Editing 4K Restoration/1961/One-Eyed Jacks

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* Martin Scorsese: “everything at Paramount from 1953 to 1961 was shot VistaVision”

* "Undertaken by Universal Studios in collaboration with The Film Foundation, this new restoration was created from the original 35mm, 8-perforation VistaVision negative and the 35mm Y-layer separation master (to recover faded blue). Those film elements were scanned, using pin registration, at 6K resolution on a Northlight film scanner. Restoration work then proceeded at 4K resolution. The negative and Y-layer files were digitally recombined using 3D image manipulation tools. The film elements were configured for A/B printing, so all transitions, such as fades and dissolves, were recreated to conform to the theatrical cut of the film Dirt and damage removal was accomplished with a host of digital tools, including MTI Film’s Nova, Digital Vision’s Phoenix, HS-Art’s Diamant, and Autodesk’s Flame.

The monaural soundtrack was remastered from the original 35mm, 3-channel discrete dialogue, music, and effects magnetic master. Clicks, thumps, hiss, hum, and crackle were manually removed using Pro Tools HD and iZotope RX." <ref>http://criterionforum.org/Video/one-eyed-jacks-the-criterion-collection-blu-ray</ref>

== References ==
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== Purchase on Amazon ==
* [https://amzn.to/31qpXyF Blu-ray]

[[Category:The Film Foundation 4K Restorations]]
[[Category:Universal 4K Restorations]]
[[Category:VistaVision 6K Scan]]
[[Category:Criterion Restorations]]
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 * Martin Scorsese: “everything at Paramount from 1953 to 1961 was shot VistaVision”
-** VistaVision negative A/B rolls
-** colour fading in the yellow layer (blue sensitive)
-** Perspecta sound
-** Prasad Group and MTI Film did additional post work
-* Film and Audio Restoration conducted by NBCUniversal StudioPost "in collaboration with The Film Foundation, this new restoration was created from the original 35mm, 8-perforation VistaVision negative and the 35mm Y-layer separation master (to recover faded blue). Those film elements were scanned, using pin registration, at 6K resolution on a Northlight film scanner. Restoration work then proceeded at 4K resolution. The negative and Y-layer files were digitally recombined using 3D image manipulation tools. The film elements were configured for A/B printing, so all transitions, such as fades and dissolves, were recreated to conform to the theatrical cut of the film Dirt and damage removal was accomplished with a host of digital tools, including MTI Film’s Nova, Digital Vision’s Phoenix, HS-Art’s Diamant, and Autodesk’s Flame.
+* "Undertaken by Universal Studios in collaboration with The Film Foundation, this new restoration was created from the original 35mm, 8-perforation VistaVision negative and the 35mm Y-layer separation master (to recover faded blue). Those film elements were scanned, using pin registration, at 6K resolution on a Northlight film scanner. Restoration work then proceeded at 4K resolution. The negative and Y-layer files were digitally recombined using 3D image manipulation tools. The film elements were configured for A/B printing, so all transitions, such as fades and dissolves, were recreated to conform to the theatrical cut of the film Dirt and damage removal was accomplished with a host of digital tools, including MTI Film’s Nova, Digital Vision’s Phoenix, HS-Art’s Diamant, and Autodesk’s Flame.
 The monaural soundtrack was remastered from the original 35mm, 3-channel discrete dialogue, music, and effects magnetic master. Clicks, thumps, hiss, hum, and crackle were manually removed using Pro Tools HD and iZotope RX." <ref>http://criterionforum.org/Video/one-eyed-jacks-the-criterion-collection-blu-ray</ref>