Ryan Carpenter Moray Greenfield Michelle Jones Jay Palmer Charles Rogers Chris Seo Richard Sturmer

No enterprise in the non-profit world can accomplish much without the enlightened, altruistic cooperation of its benefactors. The Reel Thing has been privileged to enjoy the generous support of the professional community since its inception. The organizers of The Reel Thing would like to recognize and thank all the individuals and organizations who contributed their considerable skills, energy and enthusiasm to the symposium. As always, we thank our presenters, who share their knowledge and experience in this symposium. And we would like to recognize the following individuals for their support and collaboration: Laura Rooney Kristina Kersels Beverly Graham Ryan Carpenter Moray Greenfield Michelle Jones Jay Palmer Charles Rogers Chris Seo Richard Sturmer Jeff Joseph Andrew Oran Peter Oreckinto Larry Blake John Polito Chris Purse The Academy of Motion Picture Arts and Sciences Paramount Pictures MGM/UA and Park Circus Immagine Ritrovata The Reel Thing is made possible by the active and engaged support of some of the most important and innovative companies in the archival field. These firms work side by side with archivists and asset managers to constantly raise the standard of preservation and restoration, and to find new ways to ensure that moving images from public collections and the private sector will retain their quality and remain accessible as a resource for future generations. We offer our gratitude for their indispensable sponsorship of The Reel Thing. Iron Mountain Entertainment Services LAC Group/PRO-TEK Vaults Deluxe Entertainment Services Roundabout Entertainment Visual Data Media Services Allied Vaughn Digital Film Technology Digital Bedrock Duplitech Fotokem Kodak MTI Film NBC Universal Post Prasad Corporation Digital Cinema Society SMPTE

T H E R E E L T H I N G XLIII LINWOOD DUNN THEATER, HOLLYWOOD Thursday, August 23 - Saturday, August 25, 2018 Thursday Opening Night Reception, 6:30pm - 7:30pm Screening, 7:30pm - 9:30pm: The Apartment (Wilder, 1960) A new restoration courtesy of Park Circus, introduced by Grover Crisp & Larry Mirisch Friday, 9:am - 6:00pm The Motion Picture Laboratory: Past, Present and... Andrew Oran, Fotokem The Academy Digital Source Master: A Future-Proof Deliverable Andy Maltz, AMPAS Sci-Tech Committees, & Wolfgang Ruppel, Technology Consultant BREAK "Burden of 10k Dreams..." Anthony Matt, Prime Focus and Laurel Warbrick, Home Box Office

Tell your stories for generations to come. Every good story has a beginning, a middle and an end and that includes the film preservation and archiving story. Beginning: The tale begins with lifecycle planning and preparation, including cataloging, metadata tagging and barcoding. Every asset properly identified and stored in one of our secure, climate-controlled vaults, with geographic separation if you need the added protection. Middle: Prepping continues, and it happens in the same place for less risk and fewer hassles. Film? We inspect every frame and repair worn-out splices. Digital? Every byte of data checked. You ll get a detailed report of everything we find, including checksums and directory listings for digital assets. End: Scanning your film at up to 10K resolution, with restoration software available, to ready the content for viewing or other digital delivery options. Migrating born-digital data to hard drives, LTO tapes or the cloud. Closing the loop to bridge the gap between physical and digital assets. Our preservation and archiving story will ensure that your stories can be told and retold, for generations to come. bit.ly/preservemystory

So Many Detours: The Long Road to Restoring a Film Noir Masterpiece Michael Pogorzelski, Academy Film Archive & Heather Linville, Library of Congress LUNCH The Art of Subtitling Bruce Goldstein, Film Forum & Rialto Pictures Restoration Case Study: The Dunning Color Process Jaime Busby, Gotham Photochemical (GPC) & Alan Boyd, archivist BREAK Machine Learning: "Frame Compare" Engine for Remastering Jayson Brahms & Alex Zukov, Video Gorillas Dessert and Coffee Reception, 6:30-7:30pm Screening, 7:30pm: Ladri di biciclette - Bicycle Thieves (De Sica, 1948) Restoration by Immagine Ritrovata - introduced by Davide Pozzi

