Class Digital Restauration Practices

This CU relates how the audiovisual heritage market works with digital restoration practices; distinguish the processes of digital migration, preservation, and restoration; adopt a critical and ethical attitudes towards the possibilities and the limits of digital restoration practices. Practice of the Diamant restoration software.

Not applicable

1. The digital context 1.1. The transition to digital cinema: histo¿ria, theory and practices 1.2. The audiovisual heritage’s market and the eco-system 1.3. Pri¿nciples and challenges of digital preservation 2. Digital restoration practices (software Diamant) 2.1. Guidelines and ethical limits of the restoration of works of art 2.2. Defects and characteristics: getting to know film and video masters 2.3. Digital restoration workflows for/by cinematheques 2.4. Critical reviews of case studies 3. Digital restoration techniques 3.1. Colour spaces 3.2. Restoration techniques 3.3. Grading 4. Practical exercises

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COSTA, Jose¿ Manuel. (2018). The Place of Analogue and the Double Life of Digital. Journal of Film Preservation 98, abril, 17-24. NOWAK, Anne. (2012). Digital Cinema Technologies from the Archive’s Perspective. Bruxelas: FIAF Technical Commission. https://www.fiafnet.org/images/tinyUpload/E-Resources/Commission-And-PIP- Resources/TC_resources/Nowak%20-%20Digital%20Cinema%20Technologies%20v2.0%20FIAF-TC_final%20V1.1.pdf USAI, Paolo C. (2014). The Lindgren Manifesto: The Film Curator of the Future. In Film Manifestos and Global Cinema Cultures: A Critical Anthology. Scott MacKenzie (ed.). Berkeley: University of California Press, pp. 558-559. WALLMU¿LLER, Julia. (2007). Criteria for the Use of Digital Technology in Moving Image Restoration. The Moving Image, Volume 7, Number 1, Spring, pp. 78-91. https://doi.org/10.1353/mov.2007.0032 ORAN, Andrew. ROTH, Vince. (2012). Color Space Basics. AMIA Tech Review (Issue 4), pp. 1-22.