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Monday, February 25
 

11:00am

Individual consultancy for prospective students of audiovisual preservation at HTW Berlin (Blue Room).
Individual consultancy for prospective students of audiovisual preservation at HTW Berlin (Blue Room).

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Monday February 25, 2019 11:00am - 12:00pm
Blue Room / BFI Southbank

12:00pm

Registration (BFI Foyer)
Monday February 25, 2019 12:00pm - 1:00pm
BFI Foyer

1:00pm

Opening the 4th International Colour in Film Conference
Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Monday February 25, 2019 1:00pm - 1:10pm
NFT3/ BFI Southbank

1:10pm

Screenings with introductions
Scholars and preservationists, including Kieron Webb and Bryony Dixon from BFI, with live silent accompaniment by Neil Brand


Monday February 25, 2019 1:10pm - 3:45pm
NFT3/ BFI Southbank

3:45pm

Projected Cinema Colors: Transparency, Light and Space
Speakers
avatar for Tom Gunning

Tom Gunning

Edwin A. and Betty L. Bergman Distinguished Service Professor, University of Chicago


Monday February 25, 2019 3:45pm - 4:30pm
NFT3/ BFI Southbank

4:30pm

Q&A
Monday February 25, 2019 4:30pm - 5:00pm
NFT3/ BFI Southbank

5:00pm

Preview of Day 2 and Close
Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Monday February 25, 2019 5:00pm - 5:30pm
NFT3/ BFI Southbank

5:30pm

 
Tuesday, February 26
 

9:30am

Opening
Speakers
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Tuesday February 26, 2019 9:30am - 9:35am
NFT3/ BFI Southbank

9:34am

Session 1: Colour in Cinema: Landscape, Fashion, Abstraction
Chair

Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →


Tuesday February 26, 2019 9:34am - 11:05am
NFT3/ BFI Southbank

9:35am

Hallucinating Colour in Kodachrome

Most people think of Kodachrome as the amateur film material that Paul Simon payed homage to in his song “Kodachrome”. However, as Norris Pope elaborately lays out in his article “Kodachrome and the Rise of 16mm Professional Film Production in America, 1938-1950” (2016) after its introduction to the market in 1935, Kodachrome color reversal film almost immediately was adopted by (semi-)professional filmmakers producing films for non-theatrical distribution. As a result, Eastman Kodak started to bring duplication reversal film material to the market as early as 1938.

In my presentation I will zoom in on the work of the French filmmaker Éric Duvivier, who made educational and other non-theatrical films in collaboration with several pharmaceutical companies as well as the French government from the 1950s until the 1980s. He extensively used Kodachrome, Ektachrome and other reversal film materials. During the 1960s he made a series of films on the topic of hallucinations. In one of these films Images du monde visionnaire (1963) color plays an extremely important role. As a result, questions on color rendition and color quality of the various reversal film materials that were used for this film, are extremely relevant.

Within the interdisciplinary team of the ERC Advanced Grant FilmColors we closely investigated three prints of this film: the camera material, an Eastman reversal duplication print from the 1960s, and a Gevacolor reversal print from the 1980s. This resulted in a combination of film historical, aesthetic, colorimetric and archival studies of which I will present the results. Finally, I will draw up a series of questions with regard to the restoration of Kodachrome films that were made for distribution outside of official cinemas.


Speakers
avatar for Bregt Lameris

Bregt Lameris

PostDoctoral Researcher, ERC Advanced Grant FilmColors, University of Zurich
Bregt Lameris is currently a Postdoctoral Researcher at the University of Zurich, where she is engaged within the project 'ERC Advanced Grant FilmColors: Bridging the Gap Between Technology and Aesthetics'. Other research interests include color in silent cinema, the history of film... Read More →


Tuesday February 26, 2019 9:35am - 10:05am
NFT3/ BFI Southbank

10:05am

In the colours of Agfacolor: Introduction of Colour to Czechoslovak Cinema of the 1940s and 1950s

