American Cinematographer - September 2014 - 100
These before-and-after comparisons illustrate some of the restoration team's challenges,
including mold removal, color correction and film repair.
100
September 2014
American Cinematographer
4K final data, all on LTO 5. Deliverables
include the 8K raw scan archive, a 500 Mbps
4K DCP, a 250 Mbps 4K DCP, 4K DSM files,
4K UHD master files, HDSR masters and
clones, and the Blu-ray master."
Harris says with a chuckle, "Someone
once called me a 'mentor and tormentor.'
[Colorist] Mark Griffith had a full head of
hair when we started this! One of the things
I asked on the first day we met was, 'Have
you worked with film timing, and are you
familiar with the point terminology used in
film labs?' He had, and our eyes were
aligned, so everything worked out. He's able
to play the Resolve like a concert violinist.
You've got perhaps a half dozen colorists
around the world who are 'name' colorists,
and I think Mark Griffith is one of them."
For his part, Griffith notes, "In
approaching color correction, I always look
for a wide shot and set [my parameters]
from that so I don't paint myself into a
corner. You really have to keep your eye on
the gray scale and your whites and blacks,
especially when the filmmakers can't represent themselves anymore. My Fair Lady was
made at a time when there were no digital
tools to create things not achieved in
production, and it's very important to honor
that quality level, because everybody put a
lot into it - the art direction, the lighting,
the cinematography are just absolutely
magnificent. Still, there were questions. Just
before the ['Get Me to the Church on Time'
musical] sequence, for example, Audrey
Hepburn's cutaways are filtered, dreamy,
softer. Early in the film, her cutaways are
really harsh because she's unfinished, but
later, she's a softer, more refined person, and
they achieved that through filtration to
enhance the story."
In that particular sequence, Harris
was concerned that the heavily filtered shots
of Hepburn weren't cutting well with their
surrounding shots, so, he says, "I called
Gordon Willis [ASC], who had worked with
Harry Stradling on a couple of films. He
asked us to send him a Blu-ray of the
sequence, and then he called and said,
'Here's what's going on. Harry used to get
this black material from Paris, and he would
throw it in front of his camera and everything went soft. So you have Audrey
Hepburn soft and sweet, but he wanted
Stanley Holloway [who played Eliza's father,
American Cinematographer - September 2014
Table of Contents for the Digital Edition of American Cinematographer - September 2014
Contents
American Cinematographer - September 2014 - Cover1
American Cinematographer - September 2014 - Cover2
American Cinematographer - September 2014 - 1
American Cinematographer - September 2014 - 2
American Cinematographer - September 2014 - Contents
American Cinematographer - September 2014 - 4
American Cinematographer - September 2014 - 5
American Cinematographer - September 2014 - 6
American Cinematographer - September 2014 - 7
American Cinematographer - September 2014 - 8
American Cinematographer - September 2014 - 9
American Cinematographer - September 2014 - 10
American Cinematographer - September 2014 - 11
American Cinematographer - September 2014 - 12
American Cinematographer - September 2014 - 13
American Cinematographer - September 2014 - 14
American Cinematographer - September 2014 - 15
American Cinematographer - September 2014 - 16
American Cinematographer - September 2014 - 17
American Cinematographer - September 2014 - 18
American Cinematographer - September 2014 - 19
American Cinematographer - September 2014 - 20
American Cinematographer - September 2014 - 21
American Cinematographer - September 2014 - 22
American Cinematographer - September 2014 - 23
American Cinematographer - September 2014 - 24
American Cinematographer - September 2014 - 25
American Cinematographer - September 2014 - 26
American Cinematographer - September 2014 - 27
American Cinematographer - September 2014 - 28
American Cinematographer - September 2014 - 29
American Cinematographer - September 2014 - 30
American Cinematographer - September 2014 - 31
American Cinematographer - September 2014 - 32
American Cinematographer - September 2014 - 33
American Cinematographer - September 2014 - 34
American Cinematographer - September 2014 - 35
American Cinematographer - September 2014 - 36
American Cinematographer - September 2014 - 37
American Cinematographer - September 2014 - 38
American Cinematographer - September 2014 - 39
American Cinematographer - September 2014 - 40
American Cinematographer - September 2014 - 41
American Cinematographer - September 2014 - 42
American Cinematographer - September 2014 - 43
American Cinematographer - September 2014 - 44
American Cinematographer - September 2014 - 44a
American Cinematographer - September 2014 - 44b
American Cinematographer - September 2014 - 45
American Cinematographer - September 2014 - 46
American Cinematographer - September 2014 - 47
American Cinematographer - September 2014 - 48
American Cinematographer - September 2014 - 49
American Cinematographer - September 2014 - 50
American Cinematographer - September 2014 - 51
American Cinematographer - September 2014 - 52
American Cinematographer - September 2014 - 53
American Cinematographer - September 2014 - 54
American Cinematographer - September 2014 - 55
American Cinematographer - September 2014 - 56
American Cinematographer - September 2014 - 57
American Cinematographer - September 2014 - 58
American Cinematographer - September 2014 - 59
American Cinematographer - September 2014 - 60
American Cinematographer - September 2014 - 61
American Cinematographer - September 2014 - 62
American Cinematographer - September 2014 - 63
American Cinematographer - September 2014 - 64
American Cinematographer - September 2014 - 65
American Cinematographer - September 2014 - 66
American Cinematographer - September 2014 - 67
American Cinematographer - September 2014 - 68
American Cinematographer - September 2014 - 69
American Cinematographer - September 2014 - 70
American Cinematographer - September 2014 - 71
American Cinematographer - September 2014 - 72
American Cinematographer - September 2014 - 73
American Cinematographer - September 2014 - 74
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American Cinematographer - September 2014 - 78
American Cinematographer - September 2014 - 79
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American Cinematographer - September 2014 - 100
American Cinematographer - September 2014 - 101
American Cinematographer - September 2014 - 102
American Cinematographer - September 2014 - 103
American Cinematographer - September 2014 - 104
American Cinematographer - September 2014 - 104a
American Cinematographer - September 2014 - 104b
American Cinematographer - September 2014 - 105
American Cinematographer - September 2014 - 106
American Cinematographer - September 2014 - 107
American Cinematographer - September 2014 - 108
American Cinematographer - September 2014 - 109
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American Cinematographer - September 2014 - Cover3
American Cinematographer - September 2014 - Cover4
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