QUESTION = How are old films and photograph's, that are old, grainy and captured on film, restored to 1080p HD? GENERATION = Most films and old photographs are actually on 35mm film, which is much higher resolution than 1080p. The original film is in its original negative and transferred to a format that can be rescanned to produce a higher resolution version of the film. The film is then converted back to the original negative, which is rescanned to produce a higher resolution version of the film. Film is not a perfect transfer medium, so the image quality will be degraded as the transfer process is performed. The digital restoration process is usually done by using an electronic scanner to scan the film at a high resolution, then rescanned to produce a higher resolution version of the film. This process is faster and more reliable than the traditional transfer process, but it requires more equipment and resources. There are also several techniques that can be used to recover old films that have been scanned, such as scanning the original negative to obtain a higher resolution version, or scanning the film to produce a higher resolution version. The best way to restore old film is to use a very high-resolution scanner and a very high-resolution scanner to scan the film at the original negative. Scanners can also be used to scan the original negative to produce a higher resolution version. RETRIEVAL #0 = Beware of Bachelors---of Congress Packard Campus for Audio-Visual Conservation in Washington, D.C., and a 16mm copy survives at the University of Wisconsin at Madison. Section::::References. Notes RETRIEVAL #1 = Film---storage, and the motion picture industry is exploring many alternatives. Most films on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage. Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some film-makers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be process RETRIEVAL #2 = Remaster---by frame at a resolution of at least 2,048 pixels across (referred to as 2K resolution). Some films are scanned at 4K, 6K, or even 8K resolution to future proof for higher resolution delivery formats. Scanning a film at 4K—a resolution of 4096 × 3092 for a full frame of film—generates at least 12 terabytes of data before any editing is done. Digital restoration operators then use specialist software such as MTI's Digital Restoration System (DRS) to remove scratches and dust from damaged film. Restoring the film to its original color is also included in this process. As well as remastering the video aspect, the audio is also remastered using such software as Pro Tools to remove background noise and boost dialogue volumes so when actors are speaking they are easier to understand and hear. Audio effects are also added or enhanced, as well as surround sound, which allows the soundtrack elements to be spread among multiple speakers for a more immersive experience. An example of a restored film is the 1939 film "The Wizard of Oz". The color portions of "Oz" were shot in the three-strip Technicolor process, which in the 1930s yielded three separate black and white negatives created from red, green, and blue light filters which were used to print the cyan, magenta, RETRIEVAL #3 = Film preservation---of Moving Image Archivists (AMIA) BULLET::::- International Federation of Film Archives (FIAF) BULLET::::- Conservation Online: Motion Picture Film Preservation BULLET::::- Digital-Nitrate Prize for Film Preservation BULLET::::- Collection of film restoration issues, collected by Joanneum Research BULLET::::- The National Film and Sound Archive on Preservation BULLET::::- The "Journal of Film Preservation", published by FIAF BULLET::::- The International Association of Sound and Audiovisual Archives BULLET::::- Film Forever: The Home Film Preservation Guide BULLET::::- Australian Network for Information on Cellulose Acetate RETRIEVAL #4 = Film preservation---Blackburn in the early 1990s. The restored films now offer a unique social record of early 20th-century British life. Individual preservationists who have contributed to the cause include Robert A. Harris and James Katz ("Lawrence of Arabia", "My Fair Lady", and several Alfred Hitchcock films), Michael Thau ("Superman"), and Kevin Brownlow ("Intolerance" and "Napoleon"). Other organizations, such as the UCLA Film and Television Archive, have also preserved and restored films; a major part of UCLA's work includes such projects as "Becky Sharp" and select Paramount/Famous Studios and Warner Bros. cartoons whose credits were once altered due to rights taken over by different entities. Section::::Studio efforts. In 1926 Will Hays asked for film studios to preserve their films by storing them at 40 degrees at low humidity in an Eastman Kodak process, so that "schoolboys in the year 3,000 and 4,000 A.D. may learn about us". Beginning in the 1970s, Metro-Goldwyn-Mayer, aware that the original negatives to many of its Golden Age films had been destroyed in a fire, began a preservation program to restore and preserve all of its films by using whatever negatives survived, or, in many cases, the next best available elements (whether it be a fine-grain master positive or mint archival print). RETRIEVAL #5 = Video scaler---HD. The owner, Sony Pictures went to the 35mm film source, making new HD masters and cropping the top and bottom parts of the frame, while restoring the sides. Section::::See also. BULLET::::- Display resolution BULLET::::- Deinterlacing BULLET::::- Dither BULLET::::- Image rescaling BULLET::::- Video display standards BULLET::::- DVD recorder RETRIEVAL #6 = Conservation and restoration of film---Charles. Cellulose Nitrate in Conservation. Getty Publications, 1988. Section::::External links. BULLET::::- A Short Guide to Film Based Photographic Materials: Identification, Care and Duplication, Northeast Document Conservation Center Preservation Leaflet 5.1 BULLET::::- Appendix M: Management of Cellulose Nitrate and Cellulose Ester Film, National Park Service BULLET::::- Care, Handling, and Storage of Photographs, Library of Congress BULLET::::- Caring for Your Treasures, The American Institute for Conservation of Historic and Artistic Works BULLET::::- Caring for Cellulose Nitrate Film, National Park Service, Conserve O Gram BULLET::::- Cold Storage, National Park Service BULLET::::- Cold Storage References, Conservation Center for Art and Historic Artifacts BULLET::::- filmcare.org, Image Permanence Institute BULLET::::- Film Preservation Guide: The Basics for Archives, Libraries and Museums, National Film Preservation Foundation BULLET::::- Identification of Film-Based Photographic Materials, National Park Service, Conserve O Gram BULLET::::- Photograph Conservation Terminology, Conservation Center for Art