Simposio ofrecido en 2011 manifiesta las inquietudes de la Conservación y Restauración Cinematográficas actuales.

1. C M Y CM MY CY CMY K
Digital Film Restoration
within Archives
Symposium 2011 Paolo Cherchi Usai / George Eastman House
The digital future of analogue
film archives
The transition from analog to digital entails profound
changes in the mission, rationale, and overall strategies
of moving image archives. Its ramifications involve in
equal measure the acquisition, preservation and pre-
sentation policies of collecting institutions worldwide.
According to some, this transformation is calling into
question the very existence of the “film archive” as it has
been known for almost a century, as well as the traditional
values connected to its modus operandi. The aim of this
presentation is to provide a concise summary of the main
issues at stake on an international perspective, with
special emphasis on the relationship between history,
technology and culture in the digital domain.
David Walsh / Imperial War Museum
There's no such thing as digital
restoration
Early users of high resolution digital scanning of film, and
of the software for manipulating the resulting scans, were
able to justify the huge expense involved by claiming that
they were restoring films. As the cost of digital processes
falls to a level within the reach of even modestly-funded
archives, more and more restorations are announced
each year. But how many of these really are restorations?
And is the label digital restoration just a meaningless
attempt to gain publicity?
Giovanna Fossati / EYE Film Institute Netherlands
Grain and pixel. Preserving,
restoring and presenting film in
transition
In this presentation I will introduce some of the concepts
elaborated in my book From Grain to Pixel. The Archival
Life of Film in Transition (Amsterdam University press,
2009), which are meant as theoretical tools for
investigating film archival practice. This is particular
important today that such practice is deeply changing,
due to the transition from analog to digital technology.
By illustrating a number of recent projects, I will discuss
the current practices of film preservation, restoration
and exhibition, focusing on the challenges and questions
both the theorist and the archivist are dealing with today.
Katsuhisa Ohzeki / Fuji Film Corporation
Photographic film technology for
digital image preservation
Fusion of photographic film technology and digital
technology leads to the most stable and reliable system
for long-term preservation and precise reproduction of
motion images. Excellent reproducibility was confirmed
by comparison of both analog image quality and digital
data obtained from original color negatives and those
obtained from B, G and R separation B/W negatives. It
was found that the image preservation on the B/W
separation film has advantages in terms of resolution and
color reproduction. Further, life expectancy of silver image
of appropriately designed B/W film was estimated for
more than 1000 years.
SimonaMonizza/ EYE Film Institute Netherlands
Stretching the borders: the
preservation of artist's films
By using some practical case studies the archive has
dealt with recently, the presentation will focus on the
advantages and challenges encountered while digitally
restoring non-standard formats. It will also concentrate
on the shift in perception and its consequences which is
occurring when analogue installation work undergoes
migration and digital ‘upgrading’.
Reto Kromer / reto.ch Ltd
The preservation of home movies.
A field report.
The presentation wishes to distillate some expertise
gathered from the field during a quarter of century. This
reports from the difficulties to respect the ethical
principles of conservation and restoration inside the
specific field of home movies, especially with the ongoing
move from analogue to digital. It illustrates the wast area
of experimenting made by small gauge amateurs, and how
the digital techniques give us today improved possibilities
for both preservation and presentation of this heritage
to a modern audience.
Martin Koerber / Deutsche Kinemathek –
Museum für Film und Fernsehen
Who are these new archivists?
The lecture will try to address the question what the
archivist of the future has to know, or even what he will
have to do. Who will these people be, who are well-versed
in current technology, and but also know everything and
anything about heritage technologies long gone, and how
will they be able to translate the content from the past
into the systems current in the future?
Thomas Christensen / Danish Film Institute
Restoration – an objective or
creative process
Even though many restorations aspire to re-create history
as it was, both modern technology and human inter-
pretation play a significant role in (re-)shaping the
authenticity of restored films. Digital restoration offers
many new tools, which were not available in analogue
restoration. With new and more powerful tools at disposal
come new opportunities and sometimes also new risks.
Matteo Lepore, Adriana Noviello, Raoul Schmidt /
Austrian Film Museum
Small gauges and digital:
a rediscovery
Today’s digital tools for motion picture film offer a chance
to rediscover an often forgotten section of cinema: the
small gauges. Having also experimented with the works
of some major experimental filmmakers, the Austrian Film
Museum shifted its focus also on the amateur heritage,
using digital as a mean for rehabilitating extraordinary
documents and art masterpieces of the past, which are
living on obsolete gauges as 9.5 mm. However the practice
of preserving, or migrating film on different gauges or on
different media raises significant ethical and practical
questions, ranging from preservation to fruition issues.
