Restoring The World At War


Originally broadcast in 1973 by ITV, the sweeping documentary “The World at War” focuses on the events immediately before, during, and after World War II. The British-produced television series is presented in 26 hour-long episodes and provides one of the most penetrating views into the war ever put to film. Narrated by Sir Lawrence Olivier, “The World at War” featured rare color film footage and interviews with major figures of the Alllied and Axis campaigns, including the adjutant to notorious German commander Heimlich Himmler. And now, a stunning new high-definition Blu-ray edition of the series will bring the war to life for the next generation of viewers.
Dubbs, and its restoration and digital media division, Eyeframe, were contracted by FremantleMedia Enterprises to oversee the complete restoration process for the series, including telecine, re-grading, and restoration, and to create a full set of HD broadcast masters as well as a complete Blu-ray box set and DVD box set. The project presented numerous challenges – not the least of which was working with 37-year-old material and original source footage that was almost 70 years old. In addition to the original 26 episodes, the Blu-ray edition would include several additional features with never-before-seen footage, which meant we would be working through many hours of very old and fragile film. And, obviously, an expensive Blu-ray edition of a popular and well-known title meant that the quality of the restoration had to be top-notch. We needed an automated solution that would enable us to maintain the original production values while delivering new experiences to the viewer. At the same time, we needed to find a way to balance the enormous quantity of material with our very tight delivery schedule.
We found the ideal solution for this project in Snell’s new Archangel real-time video restoration system. Coincidentally, we began testing for “The World at War” at about the same time that we were recruited as a Snell Beta partner for Archangel, so we recognized early on that the system would meet FremantelMedia Enterprises’ exacting requirements for the restoration in a cost-effective, highly efficient manner. As it turns out, timing could not have been better – as we encountered problem areas with the film, we would show them to the Snell engineers to help them develop functionality that, in many cases, turned out to be the exact solution for that particular area of footage.
Ideal for documentaries, historical series, natural history, travel, biography, music, and other genres that regularly incorporate archive footage, Archangel’s restoration eliminates any sudden drops in quality that could adversely affect the overall impact of the program. In fact, Archangel is the most complete restoration system I’ve ever encountered, with a complete set of tools in a single box for tasks such as stabilization, de-flicker, dust and dirt removal, and tramline filters. Because Archangel operates in real-time, we were able to continuously monitor the output to ensure the highest quality and guard against damage to the film. Plus, the system gives our skilled operators plenty of control and fine-tuning abilities so that they can deliver an effective restoration that still maintains the look of the period. The system completed the Archangel restoration in just three to four times the program’s total length, and reduced the amount of frame-by-frame work by 60-70%. Without Archangel, we might not have met our deadlines for this project.
We are long-time users of Snell products, and Archangel definitely lives up to the Snell reputation for processing performance, image quality, and reliability. Plus, the level of support we received from Snell through the beta process was outstanding. As a growing number of films, features, and drama series are being remastered for sale on DVD and Blu-ray, Archangel offers the comprehensive restoration necessary for these productions to meet the high quality expectations of consumers watching on large-screen HDTVs and displays. In our role as beta partners, Eyeframe and Dubbs appreciated the opportunity to provide critical input into the development of this new product and we look forward to using it on complex projects in the future.
# # #

Simon Marbrook is head of restoration for Eyeframe, a premier provider of specialized post-production, compression, and restoration services to the television and motion picture industries based in London. www.eyeframe.co.uk

Tags: the world at war | restoration | dubbs | iss044 | freemantlemedia enterprises | eyeframe | telecine | snell | archangel | N/A
Contributing Author N/A

Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Cintel at NAB 2012

    Cintel at NAB 2012

  • Snell Advanced Media (SAM) Biometrics technology at IBC 2015

    Snell Advanced Media (SAM) Biometrics technology at IBC 2015

  • Snell Advanced Media (SAM) 4k workflow at IBC 2015

    Snell Advanced Media (SAM) 4k workflow at IBC 2015

  • Snell Advanced Media (SAM) at IBC 2015

    Snell Advanced Media (SAM) at IBC 2015

  • SNELL KAHUNA at NAB 2015

    SNELL KAHUNA at NAB 2015

  • Snell Kahuna Production Switcher at IBC 2014

    Snell Kahuna Production Switcher at IBC 2014

  • Snell on BroadcastShow LIVE at IBC 2013

    Snell on BroadcastShow LIVE at IBC 2013

  • Snell at IBC2011

    Snell at IBC2011


Related Shows
  • Bubble and Squeak: Live and Loud from Monday at IBC 2013

    Bubble and Squeak: Live and Loud from Monday at IBC 2013


Articles
Managing Technological Change
Alan Wheable Continual technological change in the broadcast and media industries can make it difficult to plan for the mid to long term. Typically, broadcasters and media organisation are still implementing the last set of changes to working practices when the next changes come along.
Tags: iss133 | omnitek | ip | waveform | vectorscope | ultra tq | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
What is next in OTT
Mary Kay Evans In the past year alone, we’ve seen a substantial increase in the amount of OTT content that’s being streamed. In the first quarter of 2018, there’s been a 114 percent year-over-year growth in streaming video hours, and those numbers are only expected to rise. With OTT revenue predicted to reach $16.6B in 2018, a 40% gain over last year, there’s no question that OTT is booming, and that there’s never been a more critical time to pay attention to the space.
Tags: iss133 | ott | verizon | cisco | Mary Kay Evans
Contributing Author Mary Kay Evans Click to read or download PDF
Ride along on the Tour de Tech at IBC
Lorna Garrett Finding your way through the halls and aisles of the massive IBC can feel a bit like attempting to complete all 21 stages of the Tour de France — but in far fewer days. But have no fear; your team at Garland is all geared up and ready to show you the best on show at this year's exhibition.
Tags: iss133 | garland | liveu | lu600 | media excel | teracue | wisi | broadcast wireless systems | bws | artel | ibc | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
Live audio contribution over wireless networks
Pablo Rodrigues Altmann Wireless “live” contribution from anywhere at any time, this is the ultimate goal for most news reporters. The old favorite of using ISDN is becoming harder and much more expensive to access easily. Today most of us use wireless daily, in particular Wifi and HSPA/LTE 4G networks. These are now mature technologies and widely used for many applications in the home and whilst out and about. However there are still some professionals who prefer to persevere with the traditional, costly and limited ISDN communication technology before jumping into the wireless era.
Tags: iss133 | adrl | wireless audio | isdn | cellular audio | Pablo Rodrigues Altmann
Contributing Author Pablo Rodrigues Altmann Click to read or download PDF
OB999 Accelerates Hill Climb Broadcast
Nick Collier Over the last century, The Shelsley Walsh Speed Hill Climb has been attempted by some of the world’s most accomplished racing drivers striving to be the fastest up the 1,000 yard, 1 in 6 gradient track.
Tags: iss133 | ob999 | blackmagic | atem | multicam | videohub | cleanswitch | premiere pro | hyperdeck | Nick Collier
Contributing Author Nick Collier Click to read or download PDF