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Workshop Memoriav Fachtagung Erfolgsfaktoren & Stolpersteine Workshop Memoriav Fachtagung Erfolgsfaktoren & Stolpersteine. Lernen aus 20 Jahren Memoriav-Projekten Identifikation der physischen Elemente eines Films, Auswahl für Restaurierung und/oder Digitalisierung; Kommunikation mit Dienstleistern (Pflichtenheft schreiben, Offerten lesen) 20. Mai 2016 – David Pfluger > Dilemma Vorbereitung Konservierung Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma Vorbereitung MEMORIAV EINGABE Konservierung Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma Unbekannt Zustandsanalyse Technische Priorisierung Inhaltliche Analyse Vorbereitung Inhaltliche Priorisierung Recherche externer Elemente Bekannt MEMORIAV EINGABE Vorbereitung des Materials Konservierung Digitalisierung Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma Unbekannt Zustandsanalyse Technische Priorisierung Inhaltliche Analyse Vorbereitung Inhaltliche Priorisierung Recherche Bekannt ! MEMORIAV EINGABE Vorbereitung Konservierung Digitalisierung Information zum Inhalt Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma • Metainformationen aus dem Bestand (Vorsicht!) • Bestehende Transfers (Vorsicht!) • Analyse am Sichtungstisch 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films FILMBILD 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films TON FILMBILD UNTER TITEL 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films META TON DATEN FILMBILD RAND UNTER INFO TITEL 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films Umkehrfilm, „Amateur“-Workflow Aufnahme Entwicklung Schnitt Projektion Kameraoriginal Positiv 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films Professioneller Workflow Der Negativ/Positiv Prozess PROJEKTIONSKOPIE 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung Der Negativ/Positiv Prozess Kodak „Optical Workflow“ > Elemente eines Films - BILD Mehr Bildinformation Der Negativ/PositivMehr „Look“-Information Prozess 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - BILD Der Negativ/PositivMehr „Look“-Information Prozess Filmpool Canada 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - BILD Phil Wesson Der Negativ/Positiv Prozess 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - BILD Der Negativ/Positiv Prozess 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - TON „Sepmag“ (analog) Analoger optischer Ton Digitaler optischer Ton Analoger magnetischer Ton 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - TON 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - RANDINFORMATION 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - RANDINFORMATION 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films - RANDINFORMATIONEN 20. Mai 2016 – David Pfluger – Memoriav Fachtagung > Arbeitsmittel Identifikation heisst zumeist Abrollen des Films! Bild Chicago Film Archive 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Arbeitsmittel CIR Kinoton Steenbeck 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Praktischer Teil 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung Workflow(digitale(Restaurierung( ! Der!unten!abgebildete!Workflow!ist!ein!Versuch!die!Schritte!der!digitalen! Restaurierung!eines!Films!abzubilden!und!chronologisch!zu!ordnen.!Da!Filme! und!ihre!überlieferten!Bestände!sehr!unterschiedlich!sind,!kann!der!Workflow! nicht!für!alle!Fälle!gelten,!er!dient!zur!groben!Wegleitung.! Der!Workflow!orientiert!sich!an!einem!Vorbild!aus!der!Realität,!wo!ein!Spielfilm! bearbeitet!wurde.!Der!Ton!lag!als!analoge!Dolby!SR!Mischung!vor!und!die!Titel! wurden!mittels!noch!existierendem!Ausgangsmaterial!(Originalmaterial!der! Titelhintergründe)!neu!digital!reproduziert.!Das!Ziel!war!eine!restaurierte! Originalversion!im!4:3!Seitenverhältnis!sowie!eine!16:9!Fassung!(moderne! "Rekreation"!des!Werks).! Bei!allen!Schritten!wo!ein!"Achtung!"TSymbol!abgebildet!ist,!wird!von! Expertenhand!in!das!Bild!