Download - RESTORATION: An objective and creative process. Krems, 23 September 2011 Thomas C. Christensen
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RESTORATION: An objective and creative process.Krems, 23 September 2011Thomas C. Christensen
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Preservation vs. Restoration
Preservation is the long term conservation of an original film element, or as authentic a duplicate as possible thereof.
Restoration is the re-creation of a screening element adhering as closely to the original screening experience as possible.
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DET DANSKE FILMINSTITUT / DANISH FILM INSTITUTE
To preserve is to show
Both preservation and restoration aim to give access to film heritage for present and future audiences.
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• Analogue film laboratories are closing
• Analogue film screenings will soon only happen in archive theatres
• Archive film theatres must be equipped to screen digital film elements to be able to screen new films
• Archive holdings must be digitized to provide access
The (Digital) Future is Now!
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Preservation
• Analogue films can be stored cold and dry for centuries without need for migration/duplication.
• Digital preservation is a parallel activity to passive storage of analogue film and will require additional funding.
• Digital and electronic media are prone to hardware, software, file format and runtime obsolescence. Migration and refreshing is an ongoing activity.
• Digital preservation is a complex activity and not cost efficient compared with analogue preservation.
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Restoration
• Digital restoration offer many magnificent tools, which allow powerful manipulation.
• Film archives must strive for authenticity.
• Film archives have a moral obligation to retain the link to the film as a heritage element and to not over-restore.
• Film archives must engage in digital restoration and production of digital film elements in order to develop a professional discourse on ethical standards in digital restoration.
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Creativity in film restoration
Be creative in regards to technology and access technology.
Be careful not to loose quality and authenticity.
Creative re-use and re-purposing of heritage objects can be powerful components in new cultural products. However, the historical value of a heritage object is based on retaining an unbroken link to the past.
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Access and Programming
• Digital access can create new users and uses, generating new cultural value beyond imagination.
• DCP distribution will open up wider distribution of heritage films, also to non-FIAF venues.
However:
• This requires film archives to actively create authentic digital cinema quality elements, especially of public domain and orphan films.
• Analogue film archive ethics still apply, they must just be translated into digital.
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Edit informationTitle numbersTinting indications
Classic film restoration
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The use of (secondary) grading tools
Substitution of image elements
Image stabilization
De-grain
Automated dust and scratch removal
Un-ethical digital restoration?
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http://www.dfi.dk/Nationalfilmografien
http://www.dfi.dk/FaktaOmFilm/European-Film-Gateway/EFG-–-A-Key-To-The-Moving-Images-Of-Europe.aspx
http://www.dfi.dk/Filmhuset/Filmarkivet/Artikler-og-links/Artikler-om-filmbevaring.aspx
http://www.dae-filmheritage.eu/mediapool/100/1000452/data/DAEFH_Consultation_Paper_FINAL.pdf
Links