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Excellent point.
TOO BAD YOU SEEM TO HAVE MISSED IT
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Idea: Preserving the original trilogy 2 - Drafting a manifesto — Page 3
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How do I get a job in film analysis and restoration, It’s always been my dream job.
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FILL OUT THIS APPLICATION
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QUESTION ONE WHAT EXPERIENCE DO YOU HAVE
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QUESTION ONE WHAT EXPERIENCE DO YOU HAVE
Dealing with Frink is a very important experience.
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Let me specify, what steps would a guy from Amarillo, Texas in his early 20s need to take in order to start a career path with film restoration as the end goal?
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Let me specify, what steps would a guy from Amarillo, Texas in his early 20s need to take in order to start a career path with film restoration as the end goal?
I WILL ASSUME THIS MEANS NO EXPERIENCE
QUESTION TWO HOW MANY BEERS CAN YOU DRINK WITHOUT THROWING UP
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Let me specify, what steps would a guy from Amarillo, Texas in his early 20s need to take in order to start a career path with film restoration as the end goal?
I WILL ASSUME THIS MEANS NO EXPERIENCE
QUESTION TWO HOW MANY BEERS CAN YOU DRINK WITHOUT THROWING UP
FYI if you answer 11 beers do not be surprised when Frink demands question 3 be answered in person and you show up to his office and he’s sitting there next to a 12 pack with a bucket taped to his head.
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13
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Anyway, Frink I’ll be stopping by as usual on Saturday. I’ll make sure to bring 2 extra beers and tape.
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13
IM SORRY THE POSITION WAS JUST FILLED
WELL KEEP YOU ON FILE HOWEVER
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Frink’s Files are actually just doodles on an old napkin. To be fair though I’ve seen them and they are impeccable.
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Just in case it was a serious question, the first step is to go to university and study film production, you will need a solid backing in the technical aspects of film making, and reading about it on the net is very different to being involved in a production environment. It also gives you the discipline and teamwork skills, as well as a deeper understanding of the medium itself. Just as importantly, you make a ton of contacts that will be crucial to finding work.
Learning to work with directors, DOPs, colourists and other people is just as important as having the technical skills.
Study colour theory, it is a huge topic and requires a lot of understanding to be able to restore film at a high level. Learn to grade, the old way with just primaries, and learn to do it fast, relying purely on lift/gamma/gain to get the results you want. We used to have to do it realtime whilst a transfer was happening, so by fast, I mean, do it until it is second nature.
Once you have an understanding of grading both on an intellectual and muscle memory/physical level, have learned how to work in a production team, how to talk to sometimes problematic directors and other artists, have some real production experience you can put in your portfolio, even if only on student films, then you are employable and can work your way to restoration. If it sounds like a long time, a lot of work, too hard, then the industry isn’t for you. That is the fastest/shortcut way in really, the long way will be the subject of another post.
Your location is a huge advantage, you already have it easier than most anyone else in the rest of the world just because of where you live and the access to people, schools, festivals and tools. It is still hard, and you will be broke and living on noodles and working ridiculous hours, but it is great fun. So if you want to get into it, nothing is stopping anyone other than the motivation to do so.
It used to be so much harder, almost impossible to get into, but now it is there for anyone willing to do the work and develop a decent eye and to ask a million questions and accept that all of us pretty much know nothing and are constantly learning. Never pretend to know something that you don’t, you won’t last a week in production. The smartest people are the ones that ask the most questions and never let anyone down through making assumptions or by covering up for their ignorance.
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Help get The Original Trilogy preserved!
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I am very serious.
I’ve dabbled in it when I’ve had the resources to do so since I was 17.
But you have blown what I know out of the water, but I guess after listening to the guy whose doing the project I’ve dreamed of doing since I was 17, and raising the bar significantly I would expect no less.
Ever since I saw the documentary on restoring the godfather in 4k in 2008 I wanted that to be my life.
Does custom writing code play any part in your line of work?
And how is rec 2020 going to affect the legacy edition.
Will we ever see the legacy edition on a home format, say the new 4k one?
Odd part is I wasn’t expecting to draw your attention.
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And sometimes the fastest way isn’t always the best way to learn, but speed and efficiency and quality are somethings that need to be balanced.