Although the technical base is just one of many factors contributing to the final form of the film, research on its technical history is one of the important ways to understand the complex picture of national cinema during a certain time period. This presentation will focus on the introduction of Agfacolor film stock in Czechoslovakia under the conditions of nationalized cinematography in the 1940s and 1950s. I will monitor the general conditions of its onset and its gradual expansion, the problems which the domestic film industry faced in connection with the political direction of post-war Czechoslovakia, and last, but not least, the ways the film industry adapted itself to existing conditions and available stock and how did the advent of colour film affected various components of cinema. At the same time, using several specific examples, I will try to explain how such broader historical context can be reflected as far as at the aesthetic level and in the distinctive character of individual films, and to demonstrate the approach to film as a bearer of historical evidence of the time of its inception.


Speakers
avatar for Tereza Frodlová

Tereza Frodlová

Film restorer and curator / PhD student, National Film Archive in Prague / Charles University in Prague
Tereza Frodlova is a film restorer and curator in National Film Archive in Prague (Czech Republic). She graduated at Department of Film Studies and Audiovisual Culture at Masaryk University, Brno and Center for Audiovisual Studies at The Film and TV School of the Academy of Performing... Read More →


Tuesday February 26, 2019 10:05am - 10:35am
NFT3/ BFI Southbank

10:35am

The Aesthetic of Opulence. Channeling Colour and Darkness in Early Costume and Fashion
Colour was unquestionably one of the key elements in the early displays of dress in cinema, and vice versa: costume was from the beginning a central cinematic device through which to showcase colour. Yet, the deliberate channelling of non-colour (as darkness, emptiness) was also enormously significant for fashion film – and was, as recent scholarship shows, much more than a stylistic footnote in the history of early cinema.

This paper considers both colour and darkness by linking ‘fashion films’ of the 1910s and 20s to earlier ‘costume films’ of the 1890s-1900s and, more broadly, certain visual spectacles of the popular stage of the nineteenth and early twentieth centuries. With a particular reference to Ivo Osolsobe’s term ‘the aesthetic of opulence’, the paper also highlights some changes in discourses about ‘fantastical’ and ‘natural’ functions of colour in films that foreground dress.

Speakers
MU

Marketa Uhlirova

Senior Researcher and Director / Curator, Central Saint Martins and Fashion in Film Festival
Marketa Uhlirova is an art historian with an interest in the display, representation and mediation of fashion and dress, especially in the moving image. She is a co-founder and director of the Fashion in Film Festival, and a Senior Research Fellow at Central Saint Martins, University... Read More →


Tuesday February 26, 2019 10:35am - 11:05am
NFT3/ BFI Southbank

11:04am

Session 2: Two Colour Film
Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Tuesday February 26, 2019 11:04am - 1:15pm
NFT3/ BFI Southbank

11:05am

11:35am

Two-Colour Kodachrome. The Forgotten History of Kodak's First Motion Picture Colour Process
The Eastman Kodak Company’s two-colour Kodachrome was one of the most rich and lifelike motion picture colour processes of the 1910s and 20s. But despite more than fifteen years of development and the backing of one of Hollywood’s most ambitious studios, the story of this colour process has slipped into obscurity, overshadowed by Technicolor and its later namesake—the vibrant Kodachrome reversal film that was introduced in 1935 for 16mm film, and later for still photography.

Although largely experimental throughout much of the 1920s, audiences were treated to two-colour Kodachrome footage in a variety of diverse forms—in fashion shorts, advertising films, avant-garde cinema, portraiture, 3-D subjects, documentary, and a sequence in a feature film. Colour film was still a novelty, but the two-colour Kodachrome process drew the attention of top artists, including respected filmmakers like Clarence Brown and Robert Flaherty, celebrated dance choreographer Martha Graham and noted stage actress Maude Adams. Some of the biggest names in Hollywood were also photographed in colour to promote the process, including Gloria Swanson, Billie Dove and May McAvoy.

