American Cinematographer - February 2007 - 90
need to maintain the filmmakers'
aesthetic intentions, was to use
a
complete 4K digital workflow," says
Grover Crisp, vice president of asset
management and film restoration at
Sony Pictures. "It's no secret that the
original negative has not existed for 40
years. For many years, Mr. Kubrick had
control of the title, and when
needed
we
print, he would oversee the
making of it. Certainly the film is
worthy of the highest-quality preserva¬
a
tion and restoration. It
never
had the
careful treatment it deserved."
Crisp began examining restora¬
options for Dr. Strangelove in
2003, as the picture's 40th anniversary
approached. There were chemical
stains, scratches and dirt either printed
into or physically on all existing film
elements, "just about any problem you
can think of," says Crisp. "Some mate¬
tion
rial wasn't manufactured that well
when the film
was new,
and
some
had
not been handled well for many years.
We determined the best elements for
restoration
fine-grain master
positive, a duplicate negative and a
print; each element was a different
number of generations away from the
original negative, resulting in wide
variations in density and contrast.
"In 2003, digital film restoration
at 4K resolution from beginning to end
wasn't really being done," he contin¬
ues. "Then, about a year ago, I
began
discussing this film with the people at
Cineric,
a
were a
New York lab
for other restoration
The
peerless
comedy
Dr. Strangelove
recently received
a 4K digital
Restoring Dr. Strangelove
Cold War
restoration at
Cineric, a first
for a black-andwhite title.
90
February 2007
at 4K
by David Heuring
Stanley Kubrick's 1964 comedy
Strangelove or: How I Learned to
Stop Worrying and Love the Bomb, shot
by Gilbert Taylor, BSC, has long been
Dr.
considered
gem in the Columbia
library, and Sony Pictures
recently gave it added luster with a 4K
digital restoration, the first such treat¬
a
Pictures
ment for a black-and-white title. "We
felt that the
only
justice, given the
do the film
different [film]
elements, their poor condition, and the
way to
many
we
had used
projects. They
were looking into creating 4K workflows, including digital intermediates
[DIs], For several years, I've felt that the
Dl process is a good model for digital
film restoration, but even today, 4K is
not routine. Cineric was having specific
equipment built for that purpose. Even¬
tually, we decided to go into the
project."
Cineric's proven expertise with
Indusctrie.,
CPoiclcoutmuurbrfeteassy
Phot s
American Cinematographer - February 2007
Table of Contents for the Digital Edition of American Cinematographer - February 2007
Contents
American Cinematographer - February 2007 - Cover1
American Cinematographer - February 2007 - Cover2
American Cinematographer - February 2007 - 1
American Cinematographer - February 2007 - 2
American Cinematographer - February 2007 - Contents
American Cinematographer - February 2007 - 4
American Cinematographer - February 2007 - 5
American Cinematographer - February 2007 - 6
American Cinematographer - February 2007 - 7
American Cinematographer - February 2007 - 8
American Cinematographer - February 2007 - 9
American Cinematographer - February 2007 - 10
American Cinematographer - February 2007 - 11
American Cinematographer - February 2007 - 12
American Cinematographer - February 2007 - 13
