THE DEF GUIDE
restore the film prior to scanning, so that digitisation captures as much of the original image content as possible. The subsequent steps, after the film has been scanned, are carried out in the digital domain. There are software applications that enhance colour, remove unwanted defects such as scratches, blemishes and image instability, as well as repair damage and apply techniques to improve overall image sharpness – without sacrificing the filmmaker’s original creative intent. WP: There are several digital film restoration solutions available on the market. Apart from OFX plug-ins focused on particular film defects, there are also some products that support a full range of restorations. In the beginning, digital restoration was limited to low resolution – and was therefore useful only for viewing purposes. Over time, there was a lot of development in terms of computer power and algorithmic advances. Today, we use traditional and AI mathematics to restore – in an ethical way – films in resolutions up to 8K; however, most film restorations are in 4K, as this seems to match the original grain resolution of the film sufficiently. PD: We always start from the same place: a thorough physical examination of all the available elements by our experienced team of film specialists. This inspection will ascertain which approach and combination of techniques, tools and equipment will yield the best results. With the advancement of imaging technologies, we can create the best digital clone possible of the physical film, with elements of restoration applied at the scanning stage, then apply targeted tools in the digital domain to complete the process.
BACK TO THE EIGHTIES The 4K restoration of the Last Christmas music video gave this fan favourite a new look
AR: Audio should not be forgotten, also. Several applications have been developed to enhance and remix the original soundtracks to the higher- definition audio standards of today. Def: What are the main challenges of 4K restoration? Are there times when 4K restoration is impossible or impractical? AR: 4K restoration is difficult and never entirely successful if the source content doesn’t have native 4K resolution, such as standard-definition video content. Upscaling video is rarely as successful as 4K film restoration. Impossible or impractical restoration will largely depend on the physical condition of the film. There are times when film material has deteriorated to a point where scanning would be impossible, if not potentially dangerous because of the presence of heavily decomposed nitrate for example. PD: There is always a dialogue to ascertain the level of restoration required. Some projects require more work to give a fully restored, pristine outcome, whereas other projects require a more subtle approach, retaining some aspects from the original film except now devoid of the defects that time, handling and storage may have introduced.
WP: 4K restoration is the bare minimum for a profound, full restoration of original 35mm film. Besides the resolution of 4K, it’s important to have a sufficient density to describe and preserve all possible film colours. Only small gauge films such as 8mm or video-born (SD and HD) clips can be restored in lower resolutions. AR: There are a few other limiting factors that prevent film restoration. Funding is probably the biggest hurdle in getting the work carried out. The volume of film content sitting on shelves around the world is significantly higher than the speed and scale of current restoration efforts. It will take decades or more likely centuries to work through the volume of film out there. Def: In your opinion, what are some recent best-in-class examples of 4K restoration? WP: One specific but important example of 4K restoration is Francis Ford Coppola, who restored – with his team, headed by James Mockoski – a total of 17 feature films between 2016 and 2024, Apocalypse Now and The Godfather trilogy among them. The restorations have been done carefully, based on high-end scans from the original negatives, leading to a new edition of famous films in unrivalled quality. There are many initiatives these days, all based on recent technologies and done on a highly professional level. AR: This is a complex question, and one I cannot answer without doing a disservice by not mentioning the work carried out by fine institutions all over the world like the BFI, CNC, l’Immagine Ritrovata, Library of Congress, FHF… the list goes on.
IT WILL TAKE decades TO WORK THROUGH ALL THE film out there ”
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