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.

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

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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.