American Cinematographer - February 2009 - (Page 69)

were photographed into the film at various stages of duplication. Posner conducted tests at several Los Angeles-area companies using a 2K scan of Manhatta that was created on a Spirit DataCine at Post Logic. (The images were radically off-centered, precluding the use of a pin-registered scanner.) After viewing the results and considering bids, he chose Lowry. “Their work proved the best, and they seemed to have a realistic understanding of the considerable challenges involved,” he remarks. Lowry Chief Operating Officer Mike Inchalik describes the task of restoring Manhatta as “painstaking.” He explains, “Because we usually repair damage by borrowing from an undamaged area within that frame or from another frame, restoration gets exponentially harder when the film is so flawed. Manhatta was damaged to an extent where it became difficult for artists to repair it without leaving a trace. A human being can create the necessary pixels to make a seamless repair over the course of five frames, but what about 100 frames? When you add warping, flicker and inconsistent luminance, there are serious hurdles to overcome. “To do the heavy lifting, you have to use automation because the computer will repair things in precisely the same way, frame after frame, without a trace,” he continues. “That allows the artist to go in and find usable image areas from which to borrow to make repairs. Our company was founded on the invention of temporal image processing, and we’re continually expanding what’s possible through the use of that technology.” The Lowry team spent more than 900 hours on Manhatta between October 2007 and September 2008, and that included both automated work and the “hands-on” efforts of Lowry’s staff. Each of the film’s 11,223 frames was re-registered, stabilized and cleaned; scratches, splices, rips and tears were repaired; and flicker and flare were reduced. Posner notes that many of the steps in the restoration process introduced new problems that had to be solved in turn. For example, the stabilization process resulted in further exaggera- ARRIFLEX 235 ON BOARD BATTERY SYSTEM The new Oppenheimer 235 OB Battery System easily mates to your Arriﬂex 235 camera and allows the use of standard Anton Bauer, IDX, PAG, or Frezzi batteries to power the camera at all speeds. By using a standard battery, you reduce costs and increase run time. The OppCam Riser Base provides additional 24V and 12V power outlets. The system is simple, reliable and cost effective. Available now! Problem solving ideas and innovative products since 1993! marty@oppcam.com Seattle: 206-467-8666 Toll Free: 877-467-8666 69 http://www.insightout-training.net http://www.insightout-training.net

Table of Contents Feed for the Digital Edition of American Cinematographer - February 2009

American Cinematographer - February 2009 Contents Editor's Note Short Takes: Circus Production Slate: The International Reverte 2 Worlds in 3 Dimensions Dead Reckoning Embracing Anamorphic Citizen of the World Post Focus: Restoring Manhatta New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Peter Suschitzky

American Cinematographer - February 2009

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