ARRI Archive Workshop 2014

Tuesday, 3rd June - Wednesday, 4th June 2014
ARRI Headquarters, Munich, Germany



On June 3rd and 4th 2014 the fifth annual ARRI Archive Workshop took place at ARRI’s headquarters in Munich, attracting 145 international experts in the field of film archiving and restoration.

Guest speakers gave presentations that addressed some of the pressing questions facing film restorers today, such as: how do you reproduce the appearance of early color film processes? How do you combine different source materials to get the ‘truest’ result? To what degree should original images be digitally ‘improved’? How do you migrate and preserve legacy archives? What options are available for automated dust and scratch detection on black-and-white film material?

The workshop took place across two spaces at ARRI’s headquarters, with an exhibition of the latest hardware and software solutions in an ARRI TV studio, and presentations in the ARRI cinema next door.

Several of the guest speakers presented detailed case studies of some of the most important film restorations that have recently been undertaken across Europe, including director Robert Wiene’s THE CABINET OF DR. CALIGARI (1920), Andrzej Wajda’s THE ASHES (1965) and Captain John Noel’s THE EPIC OF EVEREST (1924).


ARRI Archive Workshop review

Download seminar documents and videos from all of the presentations.




Technologies at the workshop




Workshop Program

Details

PROGRAM

Tuesday, 3rd June 2014

09:30
Registration

10:30 – 10:45
Welcome

10:45 – 11:45
Introduction of Exhibitors

11:45 – 13:45
Product Window / Food

13:45 – 14:45
HTW Berlin – Andrea Krämer
Reproducing the original colour appearance of an early colour film process –
Digital restoration of 1930s Gasparcolor prints

14:45 – 15:30
DI Factory – Łukasz Rutkowski, Michał Wielgosz
Digital Restoration in old and new feature films

15:30 – 16:30
Product Window / Food

16:30 – 17:15
University Zurich – Barbara Flückiger, David Pfluger, Claudy Op den Kamp
Bridging the Gap Between Film History and Technology:
The Swiss Research Project DIASTOR


17:15 – 18:00
ARRI Film & TV Services Berlin – Wolf Bosse
Wim Wenders – Restoration of a lifetime work with the artists attending


Wednesday, 4th June 2014


09:00 – 09:15
Doors Open

09:15 – 10:00
Marquise Technologies – Dan Tatut,
Highlands Technologies Solutions – François Helt

Interoperable Master Format – An overview of the current situation

10:00 – 10:30
Fixafilm – Wojtek Janio, Lukasz Ceranka, Gosia Grzyb
Restoring Andrzej’s Wajda epic masterpiece The Ashes (Popioly)

10:30 – 11:15
Friedrich-Wilhelm Murnau Stiftung – Anke Wilkening
L`Immagine Ritrovata – Davide Pozzi
The Restoration of Das Cabinet des Dr. Caligari

11:15 – 13:15
Product Window / Food

13:15 – 13:45
Front Porch – Felix Denner
Strategies and Best Practices for Migrating and Preserving Legacy Archives

13:45 – 14:15
Uni Basel – Giorgio Trumpy
Optical Detection of Dust and Scratches on Photographic Film

14:15 – 14:45
BFI – Ulrich Ruedel, Ben Thompson
Desaturation and Digital: The Colours of Toning

14:45 – 16:00
Product Window / Food – Exhibition Ends

SPEAKERS

Andrea Krämer – HTW Berlin 
Reproducing the original colour appearance of an early colour film process –
Digital restoration of 1930s Gasparcolor prints

Łukasz Rutkowski, Michał Wielgosz – DI Factory
Digital Restoration in old and new feature films

Barbara Flückiger, David Pfluger, Claudy Op den Kamp
– University Zurich
Bridging the Gap Between Film History and Technology:
The Swiss Research Project DIASTOR

Wolf Bosse – ARRI Film & TV Services Berlin
Wim Wenders – Restoration of a lifetime work with the artists attending

Dan Tatut – Marquise Technologies
François Helt – Highlands Technologies Solutions
Interoperable Master Format – An overview of the current situation

Wojtek Janio, Lukasz Ceranka, Gosia Grzyb – Fixafilm
Restoring Andrzej’s Wajda epic masterpiece The Ashes (Popioly)

