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C02 hila abraham_digitization_moving_image


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Digitization of the moving image – do we only preserve content or also the medium? Between the art of technique and technique of the art (He)
Hila Abraham, Israel Film Archive - Jerusalem Cinemateque, Digitization and Access Project Coordinator

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C02 hila abraham_digitization_moving_image

  1. 1. ‫בין‬‫אמנ‬(‫ו‬)‫לשימור‬ ‫השימור‬ ‫ת‬‫האמנ‬(‫ו‬)‫ת‬ ‫ארכיונאי‬–‫נתונה‬ ‫שלו‬ ‫המחויבות‬ ‫למי‬?‫רוצים‬ ‫לא‬ ‫אנחנו‬ ‫מה‬ ‫ועל‬ ‫של‬ ‫והנגשה‬ ‫דיגיטציה‬ ‫על‬ ‫חולמים‬ ‫כשאנחנו‬ ‫לוותר‬‫הכל‬‫לכל‬ Hila Abraham Project Coordinator Digitization and Access Israel Film Archive / Jerusalem Cinematheque
  2. 2. 1895
  3. 3. 1895-2013
  4. 4. 1895-2013
  5. 5. 1895-2013
  6. 6. ‫פילם‬–‫חומרי‬ ‫בסיס‬
  7. 7. ‫מגוון‬ ‫מדיום‬ ‫הוא‬ ‫פילם‬,‫אחיד‬ ‫לא‬ •‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬ •‫הפילם‬ ‫פס‬ ‫רוחב‬ •‫צבע‬ ‫שיטות‬ •‫התמונה‬ ‫של‬ ‫מידה‬ ‫קנה‬ •‫פסקול‬ ‫סוג‬ •‫הבסיס‬ ‫סוג‬
  8. 8. ‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬
  9. 9. ‫מגוון‬ ‫מדיום‬ ‫הוא‬ ‫פילם‬,‫אחיד‬ ‫לא‬ •‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬ •‫הפילם‬ ‫פס‬ ‫רוחב‬ •‫צבע‬ ‫שיטות‬ •‫התמונה‬ ‫של‬ ‫מידה‬ ‫קנה‬ •‫פסקול‬ ‫סוג‬ •‫הבסיס‬ ‫סוג‬
  10. 10. ‫פס‬ ‫רוחב‬‫הפילם‬–‫טכנולוגיה‬/‫אסתטיקה‬
  11. 11. 35 mm 16mm 8mm
  12. 12. •‫וצורות‬ ‫גדלי‬‫הפרפורציות‬‫הפילם‬ ‫על‬ ‫ומיקומן‬ •‫הפילם‬ ‫פס‬ ‫רוחב‬ •‫צבע‬ ‫שיטות‬ •‫התמונה‬ ‫של‬ ‫מידה‬ ‫קנה‬ •‫פסקול‬ ‫סוג‬ •‫הבסיס‬ ‫סוג‬
  13. 13. ‫פילם‬ ‫בסיס‬ ‫סוגי‬ • Nitrate (35 mm 1895-1952) Safety film • Diacetate (16 mm 1923-1950s) • Triacetate (1940s-1990s) • Polyester (1990s-today)
  14. 14. ‫הנגטיב‬‫הפילמאי‬‫הוא‬ ‫המקור‬ ‫אובייקט‬ ‫מפיקים‬ ‫אנו‬ ‫שממנו‬ ‫חדשים‬ ‫עותקים‬,‫הוא‬ ‫המידע‬ ‫את‬ ‫מכיל‬ ‫הויזואלי‬‫ביותר‬ ‫הרב‬, ‫ביותר‬ ‫השלם‬ ‫ביותר‬ ‫והאותנטי‬.
  15. 15. ‫שימור‬ ‫עבור‬ ‫דיגיטציה‬ ‫בין‬ ‫להבדיל‬ ‫יודעים‬ ‫אנו‬ ‫האם‬ ‫הנגשה‬ ‫עבור‬ ‫לדיגיטציה‬?
  16. 16. Preservation Master / new master copy Access Master Access Copy
  17. 17. UNESCO Universal Declaration on Cultural Diversity November 2001 “Cultural diversity is made manifest not only through the varied ways in which the cultural heritage of humanity is expressed, augmented and transmitted through the variety of cultural expressions, but also through diverse modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the means and technologies used” Article 4
  18. 18. Within the field of moving images, it is stimulating and productive to consider the various gauges and emulsions of motion picture film and various formats of analog and digital video as languages – and even perhaps as dialects.
  19. 19. • The importance of maintaining a range of creative options for filmmakers. Choice is at the heart of creativity; and creativity is the driver of the commercial film and television industry. • Choice is at the heart of creativity; and creativity is the driver of the commercial film and television industry. It is this understanding that lies behind the evident will to ensure that talent is not restricted in the tools and mediums available with which to tell stories, communicate ideas, and entertain audiences.
  20. 20. • Media Plurality and Cultural Diversity • Access to content is not the same as access to an experience – isn’t experience a form of heritage as well?
  21. 21. • We don’t know enough yet on digital preservation of large AV files
  22. 22. ‫מדברים‬ ‫אנחנו‬ ‫מה‬ ‫על‬ ‫שימור‬ ‫על‬ ‫מדברים‬ ‫כשאנחנו‬ ‫קולנועי‬? ‫בין‬‫אמנ‬(‫ו‬)‫לשימור‬ ‫השימור‬ ‫ת‬‫האמנ‬(‫ו‬)‫ת‬