The Opening of Misty Beethoven–Major Film Restoration underway at Process Blue!

It has been approximately 2 weeks since the actual film restoration has begun and it keeps getting more exciting. I am writing this as I sit beside master colorist and driver of the Golden Eye III Film Scanner, Ryan Emerson. At the moment, we just completed the manual restoration on the 4th and final reel of the Hard version of “Misty”. Basically, that means going through the film, frame by frame and retouching spots that the automatic restoration had missed. It is taking us approximately 2-3 hours per reel, but is well worth the extra cost and effort. We have been removing things like dirt, dust, scratches and fingerprints.

The physical restoration started last week, when I drove all of the film elements up to Process Blue’s Brand new state of the art facility in Bridgeport, CT. The facility has the only Golden Eye III Film Scanner in the United States, which is one of the most comprehensive restoration tools for archival and modern film as well. The scanner has the ability to process 8, 16, 35 and 70mm in 2k and 4k resolution. I asked Ryan about the new Film Scanner, and he was quick to chime in, “We literally traveled the world looking for the best system for archival film and the company, Image Systems(Sweden), which builds the Golden Eye III Scanner, was the obvious choice. Image Systems, has also recently merged with the company that manufactures the Phoenix Finish, which is total image restoration software, that we are using to bring The Opening of Misty Beethoven, back to life!”

For those of you who might not be familiar with a film scanner, it is a more advanced and more modern version of the telecine, allowing greater resolution and more operator flexibility. One of the best qualities of this scanner is that it is incredibly gentle on the actual film, which is so important with older, archival stock. For example, when the operator rewinds the film, the actual film itself is lifted off of the skid plate, and that is a huge benefit.

The film elements that are being worked on for the upcoming release of Radley Metzger’s “The Opening Misty Beethoven”, are the 35mm hard and cool versions CRI, (which stands for color reversal internegative), the 35 mm trailer, and 3 reels of 16 mm silent PIX, containing never before seen footage from the Audubon archives, like deleted scenes, alternative footage and outtakes. The audio sources we are using for the restoration are the original mag track for the hard version and the optic track for the cool version. The hard version will also boast a 5.1 audio mix, for those out there who wish to enjoy that true stereophonic experience. Of course the MONO track will also be included!

The restoration of all of these elements is well underway and we are expecting to have all of the elements back in our post production facility within the next week. From that point, we will be hard at work compiling all of this wonderfully remastered footage, in order to release the greatest adult-based, DVD package of all time.

The package is set to include both hard and cool versions of Misty Beethoven, along with Metzger commentary on the hard version, as well as an immense line up of video based extras, including an in-depth restoration feature, a locations feature, HD outtakes/ with Radley Metzger commentary, A tribute to Jamie Gillis, A feature on the film’s star Constance Money, multiple language subtitles, film facts track, and so much more! And don’t forget our amazing liner note books, available in each DVD. An exact release date has not been set, but it looks like it will be ready to go around May 2012.

Stay Tuned for all new updates, including rumors of a B-Ray??

About Process Blue:

In 2012, Process Blue was established in Brideport, CT, and is operated by Ryan Emerson and Joe Rubin. Ryan Emerson has over 10 years experience as a colorist and is very well versed in film transfers and the technical aspects involved. Joe Rubin, is a well established film archivist and film historian and brings a wealth of knowledge to the new facility. Rubin has also been training on the scanner and restoration software, and will be conducting transfers, as well.

Process Blue, is a fully functional film scanning facility, equipped with the Golden Eye III Film Scanner and also has major plans for further development, to reach all levels of post production( editing suites, green screen, etc.).

It is located only an hour North of NYC and is only a few blocks away from the Metro North train!

for more information go to:

The Golden Eye II Film Scanner

Ryan Emerson, master colorist at Process Blue

7 replies »

  1. Great news! Best of luck with all the restoration efforts. So looking forward to yet another great DVD set!

    Off topic, I know, but any info on the re-release of “Roommates?” I had the good fortune to meet Veronica Hart in December in Vegas and between that and the preview interview footage on YouTube, I was just curious.

  2. Rakesh, We did absolutely zero DNR, which is grain removal, We removed dirt, dust , scratches, etc, but no grain. The lab that I work with is all about being natural and keeping the film, exactly the way it was originallt to be seen!
    You are going to be very happy with this. The films itself was shot in both 35mm and super 16, so there is a ton of varied looking shots, the 35 being more crisp. But the grain detail from the super 16, is amazing and you are dead right, grain=detail, and I can promise you that it is gorgeous., the grain and detail is intact-big time.
    I am working on a major restoration feature and it goes into detail, about the film scan, the aspect ratio, color correction, framing, etc.
    I think you will really enjoy it!!
    This is going to be an excellent release!

  3. Thanks for the response Steven and that’s completely awesome! I had no idea that “The Opening Of Misty Beethoven” was partly shot in 35mm. I thought it was completely 16mm. The possibility of a blu ray edition sounds great too. Looking forward to reading updates on this!

  4. Will be hard to resist buying it on BR if you release it this way as it’s my all time favorite movie. Seem it will even better than all your previous releases and you know I bought all of them.

    Steven, if you want to make my dreams come true and make me a really happy guy try to get an interview with Constance Money and not just a feature. I know it’s probably impossible… But I’ll buy you two copies (BR and DVD if you release in the two format, 2 DVDs if you release only on DVD) if you achieve this. You know I always keep my words.

  5. You had me at “B[LU]-RAY”. Steven, if you guys can do a Blu-ray for TOMB, please encode the video at 1080p resolution and use a lossless format (i.e. LPCM or DTS-High Definition Master Audio or Dolby TrueHD) for the audio. That would make it a proper FILM presentation instead of just “Blu-ray Porn”.

  6. Thanks, Steven, for this fantastic write-up.

    PB prides itself on being film-focused. We’re not here to make film look like ugly, smeary digital video. Our goal is to provide scans and restorations which never alter the beauty or grain structure of the film itself.

    Everyone can be assured that we’ve done our best to preserve Radley’s vision.

    As an aside, I can’t praise Steven enough for his dedication to quality. What he’s done ON HIS OWN for this DVD amounts to more than that which could have been accomplished by any major DVD company production team. It’s always an honor to work with him on preserving these great films.

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