He just restored The Ten Commandments, now Ron Smith wants to hear from you: What Paramount films yo (1 Viewer)

[OliverK]

Would it be possible to see a 6k frame straight from the scanner preferably of a more detailed scene?


Has a 4k DCI version been prepared for cinematic exhibition?


And last but not least: Do you have any other large format productions in the pipeline that will get a similar amount of attention?

 

[Paramount]

[SIZE= 12px]Thank you to everyone who submitted questions to Ron Smith, VP of Preservation and Restoration at Paramount. Below you will find some of the questions Ron has answered regarding The Ten Commandments. Thank you again to everyone who participated. [/SIZE]



[SIZE= 12px]1. [/SIZE]With such an effects laden film, how much digital tinkering was done that would still maintain the original look and presentation, color correction, smoothing of matte paintings, etc?


[SIZE= 12px]We concentrated on color correction of the entire film before going back and smoothing out the effects shots, otherwise, we’d probably still be working on it. [/SIZE]Actually, it was such a massive undertaking, we treated part one (up to Intermission) and part two as separate films. There wasn’t much digital tinkering as the award-winning effects stand on their own. We did dial down the halo effects of the blue screen shots and limited the pulsating on some of the backgrounds.


[SIZE= 12px] [/SIZE]

[SIZE= 12px]2. [/SIZE]What was the original sound presentation and how close is the restored sound to it? And how close is the color palette? How was the aspect ratio decided for the new version?


[SIZE= 12px]All good questions. I’m very pleased to be asked about the sound, since it requires just as much time and effort and the picture restoration and it is often overlooked. The original release was mono, but we were very fortunate to have split dialogue, music and effects tracks so that each can be treated separately. We tried to maintain the sound levels and quality of the original while masking some of the imperfections that had come from deteriorating magnetic soundtrack. The man behind the mix is Chris Johnston at Pacific Ocean Post Sound.[/SIZE]


[SIZE= 12px]We used a dye transfer (re-release) print from the Academy Film Archive for basic color and density reference. [/SIZE]I was fortunate to have seen Paramount’s imbibition print a number of times having also worked on the 1997 re-mastering of the film. That print was made up of more than one of the studios’ copies, and varied slightly from reel to reel (not uncommon for even a complete IB print.) That said, a true reference copy is mostly a mythical concept, but we still make every effort to hold onto any that we can.


[SIZE= 12px]Part of the magic of color correction is finding the sweet-spot in the element you have chosen to use. Finding a colorist with whom you share the same taste and vision is critical. It also helps to find one with a similar disposition, since you will end up in the same dark room for months at a time. I was fortunate enough to share the same space and vision with Jan Yarbrough at Warner Motion Picture Imaging. By doing some preliminary testing from some long-lost b-roll footage (don’t even ask) we were able dial in color and density levels that seem to make the images come alive. [/SIZE]


[SIZE= 12px]Aspect ratio is a bit of a moving target for VistaVision films which were designed to accommodate projection ratios of 1.66 to 1, or 1.85 to 1, or even 2 to 1. The film negative has “framing trees” for each of these aspects. Former head of Paramount projection, Bob Miller (he’s the studio guy on the bike in “The Godfather”) strongly recommended 1.75 to 1 for VistaVision (1.85 is a little tight and 1.66 seems to have too much headroom and might not hide parts of the frame that are not meant to be seen (like the mattresses beneath the falling men who raise the obelisk.) I’ve always agreed with Bob and as result, the digital projection is framed for 1.75, the video at 1.78 and a new film has been output (along with the framing trees) and should be projected at 1.85. [/SIZE]


[SIZE= 12px] [/SIZE]

[SIZE= 12px]3. [/SIZE]Were there any specific challenges with this restoration and how do you feel about grain removal. Is there any studio pressure to remove it? Also is there any particular film that you are particularly passionate about restoring?


[SIZE= 12px]The most challenging thing about this film, aside from the length, is that the effects shots are so different from the tightly controlled studio shots. [/SIZE]


[SIZE= 12px]If working with proper tools and with original elements, grain removal (now called “management”) is unnecessary and there is no studio pressure to remove it. I will leave any deeper discussion to the image processing purveyors who employ these tools. [/SIZE]


[SIZE= 12px]Yes, there are films that I would particularly like to restore but I don’t think they would come as much of a surprise. I’d be more interested in a Top Ten list from you and the HTF faithful.[/SIZE]


[SIZE= 12px] [/SIZE]

[SIZE= 12px]4. [/SIZE]What steps are being taken to ensure that the digital data will be able to be played back in 50 years? Is there specific equipment used so we don’t have to go back to analog?


