The French town’s mayor (Howard Vernon) takes a moment to share the legend of the Nazi Zombies with two future voters.
an olive hue, making them less clownish. Like- wise, the bright orange blood was also calibrated to a more natural deep red. A few little things to point out. In one scene, you clearly see the tube through which blood is being pumped into a Nazi zombie’s wound. While we didn’t paint out the tube entirely, we did dial out the red color of the blood within the tube (which gave it away as an effects device) and turned it into a green that matches the color of the uni- form. So the flub is still there... but at least the illusion isn’t entirely shattered.
Seldom are we able to spend the time and money to render a film immaculate—painting out all its dusty imperfections. Like Rollin back in his day, my resources are limited, and I can only spend as much time and money on the preparation of a master as that film can expect to earn in return. Fortunately, I don’t have to make a “Sophie’s Choice” and cast one film aside in favor of an- other. But the work is an unending series of judge- ment calls about how many hours should be spent removing dust versus color-timing an especially complicated sequence. In the days of DVD, digital video noise reduction could be applied to a film and 90% of its flaws would instantly vanish. In the age of HD, however, we’ve found that automated dirt-removal and grain reduction eradicates a lot
of the detail that high-definition video has pro- vided—to the point that simulated grain must be added back to the film. As a rule, we avoid global noise reduction for this reason. The downside is many more specks remain in the image, much to the chagrin of those viewers who yearn for a pris- tine image. However, the dirt and grain that re- main in the unprocessed image are—for better or worse—the authentic texture of the 35mm original, and not a clever facsimile thereof. As technology continues to improve, we hope to provide Blu-rays with even greater clarity of image, with as few blemishes as possible, crafted in such a way to preserve the integrity of the 35mm original, while conveying the tone and essence that the filmmakers’ intended.
Special thanks to my regular (unsung) post- production collaborators whose enthusiasm for these films is reflected in the quality of their work: production coordinator Brian Shirey and quality control manager Rob Sweeney at Kino Lorber, Inc.; colorists D.C. Cardinali (who worked on ZOMBIE LAKE on a DaVinci system) and Jeff Bauman (with whom I work, on a Baselight system); editor Bill Bowen; and Blu-ray authors/designers Doug Powell and Richard Rivera; Nigel Wingrove of Redemp- tion; Daniel Lesoeur of Eurociné; and Benjamin Dubois of CMC Paris.
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