Digital Restauration Practices

Presentation

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.

Part of this Programme

Film Heritage

Level of Qualification|Semesters|ECTS

| Semestral | 9

Year | Type of course unit | Language

2 |Mandatory |Português

Code

ULHT6353-23340

Recommended complementary curricular units

N/A

Prerequisites and co-requisites

n/a

Professional Internship

Não

Syllabus

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
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

Objectives

The objective of this CU is to provide students with basic practical skills in digital restoration. The teaching of these technical skills will be contextualized by theoretical and ethical reflections about the digital tools, the principles guiding the restoration of artworks, and the functioning of the audiovisual heritage market. At the end of the CU, students should know how to use key digital restoration techniques and tools from a critical and ethical perspective.

Teaching methodologies and assessment

This CU is formed by lectures and practical sessions in the ULHT color correction room, the discussion of assigned readings and of case studies, supplemented with field-trips.

References

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.

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