American Cinematographer - May 2000 - 103
time, is staged in an
all-white room
early in the film. Mina recalls, "We
showed Victor how
we were
able
to
causing
[cinematographers] believe it is
us to be involved in
restoration projects." Sure enough,
are
bring out all the details on the origi¬
nal negative; you could even see
details in the street outside the only
important for
window in the
the grocery scene to make
feel more beautiful and
horrified when
room.
we
Victor
showed him
was
our
original restoration of that scene! He
explained that the white set and
bright light were intended to wash
out
all other details. He wanted the
white as possible,
gives the scene an ethe¬
real feeling, which makes the concept
background
as
because that
much
more
believable."
In another
early
scene,
staged
a mess, so it must be
removed before further procedures
might have a different feeling
about the character. That's why we
ences
the color timer balanced the colors in
it look and
appealing,
like a well-lit 1990s supermarket. It
was a pretty picture, but off-base
until Kemper provided guidance.
Mina says Warner Bros,
provided the original negative of Oh,
God! and requested a new interposi¬
tive that would restore the original
colors and correct other damage
caused by handling and chemical
"Chances are, if the
nuances
will
be missed when films
are
After the
inspection, the nega¬
tive from Oh, God! was printed using
the supplied timing lights, and then
evaluated for dye fade. "The yellow,
magenta and cyan records had faded
to various degrees, but not severely
enough to require specialized dyerestoration
"In
this
restored."
ASC President
Victor J. Kemper
-
a
number of other labs
in
a
grocery store, Reiner wanted to
establish that Denver's character is
no
special. (As God explains,
one
better than
and
"You
are
than
others") Kemper washed the
scene
in
some
worse
greenish light motivated by
sources to visually punctu¬
overhead
ate
the idea that the character is
an
living an unglamsomething the
audience sees," Kemper explains. "It
is something they feel on a sublimi¬
nal level, but it helps to establish the
ordinary
orous
person
life. "It's not
character, the mood and
a sense
of
time and
place. Chances are, if the
cinematographer isn't involved,
nuances
films
like this will be missed when
are
restored, and future audi¬
case,
were
we
able to
compensate for dye fade by reducing
the red, green or blue exposure of the
negative." The timers make visual
judgments of the amount of light
needed to correct the scene, and rely
on their experience to match the
After
look of the film.
timing,
an answer
the restored
negative, which is essen¬
tially free of physical defects and
boasts corrected dye fade. Once the
answer print is approved by the
customer, Mina says, a new element
is printed using the same lights that
were used to make the answer print.
new
itive,
set
However, he concedes there
general condition of the film, repairs
any tears and rips, and reinforces
weak splices to ensure that the nega¬
tive is robust enough to be printed.
The negative is also checked for the
presence of lacquers, which might
have been coated on the negative to
certain types
negative is re-washed or printed on a
printer," Mina explains.
"The lacquer may partially dissolve,
wet-gate
Halloween. The
landmark horror
film was restored
for DVD release
last year. This
page:
Laurie
(Jamie Lee Curtis)
prepares to
defend herself
with
a
knitting
needle. "There
are
very
deliberate
moments when
this film is all
about light and
shadows," says
cinematographer
Dean R. Cundey,
features both
a
pan-and-scan and
an anamorphic
version of the
film, and Cundey
he is
particularly
pleased with the
says
latter.
both.
lab technician, who evaluates the
tion of wet-gate printing. "The prob¬
lem occurs if a lacquer-coated
the
an interpos¬
of YCM separations,
or
scratches before the introduc¬
vengeance in
1978 chiller
element can be
a new
specialize in
photochemical restoration. The first
stage of restoration is the inspection
of the negative, which has to be in
good enough shape to withstand
being run through a printer. Mina
says Technicolor prefers working
with the original negative whenever
possible to minimize generational
losses. The negative is inspected by a
cover
Michael Myers
wreaks
ASC. The DVD
print
is made that reflects the condition of
The
deterioration. Technicolor and
techniques," Mina recalls.
scene-to-scene
cinematographer isn't
involved,
attempted."
Opposite:
Mina says that Technicolor
prefers the photochemical process
for restoration because of the depth
of color and
contrast
information
on
the
negative. He's not convinced that
even a 4K scan captures all of that
image information during film-todigital conversion, especially nuances
in
colors, textures and contrast.
are
of fixes - including the
repair of scratches, tears and anom¬
alies ingrained in the negative, such
as fog - that can be handled more
effectively in a digital suite. "When
we were working on the restoration
of
Rear
Window
Studios, there
scene
for
Universal
important
Kelly kissed
was a very
in which Grace
Jimmy Stewart," he recalls. "That
piece of negative had ingrained dirt,
scratches and other damage that we
couldn't fix as effectively photoAmerican
Cinematographer 97
American Cinematographer - May 2000
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