American Cinematographer - May 2008 - (Page 78)

Post Focus Michael Corleone (Al Pacino) prepares to murder two of his family’s foes in an Italian restaurant in a scene from The Godfather that proved particularly tricky to restore. The bottom frame “is a pure scan off what was in the negative,” says Robert A. Harris, who digitally restored the Paramount picture at Warner Bros. Motion Picture Imaging. The top frame is the restored version of the same shot. Paramount Restores The Godfather by Stephanie Argy Widely regarded as an American classic and a landmark achievement in cinematography, Paramount Pictures’ The Godfather (1972) is identical to most films of its era in one respect: it was not properly preserved. Paramount, like most Hollywood studios, did not create a 78 May 2008 preservation program — “asset protection” in industry parlance — until the home-video boom of the 1980s proved film libraries could have indefinite, lucrative lives. Before that awareness took hold, original negatives were typically used as printing negatives, which meant the original negatives for popular pictures took a lot of abuse. The Godfather was not only popular, it was Hollywood’s first blockbuster, and over the years, “the neck of the golden goose was certainly wrung out,” says the film’s cinematographer, Gordon Willis, ASC, with typical candor. Now, a new batch of golden eggs is in the offing. At director Francis Ford Coppola’s request, film-preservation expert Robert A. Harris and associate archivist Joanne Lawson of The Film Preserve recently spent a year digitally restoring The Godfather and The Godfather Part II (1974) with Warner Bros. Motion Picture Imaging (MPI). Harris’ key collaborators in the endeavor were ASC associate member Jan Yarbrough, MPI’s technical director/senior colorist; Daphne Dentz, MPI’s vice president of digital services; Willis, who shot the pictures and gave advice by phone; and Allen Daviau, ASC, who paid many visits to MPI to lend the effort a cinematographer’s eye. After working through The Godfather and Part II, the team turned to the much more recent Part III (1990), which required no restoration at all; they did a digital intermediate (DI) to create the director’s cut, a version that previously existed only on home video. For all three films, there are now new 4K preservation negatives, separation masters from which new printing elements can be derived, and backup data tapes. Shepherding the project to completion was Martin Cohen, Paramount’s executive vice president of feature postproduction. “Marty’s support was vital,” says Harris. “He is a postproduction executive who truly understands film restoration — he gets it.” Best known for meticulous restorations of Vertigo (1958) and Lawrence of Arabia (1962), The Film Preserve began work on The Godfather in the fall of 2006. Paramount delivered the film’s surviving elements — original camera negative, YCM separation Frame grabs courtesy of Warner Bros. Motion Picture Imaging, ©1972, 2008 Paramount Pictures.

Table of Contents Feed for the Digital Edition of American Cinematographer - May 2008

American Cinematographer - May 2008 Contents Editor’s Note Global Village: The Fall Short Takes: ASC Laszlo Kovacs Short Takes: Heritage Award Winners Production Slate: Anamorph Production Slate: Fugitive Pieces Heavy-Metal Hero A Need for Speed Kink and the City Beautiful Minds A Hollywood Homecoming Post Focus: Paramount Restores The Godfather Filmmakers’ Forum: Levie Isaacks, ASC Teaches Marines to Shoot Movies New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Antonio Calvache

American Cinematographer - May 2008

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