SD/HD to 4K and 8K; Indian film restoration is on the rise, more than ever

When Shanichari, played by Dimple Kapadia, performed the hardened woman on screen in Rudaali (1993), it was a revolution in the lives of women from a small Rajasthan village, which the film portrayed with all its grace, a glimpse of which was visible again in November with the restored screening of the film. 

November remained the showcase of Indian films in Goa with the restored Umrao Jaan, Gaman, Rudaali, Muraliwala, Pyaasa, along with others at the International Film Festival, 2025, and at the backend of the restoration was the Prasad, which has been restoring films since 1956. 

From the lyrical grace and haunting performances of Umrao Jaan, to the aching humanism of Gaman, the sociopolitical resonance of Rudaali, the cinematic experimentation of Subarnarekha, and the eternal poetry of Pyaasa, each film was restored for screening at the festival about which, Abhishek Prasad, Director and CTO at Prasad, said, “Restoring these films is both a responsibility and a privilege.” 

He mentioned how each title carries within it a piece of India’s cultural memory; the craft, courage, and creativity of filmmakers who defined the cinematic language.

Prasad’s teams employed digital restoration, colour grading and final Mastering & QC, ensuring that every frame, texture, and sonic detail is preserved with fidelity while remaining true to the filmmaker’s original vision. All the titles were handled by the team of Prasad through NFDC-NFAI under the National Film Heritage Mission by the Indian Government. 

“We were involved in the 4K digital restoration, Colour Grading and Full mastering that included DCP and MOV files for archiving and future use,” the team states. 

How restoration process changed? 

In the decades of the business that Prasad has been in, at least in the last 20 years, they have observed the change. “Restoration has moved away from laborious, manual frame-by-frame correction to highly efficient, AI-driven automated processes capable of achieving unprecedented quality and accessibility,” Mr. Prasad says. 

Talking to Local Samosa, he further says, “Today we still have Pristine restoration, which is manual and also automated, assisted by technology. The output quality is more dependent on the end need. Simultaneously, the scanning resolutions have moved from SD/HD to 4K to 8K now.”

Prasad is one of the very few companies that can also restore in 8K. With the data exploding with 4K/8K, advancements in computing power, data compression, and cloud-based solutions have made managing and processing these massive files feasible.

‘Not an easy task’

However, it is not all without the challenges that come with the operations. “One of the biggest challenges in digital restoration today is the condition and quality of the source material we receive. Even though the restoration process is digital, the input, whether film reels, tape formats, or early-generation digital files, may have suffered damage over the decades, resulting in issues like fading, scratches, flicker, unstable frames, noise, and missing information.”

Mr. Prasad also highlights how translating these imperfect sources into pristine, high-resolution masters demands a combination of advanced technology and highly skilled restoration artists. 

“Another major challenge is the shortage of trained digital restoration professionals. While AI-assisted tools have accelerated workflows, they cannot fully replace the human expertise needed to make aesthetic decisions, interpret original intent, and retain the artistic integrity of the film. Without sustained investment in training new talent, the industry risks facing a widening skills gap.”

The restoration companies have always faced a threat of authentic balance to maintain the modern viewing expectations, as the entrepreneur says. “Every restoration project requires careful judgment—how much should be corrected, cleaned, or enhanced without altering the film’s original texture or creative vision? This equilibrium is essential to ensure that classic films feel fresh and accessible while still staying true to the filmmaker’s intent.”

A trend of restoration

With the current restoration works and in view of the number of film restoration projects and screenings going on in the country, it won’t be wrong to say that the restoration has already become a trend, and Mr. Prasad agrees. “Digital restoration is experiencing unprecedented momentum, driven by several industry and cultural shifts.” 

Talking about the reasons further, he says, “Globally, governments and cultural institutions are prioritising the preservation of cinema as an essential part of national heritage. In India, initiatives like NFHM (National Film Heritage Mission) have further accelerated this movement.”

In the current times, Film Heritage Foundation has garnered significant recognition among young audiences, as evidenced by the seemingly endless queues for the restored films at heritage single-screen theatres like Regal Cinema in Mumbai. 

“The explosion of OTT and digital platforms has created a massive demand for high-quality content. Restored classics in 4K and beyond now have a second life—whether on streaming, in theatres, or at film festivals—introducing younger audiences to cinematic gems with clarity and visual depth that were never possible during the original releases,” Mr. Prasad adds. 

Prasad, tapping on the trend, is working with filmmakers, studios, and government bodies to bring iconic titles back to screens—often in formats like 4K or 8K that resonate with today’s viewers. “The trend is only growing, as both creators and audiences recognise the cultural and commercial value of reviving timeless films with modern brilliance,” the company’s owner shares.