4K Restoration/1955/To Catch a Thief: Difference between revisions
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* "A new VVLA scan was performed."<ref>https://forum.blu-ray.com/showpost.php?p= | * "A new VVLA scan was performed."<ref>https://forum.blu-ray.com/showpost.php?p=17634476&postcount=755</ref> | ||
* "Paramount’s SVP of Archives, Andrea Kalas" technical statement <ref>https://thedigitalbits.com/item/to-catch-a-thief-paramount-presents-2020-bd</ref> | * "Paramount’s SVP of Archives, Andrea Kalas" technical statement <ref>https://thedigitalbits.com/item/to-catch-a-thief-paramount-presents-2020-bd</ref> | ||
<pre>“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." | |||
</pre> | |||
* https://screenshotcomparison.com/comparison/2359/picture:9 | |||
== References == | == References == | ||
Revision as of 17:18, 24 August 2020
- "A new VVLA scan was performed."[1]
- "Paramount’s SVP of Archives, Andrea Kalas" technical statement [2]
“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."