American Cinematographer - April 2009 - 61

computational intensity of the algorithms we developed, the show had to be cut into nearly 200 pieces, processed and then re-edited before the final remastering. To address other problems, such as hiss, hum and equalization, we used tools from Sonic Studio that are standard in the industry.” Polito notes that although the latter tools are automated to a degree, using them requires aesthetic judgment on the part of the remastering engineer. “The engineer should always take into account the aesthetics and technology of the period,” he says. “The goal should be to create a track that sounds like an excellent print from the era, not necessarily a ‘modern-sounding’ track.” At the end of the restoration process, Fox had a mix of new analog and digital assets to preserve. In addition to archiving its new 4Kresolution 35mm elements, the stu- dio will archive both sets of data files: the color-corrected files that were filmed out, and the original, unprocessed 4K scans. “We will continue to migrate all the data,” notes Belston. “We’re holding on to the original scans because we’re assuming that as good as the restoration tools are today, there might be something better down the road; also, it’s possible that one of the tools we’re using today will cause a problem in a new distribution format down the line, and preserving the unprocessed files is a hedge against that.” Fox is archiving the restored audio track in both analog and digital formats, on polyester 35mm mag film and gold DVD-Rs. The original audio transfers are being preserved as well. Digital-restoration technologies are evolving quickly, and Gomez points out that it is challenging projects like The Robe that accelerate the evolution. “After more than 400 restorations, we are rarely surprised, but The Robe was difficult enough to force us to lift our game to another level,” he says. The tools are evolving so fast, says Inchalik, that “if we’d started The Robe now, in early 2009, I think we would have done it in about a third of the time; that’s how fast the software breakthroughs are coming. “Digital restoration is far from a mature science,” says Inchalik. “In fact, I’d venture to say that only half of the science has been invented so far.” Additional reporting for this article was done by Rachael K. Bosley. I 61

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American Cinematographer - April 2009

Table of Contents for the Digital Edition of American Cinematographer - April 2009

American Cinematographer - April 2009
Contents
Editor's Note
Short Takes: Patiences
Production Slate
Watchmakers
Sum of All Fears
An Epic Endeavor
Sundance 2009: 5 That Thrived
Post Focus: Autodesk Updates Lastre
New Products & Services
International Marketplace
Classified Ads
Ad Index
ASC Membership Roster
Clubhouse News
ASC Close-Up: Thomas Ackerman
American Cinematographer - April 2009 - American Cinematographer - April 2009
American Cinematographer - April 2009 - Cover2
American Cinematographer - April 2009 - 1
American Cinematographer - April 2009 - 2
American Cinematographer - April 2009 - Contents
American Cinematographer - April 2009 - 4
American Cinematographer - April 2009 - 5
American Cinematographer - April 2009 - 6
American Cinematographer - April 2009 - 7
American Cinematographer - April 2009 - Editor's Note
American Cinematographer - April 2009 - 9
American Cinematographer - April 2009 - Short Takes: Patiences
American Cinematographer - April 2009 - 11
American Cinematographer - April 2009 - 12
American Cinematographer - April 2009 - 13
American Cinematographer - April 2009 - 14
American Cinematographer - April 2009 - 15
American Cinematographer - April 2009 - Production Slate
American Cinematographer - April 2009 - 17
American Cinematographer - April 2009 - 18
American Cinematographer - April 2009 - 19
American Cinematographer - April 2009 - 20
American Cinematographer - April 2009 - 21
American Cinematographer - April 2009 - 22
American Cinematographer - April 2009 - 23
American Cinematographer - April 2009 - 24
American Cinematographer - April 2009 - 25
American Cinematographer - April 2009 - 26
American Cinematographer - April 2009 - 27
American Cinematographer - April 2009 - Watchmakers
American Cinematographer - April 2009 - 29
American Cinematographer - April 2009 - 30
American Cinematographer - April 2009 - 31
American Cinematographer - April 2009 - 32
American Cinematographer - April 2009 - 33
American Cinematographer - April 2009 - 34
American Cinematographer - April 2009 - 35
American Cinematographer - April 2009 - 36
American Cinematographer - April 2009 - 37
American Cinematographer - April 2009 - 38
American Cinematographer - April 2009 - 39
American Cinematographer - April 2009 - 40
American Cinematographer - April 2009 - 41
American Cinematographer - April 2009 - 42
American Cinematographer - April 2009 - 43
American Cinematographer - April 2009 - Sum of All Fears
American Cinematographer - April 2009 - 45
American Cinematographer - April 2009 - 46
American Cinematographer - April 2009 - 47
American Cinematographer - April 2009 - 48
American Cinematographer - April 2009 - 49
American Cinematographer - April 2009 - 50
American Cinematographer - April 2009 - 51
American Cinematographer - April 2009 - 52
American Cinematographer - April 2009 - 53
American Cinematographer - April 2009 - An Epic Endeavor
American Cinematographer - April 2009 - 55
American Cinematographer - April 2009 - 56
American Cinematographer - April 2009 - 57
American Cinematographer - April 2009 - 58
American Cinematographer - April 2009 - 59
American Cinematographer - April 2009 - 60
American Cinematographer - April 2009 - 61
American Cinematographer - April 2009 - Sundance 2009: 5 That Thrived
American Cinematographer - April 2009 - 63
American Cinematographer - April 2009 - 64
American Cinematographer - April 2009 - 65
American Cinematographer - April 2009 - 66
American Cinematographer - April 2009 - 67
American Cinematographer - April 2009 - 68
American Cinematographer - April 2009 - 69
American Cinematographer - April 2009 - 70
American Cinematographer - April 2009 - 71
American Cinematographer - April 2009 - 72
American Cinematographer - April 2009 - 73
American Cinematographer - April 2009 - 74
American Cinematographer - April 2009 - 75
American Cinematographer - April 2009 - 76
American Cinematographer - April 2009 - 77
American Cinematographer - April 2009 - Post Focus: Autodesk Updates Lastre
American Cinematographer - April 2009 - 79
American Cinematographer - April 2009 - 80
American Cinematographer - April 2009 - 81
American Cinematographer - April 2009 - New Products & Services
American Cinematographer - April 2009 - 83
American Cinematographer - April 2009 - 84
American Cinematographer - April 2009 - 85
American Cinematographer - April 2009 - 86
American Cinematographer - April 2009 - 87
American Cinematographer - April 2009 - 88
American Cinematographer - April 2009 - 89
American Cinematographer - April 2009 - 90
American Cinematographer - April 2009 - 91
American Cinematographer - April 2009 - International Marketplace
American Cinematographer - April 2009 - 93
American Cinematographer - April 2009 - Ad Index
American Cinematographer - April 2009 - 95
American Cinematographer - April 2009 - ASC Membership Roster
American Cinematographer - April 2009 - 97
American Cinematographer - April 2009 - Clubhouse News
American Cinematographer - April 2009 - 99
American Cinematographer - April 2009 - ASC Close-Up: Thomas Ackerman
American Cinematographer - April 2009 - Cover3
American Cinematographer - April 2009 - Cover4
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