Editing Lawrence of Arabia restoration

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[[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.
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[[Grover Crisp]] supervised the 2011 digital restoration, scanned at 8K resolution.  It was released to theatres in 4K and to Blu-ray in 1080p.  A 4K UHD Blu-ray release has yet to happen yet.
  
'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>
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<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>
 
 
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]]
 

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