Fumiko Tsuneishi / Filmarchiv Austria
Pragmatic solutions for
problematic sources
Filmarchiv Austria uses besides classical also digital
methods for restoring and preserving the austrian film
heritage, but when dealing with early nitrate material a
lot of difficulties can occur. Not just because of the
physical defects, but also due to the technical standard
of the time, which is quite different from today. This
presentation shows some of the problems as well as
current solutions.
Peter Schallauer / JOANNEUM RESEARCH
Film and Video Quality
Assessment Tools for Digital
Preservation Management
Manual quality control of audiovisual media is a very time
consuming, and therefore expensive activity within the
media production, delivery, archiving, archive migration
or archive re-use processes. For automatic quality control
of digital audiovisual media only some tools have been
developed. Mainly technical properties of the digitals files
can be checked, e.g. encoding-, stream- or file wrapper
standards compliance. Other automatic tools like checking
the quality of the video or film images itself are missing.
The goal of our work is to develop efficient tools for
content based visual quality assessment. We present our
recent research results for detecting automatically various
video and film impairments, as there are frozen frames,
noise and grain, video breakup's and more. In order to
facilitate interoperability and exchange of impairment
related metadata between different tools and systems, a
standardized way of describing visual impairments is
presented. The developed interactive ’AV-Inspector
Summary‘ tool allows for efficient final human judgment
of the digital film and video quality.
Programme
Symposium content
Wednesday, September 21, 2011
20.30
>> Opening screening
SENSO (IT 1954, Luchino Visconti, 123 min., Italian with English subtitles)
restored by StudioCanal, Centro Sperimentale di Cinematografia-Cineteca
Nazionale, and Cineteca di Bologna at L’Immagine Ritrovata. Restoration
funding provided by Gucci, The Film Foundation, and Comitato Italia 150.
Introduction: Céline Stéphanie Pozzi (L’Immagine Ritrovata)
Thursday, September 22, 2011
10.00-12.30
>> Opening speech
Alexander Horwath (Austrian Film Museum) /
Thomas Ballhausen (Filmarchiv Austria)
>> The digital future of analogue film archives
Paolo Cherchi Usai (George Eastman House)
>> There's no such thing as digital restoration
David Walsh (Imperial War Museum)
14.00-16.00
>> Grain and pixel. Preserving, restoring and presenting film in transition
Giovanna Fossati (EYE Film Institute Netherlands)
>> Photographic film technology for digital image preservation
Katsuhisa Ohzeki (Fuji Film Corporation)
16.30-19.00
>> Stretching the borders: the preservation of artist's films
Simona Monizza (EYE Film Institute Netherlands)
>> The preservation of home movies. A field report
Reto Kromer (reto.ch Ltd)
20.00
>> Screening
BEYOND THE ROCKS (USA 1922, Sam Wood, 80 min., silent)
restored by EYE Film Institute Netherlands, live piano: Elaine Brennan
Introduction: Giovanna Fossati
Friday, September 23, 2011
9.00-10.30
>> Who are these new archivists?
Martin Koerber (Deutsche Kinemathek – Museum für Film und Fernsehen)
>> Restoration – an objective or creative process
Thomas Christensen (Danish Film Institute)
11.00-12.30
>> Small gauges and digital: a rediscovery
Matteo Lepore, Adriana Noviello, Raoul Schmidt (Austrian Film Museum)
>> Pragmatic solutions for problematic sources
Fumiko Tsuneishi (Filmarchiv Austria)
14.00-15.00
>> FilmandVideoQualityAssessmentToolsforDigitalPreservationManagement
Peter Schallauer (JOANNEUM RESEARCH)
15.30-17.00
>> Round table
19.00
>> Screening of restored works
Austrian Film Museum, Filmarchiv Austria
20.00
>> Screening
METROPOLIS (GER 1927, Fritz Lang, 152 min., silent with German intertitles)
restored by Friedrich Wilhelm Murnau Stiftung
Introduction: Martin Koerber
Moderation: Thomas Ballhausen (Filmarchiv Austria),
Oliver Hanley (Austrian Film Museum)

2. C M Y CM MY CY CMY K
Thomas Ballhausen
is Researcher at the Filmarchiv Austria (Austrian Film
Archive) and teaches at the University of Vienna. His
research centres on intermediality, film history and archive
theory. He has published several literary and scientific
books, his collection of essays “Delirium und Ekstase.
Die Aktualität des Monströsen” (Delirium and Ecstasy.
On the Actuality of Monstrosity) was published in 2008.