Anke Wilkening
– Friedrich-Wilhelm Murnau Stiftung
Davide Pozzi – L`Immagine Ritrovata
The Restoration of Das Cabinet des Dr. Caligari

Felix Denner
– Front Porch
Strategies and Best Practices for Migrating and Preserving Legacy Archives

Giorgio Trumpy
– Uni Basel
Optical Detection of Dust and Scratches on Photographic Film

Ulrich Ruedel, Ben Thompson
– BFI
Desaturation and Digital: The Colours of Toning

ABSTRACTS

Reproducing the original colour appearance of an early colour film process –
Digital restoration of 1930s Gasparcolor prints

HTW Berlin – Andrea Krämer

The appearance and aesthetics of early colour film often cannot be reproduced true to the original with today's preservation and playback methods. Since the colour appearance determines the process immanent impression of each film, a change of this appearance results in a loss of authenticity. The aim of this work was to reproduce the colour appearance of an early colour film process, without changing the impression of the film and thus lose a part of the authenticity. The process selected is a silver dye-bleach method called "Gasparcolor".

Digital Restoration in old and new feature films

DI Factory – Łukasz Rutkowski, Michał Wielgosz

Digital restored Generation (1954) and new produced Walesa, man of hope (2013), are the Andrzej Wajda's masterpieces, where digital restoration techniques were used. Original Generation negative – Nitro was copied into safety film and destroyed. There was similar situation with sound negative, which survived in very poor condition.

Special digital restoration techniques are used not only in old films. In Walesa, man of hope 20 minutes of archival materials were mixed with new filmed scenes. Besiedes of difficult restoration process which included many different source materials (Betacam SP, Digital Betacam, 8 mm, 16 mm and 35 mm raw files, new 35 mm scans) in each scenes in whole film we had to unify level of details, colour correction and grain.

Bridging the Gap Between Film History and Technology:
The Swiss Research Project DIASTOR

University Zurich – Barbara Flückiger, David Pfluger, Claudy Op den Kamp
The presentation shows the halfway point of the two-year research project DIASTOR, the Swiss research project for the digitization and restoration of archival film (http://www. diastor.ch). It will include a general overview of the project and provide insights into the current state of some of the case studies such as comparative scanner tests performed on a wide spectrum of historical film material and the restoration of the Dufaycolor film Parures (1939) in collaboration with project partner Cinémathèque suisse.

Wim Wenders – Restoration of a lifetime work with the artists attending

ARRI Film & TV Services Berlin – Wolf Bosse

In early 2014 the Wim Wenders Foundation picked up the preservation of the entire Wim Wenders movies. Looking at at least 53 titles this process will take several years; including 4K restoration, partly remastering and digital longterm storage. In 2015 the foundation aims at having completed up to one third of the known Wenders projects.

ARRI Film & TV is partner to the foundation in this huge attempt taking advantage of years of close teamworking with the director on his later movies. At the ARRI facilities in both Munich and Berlin the first steps are being made, examing and cleaning the old film stock, testscanning with special archive lenses and defining custom made workflows matching the complex and varying aproaches in film craft Wenders chose through the years.

Wolf Bosse gives us an inside overshoulder of this early stage of the colaboration, showing first tests and attemps. A glimpse on what will be a mountain of work and also a thrilling process of decisions between keeping

Interoperable Master Format – An overview of the current situation

Marquise Technologies – Dan Tatut,
Highlands Technologies Solutions – François Helt

Four years after the initial specification released by the Entertainment Technology Center, the Interoperable Master Format has gone through various revisions and processes to gain maturity and expand its adoption by the industry. In 2014, IMF, a SMPTE standard by now, has been augmented with various features including an extension proposed by the French Commission Supérieure Technique for a more efficient handling of film scanned material with a mid/long term archiving perspective.

Restoring Andrzej’s Wajda epic masterpiece The Ashes (Popioly)

Fixafilm – Wajtek Janio, Lukasz Ceranka, Gosia Grzyb
The original camera negative of Andrzej's Wajda 4-hour long masterpiece The Ashes (1965) was brutally censored by the communist regime for screening at Cannes Festival in 1966. The movie was re-cut from the original run-time of from 235 minutes to only 169 minutes. The original director's cut was found on an interpositive print which was in a pretty bad shape in comparison to the OCN. To retain as much quality and picture definition as possible, the Fixafilm team decided to mix and match both sources and saved 150 minutes of the original camera negative footage, using only 85 minutes from the inter-positive print. We'll show you how we managed to match the grading, film grain and how meeting the deadline was possible only thanks to ARRIscan's Wet Gate.

