Remaster

Remastering music for CD or even digital distribution starts from locating the original analog version.[1] The next step involves digitizing the track or tracks so it can be edited using a computer. Then the track order is chosen. This is something engineers often worry about because if the track order is not right, it may seem sonically unbalanced.[1]

When the remastering starts, engineers use software tools such as a limiter, an equalizer, and a compressor. The compressor and limiters are ways of controlling the loudness of a track.[1] This is not to be confused with the volume of a track, which is controlled by the listener during playback.

The dynamic range of an audio track is measured by calculating the variation between the loudest and the quietest part of a track.[1] In recording studios the loudness is measured with negative decibels, zero designating the loudest recordable sound. A limiter works by having a certain cap on the loudest parts and if that cap is exceeded, it is automatically lowered by a ratio preset by the engineer.[1]

Remastered audio has been the subject of criticism.[2][3] Many remastered CDs from the late 1990s onwards have been affected by the "loudness war", where the average volume of the recording is increased and dynamic range is compressed at the expense of clarity, making the remastered version sound louder at regular listening volume and more distorted than an uncompressed version.[2][3] Some have also criticized the overuse of noise reduction in the remastering process, as it affects not only the noise, but the signal too, and can leave audible artifacts.[4][5] Equalisation can change the character of a recording noticeably. As EQ decisions are a matter of taste to some degree, they are often the subject of criticism. Mastering engineers such as Steve Hoffman have noted that using flat EQ on a mastering allows listeners to adjust the EQ on their equipment to their own preference, but mastering a release with a certain EQ means that it may not be possible to get a recording to sound right on high-end equipment.[2][3] Additionally, from an artistic point of view, original mastering involved the original artist, but remastering often does not. Therefore, a remastered record may not sound how the artist originally intended.

The Big Boss: original footage on the left; remastered footage on the right

To remaster a movie digitally for DVD and Blu-ray, digital restoration operators must scan in the film frame by frame at a resolution of at least 2,048 pixels across (referred to as 2K resolution).[6] Some films are scanned at 4K, 6K, or even 8K resolution to be ready for higher resolution devices.[6] Scanning a film at 4K—a resolution of 4096 × 3092 for a full frame of film—generates at least 12 terabytes of data before any editing is done.[6]

Digital restoration operators then use specialist software such as MTI's Digital Restoration System (DRS) to remove scratches and dust from damaged film. Restoring the film to its original color is also included in this process.[1]

As well as remastering the video aspect, the audio is also remastered using such software as Pro Tools to remove background noise and boost dialogue volumes so when actors are speaking they are easier to understand and hear.[1] Audio effects are also added or enhanced, as well as surround sound, which allows the soundtrack elements to be spread among multiple speakers for a more immersive experience.[1]

An example of a restored film is the 1939 film The Wizard of Oz.[7] The color portions of Oz were shot in the three-strip Technicolor process, which in the 1930s yielded three black and white negatives created from red, green and blue light filters which were used to print the cyan, magenta and yellow portions of the final printed color film answer print.[7] These three negatives were scanned individually into a computer system, where the digital images were tinted and combined using proprietary software.[7]

The cyan, magenta, and yellow records had suffered from shrinkage over the decades, and the software used in the restoration morphed all three records into the correct alignment.[7] The software was also used to remove dust and scratches from the film by copying data, for example, from the cyan and yellow records to fix a blemish in the magenta record.[7] Restoring the movie made it possible to see precise visual details not visible on earlier home releases: for example, when the Scarecrow says "I have a brain", burlap is noticeable on his cheeks. It was also not possible to see a rivet between the Tin Man's eyes prior to the restoration.[7]

Shows that were shot and edited entirely on film, such as Star Trek: The Original Series, are able to be re-released in HD through re-scanning the original film negatives; the remastering process for the show additionally enabled Paramount to digitally update certain special effects.[8] Shows that were made between the early 1980s and the early 2000s were generally shot on film, then transferred to and edited on standard-definition videotape, making high-definition transfers impossible without re-editing the product from scratch, such as with the HD release of Star Trek: The Next Generation, which cost Paramount over $12 million to produce. Because of this release's commercial failure, Paramount chose not to give Deep Space Nine or Voyager the same treatment.[9] In 2014, Pee-wee's Playhouse was digitally remastered from the original film and audio tracks.[10]

Remastered movies have been the subject of criticism. When the Arnold Schwarzenegger film Predator was remastered, it was felt by some critics that the process was overdone, resulting in Schwarzenegger's skin looking waxy.[11] As well as complaints about the way the picture looks, there have been other complaints about digital fixing.[12] One notable complaint is from the 2002 remastered version of E.T. the Extra-Terrestrial (1982), where director Steven Spielberg replaced guns in the hands of police and federal agents with walkie-talkies. A later 30th-anniversary edition released in 2012 saw the return of the original scene.[12]

Canadian animator John Kricfalusi (of The Ren & Stimpy Show fame) has become a prominent critic of digital remastering, particularly in regards to its effects on Western animation. In his blog "John K. Stuff," he has admonished remasters for over-saturating colors and sharpening lines to the point of color bleeding (among other criticisms). He has gone on record in his blog to describe remastering as "digital ruination" and "digital destruction."[13]

A comparison of Halo: Combat Evolved (left) and Halo: Combat Evolved Anniversary (right) with redrawn graphics. Anniversary features both the old and the new visuals in-game with a graphics-swapping feature.

Remastering a video game is more difficult than remastering a film or music recording because the video game's graphics show their age.[14] This can be due to a number of factors, notably lower resolutions and less complicated rendering engines at the time of release. A video game remaster typically has ambience and design updated to the capabilities of a more powerful console, while a video game remake is also updated but with recreated models.[15]

Modern computer monitors and high-definition televisions tend to have higher display resolutions and different aspect ratios than the monitors/televisions available when the video game was released.[14] Because of this, classic games that are remastered typically have their graphics re-rendered at higher resolutions.[14] An example of a game that has had its original graphics re-rendered at higher resolutions is Hitman HD Trilogy, which contains two games with high-resolution graphics: Hitman 2: Silent Assassin and Hitman: Contracts. Both were originally released on PC, PlayStation 2, and Xbox.[16] The original resolution was 480p on Xbox, while the remastered resolution is displayed at 720p on Xbox 360.[16] There is some debate regarding whether graphics of an older game at higher resolutions make a video game look better or worse than the original artwork, with comparisons made to colorizing black-and-white-movies.[14]

More significant than low resolution is the age of the original game engine and simplicity of the original 3D models. Older computers and video game consoles had limited 3D rendering speed, which required simple 3D object geometry such as human hands being modeled as mittens rather than with individual fingers, while maps having a distinctly chunky appearance with no smoothly curving surfaces. Older computers also had less texture memory for 3D environments, requiring low-resolution bitmap images that look visibly pixelated or blurry when viewed at high resolution. (Some early 3D games such as the 1993 version of DOOM also just used an animated two-dimensional image that is rotated to always face the player character, rather than attempt to render highly complex scenery objects or enemies in full 3D.) As a result, depending on the age of the original game, if the original assets are not compatible with the new technology for a remaster, it is often considered necessary to remake or remodel the graphical assets. An example of a game that has had its graphics redesigned is Halo: Combat Evolved Anniversary,[14] while the core character and level information is exactly the same as in Halo: Combat Evolved.[14][17][18]