Spatial Resolutions:
Restoring Motion Pictures in 4K

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Daniel DeVincent
Director of Digital Imaging, Cineric, Inc.

This paper will outline the challenges of restoring motion pictures in a complete 4K digital workflow environment. There will be four specific areas for discussion:

• A brief description of an all-4k digital workflow. A true 4k workflow means maintaining 4k spatial resolutions without downsizing to 2K or less during the data management work process. Once sampled at 4k resolution, the image is never resized and therefore less chance of incurring reconstruction artifacts or loss of natural sharpness.
• The challenges of 4k vs. 2k regarding storage, time and resources. This would involve an explanation of the differences in the amount of storage needed, and the workstation time and data management necessary to work at very high resolutions.
• Working with black and white images in 4k. Current film scanners and recorders are optimized for working with color film. This will cover the difficulties in re-engineering for working in black and white.
• A comparison of the same images at both 4k and 2k. This will include a discussion of the extra time and costs involved at differing resolutions. Additionally, we will show comparisons of 35mm prints from recorded-out negatives produced from the 4K workflow versus the 4K digital file projection.

 

Daniel DeVincent
Daniel is currently Director of Digital Imaging at Cineric, Inc., in New York, where he oversees the quality control and throughput of color imaging. He has been a color timer since 1980 in the motion picture laboratory industry. He began working in digital imaging in 1994 and has been with Cineric since 2001.