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Bringing Mildred Pierce Back to Luminous Life

Restoration Spotlight

Bringing Mildred Pierce Back to Luminous Life

The restoration teams at Warner Bros. and Criterion explain how they captured the silken texture of the nitrate print of Michael Curtiz’s classic noir melodrama.

A Preservationist’s Puzzle: Restoring The Front Page

Restoration Spotlight

A Preservationist’s Puzzle: Restoring The Front Page

When the Academy Film Archive embarked on a new restoration of The Front Page, preservationists stumbled onto a mystery regarding the existing prints of the film.

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Visits with Raoul Coutard
Visits with Raoul Coutard

Last week, we were saddened to learn of the passing of Raoul Coutard. Our technical director, Lee Kline, shared some memories of working with the great cinematographer.


Cleaning Up A Brighter Summer Day

Restoration Spotlight

Cleaning Up A Brighter Summer Day

Following an arduous restoration effort that involved broken scanners, missing reels, and the complicated transfer of materials between Taipei, Bologna, and New York, Edward Yang’s 1991 epic film is finally available in a high-quality viewing forma

Restoring The New World

Restoration Spotlight

Restoring The New World

With the Academy Awards coming up on Sunday, we’re celebrating the breathtaking work of cinematographer Emmanuel Lubezki, who is nominated this year for his work on Alejandro González Iñárritu’s The Revenant. If he wins, Lubezki will be one of…

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Remembering Vilmos Zsigmond, Master of Light and Dark
Remembering Vilmos Zsigmond, Master of Light and Dark

In honor of the great cinematographer, our technical director shares some memories of encountering the man and his work.

The Color of Dreams
The Color of Dreams

While in Tokyo to work on Akira Kurosawa’s 1990 film, our technical director got a glimpse at some of the filmmaker’s original drawings that he used to shoot the movie.

The Sacred Act of Saving The Apu Trilogy

Restoration Spotlight

The Sacred Act of Saving The Apu Trilogy

The story behind the restoration of Satyajit Ray’s masterpiece The Apu Trilogy is an astonishing one—which we present in two programs by the filmmaker :: kogonada, included in our release of the trilogy. While creating a tribute to Ray for the 19…

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Resurrecting The Apu Trilogy

Restoration Spotlight

Resurrecting The Apu Trilogy

Now that Satyajit Ray’s dazzling epic is back out in its original glory, watch a video by :: kogonada that shows how Ray’s breathtaking work was reconstructed from the ashes.

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Restoring The Apu Trilogy

Repertory Picks

Restoring The Apu Trilogy

In 1993, the original negatives of Satyajit Ray’s The Apu Trilogy were burned in a massive nitrate fire at a laboratory in London. Even though there were no technologies available at the time capable of fully restoring such badly damaged film eleme…

Restoring The Umbrellas of Cherbourg

Restoration Spotlight

Restoring The Umbrellas of Cherbourg

The following short program, which also appears as a supplement in our new box set The Essential Jacques Demy, gives viewers a behind-the-scenes look at the painstaking 2013 digital restoration of The Umbrellas of Cherbourg, which brought the…

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Martin Scorsese on the Richard III Restoration

Restoration Spotlight

Martin Scorsese on the Richard III Restoration

Shot in VistaVision and Technicolor, Richard III is the most eye-catching of Laurence Olivier’s essential big-screen Shakespeare adaptations. For years, it couldn’t be seen in its original glory, due to lost footage, faded colors, chemical staini…

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A Tale of Three Aspect Ratios
A Tale of Three Aspect Ratios

In our release of On the Waterfront, out today on Blu-ray and DVD, we offer Elia Kazan’s film in a trio of aspect ratios. Our official presentation of the movie is in 1.66:1, but you can also watch it in its entirety in both 1.33:1 and 1.85:1 frame…

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How We Restored The Man Who Knew Too Much

Restoration Spotlight

How We Restored The Man Who Knew Too Much

Criterion’s new restoration of Alfred Hitchcock’s 1934 thriller The Man Who Knew Too Much was a project many years in the making. Since the original negative is missing, the first challenge was to find the best possible source elements; only then…

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Restoring The Gold Rush
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Leaving the Color in L’enfance nue
Leaving the Color in L’enfance nue

One of the most challenging aspects of our work is to get accurate color for films when there are no filmmakers to consult with. This is especially true of films from the fifties and sixties, for which cinematographers, directors, editors, and color …

Visit to the George Eastman House
Visit to the George Eastman House

Last Friday, Fumiko, Issa, and I went up to Rochester, New York, to the Eastman House. We have been talking to them about accessing their archive on a more regular basis, starting with the three von Sternberg films that are coming up. It’s really a…

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Rendezvous with Resnais

Technical director Lee Kline, just back from Paris, where he worked on Last Year at Marienbad with Alain Resnais, reports: I was a little nervous to show Alain Resnais our new transfer of Marienbad, but I pushed hard to have him come into Scanlab, o

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Magic Carpet Ride

Of all the great places I get to go for transfer work, London is probably my favorite. First off, everyone speaks English, and there’s an abundance of great Indian food. But there’s also the excitement that when the workday ends, you end up at th…

Color Me Impressed

When I started preparing for a new transfer of The Ice Storm, I asked director Ang Lee if he wanted to supervise the session. Ang said that he’d like the cinematographer, Fred Elmes, to supervise, and that he would come in at the end and review the…

Striking Gold

When I found out last year that we’d be working on Days of Heaven, I got goose bumps. It’s always been one of my favorite films, and I had wished it could be in the Criterion Collection ever since I started here twelve years ago—that and Sixtee