Saturday, 9:00am - 6:00pm Intertitles Recreation: New and Persnickety Methods Allen Perkins, Metropolis Post Mold Happens! John Polito, Audio Mechanics & Elizabeth Kirkscey, Paramount Pictures BREAK The Splendors and Miseries of Kinemacolor Restoration Davide Pozzi Mass Digitization: Challenges and Solutions Paul Stambaugh, Prasad Corporation LUNCH The Nitrofilm Project Jakub Stadnick, Fryderyk Chopin University of Music, Warsaw, Poland Theory and Practice of Stereophonic Sound in Hollywood Nick Bergh, Endpoint Audio + BREAK Preservation Beyond the Final Feature A discussion moderated by Andrea Kalas with Craig Barron and Ben Burtt Closing Night Dessert and Coffee Reception, 7:00pm - 7:30pm Screening 7:30pm - 9:45pm: Surprise Restoration from Paramount Pictures Introduced by Craig Barron, Ben Burtt and Andrea Kalas. Restoration courtesy of Paramount Pictures

P R O G R A M Friday, 9:00am - 6:00pm The Motion Picture Laboratory: Past, Present and... Andrew Oran, Fotokem While film may continue to wane as an economic and technical foundation for the media industry, there is no question that there are still areas of vitality for film in both new productions and preservation. At one time not so long ago, we thought that film and digital might co-exist more robustly, but we have seen the large-scale collapse of that premise, and with it the loss of many labs, many film emulsions, a few film manufacturers and most of the infrastructure, from production to preservation disappearing. The long after-life of film has not been what we expected. So where are we today? What can we expect in the immediate future? How has the motion picture film lab business evolved, technically, logistically, and geographically, over the last 100 years? How has it adapted, and survived in the digital era? The important renaissance of 65mm production seems to establish a model that can be effective in the digital mediasphere, but only if emulsions, cameras and processing are available. What processes are available to the archivist? Is there a role for film laboratories in modern preservation? The Academy Digital Source Master: A Future-Proof Deliverable Andy Maltz, AMPAS Science and Technology Council & Dr. Wolfgang Ruppel, Technology Consultant Since its conception, ACES has attempted to provide a foundation for referenced color across the spectrum of production, distribution and archiving. The ability to register and accurately represent color across multiple devices and across time is essential to archival practice. Now, by combining an ACES core with the IMF format, ACES can offer a conceptual schema for organizing media data that moves us closer to an archival ideal. The Academy Digital Source Master is a new, suitable-for-delivery-and-archiving file format specification supported by six SMPTE standards and the Academy Color Encoding System (ACES). Learn how the Academy Digital Source Master leverages the Interoperable Master Format App #5 and other standards to dependably deliver and archive your motion picture and television content. BREAK "Burden of 10k Dreams..." Anthony Matt, Prime Focus and Laurel Warbrick, Home Box Office Twenty years ago, the transition from SD to HD mastering demonstrated a 630% jump in format resolution. The quality was clear to both professionals and consumers. HD/2K film scanners ran non-stop for years rescanning entire film libraries to create HD deliverable masters. The transition from HD to 4k mastering,

