Hooper, who helped score the film and did the sound design, was also deeply involved with the audio restoration. Tobe Hooper then gave notes on this roughly timed version, and the process of adjusting the color began. There were tens of thousands of things we were dealing with,” said Seagraves.Įstimating that he spent about 50 hours on the color correction alone, NOLO Colorist Michael Matusek used a previous transfer of the film that had been supervised by Tobe Hooper as his guide to a rough color correction. There were tears in the film that we had to digitally rebuild from adjacent frames. So we worked hard to smooth out the tremors that almost inevitably occur when scanning this type of film element. What might have passed as acceptable in the 70’s looks jarring now. When doing a digital scan of a conformed 16mm print with a splice at every cut, it can be tough to achieve the high standards we all aspire to in the era of digital cinema. We also spent a lot of time stabilizing the image. Some frames would have close to two hundred dirt events on them. “ There were hundreds, if not thousands, of instances where you’d find a splice mark cooked into the middle of a frame. Scratches, film stains, chemical stains, dirt, torn perforations, rips in the film image and glue splices had to go through a pain-staking correction process frame by frame. Having been shot on less expensive 16mm film stock and cheaper, tougher “reversal” stock, (which means there is no negative), the restoration started by taking the original 16mm film that rolled through the cameras and transferred all 120,960 frames to a 4K scan. Taking 5 months of 40-hour workweeks to complete the color grading and the restoration, NOLO engineer Boris Seagraves stated, “ This film probably needed the most restoration of any project we’ve done.” The restoration of the film, overseen by Todd Wieneke of Dark Sky Films, took place at NOLO Digital Film in Chicago with the use of an ARRISCAN Film Scanner. This is the only transfer of The Texas Chain Saw Massacre to go back to the original 16mm A/B rolls, the actual film that rolled through the cameras. The new version of the film will be released in theaters this summer with a brand new 4K transfer, roughly four times the resolution of today’s more commonly used 2K for cinema. In 2012, Sight & Sound magazine named it one of the 250 most important movies ever made. Since then, it has become the eighth highest-grossing horror franchise of all time. It was invited to the 1975 Cannes Film Festival Director’s Fortnight, and was acquired as part of the permanent collection of the Museum of Modern Art. The movie became a huge hit on the drive-in circuit and eventually grossed $30 million. For the next 32 days they worked around the clock in 100 degree weather to make The Texas Chain Saw Massacre. In 1973, Tobe Hooper, a cast of unknown actors, and a crew of Austin film students and recent graduates headed to Round Rock, Texas in the middle of July. The re-release comes in celebration of the film’s 40th anniversary, with the restoration having its unveiling at the SXSW Film Festival in Austin, Texas next week. MPI/Dark Sky Films announced today they will be releasing a restored version The Texas Chain Saw Massacre, Tobe Hooper’s 1974 classic.
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