They had to go through every piece, shot by shot, cleaning and repairing them. The picture elements were then sent to [Warner Bros. Motion Picture Imaging], where [colorist] Ray Grabowski completed a second electronic evaluation of all that material, causing us to make some adjustments to the road map. At the end of the evaluation, we had an EDL prepared for our 4K scan. A similar process was used for the soundtrack, which was transferred and restored [by Jim Young at Chase Productions, Burbank] from elements we took from unilateral, variable area tracks on the original British dupe negative, a 35mm composite nitrate print, and a 16mm print. After the 4K scan, it all went back to Ray, and he performed a comprehensive color grade.
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