This presentation delves into this forgotten history, charting the early development of two-colour Kodachrome by John G. Capstaff and his assistants at the Kodak Research Laboratories in the 1910s, Kodak’s attempts to sell the process to Hollywood, and the Fox Film Corporation’s costly commitment to two-colour Kodachrome in the late 1920s as an in-house alternative to Technicolor. Illustrated with stunning frame enlargements from surviving nitrate prints, this presentation draws its story from a rich body of untapped research materials and firsthand accounts, including George Eastman’s personal papers, Kodak corporate files, Twentieth Century-Fox studio records, and a close study of the surviving camera technology and film prints.


Speakers
avatar for James Layton

James Layton

Manager, Celeste Bartos Film Preservation Center, The Museum of Modern Art
James Layton is a film historian and archivist specializing in the history of motion picture technology. He is Manager of The Museum of Modern Art’s Celeste Bartos Film Preservation Center, and is co-author of two books with David Pierce: "The Dawn of Technicolor, 1915-1935" (2015... Read More →


Tuesday February 26, 2019 11:35am - 12:05pm
NFT3/ BFI Southbank

12:05pm

Limiting Colour Grading for Two-Colour Film Restoration Utilizing a Spectroradiometer to create a Specific LUT Digital Simulation of Colour
Speakers
avatar for Masaki Daibo

Masaki Daibo

Associate Curator of Film, National Film Archive of Japan
KO

Katsuhisa Ohzeki

National Film Archive of Japan


Tuesday February 26, 2019 12:05pm - 1:05pm
NFT3/ BFI Southbank

1:05pm

Lunch Break
Tuesday February 26, 2019 1:05pm - 2:00pm
NFT3/ BFI Southbank

2:00pm

Colour Group Keynote
Speakers
avatar for David H Foster

David H Foster

Professor of Vision Systems, University of Manchester, School of Electrical and Electronic Engineering


Tuesday February 26, 2019 2:00pm - 2:50pm
NFT3/ BFI Southbank

2:49pm

Session 3: Colour: Physics, Spaces, Scanning - Part One
Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →


Tuesday February 26, 2019 2:49pm - 4:05pm
NFT3/ BFI Southbank

2:50pm

The Many Faces of Lenticular Film Digitization
During the first half of the twentieth century, besides multiple subtractive color film processes, several additive color techniques were developed for motion picture films. Kodak and Agfa implemented the principles of the lenticular screen process in 16 mm motion picture products (marketed as Kodacolor and Agfacolor respectively), which were used by amateur filmmakers mostly during the 1930s. In a lenticular film the plastic support is embossed with a vertical array of cylindrical lenses, and a black and white emulsion is applied on the other side. Images were captured adding a tripartite red-green-blue filter in front of the camera lens. During the exposure of the film, the colored filter in combination with the embossed lenticules created spatially-encoded color information, which was developed and fixed by reversal processing. In the original technique, the captured colors were displayed with a projector equipped with an equivalent red-green-blue filter. The resulting images were rather blurry, small and dim, so the movies could be only presented to a limited number of spectators.
Digital technologies provide new opportunities to screen these movies, including the possibility to present them to a larger audience. In the framework of the doLCE project at the Digital Humanities Lab - University of Basel, software was written to extract the encoded color from a high-resolution scan of the silver emulsion. The way the extracted information is translated into color and the rendition of the characteristic image structure can be accomplished following a variety of different approaches, which lead to very different visual results. The fundament laid by the doLCE project is now further elaborated at the University of Zurich under the auspices of the research project ERC Advanced Grant FilmColors.
In this presentation available options will be discussed and evaluated with the aim to define a clear and efficient digitization workflow to be offered to film archives.