Paolo Cherchi Usai
Senior Curator of Film, George Eastman House. He was
director of the Haghefilm Foundation in Amsterdam, is
Curator Emeritus of the National Film and Sound Archive
of Australia, co-founder of the Pordenone Silent Film
Festival and of the L. Jeffrey Selznick School of Film
Preservation at George Eastman House in Rochester, New
York. A Resident Curator of the Telluride Film Festival, he
is the author of the experimental feature film Passio
(2007), adapted from his book The Death of Cinema:
History, Cultural Memory, and the Digital Dark Age (2001).
Among his other books are Silent Cinema: An Introduction
(2000), David Wark Griffith (2008), and Film Curatorship:
Archives, Museums, and the Digital Marketplace (2008),
co-written with David Francis, Alexander Horwath and
Michael Loebenstein.
Thomas C. Christensen
After finishing his M.A. in film studies at the University
of Copenhagen in 1993, he received a stipend to study at
the University of Wisconsin-Madison for a year. Upon his
return to Denmark in 1994 he taught film history, film
analysis and video production at the University of Copen-
hagen and the University of Aarhus. In 1998 he was ap-
pointed Curator at the Danish Film Institute, where his
main areas of responsibility are acquisition, preservation
and restoration of Danish cinema. He has supervised
several full digital intermediate restorations and a series
of DVD publications. He served as Head of the FIAF Tech-
nical Commission 2006-2011. In April 2007 he finished a
two year project on the lost films of Danish actress Asta
Nielsen. Currently he is involved in the EU/eContent
project European Film Gateway, and also serve as Secre-
tary General of the Association des Cinematheques Euro-
peennes (ACE).
Giovanna Fossati
is Head Curator at EYE Film Institute Netherlands (for-
merly known as Nederlands Filmmuseum). She holds a
PhD in Media and Culture Studies from Utrecht University
and teaches in the MA Preservation & Presentation of
the Moving Image at the University of Amsterdam.
Oliver Hanley
is a researcher at the Austrian Film Museum in Vienna.
He received his BA in film studies from the University of
Kent, Canterbury, in 2005 and his MA in "Preservation
and Presentation of the Moving Image" from the University
of Amsterdam in 2008.
Alexander Horwath
born 1964 in Vienna, is the director of the Austrian Film
Museum in Vienna since 2002. He was director of the
Viennale / Vienna International Film Festival (1992-97),
curator of the DOCUMENTA 12 film programme (2007),
and has created film programmes and exhibitions since
1986. Apart from his work as a film critic, he has written
or (co-)edited several books in German, English and
Italian, on topics such as U.S. Cinema in the 1960s and
1970s (1994, 1995, 2004), Michael Haneke (1991, 1998),
Austrian Avant-Garde Film (1995, 2003, 2005), Josef
von Sternberg (2007) and Film Curatorship (2008),
among others.
Martin Koerber
curator film at Deutsche Kinemathek - Museum für Film
und Fernsehen in Berlin. After studies in media, art history
and musicology at Freie Universität Berlin Koerber worked
in film production and then began to collaborate in projects
with Deutsche Kinemathek, Nederlands Filmmuseum,
Deutsches Filminstitut and others. Restorations of many
classic German films since 1988, among those was ME-
TROPOLIS in 2001, and again in 2010 after the missing
sequences were found in Argentina in 2008. Since 2003
professor for restoration of audiovisual media and pho-
tography at Hochschule für Technik und Wirtschaft Berlin,
University of Applied Sciences.
Reto Kromer
graduated in mathematics, became involved in audio-
visual conservation and restoration as early as 1986.
From 1998 to 2003 he was head of preservation at the
Swiss Film Archive, in charge of cataloguing, conservation
and restoration of the film collection. Since 2004 he runs
his own facility, which provides comprehensive services
that encompass the whole range of moving image preser-
vation. He is currently a lecturer at both the Berne Uni-
versity of Applied Sciences and the University of
Lausanne.
Matteo Lepore
studied cinema restoration, history and theory in Bologna
and Amsterdam. He worked in the Museo Nazionale del
Cinema of Turin and is member of the Digital Restoration
department of the Austrian Film Museum.
Simona Monizza
born 1969 in Bari, Italy. BA in Modern Languages and
Literature, 1995, University of Bari, Italy. Graduated at
the Selznick School of Film Preservation in Rochester
USA in 1997. Worked at the BFI Collection Department,
UK from 1998 to 2000. Since 2000 employed at the
Nederlands Filmmuseum in Amsterdam (now EYE Film
Institute Nederland) as Film Restorer and from 2010 as
Experimental Film Collection Specialist at the Film Coll-
ection Department.
Adriana Noviello
Achieved a post graduate degree in Cinema, Television
and Multimedia Production. She worked at L'Immagine
Ritrovata and participated to the restoration of the
Lumière Brothers Shorts, La Dolce Vita by Federico Fellini,
Senso by Luchino Visconti, Les enfants du paradis by
Marcel Carné, Le amiche by Michelangelo Antonioni and
others.
