4K Restoration/1972/The Godfather: Difference between revisions

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== 2022 4K Restoration ==
== 2022 4K Restoration ==
{{#ev:youtube|xkEyYHyDcn8||inline|||}}
* chat with Paramount SVP Andrea Kallas and American Zoetrope's James Mockoski
* Original Camera Negative use
** G1 - 85%
** G2 - 98%
** G3 - 100%


Every effort was made to create the finest possible presentation for today's audiences who can watch the films using technology that has advanced dramatically since 2007 when the last restoration was completed by eminent film historian and preservationist Robert Harris. Using that work as a blueprint, the team spent thousands of hours to ensure that every frame was evaluated to create the most pristine presentation while remaining true to the original look and feel of the films.
Every effort was made to create the finest possible presentation for today's audiences who can watch the films using technology that has advanced dramatically since 2007 when the last restoration was completed by eminent film historian and preservationist Robert Harris. Using that work as a blueprint, the team spent thousands of hours to ensure that every frame was evaluated to create the most pristine presentation while remaining true to the original look and feel of the films.

Revision as of 15:57, 17 March 2022

2008 4K Restoration

  • Robert A. Harris - Film Archivist
  • Martin Cohen - Executive Vice President, Paramount Post Production
  • Chris Gillaspie - M.P.I. Scanning Technician
    • Spirit 4K
      • gentle on film
  • Steven C. Sanchez - Senior Digital Artist
  • Valerie V. McMahon - Digital Artist
  • Jan Yarbrough - Technical Director & Senior Colorist, Warner Bros. M.P.I.

2022 4K Restoration

  • chat with Paramount SVP Andrea Kallas and American Zoetrope's James Mockoski
  • Original Camera Negative use
    • G1 - 85%
    • G2 - 98%
    • G3 - 100%

Every effort was made to create the finest possible presentation for today's audiences who can watch the films using technology that has advanced dramatically since 2007 when the last restoration was completed by eminent film historian and preservationist Robert Harris. Using that work as a blueprint, the team spent thousands of hours to ensure that every frame was evaluated to create the most pristine presentation while remaining true to the original look and feel of the films.

The monumental effort included the following:

  • Over 300 cartons of film were scrutinized to find the best possible resolution for every frame of all three films.
  • Over 4,000 hours were spent repairing film stains, tears, and other anomalies in the negatives.
  • Over 1,000 hours were spent on rigorous color correction to ensure the high dynamic range tools were respectful of the original vision of Coppola and cinematographer Gordon Willis.
  • In addition to the 5.1 audio approved by Walter Murch in 2007, the original mono tracks on the Godfather and The Godfather: Part II have been restored.
  • All work was overseen by Coppola.

"We felt privileged to restore these films and a little in awe every day we worked on them," said Andrea Kalas, senior vice president, Paramount Archives. "We were able to witness first-hand how the brilliant cinematography, score, production design, costume design, editing, performances, and, of course, screenwriting and direction became famously more than the sum of their parts. It was our commitment to honor all of the filmmakers' exceptional work."