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matic video signal output into the original 16
bit digital stereo soundtrack.
After digitisation I compared the quality of
both the U-matic and Betamax recordings side
by side. As suspected the Umatic yielded both
the highest resolution and color information.
But the burnt in timecode was distracting. It
needed to go!
I decided the best way to do this was by digit-
ally combining the information from the Beta-
max with that of the U-matic. I would simply Then it was just a matter of doing some basic
be able to "erase" the timecode from frame - a cleanup to the footage. This included removal
seemingly simple task? Not so! It turns out of frames (or sometimes fields) where a film
the Betamax copy was not only a slightly splice appeared. The color and hue was also
different edit, but it was also a completely tweaked slightly to bring out the vivid colors
different telecine run. This meant subtle differ- of the outback setting, as well as removal of
ences: such as framing, gate weave, color video dropouts and the head switching arti-
changes, as well as edit points which did not facts visible outside the action safe area of
precisely match that of the U-matic. frame. Later the digital audio was matched
with the vision.
I feel rather privileged to have
worked restoring "Spirits of
the Air - Gremlins of the
Clouds", its a film few have
ever seen let alone heard of.
For me the most haunting but
unique charm of this film is the
music soundtrack. One which
evokes a myriad of emotions
and once you've heard it, it will
never leave you. I cant help
but feel sad this film has not
enjoyed a wider audience. I
believe if it were released to-
day it would develop a strong
cult following among the new-
er generation and if the origi-
nal negatives still exist would
Another dilemma was that the Betamax was of make a brilliant candidate for an entirely new
such low resolution and noisy chroma, that high definition restoration, and digital cinema
there would be an obvious drop in sharpness or blu-ray release. Will this ever happen? -
around the replaced timecode. only time will tell!
It took some time but eventually through trial
and error I came up with a method of mixing
Author: James Paterson, Australian Televi-
pixels from adjacent ones from the informa- sion Archive - Archival Film & Video Digiti-
tion contained in the Betamax copy in order to sation Services. www.austvarchive.com
successfully remove the timecode from frame
without it being obvious this had occurred.

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