"My name's Vince Narduzzo." "I started in this business in 1980 in a film lab called Universal Film Labs, where I was a colour grader there for about five years, grading A and B roll films for documentaries and dramas." "About 1986, I went across to work in telecine, which involved remastering and mastering films of the day." "Certain things we started doing was Inspector Morse, that kind of thing." "In those days, all the films were cut A and B roll," "A and B roll negative, and a system at that time was developed called Unitab, which was basically two telecines to transfer A and B rolls to create a video master." "One of the problems we've had for many years, because of this way it was assembled, with the A and B roll assembly, was that every time a cut went through, a scene change went through," "there was a very bad picture movement because of the physical movement through the telecine gate of the join." "And it's literally in the last six months that we've finally, with our new Fabtech system, have found a way to transfer these original A and B roll negatives without the joins jumping, which up to, literally, up to today, could not be done," "because there was no way any other process could transfer those negatives without picture disturbance." "No electronic device or any gadget would be able to electronically get rid of these problems." "So, it's always been something that even though you're going back to the original, you would have to make an interpos or go from a print, which is never as good as going back to the original negative." "What you can see here is a transfer from super 16 negative in high definition." "What a fine joke." "We thought you were still in town." "There was nothing amusing enough to hold us there." "NARDUZZO:" "What we 're seeing here shows very well the quality difference between the negative transfer and the print transfer, which is effectively what it's all about." "I mean, the A and B is a way to get there, but it's all about being able to scan those original negatives." "All winter, I'm happy to say." "I've taken a commission in Colonel Forster's regiment." "And as we can see here, that's the transfer from a print, but once we're able to go back to the negatives, we can now see the difference in quality that we can achieve by going back to that original source." "And as we can see, it's not just a small difference, it's a huge difference here." "And I know that one of the things that people talk about is film grain not being suitable for high definition." "In a lot of cases, and this is fact, a lot of cases, it's not necessarily film grain, it's usually..." "It can be machine noise." "If the machine is not set up correctly, you can..." "If it's stretched, you can get film noise from the telecine machine, which will appear as grain." "This process is quite a lengthy process, purely because of the way we have to treat the negatives to correct the joins." "The grading side of the process, once the scans are done, will probably be two, maybe a couple of days, to go through the colour correction." "There will be then some restoration, some online, putting back the credits." "And obviously, on these prints, the end credits would be a duplicate." "So, we..." "On the end of the original rolls is the backgrounds without the credits on, which we transfer, and then we will show it online on a new credit roller." "So, it is quite a lengthy process." "But that is the only way to get these kind of results, is to spend the time on it to achieve what we can see here." "I hope, my dear, you have ordered a good dinner today, because I have reason to expect an addition to our family party." "Mr Bingley!" "Why, Jane, you sly thing, you never dropped a word." "What this means for a lot of the back catalogue shot on Super 16 and 16 mil is it opens up a whole new market for those classic programmes." "I mean, I know for sure, I've been in..." "I've been in and had a look in the various stores and the availability on Blu-ray for classic TV is nonexistent, there is..." "It isn't there." "What this does is it allows you to reconform these programmes, reconstitute these programmes into true high-definition programmes, and also with a 5.1 surround, if we can get the original sound sources as well." "You know, I just think people would love to be able to see their classic programmes in the quality they've just never seen before."