In the realm of introducing new home movie releases, the utilization of machine-learning systems is prevalent. However, there exists a significant cohort of individuals who strongly oppose the outcomes.
Back in 1998, Geoff Burdick, a key figure at James Cameron’s Lightstorm Entertainment, found himself engrossed in the meticulous preparation of “Titanic” for its release on LaserDisc and VHS. Positioned before a 12-inch screen at a postproduction facility, Burdick and his team engaged in a painstaking process of scrutinizing each frame of the film, uncovering minute imperfections ingrained in the original footage such as tiny scratches, dirt particles, and even water stains that marred the visual experience. By camouflaging these imperfections through the integration of data from alternative sources, the computer could effectively eliminate them using a form of digital editing akin to a copy-paste function.
Reflecting on this innovative approach, Burdick, who held the role of senior vice president at the organization, expressed that this technique was perceived as a marvel at the time. Nevertheless, the reception was not universally positive. While some lauded the refined video quality as the pinnacle of visual excellence due to the elimination of visual distractions, others vehemently criticized the process. Burdick recollected, “There were a lot of people who said, ‘This is the most pristine video they’ve ever witnessed in their careers because we eradicated all those imperfections,’ But there were also many who argued, ‘This is not authentic! You’ve erased all traces of reality! If the film is flawed, then those flaws should be visible.’ The response was polarized.”
Over the ensuing decades, advancements in home video formats have propelled resolutions to greater heights, transitioning from VHS and LaserDisc to DVD and Blu-ray, culminating in the era of ultra-high-definition 4K discs, commonly referred to as Ultra HD Blu-rays. As image quality ascended, the tools for restoration also evolved, empowering filmmakers to refine their creations with unprecedented precision using computer technology. Recently, a selection of Cameron’s cinematic masterpieces such as “The Abyss,” “True Lies,” and “Aliens” have been reintroduced on Ultra HD Blu-ray in meticulously restored editions that exhibit unparalleled clarity and definition. This meticulous restoration process underscores the unwavering commitment of Lightstorm and Cameron himself to precision and excellence. Burdick remarked, “I believe they are presented in their optimal form to date.”
However, akin to the reception of the earlier “Titanic” home video releases, these revitalized versions have triggered controversy, with a faction of critics vehemently opposing their pristine appearance. The contentious aspect that has elicited significant backlash is the utilization of artificial intelligence in part of the restoration process. Park Road Post Production, the company owned by filmmaker Peter Jackson in New Zealand, collaborated in enhancing Cameron’s films utilizing proprietary machine-learning software previously employed in Jackson’s acclaimed documentaries “The Beatles: Get Back” and “They Shall Not Grow Old.” The visual enhancements in Cameron’s iconic blockbusters were perceived by many as disconcertingly artificial and surreal.
The level of intricacy in the restoration is truly remarkable. Water appears crystalline, colors are vibrant and rich, while blacks are deep and intense. Nevertheless, certain surfaces exhibit a slightly glossy finish, evoking a polished sheen reminiscent of lacquer. Identifying the precise alterations can be challenging, yet a discernible disparity exists, evoking a slightly eerie sensation depending on the observer.