Film Evaluation at Deluxe's EFILM Facility TIMELESS CONTENT TRANSFORMED TO MEET TODAY S AUDIENCES As physical formats age, valuable content is at risk of being lost forever. Deluxe is unrivaled in bringing legacy content to new platforms and new audiences worldwide. For more than a century, Deluxe has partnered with content owners and archivists to create, preserve, and restore their content. Transformation Services include: Hi-resolution Film Scanning Large Volume Digitization Film Restoration Advance Format Remastering Metadata Enrichment Asset Management bydeluxe.com Efilm.com For more information, please contact: Allan Tudzin (323) 308-3063 Allan.Tudzin@bydeluxe.com

while initially embraced by professionals, received a less enthusiastic reception by consumers due to screen size, view distance and other factors. The visible differences between 2k and 4k at normal viewing distance are not great enough to motivate the average viewer. This is not surprising, because the results of various tests reveal that both higher dynamic range and higher frame rate have a greater visibility to the normal viewer - that is, adjustments in these characteristics have a greater impact on the viewing experience than resolution. Since the limit of human vision is somewhere around 2k, we would anticipate a diminishing impact as a result of resolution. However, the bandwidth of human vision is considerably greater than Rec709. Therefore, the space for improvement of our images lies with greater bandwidth, or higher dynamic range, of the display color space. Currently, the combination of HDR mastering with 4k resolution creates an experience that the general public can see is a significant improvement upon HD. The desire for 4K HDR content has resurrected demand for film library re-mastering. Many in the film re-mastering and preservation community believe this to be the apex format for both deliverables and preservation. However, camera and display manufactures are now offering 6K and 8K capture and display systems. Film scanner manufacturers are now offering 8K and 10K HDR film scanning for 35mm film. Is this just a ploy by manufactures or does 10K scanning offer some increased value with regards to film mastering and preservation? Contributing factors such as image cropping, post processing, temporal resolution, film stock, and production decisions make the resolution of any given scene a moving target. The presenters will share their findings from a recent 10k scanning test and what it reveals about the benefits and the burden of mastering film in higher than 4k resolutions. So Many Detours: The Long Road to Restoring a Film Noir Masterpiece Michael Pogorzelski, Academy Film Archiver & Heather Linville, Library of Congress Edgar G. Ulmer's Detour is one of the references points of the noir canon. It began life as a "minor" feature by a Poverty Row production company. As frequently happens, the film would endure in the limbo of independent film. The film did not receive adequate attention either in storage or preservation. As its technical condition languished, the film was increasingly recognized as classic cinema - one measure of its importance to scholars is that it has had over thirty-five distributors. Nevertheless, amid conflicting and obscure claims to ownership, this popularity never translated to a viable restoration situation until after nearly a decade of half-starts the restoration of Detour was effected by the Academy Film Archive. This presentation will cover the production of the film, it's history as an orphan in the public domain, the cadre of archives and partners who were brought together for the restoration and the technical solutions employed to return Ulmer's brilliant film to its original and seductive cinematic beauty. LUNCH The Art of Subtitling Bruce Goldstein, Film Forum & Rialto Pictures An important part of film restoration today is one often overlooked: subtitling. Subtitles, introduced at the beginning of the talkie era, were first added sparsely to foreign language films, the belief being that people didn t go to the movies to read. In recent years, new technology has allowed them to be sharper than ever, both visually (no more white on white ) and textually. The best subtitles, though, are those the audience doesn t notice. This illustrated talk will enunciate the history of subtitling and translation (along with dubbing) in the movies and provide insights based on the experience of subtitling over fifty classic films.

RESTORE, REMASTER, REVIVE MATCHMAKER enables simple, secure and efficient redistribution of your content in 4K/2K/HD, HDR/UHD. A true cloud hybrid NextGen workflow solution, designed to significantly decrease time to market and make your content accessible. SCAN High speed scanning of dailies - 4K scanning up to 15 fps, 2K up to 25 fps, HD up to 44 fps. Over scanning in horizontal and vertical direction, beyond image boundaries. Precision roller gate avoids mechanical stress and risk, providing unparalleled smooth and safe film handling. MATCH Algorithms from Dailies and Video Masters are sent to the cloud for scene matching. Matchmaking begins immediately. Only the metadata is pushed to the cloud. 60 min of content is matched in about 5 hours. \ FINISH An EDL is automatically generated and exported to Resolve for finishing. Editor adds Main and End titles, VFX, Stock Footage and Transitional shots. Color Correction, Picture & Sound Restoration. Output to desired spec. DISTRIBUTE Content is Reviewed and Approved Upon approval, content is ready to be distributed securly to any Cable, Broadcast, VOD or OTT platform. 610 N Hollywood Way, Burbank, CA 91505 +1 818 558 3363 losangeles@visualdatamedia.com