American Cinematographer - February 2007 - 14
American Cinematographer - February 2007 - 15
American Cinematographer - February 2007 - 16
American Cinematographer - February 2007 - 17
American Cinematographer - February 2007 - A
American Cinematographer - February 2007 - B
American Cinematographer - February 2007 - 18
American Cinematographer - February 2007 - 19
American Cinematographer - February 2007 - 20
American Cinematographer - February 2007 - 21
American Cinematographer - February 2007 - 22
American Cinematographer - February 2007 - 23
American Cinematographer - February 2007 - 24
American Cinematographer - February 2007 - 25
American Cinematographer - February 2007 - 26
American Cinematographer - February 2007 - 27
American Cinematographer - February 2007 - 28
American Cinematographer - February 2007 - 29
American Cinematographer - February 2007 - 30
American Cinematographer - February 2007 - 31
American Cinematographer - February 2007 - 32
American Cinematographer - February 2007 - 33
American Cinematographer - February 2007 - 34
American Cinematographer - February 2007 - 35
American Cinematographer - February 2007 - 36
American Cinematographer - February 2007 - 37
American Cinematographer - February 2007 - 38
American Cinematographer - February 2007 - 39
American Cinematographer - February 2007 - 40
American Cinematographer - February 2007 - 41
American Cinematographer - February 2007 - 42
American Cinematographer - February 2007 - 43
American Cinematographer - February 2007 - 44
American Cinematographer - February 2007 - 45
American Cinematographer - February 2007 - 46
American Cinematographer - February 2007 - 47
American Cinematographer - February 2007 - 48
American Cinematographer - February 2007 - 49
American Cinematographer - February 2007 - 50
American Cinematographer - February 2007 - 51
American Cinematographer - February 2007 - 52
American Cinematographer - February 2007 - 53
American Cinematographer - February 2007 - 54
American Cinematographer - February 2007 - 55
American Cinematographer - February 2007 - 56
American Cinematographer - February 2007 - 57
American Cinematographer - February 2007 - 58
American Cinematographer - February 2007 - 59
American Cinematographer - February 2007 - 60
American Cinematographer - February 2007 - 61
American Cinematographer - February 2007 - 62
American Cinematographer - February 2007 - 63
American Cinematographer - February 2007 - 64
American Cinematographer - February 2007 - 65
American Cinematographer - February 2007 - 66
American Cinematographer - February 2007 - 67
American Cinematographer - February 2007 - 68
American Cinematographer - February 2007 - 69
American Cinematographer - February 2007 - 70
American Cinematographer - February 2007 - 71
American Cinematographer - February 2007 - 72
American Cinematographer - February 2007 - 73
American Cinematographer - February 2007 - 74
American Cinematographer - February 2007 - 75
American Cinematographer - February 2007 - 76
American Cinematographer - February 2007 - 77
American Cinematographer - February 2007 - 78
American Cinematographer - February 2007 - 79
American Cinematographer - February 2007 - 80
American Cinematographer - February 2007 - 81
American Cinematographer - February 2007 - 82
American Cinematographer - February 2007 - 83
American Cinematographer - February 2007 - 84
American Cinematographer - February 2007 - 85
