The ARRISCAN allows us to digitally preserve unusual, early film formats that would otherwise be lost to time, secure in the knowledge that even the most fragile materials will be transferred safely.

Ngā Taonga Sound & Vision is New Zealand’s audiovisual archive. Its purpose is to collect, share and care for Aotearoa New Zealand’s audiovisual taonga (treasures). Ngā Taonga Sound & Vision holds a diverse collection of more than 800,000 items, dating back to 1895. All genres and modes of production are represented, from home movies, oral histories and experimental works, to public broadcasts, educational recordings and commercially released productions. Ngā Taonga Sound & Vision’s preservation work spans the analogue and the digital. Digital preservation specialists on staff ensure that copies are made to very high resolution, to retain the quality of the original visual and audio detail, and that the large digital files are safely stored.


The Wet Gate saves time, but more importantly it fixes problems that could not be fixed in any other way.

L'Immagine Ritrovata is a highly specialized film restoration laboratory. It was developed out of the work of the Fondazione Cineteca di Bologna, with which the laboratory is in continual close collaboration.
Today, L'Immagine Ritrovata is an international point of reference in the field due to its development of methodologies, its constant research work and the vast range of its activities in the restoration of world cinematographic heritage.
The facility’s resources, accommodating all workflows from 4K to photochemical, are at the forefront of technological innovation and allow the restoration of film materials from every cinematic age.


If we get a really bad section then we’ll put it through the Wet Gate.

Established in 1935, the BFI National Archive holds one of the largest film and television collections anywhere. Dating from the earliest days of film to the 21st century, it contains nearly a million titles.
Using the latest preservation methods, it cares for a variety of (often obsolete) formats so that future generations can enjoy their film heritage. The BFI National Archive also responds to all research requests for archive materials.


The idea is to have a complete chain with the ARRISCAN and ARRILASER, in order to not only restore our collection, but also to preserve it for a long time to come.

The National Film Archive in Warsaw, a member of the European Federation of Film Archives, has the greatest collections of films and archive records in Europe. The aims of the National Film Archive mainly focus on the preservation and systematic conservation of Polish cinema national heritage and selected items of world cinema, as well as the archiving of all collected materials and records.


I was really amazed by how advanced the technology is for film restoration in Europe and how much effort ARRI has put into the archiving industry.

FPJ Productions is in the process of restoring around 168 films of the late National Artist of the Philippines, Fernando Poe Jr., which were produced as far back as 1961.


Thanks to the ARRISCAN’s pinless scanning function and Wet Gate, our Film Restoration Project can now deal with old archive films that were shot 70 years ago.

China Film Post Company (ChinaFilmPost) has an advanced digital postproduction facility that boasts high-end services including picture editing, visual effects, digital intermediate, color correction, sound, film restoration and DCDM (Digital Cinema Distribution Master) creation.
The restoration department provides high-quality film digitization and image and sound restoration, supporting resolutions up to 6K. China Film Post has already restored more than 3,000 HD and 50 2K movies.


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