The Restoration of Das Cabinet des Dr. Caligari

Friedrich-Wilhelm Murnau Stiftung – Anke Wilkening

L`Immagine Ritrovata – Davide Pozzi
The recent restoration of Das Cabinet des Dr. Caligari (1920, d: Robert Wiene) by the Friedrich-Wilhelm-Murnau-Stiftung in Wiesbaden considered for the first time the film`s original camera negative and assembled all existing distribution prints. The presentation will discuss in how far the camera negative and the digital restoration workflow allowed an improvement of the film compared to the previous restoration approaches.

Strategies and Best Practices for Migrating and Preserving Legacy Archives
Front Porch – Felix Denner

Almost all media operations, from archives to broadcast, are making – or at least thinking about making – the transition from videotape and film to digital. Archivists face the immense challenge of converting their vast videotape and film archives into digital formats and then storing the resulting digital files. While there are tremendous advantages to having a digital storage, creating one which addresses the challenges of preservation and protection in the long term is another matter.

This presentation will discuss how the archivist can best prepare for the migration process and the implementation of a long-term preservation solution. We will present options that an archivist must consider when formulating a long term preservation project. Further we will present how any videotape or film library can be successfully migrated into a modern digital archive utilizing an open content storage management system, on-site or in the cloud.

Optical Detection of Dust and Scratches on Photographic Film
Uni Basel – Giorgio Trumpy
Different methods have been adopted up to now for the automatic detection of dust & scratches; each method has pros and cons, and a limited field of effectiveness. The use of infrared radiation and the spatio-temporal image analysis are among the most effective methods, although they have their limits. We present a set of methods for optical dust & scratches detection applicable on any type of transparent photographic material (silver-based as well as dye-based material, still images as well as moving images).

Desaturation and Digital: The Colours of Toning
BFI – Ulrich Ruedel, Ben Thompson
Two recent case studies demonstrate how digital restoration can accommodate for the peculiar colour chemistries of silent era metal and dye toning. In the restoration of The Epic of Everest (UK 1924), select blue toned sequences provided a particular digital restoration challenge in their uneven fading, while dye toning in titles from the BFI's Joye Collection can have deceptively vibrant appearance. The more accurate restoration of their rather subtle colours as will be demonstrated in HD extracts of Duc de Reichstadt (Pathé, 1910) and La Vestale (A. Capellani, Pathé, 1908).

BIOGRAPHY

Wolf Bosse graduated in fine arts in Berlin. Early professional years lead him to creative direction in Germany and USA/New York.He became founding member of the Berlin facility of das werk in 2001, leading into management of the later PICTORION das werk group. 2011 he joined ARRI as Chief Creative Officer, taking responsibility for both commercial and feature products. Lately he has been heavily involved in Building up the restoration department of ARRI in Berlin for the new Wenders foundation. Wolf Bosse received the Gold- Award oft he NY Filmfestival for "visual effects", the red Dot Design Award and the Megaphone of the German "Jahrbuch der Werbung".

Felix Denner based in Berlin, has been Regional Account Manager for Front Porch Digital since June 2012 with full market responsibility for DACH and CEE territories. Denner is a Senior Sales Executive with more than 12 years of international experience in consultative enterprise sales and business development, including key account and channel management. He is recognized for his particular expertise in solution-selling to the broadcast and broadcast supplier industries. Prior to joining Front Porch, Denner held executive sales position at a variety of international media, broadcast and technology companies such as Harris Corp, Weather Central, Ondas Media, CNBC and CNN / Turner Broadcasting.

Barbara Flueckiger
is a professor for film studies at the University of Zurich since 2007. She has been working internationally as a film professional before her studies in film theory and history in Zurich and Berlin. Her research focuses on the interaction between technology and aesthetics, especially in the digital domain. Most recently she has created a comprehensive online database for historical film colors. Her current research project DIASTOR is funded by the Swiss Commission for Technology and innovation and focuses on the digitization of archival film in collaboration with Disney Research Zurich, the Swiss Federal Institute of Technology in Zurich and several partners from the industry. Website: http://www.zauberklang.ch

Gosia Grzyb
started her career as a graphic designer and photo retoucher. In 2011 she started working as digital colourist and joined Fixafilm a year later. Since that she graded 6 digitally restored features, 7 digitally remastered features (5 from the 20's/30's) and over 600 minutes of remastered documentaries. All of which made her the most productive restoration colorists in Poland. She worked with many famous polish DOPs, including Jerzy Zielinski (ASC, PSC), Grzegorz Kedzierski (PSC), Andrzej Kostenko and Jerzy Lukaszewicz.

