Cameron:


...I’m very, very particular in my transfers. I look at every damn pixel. I make sure it’s absolutely optimized for the format that it’s going into. There are little bits of framing that have to be done to massage it into place. And then multiply that out over these six new releases. That’s like six weeks of my life, which I don’t have.


"First of all, it's a very particular process for me," he begins. "It takes about a week of me there all day, supervising the transfer, correcting every shot, every little bit of repositioning and working on every pixel of the image, and I don't want to just phone that in and I don't want to have somebody else do it for me."


We recompose, shot by shot, going through the film, and I'm pretty serious about this. I don't just let somebody else go through it because I have such a vivid memory of what the color was and what we fought for on the set and in post, maybe all the way back to when the color was done with photochemical film, which is when I rode my Stegosaurus to the studio. These restorations have been on top of our day job


"It was important to get it just right because, theoretically, we shouldn't have to do it again," Cameron mused. "4K is sufficiently above the innate resolution of the photochemistry of that period. Are we going to do 8K? 12K? You're going to see the grain more clearly. I think this is it, so we wanted to do it and do it right, and that's taken some time."



Festival del humor.