|
A new sheen for Wenders' films
Scanwerk focuses on processing long formats (feature films, documentaries) in the field of film restoration. Under the leadership of Peter Deinas, the Munich specialists processed 24 films in 2001, which involved checking, repairing, digitising and retouching the originals to provide high-quality digital masters for broadcasting and DVD release.
New look for old films The restoration of a complete feature film, from checking to the delivered master, takes three members of staff at Scanwerk up to two weeks to finish. This relatively short processing time is the result of efficient work by highly qualified operators. Although a large proportion of the film's restoration is automated, colour correction and retouching requires a particular degree of know how and craftsmanship by the digital artists. The "old" film is given a new outfit using three suites at Scanwerk. The first step is to check the film, which usually takes about two or three days. The quality of the film's perforation and edges is examined here, whilst the material's mechanical wear (scratches, dents etc.) is also checked and repaired along with every single pasting point. An extensive diagnosis on the condition of the film material is produced. Best results can be achieved with original negatives, since these are not affected by copying deterioration and have ideal image sharpness. In practise, it has been shown that scanned cinema copies can also produce good results. During checking, it is important to define the extent and scope of the film's restoration together with the Producer and licensees. For as a rule, almost anything can be repaired – it is simply a question of how extensive these repairs should be...
Reducing optical damage and scratches In a second step, namely scanning, the film's analogue images are transformed into digital data. Information on the brightness and colour of every dot on the screen (pixel) must be compiled to recreate the images. This data is processed in the form of a brightness signal and two colour signals. The data is derived from these analogue signals and, once generated, can be processed and reproduced in any way. distinction is made between two types of scanning: the more common dry scanning and wet scanning. The latter method is more expensive, but has decisive advantages compared to dry scanning: Scratches, dents and pasting points become invisible on the film during the scanning process itself and the film material's quality is noticeably improved as a result of the scanning. Scanwerk operates a Cintel C-Reality scanner in conjunction with a "Peterson Wetgate" window, through which the film material runs during scanning and is covered with a film of a liquid called Perchlorethylene. Perchlorethylene fills in scratches and dents in the film material, thereby making them invisible, since the liquid film makes light refraction on the damaged parts of the film impossible.
Colours for a perfect look Scanning is a creative process: Scene by scene, the film receives new lighting qualities. This requires a great deal of sensitivity by the operators, especially when working with the original negative: the camera negative can be interpreted in various different ways. "The basic preconditions for creating a convincing image impression are the art of lighting and a sound knowledge of your work," as the Head of Scanwerk, Peter Deinas, comments. The specific look of a film must therefore be the central element of restoration. It should be retained or enhanced, which is why it is important to concentrate on material-specific aspects of the film. Age-related fading is compensated by the operator. Sometimes, different parts of the material are affected in different ways, or the original sequence of events must be recreated from two different sets of material. In such cases, the colour of the images must also be adjusted appropriately.
Retouching stains, blotches and other damage In a final step, the entire material is re-examined for retouching. First, the scanned data runs through a digital filter (DVNR 1000), which removes 90% of all as yet uncorrected stains, blotches and smudged images. For instance, the filter reduces the "snowy" effect of white spots which is typical for old film copies. The Scanwerk team lays great store by careful, scene-by-scene filtering here, in order to retain details and avoid artefacts. The operator can adjust the filter depending on the movement and motif of the sequence, as well as the extent of the film's damage. Unstable image material can also be stabilised here. The remaining deficiencies can be removed manually using a painting tool. Consistency with the original and retaining the film's atmosphere are the highest priorities here. The most work-intensive task is retouching individual images. It may be that tears or emulsion damage must be repaired in the photo shop. The film information which is missing due to the tear is generated and carefully integrated into the film using the material from neighbouring images. By networking the machines, several people can work on individual images at the same time.
16mm wet scanning Using the Telecine Cintel C-reality and "Peterson Wetgate", Scanwerk can make wet-scans of both 35mm and 16mm material in SD (Standard Definition), HD (High Definition) and in high resolution on 2K and 4K. The high resolution data formats display their true potential here: If the old material is scanned in its full resolution, newly lit and then digitally retouched, a digital negative is created which retains the rich details of the original material and can be exposed onto traditional film at any time. In this way, meticulously restored classics can regain their full splendour on the big screen. One special advantage for the newly lit material is its archiving quality, since archives continue to prefer analogue film formats: It will be possible to project a standard like 35mm film for a long time to come. Unlike all digital data carriers, the material's durability can be guaranteed for many decades. After all, yesterday's films should remain available for the generations of tomorrow.
New developments within das werk Scanwerk is currently working together with other Das Werk Group subsidiaries to develop a computer-supported stabilising process to reduce the age-related light and colour fading (chrominance and luminance flicker) of old films. The process will be compatible with all formats in the data field (Pal, 2K and HD). In addition to Road Movies and Wim Wenders, Scanwerk's clients include the Bertelsmann Music Group (BMG), the Rainer Werner Fassbinder Foundation and the Friedrich Wilhelm Murnau Foundation. A comprehensive Fassbinder package, currently comprising 14 films, has been newly released on DVD and VHS [click, German version only]. The Scanwerk specialists have also processed classics such as Josef von Sternberg's "The Blue Angel" with Marlene Dietrich. This meticulous restoration for DVD received excellent reviews.
Uschi Hansen
Film restorations for:
Wim Wenders:
Wim Wenders und Michaelangelo Antonioni
Rainer Werner Fassbinder Foundation:
Bertelsmann Music Group (BMG):
Murnau Stiftung:
In Produktion:
Uschi Hansen
|