Restoration Case Study: The Dunning Color Process Jaime Busby, Gotham Photochemical (GPC) & Alan Boyd, archivist One of the recent discoveries from the Alan Boyd's archive is a 1936 nitrate film entitled Snickerty Nick and Buzz the Pirate Bee, starring then child actor Billy Barty as the eponymous hero of the piece. The film is remarkable for having been made to entertain sick children in hospitals. It is also remarkable for having been one of the few films to have been photographed in Dunning Color, a subtractive two color process (red/blue) which was invented by the same family who created the Dunning Traveling Matte process. The process made important contributions to King Kong, and the method fit in with Lin Dunn's evolving optical printing technology (the Acme printer). Technicolor was struggling in the early 30s to expand their infrastructure for post-production and printing of their three-strip product, and their capacity was largely reserved for the major studios. The Dunnings saw the need for a low-cost color alternative to Technicolor that did not rely as much on capital investment and which could be set up in most existing labs. Unfortunately for the Dunnings, Cinecolor controlled much of the lower end color business, and Dunning Color's two-color process did not effectively compete. By 1937, following Technicolor, the Dunnings added a third strip to their process (as would some of the other 2-color systems), but still failed to win widespread acceptance. A history of the Dunning Color process and the creation of this short film will precede an account of the film's recent preservation by GFC and Alan Boyd to restore the Dunning Color palette, as well as the other restoration processes involved, including audio transfer restoration. BREAK Machine Learning: "Frame Compare" Engine for Remastering Jayson Brahms & Alex Zukov, Video Gorillas Collections of media often contain multiple copies and versions of a production. In film, we might find an original negative, a soundtrack positive, a soundtrack negative, a couple of fine grain masters, several negatives for printing, export or archival preservation. In a restoration project, these elements need to be compared to identify and document versions and also picture quality in order to make relevant decisions on how the restoration should proceed. In the case of television production, we find the same kinds of issues, with the additional problem that the film may have been telecined and edited in video, with the film never conformed. In collections of newsreel and documentary material, we frequently find edited and unedited material intermixed, and we need to discover where various segments of material come from, add which are most original. All of these activities, which are endemic and necessary in the world of media, require comparison. Comparison can be difficult and time-consuming, but failure to identify and document materials in preservation, remastering, storage and migration of media resources is an even bigger problem, and one which tends to snowball with the operation of collections. The technical problem of comparison is complex - how can a computer compare the scan of a 35mm negative to a Digital Betacam created for distribution when these items are visually diverse - different in color space, in detail (grain v. interlace), in incidental material (logos and localization) and in terms of editorial inflections (the masking of a product or body part)? There are a number of solutions - comparison engines - available to become part of a workflow that requires comparison, matching etc. These solutions vary widely in underlying technologies, level of performance, interface methods and documentation. Any viable comparison engine will need to produce automated documentation of results as well as having a tunable characteristic that allows the comparison of the most diverse versions of a product.