François Helt
has a background in Mathematics and Film making and 35 years' experience in professional video and film. He is designing imag e processing software since 1981 and is author of aut omatic digital film restoration software. Currently he helds the position of Chief Scientific Offic er at Highlands Technologies Solutions.

Wojtek Janio
graduated from the world-famous Polish Film School in Lodz, after which he started his career as a Production Manager and Restoration Supervisor at TVP (Polish National Television). Then he worked as a DI Supervisor in Yakumama Film where he established a restoration department and became its head. In early 2012 he co-founded Fixafilm. Wojtek has supervised digital restoration of 18 feature films, as well as remastering of 15 features (5 of which from 20's and 30's) and remastering of over 600 minutes of documentaries.

Claudy Op den Kamp
is a senior researcher in the DIASTOR project. She brings to the collaborative project her international network of contacts pertaining to and her background in film archiving and restoration laboratories. Dr. David Pfluger is a senior researcher in the DIASTOR project. He brings to the team his background in physical chemistry, cinema postproduction and a particular knowledge of the Swiss archiving landscape. Jointly, they are responsible for the case studies within the research project.

Andrea Krämer just finished her master´s thesis at the HTW Berlin about the colour reconstruction of Gasparcolor films. In cooperation with the Deutsche Kinemathek and ARRI - Film and TV Services, Munich she restored Gasparcolor advertising films from the 1930s, focusing especially on reproducing the original colour aesthetics.

Davide Pozzi
has been working at Cineteca di Bologna since 2001, and in 2006 he became the director of L'Immagine Ritrovata film restoration laboratory. Under his management, the laboratory has established itself as one of the most highly specialized facilities in the field of film restoration worldwide. Its clientele now spans from USA, to Europe and Asia, and most films restored by the laboratory are premiered in major film festivals all around the world.

Ulrich Ruedel
, Conservation Technology Manager at BFI, holds a doctorate in Analytical Chemistry. A graduate of the L. Jeffrey Selznick School, he has researched film color and chemistry at Eastman House and Haghefilm. At BFI, he plays a key role in maintaining technical capabilities in all fields of moving image conservation and restoration, and in coordinating related training and outreach.

Łukasz Rutkowski is Co-owner and CEO at the reKINO - film restoration company in Poland. Started a restoration department in international post production company in Poland and became a restoration supervisor of whole group. He supervised restoration of more than 40 feature films and tens of short films. Author of restoration articles and academic thesis about film restoration management. Consultant to film restoration and enhancement.

Dan Tatut
benefits from over 15 years of expertise in computer science, computer graphics and colorimetry. He has founded Chrome Imaging in 1998 (products for the motion picture industry) and in 2010 he joined, as VP Business Strategy & Development, Marquise Technologies, a manufacturer and developer of high-end image processing solutions for archives and post-production companies, in both broadcast & digital cinema fields.

Giorgio Trumpy
studied Science for Cultural Heritage at the University of Florence. In 2006 he began working on various projects related to Conservation Science, Color Science and Digital Imaging, within the framework of the digitization of Florentine museum heritage. From 2010 he works at the Digital Humanities Lab in Basel on digital restoration of photographs and motion-picture films.

Michał Wielgosz
is Co-owner and restoration CTO at the reKINO - film restoration company in Poland. Fan of image processing and cinema, software developer. Author of academic works's about image processing. Started in a restoration department in international post production company in Poland and became a restoration supervisor. More than 40 feature films and tens of short films restorated and supervised.

Anke Wilkening is film restorer at the Friedrich- Wilhelm-Murnau-Stiftung in Wiesbaden. She supervised restorations like METROPOLIS and DIE NIBELUNGEN (both 2010) or DAS CABINET DES DR. CALIGARI (2014). Her publication work concentrates on German cinema of the 1920s, film restoration and DVD editions. She is currently working on a PhD project on postproduction practices in silent film from 1920 to 1929 at the University of Utrecht in the Netherlands.