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were fixed. The telecined picture files were then ‘married’ to the sound files. We had
sync … hallelujah!
All components were then sent to the Sydney-based post-production company FSM for
scanning. Every single frame was scanned, including the sprocket holes. This became
our digital preservation file: a digital version of the original picture negative. It was a
bit green and showed natural and expected age-related symptoms. Weeks of intensive
cleaning and grading followed, both automated and manual.
Joy and terror
Proof required 30 hours of grading and 90 hours of cleaning.

Running the audio track for Proof at the NFSA.
The capability of contemporary digital post-production software seems almost magical
and it can be tempting to ‘fix’ any perceived flaws. But we always adhere to a very basic
archival principle: we restore a title to as close as it was originally seen and enjoyed by
audiences when it was released.
Therefore, in the NFSA Restores digital print of Proof, you will see grain and texture
in the image, and hear the sound as it was projected when it premiered internationally
at the Cannes Film Festival, and in Australia at the Melbourne International Film
Festival in 1991.
One of the most joyful and terrifying parts of the restoration process is the work-in-
progress screenings with the original key creatives. It was such a pleasure to sit through
the screening with the director, Jocelyn Moorhouse, and the cinematographer, Martin
McGrath, listening to their production reminiscences and witnessing their smiles and
appreciation when the lights came up. It is always expected there will be minor tweaks
here and there but it is so very good to know that the work of many teams of people has
done justice to the original intention of the film.
So, thanks to our experts, the filmmakers and 266 film lovers, Proof has been restored
and preserved for the digital age. Stay tuned for more NFSA Restores news – we’re not
done yet, there are so many more films to restore!

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