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    "abbrevTitle": "SMPTE J",
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      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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    "abstract": "Since 1950, color negative film has become the standard on which millions of motion picture and television shows have been photographed. Since the early 1970s, it has become apparent that the color negative film stock on which these images were recorded was not entirely stable and was fading with time. Digital technology is beginning to offer solutions for saving these records but will continue to be unavailable for most of them due to cost. Optical (photochemical) restoration offers a cost-effective alternative to preserving many film records that might be lost by the time digital technology is affordable.",
    "abstract$meta": {
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    "authors": [
      {
        "affiliation": "VCE, Inc., Sylmar, CA 91342",
        "bio": "Peter Kuran heads Visual Concept Engineering (VCE), an optical effects house he started at the age of 20. He began his career at George Lucas's Industrial Light & Magic, where he worked on such films as Star Wars, Star Trek II and V, Robocop 1, 2, and 3, Addams Family, Addams Family Values, GhostBusters 2 , and Beetlejuice . Following Star Wars , he worked on ABC's “Battlestar Galactica” and the feature films The Dark and Piranha , among several others, before returning to ILM to begin effects on The Empire Strikes Back . He then returned to Los Angeles to develop his company full time, working on such films as The Howling, Airplane, and Dragon Slayer. VCE was responsible for the visual effects for Oliver Stone's Nixon and Ed Zwick's Courage Under Fire , and is currently working on TriStar Pictures' Starship Troopers. Kuran has recently completed his own 92-minute documentary film, Trinity and Beyond , which uses previously classified government footage on the creation and testing of the atomic and hydrogen bombs over a 20-year period. Kuran used the RCI system to recreate and preserve original color negatives of the government film.",
        "name": "Peter Kuran"
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      "holder": "Society of Motion Picture and Television Engineers, Inc.",
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        "confidence": "high",
        "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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        "updated": "2026-05-22T21:44:19.125Z",
        "version": "smpte-journal-article-nlm@v1"
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      "year": "1997",
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        "confidence": "high",
        "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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    "docId": "10.5594-J15765",
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    "docLabel": "SMPTE Journal ( Volume: 106, Issue: 5, May 1997)",
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      "note": "Composed from venue title, volume/issue and date",
      "source": "inferred",
      "updated": "2026-05-22T21:44:19.125Z",
      "version": "smpte-journal-article-nlm@v1"
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    "docTitle": "Optical Restoration of Faded 35mm Color Negative",
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      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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      "version": "smpte-journal-article-nlm@v1"
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      "confidence": "high",
      "note": "Constructed from DOI 10.5594/J15765",
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      "version": "smpte-journal-article-nlm@v1"
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    "issn": {
      "print": "0036-1682",
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        "confidence": "high",
        "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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        "updated": "2026-05-22T21:44:19.125Z",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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      "version": "smpte-journal-article-nlm@v1"
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    "journalAcronym": "MIJR",
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      "confidence": "high",
      "note": "Parsed from journal_metadata XML (_source/SMPTE/APTARA/DL Project Files/08182015 BACKFILE JOURNAL FRESH/smptej_106_5/MIJR15Vol106No5.xml)",
      "source": "parsed",
      "updated": "2026-06-17T00:17:09.425Z",
      "version": "smpte-journal-issue-xml@v1"
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      "confidence": "high",
      "note": "Era-accurate journal title from SMPTE canonical repository (periodical parent at time of publication) (smpte-canonical-audit/canonicalLibrary.*.json)",
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    "number": "5",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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    "pages": "281–284",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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      "confidence": "high",
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      "updated": "2026-05-22T21:44:19.125Z",
      "version": "smpte-journal-article-nlm@v1"
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      "confidence": "high",
      "note": "Normalised to registry \"SMPTE\" convention from NLM publisher-name (The Society of Motion Picture and Television Engineers)",
      "source": "inferred",
      "updated": "2026-05-22T21:44:19.125Z",
      "version": "smpte-journal-article-nlm@v1"
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      "city": "White Plains, NY",
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        "confidence": "high",
        "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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        "updated": "2026-05-22T21:44:19.125Z",
        "version": "smpte-journal-article-nlm@v1"
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      "country": "USA",
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        "confidence": "high",
        "note": "Parsed from journal_metadata XML (_source/SMPTE/APTARA/DL Project Files/08182015 BACKFILE JOURNAL FRESH/smptej_106_5/MIJR15Vol106No5.xml)",
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        "updated": "2026-06-17T00:17:09.425Z",
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      "confidence": "high",
      "note": "Parsed from NLM article XML (_source/SMPTE/HIGHWIRE/Source Bak/smptej/10.5594_J15765.xml)",
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      "updated": "2026-05-22T21:44:19.125Z",
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        "confidence": "medium",
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    "volume": "106",
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      "confidence": "high",
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