ITV uses Scanity 4K film scanner

In a partnership with Prasad, UK-based ITV has acquired a Scanity HDR to bolster ITV Content Services archive, restoration, and remastering services complementing their work to scan, save and restore films for future generations.

Cinelab Film & Digital adds OXScan Large Format 12K Scanner to bring 65mm Finishing to UK

In a UK first, Cinelab Film & Digital has installed a brand-new large format, high-resolution OXScan 12K film scanner. The OXScan has been designed for 65mm original camera negative film and has the capability to handle 65mm 5-perf & 15-perf IMAX, 70mm print and 35mm film.

George Blood installs 4K Scanity HDR

George Blood LP is a leading provider of archival audio and moving image preservation. Based in the US, they digitize obsolete and deteriorating audio, video, and film media. The new Scanity complements two existing Spirit telecine workhorses, and is perfect for archival collections.

Scanity used for remastering of film noir 'Devil in a Blue Dress’

A new 4K digital restoration of the 1985 film noir has been released by the Criterion Collection. Featuring Denzil Washington, the film follows an African-American man who is hired to find a woman, and gets mixed up in a murderous political scandal. The new 4K scan of the original camera negative (1.85:1 aspect ratio) was handled by Sony Pictures technology specialist James Owsley using the Scanity film scanner. The film looks better than ever, with better clarity, detail and color than before.

Scanity used for remastering David Lynch classic ‘Lost Highway’

Criterion Collection have released a new 4K ULTRA HD version of David Lynch’s film noir classic ‘Lost Highway’. The film tells the story of a jazz saxophonist, who is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a young mechanic and begins leading a new life. This new 4K digital restoration was supervised and approved by director David Lynch and was created in 4K resolution on a Scanity film scanner from the 35 mm original camera negative.

‘The Wobblies’ gets stunning 4K restoration

Landmark Labor Movement documentary ‘The Wobblies’ makes its return to theatres over 30 years after first premiering at the New York Film Festival in 1979. The film has undergone a 4K restoration, which was digitally scanned by the DuArt Digitization Center using DFT’s Scanity.

FotoKem uses Scanity for scanning epic science-fiction film ‘Dune'

‘Dune’ tells the story of a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet's exclusive supply of the most precious resource in existence-a commodity capable of unlocking humanity's greatest potential-only those who can conquer their fear will survive. Interpreting this epic sci-fi novel for the screen saw a team with imagination and tenacity unify to present a shared vision of an otherworldly adventure. As part of the process, after the primary creative color pass was approved, FotoKem shot to 35mm negative film and scanned it back to digital on a Scanity film scanner.

Cinelab uses Scanity HDR for film ‘Last night in Soho’

‘In acclaimed director Edgar Wright’s psychological thriller, Eloise, an aspiring fashion designer, is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie. But the glamor is not all it appears to be and the dreams of the past start to crack and splinter into something far darker. Cinelab provided both full film laboratory services processing 35mm and graded film dailies and graded digital dailies for the film, and used DFT's Scanity HDR for film scanning.

Scanity used for remastering of classic film 'Harold and Maude'

Harold and Maude (1971) is an American coming-of-age dark comedy–drama film directed by Hal Ashby and released by Paramount Pictures. Newly restored and remastered in celebration of its 50th Anniversary, the original negative was scanned in 4K and careful color correction and cleanup were undertaken to pay homage to director of photography John Alonzo's memorable work and honor the look of the film. The digital transfer was created in 2K resolution on a SCANITY film scanner from a 35mm interpositive, which had to be wetgated from the original negative since it was severely scratched and not suitable for scanning. Colorist Sheri Eisenberg, who worked on a previous transfer of the film with the late director of photography John Alonzo, referenced Alonzo's original notes and the previous telecine to generate this version.