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Saturday, 9:00am - 6:00pm Intertitles Recreation: New and Persnickety Methods Allen Perkins, Metropolis Post Nearly all restoration of silent film requires work on intertitles. There are usually damaged or missing frames than can be recovered by relatively simple font copying, especially in the digital era. But there are also many important situations where titles exist in only partial form, or must be entirely regenerated from existing script material, translations or other means. For the sake of authenticity, the archivist generally wants to replace titles with fonts that are appropriate to the genre of the film. However, the shape and size of the font also has an effect on the reading of the title and the pacing of the film. Since these fonts were created to be read at a certain speed, and the film is edited with title lengths that have been precisely determined. Thus it is important to create fonts which correspond as closely as possible to the style of reading and the style of editing of the original film's titles. A survey of original language copies of films by the same company from the same time period may reveal a visual pattern to the intertitles. These patterns hint at how intertitles may have originally looked in films that no longer exist in their original language. Not all typefaces or hand lettering styles used in old intertitles have been digitized and included in font packages. Thus, film restorers who recreate intertitles have need a simple, accessible workflow for the resurrection of any typeface or hand lettering style as a font. This presentation will demonstrate a technique that addresses that need. Several fonts will be shown that were created by extracting characters from original intertitles. One of the fonts is based on a typeface used in many 1910s Universal films, and was extracted by Jesse Pierce - a postgraduate in the Selznick program. The other fonts, extracted by Allen Perkins, are based on hand lettering styles seen in Metro Pictures films released in 1917. This font creation technique does not require extensive knowledge of typography or expensive font making software, and it can result in fonts that perfectly duplicate the specific functionality and rigid look of a typeface and the organic variation provided by a hand lettering style. A consistent problem for intertitle restorers is the minor movement which titles display as projected. This movement has no true equivalent in the digital domain, so in order to harmonize the appearance of the intertitles with the rest of the film, it is often desirable to manufacture this movement for the restoration. A technique of gate weave transcription will also be demonstrated. This metric represents the precise tracking of an original intertitle s natural bobbing movement, and the copying of that movement to a digitally recreated title. When character extraction and gate weave transcription is combined with proven methods, such as digital tints and film grain, the result is intertitles that effectively emulate the original text effects for the viewer without drawing undue attention or distracting the viewer - in other words, intertitles that work just as intended.

This presentation will describe the functioning of an emergent technology, Gorilla Video's "Bigfoot." This solution decreases the amount of manual labor currently required to conform feature film and episodic television programs during the remastering and restoration process by leveraging a patented computer vision / visual analysis technology, Frequency Domain Descriptor (FDD) which finds like interest points common across a series of images (frames). By comparing the frames from a digital reference picture to other versions of the same product (scans, variant versions, etc.), the software can efficiently reconstruct a timeline, using the sequences of frames that have the most interest points in common. Once the results are validated they can be exported as an EDL for use in downstream finishing workflows. In addition to the conform capabilities, Bigfoot can also be used to determine the differences (differential analysis) between picture cut versions of feature films and television episodes (i.e. theatrical cut vs. director s cut). The results from this analysis include (1) frames that are unique between the two cuts, (2) frames that are common between the two cuts (in the same sequence), and (3) frames that are common between the two cuts but which have been shifted to a different position in the version edit. The comparison engine is a new tool that is still under development, but it is likely to become a mainstay of archival work. Dessert and Coffee Reception, 7:00-7:30pm Screening, 7:30pm: Ladri di biciclette - Bicycle Thieves (De Sica, 1948) Restoration by Immagine Ritrovata - introduced by Davide Pozzi