Katsuhisa Ohzeki
studied measured chemistry at Kyoto University and
received doctor’s degree from Tokyo Institute of Techno-
logy. He has engaged in research and development of
photographic films since 1983 at FUJIFILM Corp.
He is a member of the board of directors of The Society
of Photographic Science and Technology of Japan
(SPSTJ).
Céline Stéphanie Pozzi
has been working at L'Immagine Ritrovata laboratory
since 2003 and she is now the digital restoration de-
partment coordinator. She has lectured and trained digital
restoration at several institution and archives as Rome
University "La Sapienza", Istituto Luce in Rome and Mimar
Sinan University in Istanbul.
Peter Schallauer
has been working with JOANNEUM RESEARCH since 1995
as scientific and development coordinator for creating
numerous digital video systems and technologies. Systems
for high quality digital film restoration (DIAMANT), auto-
matic film and video content analysis, content description,
information mining and content based retrieval, efficient
digitization and documentation of audiovisual archives,
semantic analysis of video, traffic video analysis and
efficient human computer interaction. During the recent
years he and his colleagues focused their research on
content based, reference free video and film quality ana-
lysis tools for improving the efficiency of preservation
and production processes.
Raoul Schmidt
Raoul Schmidt graduated with an M.A. in Experimental
Photography from the Viennese Academy of Fine Arts in
2004. After working as a free lance media producer, he
joined the team of the Austrian Film Museum in 2006,
working in its film archive and, since 2008, on in its digital
restoration projects.
Fumiko Tsuneishi
MA. is archivist at Filmarchiv Austria and university lec-
turer. After studying law and interdisciplinary cultural
studies at University of Tokyo, from 2000 she worked as
assistant curator at National Film Center in Tokyo and
organized some of the first digital film restoration projects
in Japan. Since 2006 she works on both digital and
analogue film restoration projects at Filmarchiv Austria.
David Walsh
has worked at the Imperial War Museum since 1975,
having studied Chemistry at Oxford University. From an
initial project to study the decomposition of cellulose
nitrate film, he has established himself as an expert in
the preservation of film and video, and is a respected
international authority in this field, having become Head
of the Technical Commission of the International Federa-
tion of Film Archives (FIAF) in 2011. His work includes
teaching film archivists from around the world through
the annual FOCAL International Footage Training Week
and at the FIAF Summer School. He is currently respon-
sible for the Museum’s strategy for digitisation and for
long-term preservation of digital media.
DigitalFilmRestoration
withinArchives
Symposium2011/
Programm
Referents
DigitalFilmRestoration
withinArchives
Symposium/
21.–23.09.2011
ÖsterreichischeFilmgalerie,amcampuskrems,Dr.-Karl-Dorrek-Str.30,A-3500Krems,T.02732/908000
ÖsterreichischeFilmgalerie,amcampuskrems,Dr.-Karl-Dorrek-Str.30,A-3500Krems,T.02732/908000
„Inthecontextofthedigitalera,filmarchivesarefacingmajorchallenges.Whatdoesthefutureof
analoguefilmarchiveslooklike?Whatarethepossibilitiesofdigitalfilmrestoration,wherearethe
boundaries?ThesearecrucialquestionsIconstantlyfocusonwithinmyculturalpolicywork.This
Symposiumisdesignedasaplatformfordiscussionsontheseimportanttopics,withtheparticipation
ofrenownedinternationalexperts.Paneldiscussionsandpracticalworkshopswillgiveanoverview
ofthemostrecentandessentialfocalpointsthatarerelevantinthefieldofdigitalrestoration.Several
screenings–alsoofrestoredworks–willroundofftheprogrammeandwillbringyoubacktothecore
ofthearchivalwork:thefilmitself.Iwishallparticipantslivelyandfruitfuldiscussions!“
ClaudiaSchmied,FederalMinisterforEducation,ArtsandCulture
„Theprojectofdigitalfilmrestorationisamodelco-operationbetweentheAustrianFilmGallery,the
AustrianFilmMuseumandtheFilmarchivAustriathatismadepossiblethroughequalco-financingby
theFederalProvinceofLowerAustriaandtheFederalMinistryforEducation,ArtsandCulture.Only
basedonthisbundlingofforcesandknow-howcanwefacethisgreatandimportantchallengeofthe
preservationofourfilmicheritage.OnthatnoteIwisheveryoneasuccessfulsymposiumandan
inspiringandsustainableexchangeofexperiences.“
ErwinPröll,GovernoroftheFederalProvinceofLowerAustria
ÖsterreichischeFilmgaleriethanksallitssponsorsandpartnersfortheirsupport.
WordsofWelcome