All language subtitles for Restoring a Masterpiece_track4_[eng]-eng

"STORY OF A LOVE AFFAIR"

It's almost a duty for Cinecitta to tackle such

an important subject as the restoration of works
which

are so historically important to the history of
cinema.

Well, the first work was on the film as the principal

analysis is done on what still exists on the film.

In this case the original negative didn't exist

any more because it was in a fire years ago,

but we found a duplicate, a lavander.

It's a positive that can't be projected, is only useful

as an intermediate step to obtain a new negative.

We made a copy with Rotunno and we watched it.

It had a few defects, a few...

lets say a lot of scratches.

It was decided to proceed by restoring it

traditionally first and then digitally,

restoring everything there was, meaning the whole
film.

The diversity of procedures used

could have been quite challenging

if they hadn't been organised in the right way.

This is because some of the defects needing
correction

appeared while we were doing the work.

So having planned most of the procedures before

helped us to be on schedule for

the job's expected delivery date.

We couldn't do anything using the traditional
method

because the original negative had been destroyed.

So we were forced to resort a lot to digital processes

for the whole length of the film.

It was the only system which allowed us

to be able to restore this film.

The first thing is the physical analysis of the film,

meaning the possibility or the ability to physically

check the film to establish what needs to be
repaired,

what can be used as it is, or what has no possibility

of being repaired at all and where a new piece is

created to substitute the completely ruined one.

After the acquisition is done with the scanner,

the digital artist retouches the cinematographic

material both automatically and manually,

he cleans and restores it.

The contribution which digital made was
enormous.

But, always...it's complementary now:

digital combined with chemical photographic
processes

can really perform miracles, especially in
restoration.

The integration of two generations.

One of people who come with traditional
experience,

meaning chemical experience,

and the generation of people who were

born in the digital environment.

It was definitely a challenge,

but also the most interesting aspect of this job.

The arrival of electronics was decisive for our work.

It allows us to do things we couldn't do before.

The electronic process allows us

to enlarge the image while you're working

whereas it can't be enlarged during

the chemical development process.

One of the hardest jobs was the removal of

an effect called the "priest's hat, a sort of halo.

They were around the actors' heads and followed

their movements, making a kind of comet's tail
effect.

This effect came about because of a developing
problem,

a development technology problem at the time,

and so it was really common in those years.

We removed it with techniques taken from the

digital effects world, because there aren't

automatic processes for doing that kind of work.

Scene tracking was done,

meaning analysis of movement in the scene.

Luminosity masks were extracted so that the mask
could

then be used to correct the density of that part
alone,

and not in the whole scene.

So the effect was reduced or almost eliminated.

In the audio part of "Story of a Love Affair"

we started from a sound duplicate

It was read with an optical cell,

transferred and captured on a digital machine,

then worked on within the limits of what was
possible.

A second pass was done to remove

the sound which was the loudest

The sound which covered all the

dialogue and part of the soundtrack.

For example, the balance of voice and noise

is almost unacceptable today, but that's what's
there

and the great Cinecitta technicians have...

they're still trying to improve it,

they've made it acceptable.

As the sound became cleaner, other defects
emerged.

They're trying to sell a Maserati to Bosé's husband.

The negotiations stall and they get into the car.

There's the seller who says a sentence I didn't have.

I duplicated and copied the sentence twice digitally.

I expect a lot to happen in the future

because I've had to personally rethink some things.

I've seen this acceleration which has been so quick.

Us cinema people, since we were born...

in the 19th century, when we started to think about
new

technologies which allowed us to make moving
pictures

From that day on we've always expected new
technology,

new aids, meaning there's continuous
development.

I was one of those who said: "It can't be done"

In a short time I was forced to rethink

and to accept it was possible.

I think this project represents a reference point

for what can be done today regarding the results

obtainable using digital techniques

In my opinion, we're taking giant steps.