Richard Utley

Making Oscar®-Winning Imagery

Published on website: February 23, 2010
Categories: Feature Films , Richard Utley , The StoryBoard Blog

“There are moments of truth in filmmaking that are a fleeting and delicate thing, but it is the stuff that touches the soul.”
— Haskell Wexler, ASC

Barry Ackroyd, BSC (The Hurt Locker), Christian Berger, AAC (The White Ribbon), Bruno Delbonnel, AFC, ASC (Harry Potter and the Half-Blood Prince), Mauro Fiore, ASC (Avatar) and Robert Richardson, ASC (Inglourious Basterds) are the 2010 Academy Award® nominees for cinematography. This year’s nomination is the sixth for Richardson, who earned Academy Awards for JFK and The Aviator. Delbonnel’s nod is his third, and Ackroyd, Berger and Fiore are celebrating their first nominations.

Restoration of The Godfather

Published on website: February 18, 2010
Categories: Archiving , Richard Utley , The StoryBoard Blog

Defining Restoration

How many times have you purchased a new DVD that announced on its cover that it was a 'newly restored' version? What does 'newly restored' mean exactly? And, why is it better than the original DVD you purchased last year? 

In today's electronic world, people sometimes use the term 'newly restored' in reference to a transfer from film to HD for DVD rendering.  However, when transferring in this fashion - from an existing film element with specialized software - the 'repairs' only exist in the electronic record.  This is really 'repurposing' vs. 'restoring.' 

The Effects of Digital on Motion Picture Library Assets

Published on website: October 09, 2009
Categories: Archiving , Digital Hype , Richard Utley , The StoryBoard Blog

In 1986 Ted Turner turned the motion picture industry up side down by purchasing the icon studio Metro Goldwyn Mayer for $1.3 billion dollars. This studio in existence since the early 1920’s with titles in its film library like Gone With The Wind, Wizard of Oz, Dr. Zhivago, 2001 a Space Odyssey and many other classics was falling into the hands of what many said was a crazy man with far too much money. Ted didn’t want the studio lot, nor the film laboratory Metrocolor, all Ted wanted was the vast library that MGM had amassed over the previous 60+ years.


During the next few years Ted Turner proceeded to show the industry what could be done with their library and the literal gold mine that was before them in a fledgling consumer market. By 1990 with Ted’s cable network booming and home video sales growing the other studios were now starting to assess their own libraries in order to emulate what Turner Entertainment was accomplishing.

Film Preservation - An Interview with Kodak Fellowship Winner Bob Dirig

Published on website: September 03, 2009
Categories: Archiving , Richard Utley , The StoryBoard Blog

headshot_Bob_Dirig.jpg In 1999, Kodak, in cooperation with the Association of Moving Image Archivists (AMIA), established the Kodak Fellowship in Film Preservation — a unique program to help foster the education and training of the next generation of moving image archivists. The first recipient was Bob Dirig, now College Archivist for the renowned Art Center College of Design in Pasadena. Here he reflects on in his experiences in the program – and since.

When I got the fellowship, I had just enrolled in the UCLA Informational Studies program and knew I wanted to go into archiving, but I really didn’t know what direction I wanted to go. So, the Kodak program was great because it gave me six weeks of summer working experience where I saw how things really worked in the world of Hollywood.

Meet Richard Utley

Published on website: September 03, 2009
Categories: Richard Utley , The StoryBoard Blog

Vice President PRO-TEK Media Preservation Services 

Richard (Rick) Utley is the divisional vice president of PRO-TEK Preservation Services for FPC, Inc., a Kodak company. He is Kodak’s primary liaison with studio asset protection managers and other moving image content owners in addition to supervising the PRO-TEK preservation vaults, inspection center and restoration management services.  His relationship with cinematography includes almost 40 years of collaboration on the final print product.