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“Despair” is also by Fassbinder; DoP Michael Ballhaus visited CinePostproduction in Munich to approve the restoration. Colourist Meike Weimann graded the look of “Despair”. “It is important during restoration to preserve the film’s character in order to ensure fidelity to the work,” says Meike Weimann. “That requires a sensitive approach with a great deal of tact.”
Manuel Georg, Head of Digital Postproduction, explains: “Especially for a high-end restoration such as this, we developed our own retouching pipeline. The film was first stabilised, jolts at the splices were removed and irritations were precisely retouched. Our focus was on the degrain process, where we found a middle course, neither eliminating the grain completely,
nor reproducing the noise factor too strongly.”
Meanwhile, Charly Steinberger, the cinematographer of “Deep End”, worked with colourist Martin Eisenkeil on the colour correction of his work from the early 1970s. Because of the poor condition of the negative, an elaborate stabilisation
and deflickering were carried out. The custom pipeline is based on Nuke with Furnace plug-ins.
A third project recently restored by CinePostproduction for Bavaria Media is “The Name of the Rose”. The film was made in 1986 with Sean Connery as William of Baskerville. In close coordination with director Jean-Jaques Annaud, colourist Tina Falke remastered the material from the time in HD using a 2K scan-
basis.
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