Speakers
avatar for David Pfluger

David Pfluger

Research Scientist, ERC Advanced Grant FilmColors, University of Zurich
David Pfluger, born in 1971, made his PhD in physical chemistry at the University of Basel (PhD Thesis: Hochauflösende Absorptionsspektroskopie an Polyacetylen- und Cyanopolyacetylen Kationen, Universität Basel, 2001). After his graduation in 2002 he was working in cinema post production... Read More →
avatar for Giorgio Trumpy

Giorgio Trumpy

Research Scientist, ERC Advanced Grant FilmColors, University of Zurich
Giorgio Trumpy is postdoc at the University of Zurich. He studied Conservation Science in Florence, and received his PhD in Scientific Photography from the University of Basel (2013). For two years (2014-2016) was postdoc fellow at National Gallery of Art in Washington DC. His work... Read More →


Tuesday February 26, 2019 2:50pm - 3:35pm
NFT3/ BFI Southbank

3:35pm

Scanning Colour Positives
Speakers
SL

Simon Lund

Cineric NYC


Tuesday February 26, 2019 3:35pm - 4:05pm
NFT3/ BFI Southbank

4:04pm

Session 4: Colour Kaleidoscope
Chair

Tuesday February 26, 2019 4:04pm - 5:35pm
NFT3/ BFI Southbank

4:05pm

Colour Wars
Following World War II, as Technicolor’s near-monopoly on colour for films was coming to a close, Hollywood studios sent units around the globe to produce colour features in ‘exotic’ locations. Many of these films were set against the backdrop of war— whether frontier wars, the Cold War or scenes of post-war reconstruction. The Colour Wars examines three Twentieth Century Fox productions Broken Arrow(1950), Untamed (1955) and House of Bamboo(1955), shot respectively in the United States, South Africa and Japan.  How were standardised palettes projected onto distinctive local landscapes and cultures? And, in the light of contemporary debates about the colourisation of the past, how might contemporary audiences understand their skewed and unstable hues? 

Speakers
avatar for Kathryn Millard

Kathryn Millard

Professor, Macquarie University, NSW 2109, Australia
Kathryn Millard is a writer, independent filmmaker and Professor of Screen and Creative Arts at Macquarie University in Sydney. Her award-winning films span drama features, documentaries and essay films. Colour, psychology, silent film comedy and the afterlives of images are recurring... Read More →


Tuesday February 26, 2019 4:05pm - 4:35pm
NFT3/ BFI Southbank

4:35pm

Colour Jokes. Colour as Comedy in Silent and Sound Slapstick Films
In a 1968 letter, the French clown, comedian and filmmaker Pierre Étaix wrote that colour only becomes obvious when it holds a comic or a dramatic function. According to Étaix, colour is an effect that needs to be made visible. With that idea in mind, my presentation looks into those instances when colour becomes uttermost visible: colour jokes in colour comedies.
In an array of examples from a wide variety of films such as Le peintre néo-impressioniste (Emile Cohl, 1909); Movie-Town, (Mack Sennett, 1931); The Patsy (Jerry Lewis, 1964), Tant qu'on a la santé (Pierre Étaix, 1966) and PlayTime (Jacques Tati, 1967) among others, we examine the use of colour as comedy, when colour is the butt of a joke and its mere presence invokes laughter. From simple punch line humour and running gags, to transformation gags, colour tricks, and meta-jokes, this paper investigates film technology as well as comedy techniques, exploring how each gag ties into a particular tradition of humour, utilizes a typical gag structure, and employs specific mechanisms of cinematography, editing, lighting and special effects techniques.
In the zany universe of slapstick cinema with its visual wizardry and physical form of comedy, colour jokes are the comedic instances that showcase colour, thereby calling attention to comedy techniques and conventions, while baring the devices of colour film technology.

HILDE D'HAEYERE
hilde.dhaeyere@hogent.be

Speakers
HD

Hilde D'haeyere

KASK & CONSERVATORIUM School of Arts Gent
Hilde D'haeyere is a photographer and silent film historian. She lectures at KASK, school of arts of the University College in Ghent, Belgium, where she heads the master's program in film. Among her recent publications are "Slapstick on Slapstick" in Film History (2014), "Frankfurter... Read More →


Tuesday February 26, 2019 4:35pm - 5:05pm
NFT3/ BFI Southbank

5:05pm

A Comprehensive Analysis of Applied Colour Reproduction
Speakers
avatar for Fumiko Tsuneishi

