ABSTRACT

While the digitization of archival films has been practiced for more than a decade, there is still a lack of academic rigour in this field, both on a scientific as well as on an interdisciplinary level. Therefore, we are in need of a better understanding of basic principles, both technological and aesthetic, that guide the many decisions taken throughout the process. This paper presents three interconnected research projects that investigate these topics with a comprehensive approach. Based on thorough analyses of the technology, physics, and aesthetics of film colours, this material-based approach connects these diverse disciplines with the aim to translate the appearance of analogue film colours into the digital domain.

KEYWORDS

film, colours, aesthetics, technology, digital, restoration

While the digitization of archival films has been practiced for more than a decade, there is still a lack of academic rigour in this field, both on a scientific as well as on an interdisciplinary level. In the specific case of translating early colours into the digital domain, curators and service providers have found practical solutions to the many related obstacles and diverse requirements. However, we are in need of a better understanding of basic principles, both technological and aesthetic, that guide the many decisions to be taken along the process. This paper presents three interconnected research projects that investigate these topics.

In her recent text The Archival Life of Early Color Films, Giovanna Fossati writes with regard to the digitization of tinted material:

One of the main causes of this problem is the complexity of the task. Research in this field has to consider a wide array of disciplinary approaches, from chemistry, physics, and IT, to aesthetic and historical aspects, and not the least, psychophysical questions of colour perception and colour appearance.