film restoration

Digital restoration is a very wide area of expertise.

Our digital intermediate and restoration background helps us in finding the best solution for each challenge
that we encounter during the process.


We utilise the leading cine-scanners on the market.

Northlight 2 with Archive Projector, ARRIscan with Archive Gate and Wet Gate, Lasergraphics Director with Digital ICE and the Spirit 4K.


Archival movies are often unstable and warped, especially around the cuts.

We approach each case individually, manually stabilising individual elements where required. We can achieve a rock-steady look for restoration, or can stabilise the elements, restoring the authentic original gate-weave.

Colour correction

In many cases archival material requires special treatment during the colour correction process.

Where grading is concerned, faithfulness to the original is of utmost importance to us. We work closely with the creators, always taking their expertise into account, to achieve a faithful digital restoration of the original colour.


Over time film emulsion degrades, especially if it was developed in less than ideal conditions, using poor quality chemicals.

At Fixafilm, we have developed effective methods for removing flicker from black and white or colour film, depending on the level of damage to the luma and/or chroma components of the image. An individual approach to each component with a careful and considered method is the hallmark of our service.

Scratches & dust

Over time, film tends to gather dust particles and other artifacts.

Often original negatives or prints may have been scratched or damaged from mishandling or excessive use. At Fixafilm, we specialise in removing this damage, while still retaining the original detail present in the film. We target actual dust and scratches via infrared damage mattes, and by visual inspection of the film, and are careful not to remove any of the underlying detail or grain.

Grain management

Restoring a film from multiple sources and trying to match them can be very difficult due to the completely different grain structure of different film stocks and of specific film generations (original camera negative, interpositive print, internegative print).

We have successfully completed reconstructions from multiple formats and sources, (35mm & 16mm) where the client required the final product to be seamless. We use Cinnafilm’s Dark Energy for grain reduction and where film-grain restoration is required, we use real scanned film grain, from a film stock to match the original, rather than generic or synthetically created grain.


Sometimes the only surviving version of a film is a copy made on video, and much of the world’s television and news programs only exist on decaying and obsolete tape formats.

At Fixafilm, we have considerable expertise in restoring analogue and digital video on all formats, from reel-to-reel, VHS and Beta, through to later digital and professional video formats. We can handle issues like rainbowing, deinterlacing, dropouts, sync loss, restoring colour, stabilising images, removing noise, and upscaling to HD resolutions for broadcast.