#RoFH

Restoration on Film Heritage
11–12 April 2017 in Ljubljana, Slovenia

Preliminary tweets by @RetoKromer

  • Working on my presentation «Before the restoration may start» at #Restoration of #Film #Heritage Symposium, 11–12 April, Ljubljana, Slovenia.
  • The programme of the #Restoration of #Film #Heritage Symposium (on 11–12 April in Ljubljana, Slovenia) is online:
    www.kinoteka.si/Files/pdf/1852.pdf
  • Heading to Ljubljana for the «#Restoration of #Film #Heritage» Symposium at the Slovenska Kinoteka on 11–12 April. Yet what’s the #hashtag?

Tweets during the symposium by @RetoKromer

  • David Walsh starts with «Restoration Rules!» from analogue to digital, from photochemical duplications to the digital possibilities.
  • David Walsh remembering the importance of testing when taking the photocheminal route.
  • The WRT (Walsh Restoration Threshold) curve is possibly not 100% serious, but is 100% useful for discussing the different scenarii.
    WRT
  • David Walsh is seriously questioning some common restoration procedures like image stabilisation, flicker removal & grain reduction.
    Digital restoration
  • Film technology is about scratches.
  • David Walsh: «Whatever you do, you need to record it.» ~ And this piece of information should be available.
  • Next speaker is Oliver Hanley on «Talkin’ About My Re-re-re-restoration!»
    #YaYaYa #ReReRe #RoFH
  • Oliver Hanley discussed pros and cons of film canons. With Броненосец «Потёмкин» and Metropolis as guest stars.
  • Tereza Frodlová on the importance of reference prints from the release time, and on a conservative approach of restoration as well.
  • We don’t have to cleen digitally the [analogue] dirty on Jiří Trnka’s working light table, explains Tereza Frodlová.
  • Jeanne Pommeau on Jan Kříženecký’s films and their digitisation.
    #HardcoreTyping
  • The Czech alphabet is quite easy: á, č, ď, é, ě, í, ň, ó, ř, š, ť, ú, ů, ý and ž.
    #HardcoreTyping
  • Hair in the gate: to remove or not to remove, that is the question.
    #VintageHair
  • Yay, Jonáš Svarltoš explains that the Czech National Film Archive in Prague uses #FFV1 and #Matroska to store 10-bit DPX contents!
    Matroska (MKV) / FFV1
  • Sorry, that question mark is not necessary…
    FFV1
  • Sorry, I’m not @dericed [Dave Rice] or @ablwr [Ashley Blewer]: I’m afraid, I’m unable to take pictures and tweet while presenting… See you again at noon!
  • The slides of my presentation «Before the Restoration» at #RoFH in Ljubljana this morning are available:
    reto.ch/training/2017/20170412/
  • And now it’s Davide Pozzi’s turn. He is reporting on «Technical and ethical aspects of the restoration [workflow]».
  • Davide Pozzi is presenting the chemical treatment applied on «Gado Gado» from @AFA_archive [Asian Film Archive]
    asianfilmarchive.org/item/gado-gado/
    chemical treatment’s report
  • Today most @fiaf1938 [FIAF] archives tend to keep the original technique used visible, and not to «improve» (mask ;-) it digitally anymore.
  • The colour correction is the most subjective step in the restoration workflow, therefore Davide Pozzi prefers to place it at the end.
  • Benjamin Lerena on «Benefits of being a lazy sound restorer», i.e. on the the poor relation of the film restoration.
  • «Don’t trust anyone.» – especially not to the officers of the French army…
  • Benjamin Lerena mentions also AEO-Light as a free software for sound extraction from the image of the optical sound tracks.
  • And – lady’s last – Annike Kross on «The ongoing evolution of restoring early colour films. Re-restoration of the Desmet collection».
  • Inspiring presentation by Annike Kross on revisiting the Jean #Desmet collection. Also on Noël Desmet – and @caseword [Dominic Case] et al. as well!
  • Bye bye, Ljubljana! #RoFH was a good one.

A tweet after the symposium by @retoch

A tweet after the symposium by @RetoKromer

  • I apologise to my symphonic orchestra for having had to travel a lot with me during the last three weeks.
    #ColourInFilm #seapavaa21 #RoFH

2017–12–10