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No one is using Rec 2020 yet, you can’t even monitor it fully, even with $40,000 monitor solutions - and for Star Wars there certainly isn’t any need or it.
Basically if you master in ACES then you are future proofed for any conceivable delivery colour space.
If you have a passion for it, get yourself to some kind of film school, you need to be working with people on projects, there is really no other way ‘in’ that will get you the experience required. Knowing the software packages, though eventually necessary, is really the least important part.
I’d say 70% or more of what I use is custom code, or scripts or custom plugins, so being able to write in C++ certainly doesn’t hurt, and the skills you develop as a coder are useful accross the board. The people skills are crucial though, as are the contacts and the production experience.
Donations welcome: paypal.me/poit
bitcoin:13QDjXjt7w7BFiQc4Q7wpRGPtYKYchnm8x
Help get The Original Trilogy preserved!
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I suppose if it’s possible with the wizard of oz however, it should be possible for star wars.
And now for a question only a noob would ask, why wasn’t something this sophisticated done for Star Wars years ago, even if Lucas only would allow the special edition to be the cut distributed, surely FOX had enough power to retain an 8k master copy of the original version.
I mean due to lucas, there may be no money in it but why wasn’t that done for archival purposes?
Back in 1994 when the SE project started, digital scanning wasn’t what it is today. Only the shots that were going to have digital bits added were physically cut out of the negative and scanned at 2k. The entire negative wasn’t scanned digitally until preparation for the 2004 DVD, and then only the 97 SE at 1080p.
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I understand and the first movie to be completely scanned in at 2k
Was “oh brother, where art thou?”
It changed the game.
I just mean, it looks like in 2008 one of the most celebrated films of all time would have been given the 8k treatment just like the wizard of oz.
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The limitation was the hardware. Computers were not able to handle full raw film scans until recently. In 1993 I bought my first new computer with an impressive 420 MB hard drive and 16 MB of ram. I did an impressive upgrade to two 800 MB hard drives and 32 MB of ram in 1997. Using PNG compression just the titles and opening crawl of A New Hope would fill those two 800 MB hard drives at 1080p resolution. So in 1997 it took massive computing power to just scan the segments they did scan for each film in the Special Edition. No home machine could handle it. In 2004, things were better, but still, storage did not really allow for filming or scanning movies at such high resolutions. Today it really isn’t a problem and they do it on a regular basis. 2k captures everything the average viewer is likely to ever notice. 4k captures everything a discerning viewer is likely to notice. Double that for anything shot on 70 mm (the original negative was actually 65 mm - the extra width is for the magnetic soundtrack) and double it again for anything on IMAX. The original negatives and even a first generation print (usually studio presentation prints and the distribution interpositives) maintains much of that quality (Citizen Kane’s negative was lost long ago, but they did a 4k scan of the print they have for restoration).
With hardware no longer the issue, what becomes important is the original intended resolution. I think Lucas did a great job on that because there is hardly anything that shows up on the blu-rays. The worst I noticed was some traces of blu-screen (I noticed this in 1997 in the theater while watching Empire and I think it is on the blu-ray). I’m not sure if much more would show up at 4k. With such effects heavy films I worry that increasing the resolution will just make the composting artifacts more visible. But Star Wars is already ahead of most films. Many have noticed things in some movies at 1080p that the photoghaphic print process rendered invisible. From the Team Negative One Silver Screen Editon, I did some comparisons between it and the blu-ray to try to figure out the resolution of the details and I found no difference between the SSE and the blu-ray reduced to 50% (960x540). Now, the primary source is a copy of distribution print, so there is bound to be some quality lost in the copying process. But Harmy is working on enhancing the scenes for a full 1080p Despecialized edition, so they are considerably better (in most respects) from the GOUT, so it can be upscaled a bit. His works gives hope that we could see 4k versions of Eps 2 and 3 that wouldn’t look worse than the originals. When you combine the quality of that scan (along with the Empire and Jedi grindhouse versions) and the variables in projection, you get a distribution print quality that isn’t much better than DVD’s. Especially not crip ones played on an upscaling blu-ray player on a 1080p screen. That level of quality hides a multitude of sins that 4k scans reveal in stunning clarity. Star Wars doesn’t seem to have many such sins and I wish Disney would do a quality 4k restoration of the 4 35mm films.
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I’m taking cold medicine so I hope that made sense…