Film Restoration Explained - Teaser!

[00:00:01] [SPEAKER_01]: Hey friends, Adam here. I just wanted to share with you this interview that Charlotte did about her job in film restoration

[00:00:06] [SPEAKER_01]: with one of our favorite YouTube channels, Serial at Midnight. Here are a few fun moments.

[00:00:12] [SPEAKER_02]: An HD restoration versus a 4K restoration, what's the difference?

[00:00:16] [SPEAKER_02]: Can you like, and you don't have to be technical about it, but like there's a difference there, right?

[00:00:21] [SPEAKER_00]: Well, I think really the biggest difference is what the end consumer is going to be able to see on their screen.

[00:00:29] [SPEAKER_00]: With 4K, you can see everything. You see all these imperfections that we were seeing on the scans,

[00:00:37] [SPEAKER_00]: or when we're doing transfers that by the time it gets to HD, maybe you couldn't really see that or it wasn't as apparent.

[00:00:45] [SPEAKER_00]: So with 4K, you're really getting to see everything, whether the filmmakers intended for you to do that or not.

[00:00:51] [SPEAKER_02]: You have a favorite restoration project?

[00:00:53] [SPEAKER_02]: Dragon Slayer.

[00:00:54] [SPEAKER_02]: Oh my god.

[00:00:55] [SPEAKER_00]: I have to give my husband a shout out for this one because he's the one that said,

[00:01:02] [SPEAKER_00]: why hasn't anybody done anything with Dragon Slayer?

[00:01:05] [SPEAKER_00]: There was a transfer that was from the 90s that was just not great.

[00:01:10] [SPEAKER_00]: Director Matthew Robbins said initially that he didn't want to be involved in the transfer.

[00:01:16] [SPEAKER_00]: He was thrilled by the end of it and I have to tell you that was one of the best moments ever

[00:01:20] [SPEAKER_00]: to have a director say I'm embarrassed at my film and then go to, I am so proud of this.

[00:01:27] [SPEAKER_00]: It was so cool.

[00:01:29] [SPEAKER_00]: It just feels like you're doing something that means something to people.

[00:01:33] [SPEAKER_00]: And being a big film fan myself, this kind of stuff means something to me,

[00:01:37] [SPEAKER_00]: but it's great to just be a part of that.

[00:01:39] [SPEAKER_02]: One more? You want to do one more?

[00:01:41] [SPEAKER_00]: We've been able to restore the credits for blacklisted writers on several titles.

[00:01:47] [SPEAKER_00]: And so these are films where the person at the time was blacklisted and so they couldn't submit a script to Hollywood

[00:01:55] [SPEAKER_00]: or they had to use a front or they just simply weren't credited.

[00:01:59] [SPEAKER_00]: And if it was based on a book or something else, the author got their credit.

[00:02:03] [SPEAKER_00]: So we've been able to do that on quite a few films.

[00:02:06] [SPEAKER_00]: And this was something that when we first discussed doing it, I was a little torn about

[00:02:12] [SPEAKER_00]: because I wasn't sure that it was the right thing to do because we're changing digitally.

[00:02:18] [SPEAKER_00]: We're not altering the negative, but we're going in and we're digitally recreating that title card

[00:02:23] [SPEAKER_00]: that gives the person credit and I thought, well, this isn't how it was originally released.

[00:02:28] [SPEAKER_00]: Should we be doing this?

[00:02:29] [SPEAKER_02]: I think that film appreciation has maybe taught and that if we do love movies,

[00:02:35] [SPEAKER_02]: it's our job to share it with people which is one of the reasons I have this channel

[00:02:38] [SPEAKER_02]: is because I want people to know that just because something is black and white doesn't mean it's bad.

[00:02:44] [SPEAKER_01]: To hear the full interview, head on over to serialedmidnight.com.

[00:02:48] [SPEAKER_01]: It's also available on podcast platforms everywhere.