Tag Archives: Workflow

The Hands of Orlac (Eureka)

Interpolation

The first and last frames of most shots are interpolated. Sometimes it looks like a duplicate pulldown frame. Other times, it introduces some serious distortions. Nearly every example in this section has frames that are completely computer-generated. Faked.

Conrad Veidt’s head stretches, Alexandra Sorina’s fingers split, grain and background warp, plus frozen temporal cloning at the top edge:

The pen is broken up and the rest of the frame is nearly frozen:

Stuck grain and warping throughout:

Hideous computer-generated teeth:

Not a freeze-frame, but interpolation:

Interpolation makes scratches stick to the image:

Here, interpolation is combined with spot removal. At first glance, it’s impressive. Look closer, and you can see that it leaves smudges in place of damage AND it leaves remnants behind:

Notice how the sheets of paper distort:

Here it’s combined with frame blending and frozen temporal cloning:

Interpolation utterly fails when it’s called upon to generate background, such as behind Veidt’s head. And check out his smashed head and hand:

Veidt’s hand becomes putty and merges with the sleeve. The sofa pulsates:

You can see magnetic scratches on the wall behind the now-breathing sofa:

I admit that it’s not always immediately apparent recognizing restoration artifacts on a small screen, but look how obvious it is here when displayed at a fraction of its full size! The man gets smashed. And that background…

Interpolation is combined with temporal cloning on the ceiling lamp and chairs on the left. They now bob up and down:

His body compresses and arm stretches, creating a second wrist. Yikes!

Veidt’s head smashes into an invisible curved ceiling:

Our villain’s fingertips disappear. The disembodied hand on the left is completely frozen:

Interpolation destroys the head:

An example of interpolation that is nearly a freeze-frame, plus some negligible spot removal:

The foot disappears:

Continue reading →

The Hunchback of Notre Dame (Flicker Alley, Universal)

Flicker Alley (FA)

I like that it’s a color scan of a tinted print, which allows the subtle, imperfect color variations inherent in the process. The tints on Universal’s version are recreated.

The most common artifact comes from either poor compression or automatic spot removal gone awry (I’m guessing the latter):

Most of the time they look like specks of dirt, but if you look closer, they are hard tiny blocks.

In addition to damaging the text, the spot removal left an ugly retouched line at the top.

Also frequent is frozen temporal cloning:

There’s almost nothing left of the “restored” frame.

The top of the image suffers from misaligned frozen cloning and messy retouching. Spot removal was applied after stretching to 24fps.

This piece of frozen cloning in the lower right lasts three frames.

The next three examples each have multiple instances of frozen temporal cloning:

Sloppy retouching:

The retouching at top is misaligned, has a hard edge, and doesn’t even remove the cement splice.

Quick-reverse temporal cloning:

Quick-reversing is when frames are repeated in the manner of ABCDCDEF. It’s often applied to entire frames. For this edition, Flicker Alley combined it with temporal cloning. It’s no better than frozen temporal cloning, as you can see the picture “seize up.” Maybe not all the time, but done enough times, you’ll start to notice something’s off.

Misaligned, hard-edged, quick-reverse temporal cloning at top.

Quick-reversing is easy to spot when it’s applied to motion.

One thing I’ve heard in commentaries and interviews from the people that produce restorations is that these artifacts aren’t visible in motion. Well, up next, straight-from-the-disc at 21.5fps:

Pay attention to the horse at top right. Quick-reverse in action.

Stabilization:

Stabilization was applied relatively sparingly. I don’t particularly care for stabilized silents; they have a tendency to float and rotate around the center. Here is an egregious use of it:

Lon Chaney was in front of a wall, facing a camera locked to a tripod. Stabilization warps every bit of this shot.