hile a digital master, no matter how beautifully prepared, cannot transform a bad film into a good one, I think we all agree that the qual- ity of a master does affect the viewing experience, and has a consequential effect upon a film’s long- term reputation. In my opinion, ZOMBIE LAKE (Le Lac des Morts-vivants, 1981) has suffered more criticism than it rightfully deserves, not because of the flaws of the film itself, but because of the careless manner in which it has been presented. I oversee the mastering of many films per year, mostly those released under the Kino Classics and Redemption labels. With this film—more than any other in recent memory—I felt an obligation to


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spend a greater-than-normal amount of time in the preparation of the master, in the hopes of par- tially resurrecting its reputation. This also provides a welcome opportunity to share some details about the technical process of film mastering, and elabo- rate a bit upon the aesthetic factors that affect the look of a film on Blu-ray. In the case of ZOMBIE LAKE, the film elements are held by Eurociné in France. Rather than ship the originals to the US, a low-contrast “flat pass”


German soldiers, killed by French resistance fighters during WWII, rise from their watery grave in ZOMBIE LAKE.


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