Chilpa (Technicolor)||Michael Underwood (Technicolor)||Andrea Kalas
Laura Thornburg (Executive Director Preservation at Paramount)
|"The Seven Samurai" (1954)||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."||Thad Komorowski||Greg Kintz|
|"Wings" (1927)||"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."||Andrea Kalas,
|"Apollo 13" (1995)||"35mm camera negative was scanned at 6k resolution"||NBCUniversal StudioPost||4K UltraHD|
|"Citizen Kane" (1941)||"reconstructed from three nitrate fine grain master positives as the original camera negative no longer survives."||Janet Wilson||Ned Price|
|"The Third Man" (1949)||"Intermediate film print, 2nd generation of nitrate film (non-existent original negative), scanned in 4K" ||"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"||"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"||"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)||"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"
|Prasad Group||Scott Ostrowski||Grover Crisp|
|"Spartacus" (1960)||original 8-perf negative scanned on Northlight||"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" ||"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
Technicolor PostWorks and George Eastman House
|Jack Lewars||Daniel J. White|
|"My Fair Lady" (1964)||FotoKem scan at 8K
"original Eastman Kodak 5251 65mm negative"
|"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"||Prasad
"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"