The restoration of Marcel Pagnol’s films is made in partnership with the Compagnie Méditerranéenne de Films, which holds the rights to Pagnol’s works, and Vision Globale, Quebec’s leading film restoration company with its software GeneSys. The restoration materials used were interpositives wet-gate printed from the original nitrate negatives, scanned at 2K resolution. One of the challenges of this type of restoration is recreating what the viewer’s initial experience might have been without an “original” image reference. After repeated testing of the calibration of the Digital Intermediate chain and extensive work on the black-and-white development settings, Vision Globale was able to achieve a contrast and density that were approved by Nicolas Pagnol, who spearheaded the project and is intimately familiar with his grandfather’s work. The sound was also restored through digital methods. It was Le Schpountz, made in 1938, that obviously presented audio restorers with the most problems. In addition to the poor quality of the sound recording – Marcel Pagnol, a great advocate of talking pictures, shot much of the film outdoors while audio techniques were in their infancy – some sequences had undergone significant physical deterioration over time.