Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez
Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez
Hrvatski filmski ljetopis, broj 26 (2001) - Hrvatski filmski savez
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ation of film emulsion as the two most fragile elements of<br />
film tape. These alarming figures are being partially reduced<br />
by the production of replacement film stock (new copies of<br />
film), which can be used for reproduction and storage.<br />
However, limited financial sources are the reason that some<br />
films do not have replacement copies. Moreover, in many<br />
small, poor countries even the filmmakers do not make<br />
copies, nor do the archives. The introduction of electronic<br />
recording (videotape), with all its advantages, the possibility<br />
of widespread usage, and finally digitalisation is opening<br />
new ways of dealing with the situation, but also introduces<br />
its share of problems. These particularly refer to the production,<br />
restoration and long-term storage of replacement<br />
copies. When working with an electronic medium, restoration<br />
and reconstruction happen at the micro level. In other<br />
words, digital system is used for the reconstruction of a single<br />
frame of film. Digital restoration begins with the scanning<br />
of each frame producing a digital video recording. Such<br />
video (electronic) recording is restored in a computer with<br />
the help of a specially devised software designed to make all<br />
the possible improvements (add colour, focus, eliminate<br />
vibrations, etc.), as well as eliminate all non-original parts of<br />
film footage added subsequently (mechanical faults, scratches,<br />
dirt, etc.). Eventually we obtain a new digital recording<br />
that is stored in the digital image store. Such a restored film<br />
picture is then being transferred on film tape via a film<br />
recorder. Digital recording does not only improve the technique<br />
of restoration of the original material but also enables<br />
the production of copies whose quality will not deteriorate<br />
over time. This was not possible with the classical mechanical<br />
and electronic analogue processes. Digital restoration<br />
makes it possible for a film to be well stored, while at the<br />
same time the stored material is more accessible. However,<br />
digital storage and restoration are facing serious problem.<br />
For example, it is difficult to establish the resolution of original<br />
films and to achieve the adequate resolution of the digital<br />
recording. The process of scanning presents another difficulty.<br />
There are no standardized procedures for scanning<br />
films that would satisfy the demands of archives, while the<br />
process itself is very slow and expensive. And finally, it is<br />
unavailable to most archives. The transfer of film footage to<br />
digital form and back does not yet give best results and the<br />
original picture looses some of its quality. These are the reasons<br />
why archivists display so much distrust and hesitate to<br />
accept the existing digitalizing technologies. They are particularly<br />
distrustful to the idea that digital recording should<br />
completely replace classical storing techniques, in other<br />
words, that we should allow the deterioration of the original<br />
footage on film tape. They emphasize that we should not<br />
preserve only the ’software’ picture, but also the hardware<br />
base of the original film footage and its representation —<br />
i.e. film tape and the original technology of storage and<br />
reproduction. Nevertheless, it is obvious that we must take<br />
into account the possibilities of digital technology, however,<br />
only as a parallel technology to the classical-archivist or as<br />
one of the phases in the process of restoration. Digital<br />
future demands that archivists set standards that the transmission<br />
— film — digital recording — film — has to satisfy.<br />
<strong>Hrvatski</strong> <strong>filmski</strong> <strong>ljetopis</strong> <strong>26</strong>/<strong>2001</strong>.<br />
(For example, the demand for transparency — the ability of<br />
digital technology to read all the information from various<br />
original film tapes and copies made in different phases; the<br />
demand for resolution that would correspond to the original<br />
(and reach the highest film resolution where achieved).<br />
A universal standard of transmission must be established<br />
among various digital (software) standards used in different<br />
countries and by different producers of digital technology.<br />
And finally, of course, the technology has to be economical<br />
and affordable to all). ANALITICAL CONTENT: The limitations<br />
of film medium / The progress of film technology /<br />
Video technology and various generations of electronic<br />
recordings / The restoration of film stock with the help of<br />
digital medium / The issue of resolution / Resolution in pixels<br />
/ Necessary resolutions in pixels for particular film<br />
footages / The scanning of film stock / The restoration of<br />
scanned picture / Transfer to film tape / The cost of digital<br />
restoration / Film tape used in transmission from digital<br />
recording to film tape / The restoration of faded colour<br />
films / Achievements and limitations of the photographicchemical<br />
method of restoration of film footage /<br />
Improvements of technical and technological quality of film<br />
/ Limitations and long-term passivity of the system of film<br />
archives / Photographic-chemical and digital restoration —<br />
subjective methods / Limited effectiveness of digital system /<br />
Distrust of film archivists due to unavailability, slowness and<br />
partial solutions of the digital restoration of film footage<br />
(Europe-USA) / European experiences / American experiences<br />
with the application of digital technology in the<br />
restoration of film stock / Conflicted interests of film<br />
archives and producers / Conclusions / Film archivists facing<br />
a new challenge / Disappearance of film infrastructure /<br />
Discovery of a new ideal medium for permanent storage of<br />
moving pictures / Epilogue / Notes / Bibliography.<br />
UDC: 791.44.02:004<br />
Sergej Ivasovi}<br />
Digital Editing<br />
On the operational level classical editing is a rather simple<br />
process. The editor pieces lengths of film into larger<br />
sequences, i. e. into a complete motion picture using special<br />
tools. On the creative level classical editing has one significant<br />
advantage: the editor (director, producer...) can choose<br />
which part of film he will be working on at any given<br />
moment. He has an absolute freedom of approach to all the<br />
segments of film material. This is a great incentive for the<br />
author’s creativity. However, the procedure also has many<br />
shortcomings. This mostly refers to the fact that the editor<br />
has to perform repeatedly a series of mechanical acts in a<br />
given time sequence in order to make a cut, regardless of<br />
whether the cut is good or not. The introduction of computers<br />
and digital technology in the production process<br />
solved all the above-mentioned problems, greatly changed<br />
the creative aspect of some of the key jobs in production<br />
while introducing a new time sequence of decision-making.<br />
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