Fumiko Tsuneishi

Head of Technical Department, Filmarchiv Austria
After launching Japan’s first digital film restoration projects at National Film Center, the National Museum of Modern Art, Tokyo, she joined Filmarchiv Austria in Vienna and is since 2014 responsible for digitization, digital restoration and digital archiving of European heritage... Read More →


Tuesday February 26, 2019 5:05pm - 5:35pm
NFT3/ BFI Southbank

5:35pm

Q&A
Tuesday February 26, 2019 5:35pm - 5:50pm
NFT3/ BFI Southbank

5:55pm

Preview Day 3
Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Tuesday February 26, 2019 5:55pm - 6:10pm
NFT3/ BFI Southbank

6:00pm

Break
Tuesday February 26, 2019 6:00pm - 6:30pm
BFI Foyer

6:30pm

Public Screening
Tuesday February 26, 2019 6:30pm - 8:30pm
NFT3/ BFI Southbank
 
Wednesday, February 27
 

9:30am

Opening
Speakers
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Wednesday February 27, 2019 9:30am - 9:35am
NFT3/ BFI Southbank

9:35am

Session 1: Colour: Physics, Spaces, Scanning - Part Two
Chair

Speakers
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Wednesday February 27, 2019 9:35am - 10:45am
NFT3/ BFI Southbank

9:36am

Working Beyond RGB: A Report from the Field
Our journey starts by recounting some of the experiences we obtained when restoring historic additive colour systems, such as Dufaycolor, by working in the YCoCg colour space with an ad hoc video codec rather than in the RGB colour space. The main part is devoted to multispectral scanning of moving images and a video codec to process the generated data. This allows us to work in a classic restoration suite, like Diamant, on the band level and even on the bit-plane level of each spectral band. Supervised, semi-supervised and unsupervised deep learning techniques open new horizons of film and video restoration. The final part will be the possibility for an entirely new video codec, which enhances the two mentioned, virtually allowing us to work with any moving image data.

Speakers
avatar for Reto Kromer

Reto Kromer

founder, AV Preservation by reto.ch
Having graduated in mathematics and computer science, Reto Kromer became involved in audio-visual conservation and restoration more than thirty years ago. He was head of preservation at the Cinémathèque suisse (the Swiss National Film Archive) and lecturer at the University of... Read More →


Wednesday February 27, 2019 9:36am - 10:05am
NFT3/ BFI Southbank

10:05am

Alternative Methods for Digital Color Restoration

Modern cinema has several technical standards and tools that aims at reproducing it through different devices and through time. This is not the case of the analog cinema from the past, even if recent.

When someone has to face the restoration of an aged film, usually no color reference is available. Even in the rare case of having some information about film characteristics, the film aging depends on so many parameters, like e.g. humidity and temperature of conservation, that no reliable model of the color fading can be used. As a consequence, we cannot properly use standard color management tools in the restoration pipeline.

What is done actually is restoring the frame by visual inspection, as main criterion of assessing the final results. This means that we operate in a “subjective way”. Thus, the restoration process “simulates” what we suppose could have been the original color. Then this is viewed in a new (modern) projection environment, in terms of gamut and overall balance and contrast.

Starting from these considerations, the talk will present an alternative approach for color and contrast processing in the digital restoration pipeline, able to lower the amount of supervision time required.

 


Speakers
avatar for Alessandro Rizzi

Alessandro Rizzi

Full Professor, University of Milano
Research topics: digital film restoration, colour, imaging, visual perception.Alessandro Rizzi is full professor, Department of Computer Science, University of Milano. He has been one of the founders of the Italian Color Group, secretary of CIE Division 8, an IS&T Fellow and a past... Read More →