[SIZE= 12px]Paramount, other studios, independent film companies, and post production vendors have long been backing up both the raw scans and the restored data on these and other types of projects. Paramount hosted a symposium on digital archiving today - part of an ongoing effort to address this very critical concern. Along with the digital assets, Paramount output a standard 35mm four-perforation negative and a 35mm Vista Vision eight-perforation negative of “The Ten Commandments” from the digital files. Belt and suspenders.[/SIZE]


[SIZE= 12px] [/SIZE]

[SIZE= 12px]5. [/SIZE]What was the original sound mix when it was first released in 1956? Was it mono only, or did it have a multi-channel soundtrack?


[SIZE= 12px]As I mentioned, the film was first released in mono and at least one subsequent theatrical release was multi-channel stereo. There are stereo music elements that have been used for some of the re-mixes over the years.[/SIZE]


[SIZE= 12px] [/SIZE]

[SIZE= 12px]Thanks to all of the HTF readers and contributors for your continued interest and support.[/SIZE]


[SIZE= 12px]Ron Smith [/SIZE]

 

[Neil Middlemiss]

How great to see that kind of interest to hear directly from fans. I cannot wait to see the responses to this question. I have a long list that I will need to strip down to just ten. Looking forward to see what others have on their wish/request list...

Originally Posted by Paramount



[SIZE= 12px][FONT= 'Calibri']Also is there any particular film that you are particularly passionate about restoring?[/FONT][/SIZE]


[SIZE= 12px]Yes, there are films that I would particularly like to restore but I don’t think they would come as much of a surprise. I’d be more interested in a Top Ten list from you and the HTF faithful[/SIZE].

 

[Rob_Ray]

My number one choice for restoration would be "Love Me Tonight" which had several minutes removed for a post-code re-release. Perhaps the missing footage may be available in a foreign archive somewhere. Next choice would be "Horsefeathers".

 

[Jeff Robertson]

This is good to hear, but also carefully worded. I have the feeling it may be a policy that only applies to the studio's most important films. Imagine if the same were true for the Trek films and even something like Dragonslayer?

Originally Posted by Paramount



[SIZE= 12px] [/SIZE]

[SIZE= 12px]3. [/SIZE]Were there any specific challenges with this restoration and how do you feel about grain removal. Is there any studio pressure to remove it?


[SIZE= 12px]If working with proper tools and with original elements, grain removal (now called “management”) is unnecessary and there is no studio pressure to remove it. I will leave any deeper discussion to the image processing purveyors who employ these tools. [/SIZE]

 

[dana martin]

The responses to the questions and the presentation on blu ray are spectacular. The bad part is there are items that are now at Universal, as part of the back catalog. Nice to know that the studio has a long list that they are looking at as well, but are looking for a top ten that we the fans are waiting to see, shined up so here are ten, this could have been so much longer, especially if the Republic titles were brought into the fold.

“Shane”

“Stalag 17”

“Sunset Blvd”

“To Catch A Thief”

“The Court Jester”

“A Place In The Sun”

“Breakfast At Tiffany’s”

“Chinatown”

“The Greatest Show On Earth”

“Romeo & Juliet” 1968

 

I am thrilled that Mr. Smith took the time to answer my questions. And I'm very happy that Paramount has lavished so much love and attention on one of my favorite films. They really went beyond what I ever hoped they would. The film even took up the entire main page of the imdb yesterday. To say thank you seems so simple, but I can't say it enough. Really.

 

[dana martin]

Eric,


i am reminded by your post that i forgot something so let me correct it now.



Thank You to Paramount and all the people who worked on this presentation, the time energy and care shows in every frame!

 

[ShowsOn]

Originally Posted by Paramount


[SIZE= 12px]Yes, there are films that I would particularly like to restore but I don’t think they would come as much of a surprise. I’d be more interested in a Top Ten list from you and the HTF faithful.[/SIZE]

Well, if we are talking Paramount titles, I would love a restored version of Marlon Brando's One-Eyed Jacks, so that it can be rescued from public domain hell. Once an official Paramount version is out on Blu-ray, feel free to sue all the companies releasing the unofficial versions.


I also am surprised that the Anthony Mann's film Strategic Air Command hasn't been released considering it has James Stewart in it. Also the Nicholas Ray western Run for Cover would be greatly appreciated.


If you are talking about films outside of Paramount, I think Otto Preminger's Exodus deserves a restoration from 65mm elements. I guess it is owned by the Preminger estate. The existing non-anamorphic DVD is simply atrocious; it looks like it is just a LaserDisc transfer.


