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The fact that the projector could display accurate colors under normal indoor lighting was impressive, but not the most important part—at least not in terms of cinema itself.
What truly stood out was the image quality.
Although the image wasn't being shown on a full cinema-sized screen, the projection surface was still far larger than any commercially available television.
And yet, even at that scale, there was almost no noticeable loss of detail.
Eyebrows. The corners of the eyes. Fingertips. The subtle facial expressions and delicate body language that are vital to film—each was rendered clearly. The fine details of the set design were even more striking.
Most people present weren't old enough to have seen this classic in theaters when it was originally released. They had only watched it on VHS or through television movie channels.
The details lost on a TV screen were now fully restored. For those fluent in cinematic language, the very same shots now conveyed far more information. How could the directors not be astonished?
More importantly, the projector in use was not a cinema-grade film projector.
Which meant this was not being projected from film stock.
Traditional cinema projectors use bulbs that flicker at a specific frequency to match the movement of film reels—they are not continuously lit.
In other words, the bulb lights up only when a frame aligns properly in front of it, projecting that single frame onto the screen. During the reel's movement between frames, the bulb switches off.
This happens extremely quickly—24 frames per second—fast enough for the human eye to perceive smooth motion. That's why the light appears continuous.
But flickering light and steady illumination are fundamentally different. Laypeople might not detect it—but professionals certainly could.
That was how the directors present confirmed that what they were watching was not film projection.
If it wasn't film—and given Stark Pictures' recent technological developments—then everyone knew exactly what this demonstration was.
Several directors deeply interested in film technology—Steven Spielberg, James Cameron, and others—gathered around Henry, firing off questions about technical specifications and the restoration process.
Henry held nothing back, engaging them earnestly in discussion.
Then a voice cut in from behind:
"How old was Katharine when she made this film?"
Under normal circumstances, interrupting like that would have been rude. But no one dared challenge the woman who had spoken. The crowd instinctively stepped aside.
Even those who didn't recognize her were quietly informed by others nearby. At this level, everyone was perceptive enough to retreat and observe.
Henry turned around and saw a couple he had met only once before.
"Mr. Mellon. Mrs. Lambert. It's been a long time."
Though he mentioned only their surnames, that was enough. Everyone present immediately recognized them:
Paul Mellon and Rachel Lambert Mellon—members of one of America's most prominent old-money families.
Henry had once met them while representing Audrey Hepburn, introduced by Hubert de Givenchy. It was they who had lent their private jet to transport Hepburn back to Switzerland for recovery after surgery.
Paul Mellon extended his hand first.
"Congratulations, Mr. Brown, on your achievements today. I hope you won't mind that my wife and I arrived uninvited."
Henry quickly shook his hand.
"It's an honor for Stark Pictures to have you here. We're delighted—how could we possibly mind?"
At most American events—unless they are highly private affairs—there are certain individuals who simply don't need invitations.
The event staff had done well not to bar guests of this stature at the door. This wasn't a military base requiring clearance.
Though perhaps they had failed in not informing the host beforehand—leaving Henry momentarily caught off guard.
Then another voice entered, edged with rivalry.
Tony Stark approached, saying:
"The most valuable resource humanity has is intelligence. Keeping someone like him at your side as if he were a bulletproof vest—that's the real waste.
"That's like sending Einstein or Oppenheimer to the front lines as infantry. Though Hemingway might've managed—once he's had a few drinks, he sounds like he could single-handedly punch through a division."
Paul Mellon replied, soft yet firm:
"The usual approach to a startup is to invest modestly and observe the outcome. Only if it proves its value does one absorb it into the larger enterprise.
"Handing an established company directly to someone unproven—that's not conventional business practice. Betting everything on a man without results to show for himself carries as much risk as drilling for oil at random."
Tony didn't yield.
"That's the old-school 'let results speak' theory. I'm young. Acting a little crazy comes with the territory.
"If I'd done everything by the book, Stark Industries would've been dismantled by now."
Sensing sparks nearing the fuse, Henry quickly intervened.
"Mrs. Lambert—you asked earlier about this film.
"It was released by Stark Pictures in 1932. Katharine Hepburn was 24 at the time. It was her first Hollywood film after transitioning from stage success.
"Our engineering team has used the latest computer technology to digitally restore original film reels. We've corrected damage from mold and decay and preserved every detail from the original 35mm stock."
Rachel Lambert gently looped her arm through Henry's—careful not to block the projector light—as they stepped closer to the screen.
"Sometimes I envy them," she said softly. "To preserve their most beautiful years, remembered forever."
Henry smiled.
"Madam, I remember well the contributions you and Mr. Mellon have made to preserving culture.
"From da Vinci to Van Gogh, Monet to Cézanne, to Mark Rothko—these artists may have become names in history.
"But without patrons and preservers like you, their works might have faded into dust, forgotten in some obscure corner of time.
"Film is the same.
"If these reels simply sit in storage, they'll decay. The so-called classics would survive only as memories—no one would ever see them again.
"This same technology can be applied to photographs and negatives—and even go further. For example…"
Henry snapped his fingers.
"Gentlemen—play the colorized version."
Immediately, engineers began adjusting settings at the computer.
The directors and producers watching closely noticed an interface on the projection screen—strikingly similar to Windows 95.
That confirmed it beyond doubt: the projector was connected to a computer. There was no hidden film projector anywhere.
The second segment began.
The same scene as before—but now in color.
The figures came alive. Gasps spread through the room.
These were Hepburn's highlight moments. She seemed to command the entire frame—her skin luminous on the large screen, radiating the vitality of her most beautiful years.
And in that moment, cinema itself felt reborn.l
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