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Mold Happens! John Polito, Audio Mechanics & Elizabeth Kirkscey, Paramount Pictures Since the 1970s, vault design for archives has come a long way, with important new storage for nitrate film constructed at The Museum of Modern Art, The Library of Congress and UCLA. Attention is now given to the proper storage of acetate and polyester film, as well as LTOs and other magnetic objects of the digital age. This is progress in preservation, and the development of a distributed national infrastructure for archiving media is now more or less a reality. But despite the gradual build-out of archival storage areas, contingencies can occur. The fire at the vault in New Jersey that destroyed so many Fox negatives, the flood at Universal, and then many years later, the fire at the same lot have been drastic reminders that the archivist should expect the unexpected. And more importantly, the archivist needs to plan to respond to the unexpected. Over a weekend last summer, one of the vaults at Paramount Studios experienced a fault, causing the temperature and relative humidity to rise. Even though the vault was repaired immediately, those two days of increased heat and humidity caused mold spores to grow on a large number of music reels in the vault. Part of the collection had been exposed to water damage at a previous storage facility and may have carried in dormant spores, but regardless of the source of the problem, the incident quickly brought to light the critical nature of maintaining stable and correct environmental conditions as a strategy for ameliorating the effects of previous unknown storage conditions. The discussion will outline the discovery, assessment and remediation plan that followed. BREAK The Splendors and Miseries of Kinemacolor Restoration Davide Pozzi, Immagine Ritrovata Kinemacolor was arguably the first workable natural color system in the history of cinema, a two-color process that used a black-and-white image and two color filters to produce an image. Over less than a decade, Kinemacolor came and went as one of the most interesting attractions in cinema and enjoyed substantial commercial success at the hands of the impressario, Charles Urban. Eventually the ideas behind Kinemacolor would give rise to Prizma Color, a variety of two color processes, and finally three-strip Technicolor - all of which would evolve based on patents designed to solve one or another of the Kinemacolor system's problems. As much as we need to understand Kinemacolor, it represents an area of research that has many gaps, and a material foundation that has consistently frustrated restorationists. Problems of parallax, non-simultaneity and fringing, of a limited color space color space that tries to produce a natural color image without the benefit of three primaries - the acquisition of which proved technically extremely demanding even in the hands of Kalmus and Gaspar. Davide Pozzi, our great friend and collaborator, will discuss the on-going work at Immagine Ritrovata, one of Europe's most advanced preservation laboratories, to create accurate restorations from Kinemacolor. Mass Digitization: Challenges and Solutions Paul Stambaugh, Prasad Corporation Rotana, one of the largest Arabic feature film libraries in the Middle East, embarked upon the task of digitizing and restoring its assets totaling more than 1600 titles. It is a good example of "preservation on-

site," where the preservation solution must be applied at a remote location that is not an archive and thus may not necessarily be able to avail itself of the facilities, labor force and culture of an archive. With all of its contingencies, the project nevertheless had to meet quality standards, and produced an archive which will require maintenance. This case study will provide an insight into the project, the challenges in terms of process flows, manpower management, logistics, infrastructure, regional sensitivities, aesthetics, time management, quality control and other aspects which were addressed. The objective of the presentation is to provide in-depth understanding of the general principles and factors for all such large digitization and restoration projects anywhere in the world. LUNCH The Nitrofilm Project Jakub Stadnick, Fryderyk Chopin University of Music, Warsaw, Poland The recapture and restoration of audio has been a project at the heart of archival practice since the first cycle of sound films were duplicated. Some of the magic and the challenge for these projects had to do with the recreation of arcane audio formats. But most audio is not arcane, and the standardization sound on film by 1930 meant that almost all audio pictures until the stereo era could be recovered and processed in the same way. This meant an electronic capture of the playback of a positive print of a soundtrack. Unfortunately, artifacts and damage that were printed in to the scanned track positives could only be dealt with as a part of the electronic signal. This remained a constraint of the state of the art until the development of optical scanning and image processing for audio tracks both positive and negative in the 1990s. With the rise of this methodology, it became possible to address many of the inherent flaws of the optical track positives in the image stage, before conversion to a standard audio signal, thus preventing these flaws from becoming a part of the signal. Modern audio restoration projects that have optical sound only (that is, no native magnetic source) will often resort to optical track scanning for the better quality of extraction it affords. However, even with more robust transfers, it is important to have knowledge of how the audio was recorded, what its original technical characteristics were, and what audience expectations were for reproducible sound. While audio projects all share certain foundational objectives, there tends to be an important localization factor in preservation as each community of cinema embraces the task of recovering their cinematic heritage. Jakub Stadnik has been developing new technologies and practical solutions for digitization and preservation of optical sound on nitrate films in the context of important historical collections in Poland. The presentation focuses on the workflow of the Nitrofilm" project to preserve some of the most valuable Polish pre-war films. The case study of Dwie Joasie / The Two Joans (Krawicz, 1935) will disclose theoretical and aesthetic aspects of this audio restoration, with special attention to the workflow around the IMAGE TO SOUND TOOLS that is, the use of optical scanning to capture optical tracks for image processing and further restoration. Local initiatives such as "Nitrofilm" continue to improve our ability to create authentic audio for historical films, and thus contribute to the overall effort to migrate historically accurate artifacts of cinema culture to the future. Theory and Practice of Stereophonic Sound in Hollywood Nick Bergh, Endpoint Audio It is critically important to understand the history, techniques and tools of stereo film recording, mixing and playback in the 1950s and 1960s to optimize restoration and preservation of those audio resources. The various wide-screen stereo formats of the 1950s are often considered to be reactions to the popular medium

