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82 FUm Preservation 1993
In the area of theatrical production, Universal creates timed separation masters on all of its color features. As a follow-up, we ourselves physically inspect all of our current separation masters and periodically make color intemegatives and check prints to further confirm the quality of these masters.
It is rery imponant to Bot» that Universal is the only nu^ studio to inspect its own separation masters. We have a negative-cutting facility which is part of Universal Studios.
Universal has had a great degree of success restoring the older theatrical titles to their original length and quality by utilizing its separation masters. The other goal is the preservation of nitrate titles. Universal began the process of transferring its nitrate material to acetate in the early 1980s.
We are continuing with this process. And to date, approximately 429 features have nitrate preprint elements with acetate backup. In the event two preprint elements exist, i.e., black-and-white original negative, and a black-and-white finegrain, analysis is made to confirm the best element for the preservation process.
When completed. Universal will retain an answer print, the composite finegrain, dupe negative, check print, and optical track negative. If the title was originally shot on three-strip camera negative, we would produce a 3Smm answer print, timed interpositive, intemegative check print, optical track negative and separation masters. In all cases, utilizing this procedure, each title is both protected and geographically separated. Although a majority of our nitrate titles have undergone preservation, we will continue to store these elements for the foreseeable future in the likely event new technology emerges, thus assuring quality without compromising the original integrity.
We are currently working with the Directors* Film Foundation on the restoration of 10 films. These restorations are being undertaken in cooperation with the UCLA Archive. They are titles such as Phantom of the Opera, The Plainsman, Animal Crackers and Shanghai Express.
In the mid-1970s Universal's sound department began protecting soundtrack masters. The program was then called STUMPF copies. This process involves the copying of track masters to 1/2-inch nonsprocketed tape with sync pulse. The phrase STUMPF was defined as studio track uni\'ersal multichaimel print facility, and incidentally was also the name of the director of SQund for Universal at that time.
The STUMPF copy process of protecting our feature and TV sound masters continued into the 1980s. We concluded that as stereo tracks became more complex the three tracks available on the 1/2-inch tape weren't sufficient for our needs.
Under the guidance of Bill Vamey, vice president of sound. Universal instituted