RESTORATION: An objective and creative process. Krems, 23 September 2011 Thomas C. Christensen.

RESTORATION: An objective and creative process.Krems, 23 September 2011Thomas C. Christensen

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.

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.

• 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!

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.

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.

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.

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.

Edit informationTitle numbersTinting indications

Classic film restoration

The use of (secondary) grading tools

Substitution of image elements

Image stabilization

De-grain

Automated dust and scratch removal

Un-ethical digital restoration?

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