Wednesday February 27, 2019 10:05am - 10:25am
NFT3/ BFI Southbank

10:25am

Computational Methods of Restoration Quality Assessment
Image quality assessments are part of the quality of experience measures and are a hot topic in image enhancement and image processing techniques. Image quality metrics are useful for the evaluation of the error introduced by a specific process, or the enhancement of an algorithm. Image luminance, contrast, colour distribution, smoothness, presence of noise or of geometric distortions are some examples of low level cues usually contributing to image quality. Aesthetic canons and trends, displacement of the objects in the scene, significance and message of the imaged visual content are instances of the high level (i.e. semantic) concepts that may be involved in image quality assessment
To this aim, low-level IQ metrics aim to compute difference from a reference and a distorted image, but high-level metrics must include in their computation a model of Human Visual System (HVS). In this context, different metrics try to simulate some behaviour of the HVS and try to give a definition of quality based on some specific vision features, but until today no one metric can include all the complexities of the vision.
An application of particular interest for image quality is film restoration where filo-logical constraints and lack of reference aim are a difficult challenge for automatic evaluation. However, the world of film restoration is subject to a fast-technical growth that makes the application of image quality metrics mandatory.
Aiming to provide a overview of the existing image quality metrics assessments, in our work we want to analyse the limits and the challenges of the use of different image quality metrics on restored film frames. In this presentation we describe the main methods used in film restoration to assess the quality of a frame/film enhancement and the most used methods to quantify the quality of an image. Different results will be reported, and the first solutions of our research will be presented.

Speakers
avatar for Alice Plutino

Alice Plutino

PhD Student in Computer Science, University of Milano
She's a PhD student in Computer Science at the University of Milan. She received her Bachelor and her Master degree in Conservation and Diagnostic of Cultural Heritage. Her current field of research is colorimetry for cultural heritage and digital movie restoration. She's also interested... Read More →


Wednesday February 27, 2019 10:25am - 10:45am
NFT3/ BFI Southbank

10:45am

Session 2: 25 Years Conservation/ Restoration at HTW Berlin
Chair

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Wednesday February 27, 2019 10:45am - 11:45am
NFT3/ BFI Southbank

10:50am

The Use of Contemporary Film Prints as Reference for Digital Colour Grading
When we digitize or digitally restore a film, our primary aim is to create a new, digital, but nevertheless authentic version, that corresponds to the original look of a film work. Colour grading is an essential part in this attempt. Especially when working with original camera elements this process is of crucial importance, since the photographic parameters that lead to the actual look of a film are not necessarily embedded in the original. Contemporary film prints can give us important guidelines what a film might have looked like at the time of production.That is, if we are lucky to have such a print available, which is not always the case.
The presentation will focus on how we can use good reference prints in our daily work and what we can do in the case of poor references. It will also give the example of the German Technicolor film THE CAT HAS NINE LIVES (NEUN LEBEN HAT DIE KATZE, 1968) that only by the means of digital colour grading could be restored to its original look. Secondary colour correction methods, that we normally only use as an exception in digital restoration projects, were applied quite extensively in this case.

Speakers
avatar for Julia Wallmüller

Julia Wallmüller

Film Restorer, Deutsche Kinemathek
Julia Wallmüller graduated in Conservation and Restoration of Audiovisual and Photographic Cultural Heritage in Berlin. Since 2006 she has been working independently in practical, theoretical and educational digital restoration projects, constantly exploring ethical and aesthetic... Read More →


Wednesday February 27, 2019 10:50am - 11:20am
NFT3/ BFI Southbank

11:20am

11:45am

Q&A
Wednesday February 27, 2019 11:45am - 12:15pm
NFT3/ BFI Southbank

12:15pm

Break
Wednesday February 27, 2019 12:15pm - 12:30pm
BFI Foyer

12:30pm

Screening: TBA
Wednesday February 27, 2019 12:30pm - 1:00pm
NFT3/ BFI Southbank

1:00pm

Session 3: Round Table Discussion
Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Wednesday February 27, 2019 1:00pm - 2:00pm
NFT3/ BFI Southbank

2:00pm

Preview of 2020 CiF and Concluding Remarks
Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Wednesday February 27, 2019 2:00pm - 2:15pm
NFT3/ BFI Southbank