For any of these titles, maybe Paramount could team up with Criterion? People are willing to pay more for a title if it is a Criterion, which could help fund preservation, or at least a new transfer from the best existing elements?

 

[Matt Hough]

A Criterion edition of One Eyed Jacks is a fantastic idea!

 

[Stefan Andersson]

Restoration suggestions:

The Lubitsch-Chevalier films including excised footage and sepia tints (included on the laserdisc but not on the Criterion DVD)

City Streets (1931)

Shanghai Express

The fragment of Lena Smith found in Japan

Sunset Boulevard

Stalag 17

Shane

Red Garters

To Catch a Thief

The Court Jester

Funny Face

One-Eyed Jacks

Hatari!

Rosemary´s Baby

Romeo and Julia (1968)

Will Penny

 

[benbess]

Paramount lost most of their Hitchcock titles.

However, one Hitchcock film, To Catch a Thief, is still under Paramount's ownership.

 

[benbess]

What about that other DeMille classic, The Greatest Show on Earth? Jimmy Stewart, winner of best pic oscar, etc.

 

[benbess]

Who owns most of the pre 1950 titles by Paramount?

 

[ShowsOn]

Originally Posted by benbess

Who owns most of the pre 1950 titles by Paramount?

Universal.

 

[OliverK]

[COLOR= #0000ff]One Eyed Jacks [/COLOR]was the second one that came to mind for me, a very good choice!


The first one was [COLOR= #0000ff]The Fall of the Roman Empire[/COLOR] that was handled by Paramount in the US - how about getting that one back and giving it to Ron Smith as another monumental project?

Originally Posted by MattH.

A Criterion edition of One Eyed Jacks is a fantastic idea!

 

[ahollis]

Originally Posted by OliverK

[COLOR= #0000ff]One Eyed Jacks [/COLOR]was the second one that came to mind for me, a very good choice!


The first one was [COLOR= #0000ff]The Fall of the Roman Empire[/COLOR] that was handled by Paramount in the US - how about getting that one back and giving it to Ron Smith as another monumental project?

FALL OF THE ROMAN EMPIRE is still controlled by Weinstein. The DVD release did leave a lot to be desired, and a much work would be needed for a good Blu-ray release. Much of the reason is that film along with EL CID, 55 DAYS IN PEKING, and CIRCUS WORLD were more or less orphans for a few a years and did not get the best of care during that time. I'm sure the work can be done, but right now Weinstein is not willing to shell out that kind of money.

 

[ahollis]

Originally Posted by ShowsOn

If you are talking about films outside of Paramount, I think Otto Preminger's Exodus deserves a restoration from 65mm elements. I guess it is owned by the Preminger estate. The existing non-anamorphic DVD is simply atrocious; it looks like it is just a LaserDisc transfer.

First I want to say THANK YOU PARAMOUNT for the excellent release of THE TEN COMMANDMENTS. It is stunning.


On the post above, MGM still owns EXODUS and since it appears that the agreement with Fox will be extended, there is a chance, and decent chance, that we could see a Blu-ray version of it in the couple of years. I hear that since things are moving forward that the entire MGM catalog is being looked at closely. We may even see a Blu-ray of THE HALLELUJAH TRAIL and the AIP Poe films.

 

[OliverK]

Originally Posted by ahollis

FALL OF THE ROMAN EMPIRE is still controlled by Weinstein. The DVD release did leave a lot to be desired, and a much work would be needed for a good Blu-ray release. Much of the reason is that film along with EL CID, 55 DAYS IN PEKING, and CIRCUS WORLD were more or less orphans for a few a years and did not get the best of care during that time. I'm sure the work can be done, but right now Weinstein is not willing to shell out that kind of money.

Weinstein is far too removed from ownership of these movies to put any kind of serious money into them so I expect absolutely nothing from them when it comes to the necessary work with the large format elements.


I have no idea though what kind of rights Paramount still holds with Fall of the Roman Empire. They originally held the theatrical rights when the film was released in the US. They had hoped for a success similar to The Ten Commandments back then but of course history shows that this did not really work out.

 

[PaulaJ]

Yes, PLEASE on One-Eyed Jacks, because right now the picture on what is probably the best DVD presentation looks like this:





Ack!



Also on the wish list for Paramount blu-rays:


Wings

Roman Holiday

Shane

Will Penny

The Italian Job

Paper Moon

Serpico

The Parallax View

The Serpent's Egg

Ordinary People

The Dead Zone


I'd add Vertigo, Rear Window and the Preston Sturges films to the top of the list if they were still Paramount properties...


And yes, a huge thank you for the restoration of The Ten Commandments. I also love all the goodies in the "big box o' junk." I'm a sucker for that kind of stuff.