Criterion Goes Classic With Digital Vision DVNR.

Discussion in 'DVD Video' started by Allan, Apr 15, 2005.

  1. Allan

    Allan Guest

    Criterion Goes Classic With Digital Vision DVNR Leading DVD producer
    invests in system for work on classic films (April 14,2005)

    Digital Vision, a leader in image processing for post-production,
    announced today that The Criterion Collection, New York, NY, has
    ordered Digital Vision's DVNR HD RGB Image Processing system. The
    order also includes Digital Vision's latest generation Grain & Noise
    Management system AGR4 and Film Dirt & Scratch Concealer ASC3 with
    Motion Estimation. The system supports standard definition, high
    definition, and the new dual-link RGB/YUV formats.

    The Criterion Collection, a continuously growing series of important
    classic and contemporary films, is dedicated to gathering the greatest
    films from around the world and publishing them in editions that offer
    the highest technical quality and award-winning original supplements.
    Criterion began with a mission to pull the treasures of world cinema
    out of the film vaults and put them in the hands of collectors.

    The foundation of the collection is the work of such masters of cinema
    as Renoir, Godard, Kurosawa, Cocteau, Fellini, Bergman, Tarkovsky,
    Hitchcock, Fuller, Lean, Kubrick, Lang, Sturges, Dreyer, Eisenstein,
    Ozu, Sirk, Buñuel, Powell and Pressburger. Each film is presented
    uncut, in its original aspect ratio, as its maker intended it to be
    seen. For every disc, Criterion tracks down the best available film
    elements in the world, uses state-of-the-art telecine equipment and a
    select few colorists capable of meeting its rigorous standards, and
    take time during the film-to-video digital transfer to create the most
    pristine possible image and sound. Whenever possible, Criterion works
    with directors and cinematographers to assure that the look of these
    releases does justice to their intentions. Criterion's supplements
    enable viewers to appreciate Criterion films in context, through audio
    commentaries by filmmakers and scholars, restored director's cuts,
    deleted scenes, documentaries, shooting scripts, early shorts, and
    storyboards. To date, more than 35 filmmakers have made Criterion's
    Director Approved library of laserdiscs and DVDs the most significant
    archive of contemporary filmmaking available to the home viewer.


    Criterion had experience with Digital Vision products from systems
    installed previously, but was particularly pleased with the newest
    DVNR as it enables Criterion to increase its productivity as its
    restoration projects also increase. In particular, the motion
    estimation technology was cited as a strong factor in the decision.
    The Digital Vision system integrates smoothly with other equipment
    Criterion utilizes, and its ease-of-use enhances efficiency.

    During evaluation, the DVNR was utilized for restoration on a 1950's
    English movie, The Browning Version, which had 'very bad dirt and
    developing problems in the remaining film elements', as well as the
    film Seven Samurai. Lee Kline, Technical Director at Criterion,
    comments, "We really liked what the DVNR was doing, and that we could
    see exactly what it was doing - it was more obvious what it was
    removing - and we were able to really fine tune the movies and clean
    them up in a way that we couldn't do previously. It does what we want
    to do - but better."

    He adds, "We're going to do restoration on many more movies in the
    future, but we want to do it with less effort in the manual phases
    whenever possible. Any product we invest in has to produce
    better-looking results, and the DVNR accomplishes that. We're
    minimizing the amount of work that has to be done frame-by-frame, and
    it allows us to clean up more dirt and debris with less artifacts. Our
    relationship with Digital Vision has been a strong one, and we find
    the company great to work with; they're very responsive."

    "We are very pleased to once again get recognition for our technology
    and the benefits it provide our customers. Criterion is a leader in
    the restoration business and their choice of technology will be
    followed closely by others." says Hugh Heinsohn, President of Digital
    Vision in the US.

    The DVNR, in conjunction with the latest AGR4 and ASC3, incorporates
    sophisticated Motion Estimation (ME) engines that allows the system to
    apply a variety of temporal and spatial filters to an image, including
    sections that contain frame-to-frame motion. The processing power
    provided by the new ME algorithms will help Criterion provide faster
    service and improved picture quality to its clients. Automating the
    scratch and dirt concealment process ensures that the colorist can
    concentrate on the principle task of creating the 'look' of the
    commercial or feature film and be confident that undesirable artifacts
    are removed in real time and without compromising picture quality.

    About Digital Vision
    Digital Vision provides innovative image restoration, enhancement,
    colour correction and data conforming systems that major movie
    studios, television networks and postproduction facilities use to
    produce and enhance feature films, TV programs and commercials. The
    company's Nucoda product line provides a strong suite of products for
    the burgeoning digital intermediate 2K/4K market. The company's
    award-winning products are a standard of the media & entertainment
    industry and are deployed at top facilities around the world.

    Digital Vision AB was founded in 1988 and is headquartered in
    Stockholm, Sweden, with two wholly owned subsidiaries, Digital Vision
    (US) in Los Angeles, California, and Nucoda Ltd in London, England.
    The company maintains its global presence through a network of
    qualified distributors. Digital Vision is listed on the Stockholm
    stock exchange.

    For further information, go to

    "Arguing with anonymous strangers on the Internet is a sucker's game
    because they almost always turn out to be -- or to be indistinguishable from
    -- self-righteous sixteen-year-olds possessing infinite amounts of free time."
    - Neil Stephenson, _Cryptonomicon_
    Allan, Apr 15, 2005
    1. Advertisements

  2. Allan

    John Guest

    Allan wrote:

    > The foundation of the collection is the work of such masters of cinema
    > as Renoir, Godard, Kurosawa, Cocteau, Fellini, Bergman, Tarkovsky,
    > Hitchcock, Fuller, Lean, Kubrick, Lang, Sturges, Dreyer, Eisenstein,
    > Ozu, Sirk, Buñuel, Powell and Pressburger.

    They forgot to add Bay to the list...
    John, Apr 17, 2005
    1. Advertisements

  3. Allan

    Mark Spatny Guest

    John, says...
    > They forgot to add Bay to the list...

    Perhaps they'd like to forget that ever happened.
    Mark Spatny, Apr 18, 2005
    1. Advertisements

Ask a Question

Want to reply to this thread or ask your own question?

You'll need to choose a username for the site, which only take a couple of moments (here). After that, you can post your question and our members will help you out.