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00:00 The Musical Box 10:03 Supper's Ready 21:22 Return Of The Giant Hogweed 26:48 The Knife As featured in Rolling Stone: Donations for The Genesis Museum projects: Order our new limited edition book here: If you have 8mm/16mm Genesis or Peter Gabriel films, contact We transfer and restore them for free! It's only been a few years since we made the previous upgrade of this film () and ended up on countless podcasts and websites, so normally we wouldn't try another version so soon. But the 50th anniversary of the recording is here, and Ikhnaton wanted to try something different. We received a lot of comments and suggestions (and harsh criticisms) for our last that something we produced solely for the enjoyment of the fans could provoke such responses. So in this version we implemented some suggestions, disregarded some suggestions, and went off the map just to do something different. This is intended to be closer to a vintage, natural, more film-like version, so most of the processes we backed off on. But neither the film nor the audio recording are in great shape, so some magic was still required. We also brought in audio engineer Brian Kehew to work on the audio, to give another perspective to it. The results are not necessarily “better“ or “worse“ than our previous version, they are just a different way to look at the film. Some will like it and some won't. Welcome to the internet. Ikhnaton and The Genesis Museum, in association with Brian Kehew present Genesis Live from the Bataclan Club 10 January 1973 – 50th Anniversary Edition Ikhnaton & Technical Details: I started the process from the beginning again, as the mental cuts and scars from the last time around were almost . I used AI again this time, to bring out some of the details and clear some of the noise. Because there is a lot of light, the AI seems to be able to “read“ this film very well, enhancing things that we'd like to see enhanced, not enhancing the background too much, etc. Though this time around, I used a slightly different model. Then with AviSynth I cleaned the film of spots, dirt, and damage such as burns and scratches, and there were plenty. But since this is an automatic process and can leave artifacts, and sticking with the goals of this edition, I went lighter on the clean-up this time and left more of the grain. I added a little sharpness and some grain to add some overall detail and texture. The color is all based on a suggestion from Ikhnaton, who really wanted a warm vintage feel and I think this new look is very interesting and quite nice! I got a bit more detail and light out of the ending of The Knife, the part not on the master due to the added production and graphics, but of course this adds some noise. I skipped the frame interpolation this time, and although I like the motion better overall in the last version, I understand some viewers prefer the sharper look. There is always a choice between smooth/blurry and sharp/jittery and everything in between, this is just one of them. Audio details from Brian Kehew: My goal was to try to restore the sound as you might have heard it in the room, not as it sounds on a recording. To do this one of the main things just to pull out any ugly or strange frequencies that come up from the recording process through microphones, the tape Masters, or film prints. Other frequencies are kind of buried, and it's simple enough to bring them forward to give them more balanced natural sound, especially in the bass area, as the original of this was pretty bright sounding and lacking low end. There wasn't a lot of low end to work with though, so you just can't boost it alone. I have several tricks I used to bring up the low end, which not only affects things like low drums and the bass guitar, but it actually warms up the voice and keyboards and high range things as they also have some bass content. The original was mono, obviously because television was mono back in those days. But there are simple things we can do to shift some frequencies left and some to the right and this gives us some minimal stereo effect without sounding artificial. The cymbals were very sharp and clear on the original but the thump of the low drums was not, so it was a matter of trying to separate some drum parts and balance those a little better. Peter's voice also goes up and down quite a bit - even into distortion, so I was carefully dialing up and down those dynamics so we could always hear him clearly, same for the backing vocals. I was even putting back in some of the volume jumps and drops that they would have had live, trying to restore the volume changes they would have played on stage, and the punch of the drums that had been lost.