(oder!den!Ton)!des!Films!eingegriffen!und!es!bestehen! viele!Freiheitsgrade!der!Gestaltung.!Die!Eingriffe!müssen!nach!den!ethischen! Gesichtspunkten!der!Restaurierung!kontrolliert!werden.!! ! Das!ebenfalls!angehängte!Beispiel!eines!Kostenvoranschlags!spiegelt!die! Schritte!des!Workflows!ziemlich!gut!wieder.!Bei!den!dort!Aufgeführten! Schritten!sind!allerdings!Titelarbeiten!und!eine!zusätzliche!16:9!Version!nicht! enthalten.! Die!Angegebenen!Preise!sind!insofern!nicht!verlässlich,!als!dass!die!Industrie! die!Preise!regelmässig!anpasst!und!für!grössere!oder!kleinere!Aufträge! unterschiedliche!Paketangebote!gemacht!werden.! WORKFLOW Ton: Orig. Mix Bild: Originalversion Titelhintergründe (DAT/Perfo, MOD...) (Print, Neg., IN, IP...) (Print, Neg, IN, IP...) Digitalisierung/ Ingest Scan 2K Scan 2K SR Decodieren/ Retusche mit Retusche mit Restaurieren Detect Map Detect Map Insert Titel- hintergründe Synch Ton Grading Painting Titel rekreieren Je nach Situation geänderteJe nach Situation Reihenfolge. Pan & Scan zu 16:9 Version Painting/Grading Degrain etc. UT UT DCP 16:9 DCP 4:3 METADATEN REKREATION RESTAURIERTE OV OPTICAL WORKFLOW OPTICAL WORKFLOW The traditional film process can be described as an optical workflow—the process that existed before digital technology. Film was replicated and special efects were created optically. In a traditional film process, camera negative film is processed and printed so the production company can view the unedited film footage, or dailies/rushes. Today, dailies are more typically viewed electronically, thanks to telecine technology. Faster scanning technology has allowed film-to-digital transfer much earlier in the process, and that is discussed in the Digital Workflow section of this book. Whether your dailies/rushes are film or electronic, two types are available: • One-light dailies are the most common type, made using the laboratory standard or average printing light. One-light dailies assume the negative is correctly exposed. • Timed or graded dailies are assessed and sent for printing with appropriate printer lights for each camera roll. Not every shot or take in the roll is timed, as would be the case when timing a cut negative to make an approval print. Instead, an average light for that particular camera roll is timed. During timing, the timer typically improves the odd rogue shot in a roll. After color timing, the film is printed. Diferent printing methods are used for diferent purposes: • Contact Printing is the most common type. The original negative and the raw stock are printed in contact with each other, emulsion to emulsion. Contact printing produces a 1:1 transfer of the image size, and the printed image is a mirror image of the original. • Optical Printing projects the original image, which is rephotographed in a camera through a copy lens. Optical printing lets you change the image size. Additionally, you can print base side of the original to the emulsion side of the printing stock, which produces the same image configuration as the original. This is useful when inserting a copy into an original negative. • Rotary or Continuous Printing allows a printing sprocket to transport the film at a constant speed across a printing aperture, through which the exposing light beam passes. • Intermittent Printing exposes the film frame by frame while stationary in the printing gate. Intermittent movement of a shutter and register pin is used to position, expose, and pull down the film after each frame of exposure in exactly the same way as a motion picture film camera exposes original film. Commonly used printers are: • Rotary Contact Printers are used for printing rushes, answer prints, show prints, and release prints. • Intermittent Optical Printers are used for printing titles, special efects work, and for changing image size by blowing up or reducing the image. 159 OPTICAL WORKFLOW Video Telecine Dailies Original Color Film Camera Editing Grading/Printing Dailies Negative Optical Cut Optical Printing List List Optical Duplicate Negative Negative Assembly Cut Color Answer Negative Grading/ Printing Prints Final Printing Timing Digital Interpositive Telcine/ Master Datacine Printing Check Duplicate Print/ Negative Printing Release print 160 OPTICAL WORKFLOW VIDEO DAILIES Video dailies/rushes are an alternative to traditional film dailies, and they’re preferred when the film is intended exclusively for television production or electronic projection. Rather than physically editing the original camera negative immediately following processing, the film is scanned using an electronic imaging device. Telecine or datacine scanners are designed to suit the needs of the lab facility. Video dailies have become the industry standard. Despite this shift to video dailies, some cinematographers still prefer film dailies for image evaluation when going out to a print. VIEWING After processing, the print is checked by the dailies/rushes department to report to the production company the condition of the material, the quality of the images, and, if required, the quality of the action and sound. Problems that might necessitate retakes are identified before the set is broken or moved to a new location. After viewing and completing the laboratory report, the print and
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