4K Restoration/1955/To Catch a Thief

2017 Restoration

• "A new VVLA scan was performed."
• "Paramount’s SVP of Archives, Andrea Kalas" technical statement

“Paramount undertook a full restoration of To Catch A Thief from a 6K 16-bit scan of the original VistaVision negative, making it the first time the original negative has been directly sourced for a home entertainment release. The 2012 Blu-ray was sourced from an interpositive (IP) that was printed in 2006 from the Vista Vision negative (IN).

The original negative contained some duplicate negative that was added to replace damaged sections in 1999. For this restoration, those duplicate sections were replaced with original YCM material so that we were sourcing the most original elements available.

The blue in the original negative was slightly faded in sections so the 35mm yellow separation master was scanned and recombined with the negative to restore the blue channel. An original IB print was used to verify that the color and optical fades matched the look of the original theatrical release. We find IB prints extremely valuable for restorations because they are known for their more stable, permanent dyes.

For the opening titles, the textless background from the original negative was scanned and the titles were rebuilt and overlaid on the original negative. This allowed us to improve the resolution and quality of the main titles while minimizing issues inherent to the older title creation technology.

This restoration also includes a new 5.1 audio mix that was created after cleaning up the 2007 mix and we also created UHD HDR-10 files for future use.

We made every effort to accurately restore this beautifully produced film by referencing the original print throughout the process. In addition, using the original negative allowed us to minimize the need for digital noise reduction. With these facts in mind, we stand by this restoration. We continually endeavor to restore Paramount’s great films using the best technology available alongside every resource we can find to bring the original vision of the filmmakers to audiences."

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2024 Restoration

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Technical Details of the Restoration

• Source Material and Scanning: The restoration was sourced from the original VistaVision negative, providing a high-quality base. A clean scan was used, avoiding the need for extensive digital scratch removal. However, raw scans showed significant horizontal scratches due to the VistaVision format, which moves the film horizontally through the camera.

• VistaVision-Specific Challenges:
  • Horizontal Scratches: Unlike standard 35mm film, VistaVision’s horizontal orientation led to scratches across the frame, rather than vertical scratches. Key scenes, such as the fireworks sequence with Grace Kelly and Cary Grant, had multiple visible scratches that required cleanup.
  • Flickering: Common in VistaVision films, due to camera issues, requiring frame-by-frame adjustments to stabilize.
  • Color Fade and Color Breathing: Certain frames experienced uneven color fading, creating a phenomenon called "color breathing," where color patches shifted from blue to green or yellow across the frame, necessitating complex color correction.

• Heat Wave Distortion: In some scenes, intense lighting close to the camera caused heat waves, creating a visual distortion that appears as warping in the footage. This effect was notably visible in high-light scenes and was carefully managed during restoration.

• Color Grading and Reference Prints:
  • Worked with colorist John Persichetti at Paramount's in-house facility, using a 1960 IB Technicolor print as a reference to match the original hues approved by Alfred Hitchcock.
  • Notable discovery: Early scenes, such as the cat walking on a roof, were more vibrant than expected, with a prominent green hue, as revealed by the IB print.

• Aspect Ratio Restoration: Presented in its native 1.85:1 VistaVision aspect ratio for the first time since its original release, allowing for a more accurate representation of the film’s intended framing.

• HDR and Dolby Vision Enhancement:
  • The restoration included Dolby Vision grading, enhancing jewel reflections and water scenes with controlled HDR highlights. Jewel highlights and reflections, particularly in Grace Kelly’s scenes, were carefully balanced to prevent excessive brightness.

• Optical Scene Limitations: Certain montage scenes, created with optical effects like dissolves, could not be fully restored to match the clarity of the original negative due to the limitations of the optical printing process. These scenes stand out with lower quality due to duplication, and the original pieces are missing, preventing full restoration.

• Grain Reduction Policy:
  • Minimal digital noise reduction was applied, with only one scene adjusted to remove distracting digital artifacts caused by color moiré. The team retained most of the original grain structure due to the high resolution of VistaVision, which inherently reduces grain.

• Final Color Review and Adjustments: Following initial grading, additional research was conducted, including Hitchcock’s notes on using a green filter, to ensure accurate color saturation. The team balanced the HDR color space to preserve the natural look while leveraging HDR's expanded color range.

Restoration Team Credits

• Paramount Team: Senior Preservation Manager Jeff McCardy
• Colorist: John Persichetti
• Hollywood Professional Association Nomination: The restoration of *To Catch a Thief* was nominated for the HPA Award for Outstanding Achievement in Restoration, competing with notable films such as *The Searchers*, *Snow White and the Seven Dwarfs*, and *The Sugarland Express*.

References

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