American Cinematographer - November 2001 - 106
Learning
Laboratories and storage
facilities continue to
develop better ways to
preserve and restore
motion pictures.
Curve
by David Heuring
improved optical processes. Most
laboratories involved in preservation
preservation and restoration today
more than 95 percent, by most
estimates
is achieved with photo¬
chemical techniques. When such
techniques fall short, digital
processes are utilized. A handful of
labs offer digital-restoration services;
new tools, including color correction
and/or restoration offer color
from Pandora and DaVinci,
vation in
Hollywood has led to
better storage and handling
techniques, as well as more finely
tuned lab work. Technological
Increased interest in film preser¬
advances include new film stocks and
timing
-
-
are
and correction, wet and dry contact
and optical printing and black-and-
making digital restoration tech¬
niques less time-consuming and
white
more
negative and positive film
processing. Some also offer film prep
and repair, and hand and machine
cleaning.
The vast majority of film
affordable.
The film-preservation indus¬
is built around separation
masters. Separations consist of three
black-and-white copies of the nega¬
try
tive
sensitized for
yellow, one
and one for cyan. Blackand-white film on polyester base
made for this purpose has no known
shrinkage and no dye fade compared
to color film, especially when stored
under the proper conditions. When
the three separations are properly
registered, they can be recombined to
produce a duplicate negative that is a
faithful reproduction of the original.
The cost for creating a set of separa¬
tion masters ranges from $30,000$35,000; the cost for making a
duplicate negative from a set of sepa¬
-
one
for magenta
rations is about $25,000.
Rick
Utley has been working
film
with
for
more
than three
decades, initially on the lab side at
MGM's Metrocolor and Technicolor.
He oversees the
Tek
Media
operation of the Pro-
Preservation
Vault,
which
recently opened a new 23,000square-foot facility in Burbank. The
facility encompasses three mediumterm storage vaults where film is
maintained
at
45° Fahrenheit and
25-percent relative humidity. The
vaults can store as many as 600,000
cans
of film.
Utley explains that the low
humidity and low temperature deter
shrinkage of the acetate-base mater¬
ial and significantly slow dye fade in
color film. "There's been a significant
change in storage environments in
102 November 2001
SUCtniuniavdeesrostda.l
ocurftesy
Phot s
American Cinematographer - November 2001
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