of television - as another part of the experience provided by the theater that was - or could be - superior to television. And with stereo gradually converting the music business, it seemed to many that the cinema needed to offer a compelling aural experience for the viewer. But the underlying theory and techniques used for these films and formats had already seen many years of development and were simply waiting for a proper vehicle for their use. Bell Labs /Western Electric, who manufactured sound equipment for Cinemascope and Todd-AO had been successfully making stereo recordings for over two decades. Furthermore, studios such as 20th Century-Fox had been actively performing their own in-house stereo recordings for over a decade. By the 1950s, Fox in particular had developed a very specific approach to stereo that they outlined in detail and then consistently executed in dozens of feature films. Cinemascope and other widescreen formats became the vehicles that allowed the previous stereo experiments to be implemented in the practical context of the theater. This presentation traces the early development of stereo sound in America and explore its evolution into the tools and techniques used to create stereo films in the 1950s and 60s. The Fox approach to stereo will be discussed in particular detail since it was the most ambitious and continues to be challenging to grapple with today. Understanding the building blocks of the stereo process is critical to improve modern appreciation and restoration of the early stereo films. Using a combination of digital monitoring tools, vintage equipment tests, and dissected vintage audio, it is possible to help demonstrate the complexity of early stereo films in ways that were not previously possible. BREAK Preservation Beyond the Final Feature: A Discussion Moderated by Andrea Kalas Craig Barron, Magnopus & Ben Burtt, Skywalker Sound Andrea Kalas, Paramount Pictures Like many studio Archives, the Paramount Archives contains related materials such as trims and outs, editorial paperwork, visual effects mattes and slates, audio materials, stills, and other materials. The Academy- Award winning effects specialists Craig Barron and Ben Burtt are also historians, and their interest in how sound and visual effect have been made and influenced the history of the science and art of cinema is unparalleled. On several occasions, Craig and Ben have spent many hours of their free time finding gems among the related materials of the Paramount Archives and turned them into entertaining and fascinating presentations. Their work has helped us understand the importance of preservation beyond the final feature, whether it s how snow was made in It s a Wonderful Life or how the Red Sea was parted in The Ten Commandments Screening: Surprise Restoration from Paramount Pictures Introduced by Craig Barron, Ben Burtt & Andrea Kalas The Reel Thing Technical Symposium is organized and coordinated by Grover Crisp and Michael Friend The Reel Thing regularly video-records these proceedings. These recordings are the official record of the event and are the sole property of The Reel Thing. The intended use of these recordings is to produce publicly available programs which may appear on AMIA or other websites, and which may also be made available in other commercial and non-commercial contexts at the discretion of The Reel Thing. Attendance at this event constitutes your consent to appear without compensation in these recordings and in any versions of this event produced or authorized by The Reel Thing. The organizers of The Reel Thing are always interested in new and important developments in conservation, preservation, restoration and digital asset management. If you have a project or a technology that you would like to share with the community, please contact us at any time during the year. We are also interested in feedback, criticism, and suggestions for future presentations. Let us know how we can make The Reel Thing better and more useful for you. Grover Crisp Michael Friend grover_crisp@spe.sony.com michael_friend@spe.sony.com (310) 244-7416 (310) 244-7426