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Presentation at CURATEcamp AVPres, April 9th, 2013
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Erik Piil, Digital Archivist, Anthology Film Archives ���CURATEcamp AVPres, April 9th, 2013, WITNESS.ORG (Basecamp)���
Email: [email protected] ���
Target Formats for Film Digitization
Format (35mm, 16mm, 9.5mm, Super8, 8mm, etc.)���Polarity (Positive, Negative)���Perforation Type (BH, KS, etc.)���Perforation Pitch (Short, Long)���Aspect Ratio (1.33:1, 1.37:1, 1.66:1, 1.85:1, etc.)���Sound (Silent, Variable Area, Variable Density, Magnetic Stripe, etc.)���������������������
Standards and Systems of Motion Picture Film
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
Base Type (Nitrate, Acetate, Polyester, etc.)���Color (Color, B&W)���Granularity���Projection Speed (fps) (16, 18, 24, etc.)���Film Wind (A-Wind, B-Wind)���Stock Manufacturer (Eastman Kodak, DuPont, Fuji, etc.)���Edge Information (+▲, batch numbering, barcodes, manufacturer’s logo, etc.)���������������������������������
Characteristics of Motion Picture Film
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
���Shrinkage, Stretching���Brittleness ���Ferrotyping���Dye Fading���Mold���Residue from Adhesives ���Splices ���Dust, Dirt���Scratches (Emulsion and/or Base)���������������������������������
Characteristics of Motion Picture Film (cont.)
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
���������Logarithmic versus Linear ���Dynamic Range���Wet-gate vs. dry-gate technology���Viewing environment for QC/QA ���LUTs (Look Up Tables)���Target exhibition / access environments (e.g. SD, HD, Digital Cinema, etc.)���Intra/extra-frame scanning (edge-to-edge, frame-only, etc.)������������������������������
Key Concepts/Considerations Prior to Digitization
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
File Format (image): DPX, Version 2���Resolution: 4K (4096 pixels horizontally) ���Color Space/Subsampling: R’G’B’/ 4:4:4���Quantization: 10,16-bit Logarithmic, Linear������File Format (audio): BWAV, PCM ���Bit depth: 24-bit, ���Sampling Rate: 48kHz���������������
Target Formats and Specifications – 35mm
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
File Format (image): DPX, Version 2���Resolution: 2K (2048 pixels horizontally) ���Color Space/Subsampling: R’G’B’/ 4:4:4���Quantization: 10, 16-bit Logarithmic, Linear������File Format (audio): BWAV, PCM ���Bit depth: 24-bit, ���Sampling Rate: 48kHz���������������
Target Formats and Specifications – 16mm
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
File Format (image): DPX, Version 2���Resolution: 2K (2048 or 1440 pixels horizontally) ���Color Space/Subsampling: R’G’B’/ 4:4:4���Quantization: 10, 16-bit, Logarithmic, Linear������File Format (audio): BWAV, PCM ���Bit depth: 24-bit, ���Sampling Rate: 48kHz���������������
Target Formats and Specifications – 8mm, S8
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
-JPEG 2000 (MXF)���-MP4 (MOV or AVI container)������*Frame rate and resolution of target formats should be preserved, if possible. Color space should be mapped accordingly, based on display environment. ���������������������
Derivative Formats
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
Harm Jan Triemstra, Tom de Smet. Film Scanning Considerations. Published by PrestoCentre, www.prestocentre.eu ������Reto.ch AudioVisual Preservation http://avpres.net/de/Digitalisierung_8.html ������Digital Film Technology Weiterstadt, What resolution is needed to scan motion picture film: 4K, or higher? ���������������
Resources for Motion Picture Film Digitization
Target Formats for Film Digitization���CURATEcamp AVPres, 9 April 2013���
Email: [email protected] ���
