• From the only surviving 35mm print, we scanned, restored, and graded Ring of Fury for the Asian Film Archive. The print showed signs of severe deterioration and discolouration, and suffered from vinegar syndrome which caused differential shrinkage and warping.
• One of the major challenges of the digital restoration process was the removal of mould, made possible by a custom made, in-house software which detected and attenuated most of the mould both in the green and blue channels. Meticulous manual cleaning was also essential.
• The grading was a challenge due to the film’s faded colours. We aimed to restore the colour separation and saturation while maintaining natural skin tones, as well as minimizing the presence of the mould.

Footage From ‘THREE BAD MEN’ Courtesy of Twentieth Century Fox. All rights reserved.

• This John Ford classic was one of the films lost in the Fox vault fire in 1937. We scanned (4K, wetgate) the remaining 35mm dupe positive which is kept by MoMA and is the master of the existent copies of this film.
• The digital restoration process consisted of intense stabilisation, flicker reduction and warping attenuation. We applied dust and scratch filters followed by careful manual cleaning of artifacts and remaining damage.
• The grading of the black and white was done in Portugal, while the final tints on some of the shots were applied in Cineric Inc, New York, under the supervision of the MoMA curators.

• Manoel de Oliveira made two versions of this documentary. The longer version, shown here, survived only in a faded 35mm print kept in the archive of Cinemateca Portuguesa.
• We scanned it in 4K, with wetgate, and performed some light dust removal for restoration.
• The bigger challenge lay in grading, were we tried to bring back the colours and the saturation while using the short version of the film as reference.

• This film came to us from Filmoteca Española, already scanned and graded.
• We stabilised and cleaned the image of dirt and scratches and, while preserving the grain structure, we attenuated mould and stains that were present on almost every frame.

• The surviving 16mm print of this film was scanned in 4K, with wetgate, for the Asian Film Archive. It was affected with vinegar syndrome and displayed substantial damage from the presence of mould and a significant fading of the dyes.
• In restoration, mould was our main challenge and our in-house tool, in combination with Diamant restoration software, was determinant for the result we’ve obtained.
• In grading, our only reference for this film was a video version, fully magenta. Our job consisted of restoring the color separation and saturation and also minimizing the presence of mould. The final result was achieved with the archive’s supervision.