Difference between revisions of "4K Restoration/1984/The Terminator"

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(Created page with ""Scanning/Restoration work completed by Reliance MediaWorks. The original negative was scanned using an Imagica pin registered scanner to produce 4K 10bit Log DPX files. Rel...")
 
 
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"Scanning/Restoration work completed by Reliance MediaWorks.  The original negative was scanned using an Imagica pin registered scanner to produce 4K 10bit Log DPX files.  Reliance performed nearly 800 hours of meticulous work including, image processing, QC and frame by frame touch up of dirt and film damage (scratches etc.).  The project consumed over 40 terabytes at its greatest size. They used Lowry Digital’s suite of proprietary restoration tools. Often referred to as the “Lowry Process”. The Restoration Lead was: Alexis Ross-Gallaher. The Restoration Supervisor was: Ryan Gomez The scanning and recording tech for the project is: Paul Howarth. The data manager for the project was: Paul Jackson
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"Scanning/Restoration work completed by Reliance MediaWorks.  The original negative was scanned using an Imagica pin registered scanner to produce 4K 10bit Log DPX files.  Reliance performed nearly 800 hours of meticulous work including, image processing, QC and frame by frame touch up of dirt and film damage (scratches etc.).  The project consumed over 40 terabytes at its greatest size. They used Lowry Digital’s suite of proprietary restoration tools. Often referred to as the “Lowry Process”."
  
Color Correction. The color correction was completed at Technicolor Hollywood with James Cameron’s preferred Colorist, Skip Kimball.  Skip used DaVinci Resolve for the color correction.  James Cameron supervised the color correction.  Technicolor Hollywood Producer – Marisa Clayton
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Restoration Lead: Alexis Ross-Gallaher
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Restoration Supervisor: Ryan Gomez
 +
 
 +
Scanning and recording tech: Paul Howarth
 +
 
 +
Data manager: Paul Jackson
 +
 
 +
"Color Correction. The color correction was completed at Technicolor Hollywood with James Cameron’s preferred Colorist, Skip Kimball.  Skip used DaVinci Resolve for the color correction.  James Cameron supervised the color correction.  Technicolor Hollywood Producer – Marisa Clayton
  
 
Sound Mix. The Terminator was originally MONO, but in 2000 a new 5.1 Extended Mix was created at Skywalker Sound." <ref>http://www.festivalofarchives.org/2012/10/19/the-terminator-1984-2/</ref>
 
Sound Mix. The Terminator was originally MONO, but in 2000 a new 5.1 Extended Mix was created at Skywalker Sound." <ref>http://www.festivalofarchives.org/2012/10/19/the-terminator-1984-2/</ref>

Latest revision as of 19:10, 4 June 2021

"Scanning/Restoration work completed by Reliance MediaWorks. The original negative was scanned using an Imagica pin registered scanner to produce 4K 10bit Log DPX files. Reliance performed nearly 800 hours of meticulous work including, image processing, QC and frame by frame touch up of dirt and film damage (scratches etc.). The project consumed over 40 terabytes at its greatest size. They used Lowry Digital’s suite of proprietary restoration tools. Often referred to as the “Lowry Process”."

Restoration Lead: Alexis Ross-Gallaher

Restoration Supervisor: Ryan Gomez

Scanning and recording tech: Paul Howarth

Data manager: Paul Jackson

"Color Correction. The color correction was completed at Technicolor Hollywood with James Cameron’s preferred Colorist, Skip Kimball. Skip used DaVinci Resolve for the color correction. James Cameron supervised the color correction. Technicolor Hollywood Producer – Marisa Clayton

Sound Mix. The Terminator was originally MONO, but in 2000 a new 5.1 Extended Mix was created at Skywalker Sound." [1]

References[edit]