Film & Vídeo restoration

Restoration, genealogy and palimpsests. On some historiographical questions

by Giorgio Bertellini

Optical Flow Guided TV-L1 Video Interpolation and Restoration

by Manuel Werlberger

'Cinema Distribution in the Age of Digital Projection'

by Charlotte Crofts

Forthcoming in Post Script special volume on Distribution edited by Dean Conrad.

In this paper I explore the different ways in which digital projection has been adopted by the cinema distribution and... more In this paper I explore the different ways in which digital projection has been adopted by the cinema distribution and exhibition industries in the UK, the European Union (EU) and the United States, arguing that whilst in America digital projection has largely been embraced on a commercial basis, in Europe, where there was initially a slower take up of digital distribution, there has been a tendency for governments to subsidize the technology for cultural reasons. I examine the current state of digital projection, investigating why it has taken longer for digital technologies to permeate into distribution and exhibition (as opposed to image capture and post production), and looking at the aesthetic and economic drivers and challenges which have delayed the full-scale conversion to digital cinema (D-cinema). The essay ends by exploring the dilemma of digital distribution for the viability of the 35mm release print, the impact of this on film stock production, and how this will affect film preservation,even of those films that are born digital.

This is the published version of a talk I gave at Watershed Media Centre, Bristol at 'The Look: From Capture to Display - Digital Cinema Aesthetics and Workflows' Symposium organised by Terry Flaxton. You can view a video of my presentation at:
http://www.dshed.net/content/look-exhibition-and-display

Digital Decay

by Charlotte Crofts

Published in The Moving Image - Volume 8, Number 2, Fall 2008, pp. xiii-35

The fate of 35mm as an acquisition and exhibition medium is intimately connected with questions of future-proofing,... more The fate of 35mm as an acquisition and exhibition medium is intimately connected with questions of future-proofing, archiving, preservation, and access, which are currently at the foreground of recent debates around screen heritage in the UK. In this article, I explore the threat of digital projection to the viability of the 35mm release print, the impact of this on film stock production, and how this will affect film preservation. Whilst these issues are universal, this article is oriented toward a UK perspective.  You can also download from UWE's official research repository at https://eprints.uwe.ac.uk/7782/