American Cinematographer - September 1997 - 16

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Oct. '96). LaserPacific was awarded Gi¬
ant after Hogrewe completed a threeminute test for Warner Bros, director of
video operations Ned Price, who was

impressed by a side-by-side comparison
of the digitally restored test footage and
the unrestored version.
Two people worked for six
months to restore Giant. One particular
proved to be the most challenging:
night scene in which the cam¬
era panned over a dancing woman in a
red dress. With the moving camera and
the moving woman, the digital restorers
scene
an

interior

couldn't "clone" from frame to frame,
THIS WORKSHOP IS RECOMMENDED ONLY TO THOSE WHO ARE
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CREATIVE PROCESS OF TRANSFORMING THEIR IDEAS INTO
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pulling pixels from one scene to repair
literally had to repaint the
scene," reports Hogrewe. "The fine-art
background of our digital artists really
came in handy."

the next. "We

IS TO IMMEDIATELY START MAKING FILMS. WE TAKE PRIDE IN
KEEPING OUR CLASS SIZE SMALL AND PROVIDING AWARD¬
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WEB PAGE: www.nyfa.com E-MAIL: film@nyfa.com

Indeed, the LaserPacific team

inspects

even the tiniest detail, such as
the form of a shadow and how it changes

during

camera movement. Hogrewe and
Silverman maintain that this sort of me¬
ticulous standard is what distinguishes a

digital restoration facility. However,
Silverman is quick to emphasize that his
firm's job is "to digitally fossilize what
the creators intended
not to change
-

it, but to be faithful and accurate."

Hogrewe reveals that Laser-

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Pacific has more digital restoration jobs
in the offing. In fact, as studios begin to
transfer their movie titles to DVD, facili¬
ties such as LaserPacific are sure to stay

busy returning each frame to its original
condition.
Restoration is only a portion of
what LaserPacific's digital visual ef¬
fects and graphics department is up to,

though. Other recent jobs have included
visual effects supervision, effects design,
and 2-D and 3-D effects for the HBO se¬
ries Perversions of Science; more than 40

shots, including digital character de¬

signs, for the Nickelodeon pilot Strange
Ways;and 148 shots for the feature film
A Kid in Aladdin's Palace. The depart¬
ment is also designing DVD menus and
interfaces featuring moving video and
animation for Terminator 2.

Still, while designing digital

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good restoration
job, especially when it's Gone with the
Wind. As Silverman concludes, "We're
very proud to have been entrusted with
this iconic masterpiece of American filmmaking."
♦
a
American Cinematographer - September 1997

Table of Contents for the Digital Edition of American Cinematographer - September 1997