American Cinematographer - February 2007 - 86
American Cinematographer - February 2007 - 87
American Cinematographer - February 2007 - 88
American Cinematographer - February 2007 - 89
American Cinematographer - February 2007 - 90
American Cinematographer - February 2007 - 91
American Cinematographer - February 2007 - 92
American Cinematographer - February 2007 - 93
American Cinematographer - February 2007 - 94
American Cinematographer - February 2007 - 95
American Cinematographer - February 2007 - 96
American Cinematographer - February 2007 - 97
American Cinematographer - February 2007 - 98
American Cinematographer - February 2007 - 99
American Cinematographer - February 2007 - 100
American Cinematographer - February 2007 - 101
American Cinematographer - February 2007 - 102
American Cinematographer - February 2007 - 103
American Cinematographer - February 2007 - 104
American Cinematographer - February 2007 - 105
American Cinematographer - February 2007 - 106
American Cinematographer - February 2007 - 107
American Cinematographer - February 2007 - 108
American Cinematographer - February 2007 - 109
American Cinematographer - February 2007 - 110
American Cinematographer - February 2007 - 111
American Cinematographer - February 2007 - 112
American Cinematographer - February 2007 - Cover3
American Cinematographer - February 2007 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1209
https://www.nxtbook.com/nxtbooks/ac/ac1109
https://www.nxtbook.com/nxtbooks/ac/ac1009
https://www.nxtbook.com/nxtbooks/ac/ac0909
https://www.nxtbook.com/nxtbooks/ac/ac0809
https://www.nxtbook.com/nxtbooks/ac/ac0709
https://www.nxtbook.com/nxtbooks/ac/ac0609
https://www.nxtbook.com/nxtbooks/ac/ac0509
https://www.nxtbook.com/nxtbooks/ac/ac0409
https://www.nxtbook.com/nxtbooks/ac/ac0309
https://www.nxtbook.com/nxtbooks/ac/ac0209
https://www.nxtbook.com/nxtbooks/ac/ac0109
https://www.nxtbook.com/nxtbooks/ac/ac1208
https://www.nxtbook.com/nxtbooks/ac/ac1108
https://www.nxtbook.com/nxtbooks/ac/ac1008
https://www.nxtbook.com/nxtbooks/ac/ac0908
https://www.nxtbook.com/nxtbooks/ac/ac0808
https://www.nxtbook.com/nxtbooks/ac/ac0708
https://www.nxtbook.com/nxtbooks/ac/ac0608
https://www.nxtbook.com/nxtbooks/ac/ac0508
https://www.nxtbook.com/nxtbooks/ac/ac0408
https://www.nxtbook.com/nxtbooks/ac/ac0308
https://www.nxtbook.com/nxtbooks/ac/ac0208
https://www.nxtbook.com/nxtbooks/ac/ac0108
https://www.nxtbook.com/nxtbooks/ac/ac1207
https://www.nxtbook.com/nxtbooks/ac/ac1107
https://www.nxtbook.com/nxtbooks/ac/ac1007
https://www.nxtbook.com/nxtbooks/ac/ac0907
https://www.nxtbook.com/nxtbooks/ac/ac0807
https://www.nxtbook.com/nxtbooks/ac/ac0707
https://www.nxtbook.com/nxtbooks/ac/ac0607
https://www.nxtbook.com/nxtbooks/ac/ac0507
https://www.nxtbook.com/nxtbooks/ac/ac0407
https://www.nxtbook.com/nxtbooks/ac/ac0307
https://www.nxtbook.com/nxtbooks/ac/acbest2006
https://www.nxtbook.com/nxtbooks/ac/ac0207
https://www.nxtbook.com/nxtbooks/ac/ac0107
https://www.nxtbook.com/nxtbooks/ac/ac200612
https://www.nxtbook.com/nxtbooks/ac/ac200611
https://www.nxtbook.com/nxtbooks/ac/ac200610
https://www.nxtbook.com/nxtbooks/ac/ac200609
https://www.nxtbook.com/nxtbooks/ac/ac200608
https://www.nxtbook.com/nxtbooks/ac/ac200607
https://www.nxtbook.com/nxtbooks/ac/ac200606
https://www.nxtbook.com/nxtbooks/ac/ac200605
https://www.nxtbook.com/nxtbooks/ac/ac200604
https://www.nxtbook.com/nxtbooks/ac/ac200603
https://www.nxtbook.com/nxtbooks/ac/ac200602
https://www.nxtbook.com/nxtbooks/ac/ac200601
https://www.nxtbook.com/nxtbooks/ac/ac200512
https://www.nxtbook.com/nxtbooks/ac/ac200511
https://www.nxtbook.com/nxtbooks/ac/ac200510
https://www.nxtbook.com/nxtbooks/ac/ac200509
https://www.nxtbook.com/nxtbooks/ac/ac200508
https://www.nxtbook.com/nxtbooks/ac/ac200507
https://www.nxtbook.com/nxtbooks/ac/ac200506
https://www.nxtbook.com/nxtbooks/ac/ac200505
https://www.nxtbook.com/nxtbooks/ac/ac200504
https://www.nxtbook.com/nxtbooks/ac/ac200503
https://www.nxtbook.com/nxtbooks/ac/ac200502
https://www.nxtbook.com/nxtbooks/ac/ac200501
https://www.nxtbook.com/nxtbooks/ac/ac200412
https://www.nxtbook.com/nxtbooks/ac/ac200411
https://www.nxtbook.com/nxtbooks/ac/ac200410
https://www.nxtbook.com/nxtbooks/ac/ac200409
https://www.nxtbook.com/nxtbooks/ac/ac200408
https://www.nxtbook.com/nxtbooks/ac/ac200407
https://www.nxtbook.com/nxtbooks/ac/ac200406
https://www.nxtbook.com/nxtbooks/ac/ac200405
https://www.nxtbook.com/nxtbooks/ac/ac200404
https://www.nxtbook.com/nxtbooks/ac/ac200403
https://www.nxtbook.com/nxtbooks/ac/ac200402
https://www.nxtbook.com/nxtbooks/ac/ac200401
https://www.nxtbook.com/nxtbooks/ac/ac200312
https://www.nxtbook.com/nxtbooks/ac/ac200311
https://www.nxtbook.com/nxtbooks/ac/ac200310
https://www.nxtbook.com/nxtbooks/ac/ac200309
https://www.nxtbook.com/nxtbooks/ac/ac200308
https://www.nxtbook.com/nxtbooks/ac/ac200307
https://www.nxtbook.com/nxtbooks/ac/ac200306
https://www.nxtbook.com/nxtbooks/ac/ac200305
https://www.nxtbook.com/nxtbooks/ac/ac200304
https://www.nxtbook.com/nxtbooks/ac/ac200303
https://www.nxtbook.com/nxtbooks/ac/ac200302
https://www.nxtbook.com/nxtbooks/ac/ac200301
https://www.nxtbook.com/nxtbooks/ac/ac200212
https://www.nxtbook.com/nxtbooks/ac/ac200211
https://www.nxtbook.com/nxtbooks/ac/ac200210
https://www.nxtbook.com/nxtbooks/ac/ac200209
https://www.nxtbook.com/nxtbooks/ac/ac200208
https://www.nxtbook.com/nxtbooks/ac/ac200207
https://www.nxtbook.com/nxtbooks/ac/ac200206
https://www.nxtbook.com/nxtbooks/ac/ac200205
https://www.nxtbook.com/nxtbooks/ac/ac200204
https://www.nxtbook.com/nxtbooks/ac/ac200203
https://www.nxtbook.com/nxtbooks/ac/ac200202
https://www.nxtbook.com/nxtbooks/ac/ac200201
https://www.nxtbook.com/nxtbooks/ac/ac200112
https://www.nxtbook.com/nxtbooks/ac/ac200111
https://www.nxtbook.com/nxtbooks/ac/ac200110
https://www.nxtbook.com/nxtbooks/ac/ac200109
https://www.nxtbook.com/nxtbooks/ac/ac200108
https://www.nxtbook.com/nxtbooks/ac/ac200107
https://www.nxtbook.com/nxtbooks/ac/ac200106
https://www.nxtbook.com/nxtbooks/ac/ac200105
https://www.nxtbook.com/nxtbooks/ac/ac200104
https://www.nxtbook.com/nxtbooks/ac/ac200103
https://www.nxtbook.com/nxtbooks/ac/ac200102
https://www.nxtbook.com/nxtbooks/ac/ac200101
https://www.nxtbook.com/nxtbooks/ac/ac200012
https://www.nxtbook.com/nxtbooks/ac/ac200011
https://www.nxtbook.com/nxtbooks/ac/ac200010
https://www.nxtbook.com/nxtbooks/ac/ac200009
https://www.nxtbook.com/nxtbooks/ac/ac200008
https://www.nxtbook.com/nxtbooks/ac/ac200007
https://www.nxtbook.com/nxtbooks/ac/ac200006
https://www.nxtbook.com/nxtbooks/ac/ac200005
https://www.nxtbook.com/nxtbooks/ac/ac200004
https://www.nxtbook.com/nxtbooks/ac/ac200003
https://www.nxtbook.com/nxtbooks/ac/ac200002
https://www.nxtbook.com/nxtbooks/ac/ac200001
https://www.nxtbookmedia.com