Digital restoration.

From digital television technology comes what is being called Digital Restoration. This is the process of scanning film to produce a digital record of the images, stored on frame store, disc or tape. At this stage the image data is in the form of a digital master, although not yet in a practical medium that can be stored conveniently.

Using a computer workstation the image data is manipulated, much as a telecine operator might correct for fading, contrast, dust images and scratches, although at a far higher resolution. Several existing softwares [Cineon, Domino, Matador] exist for this already, although none are directed at archive film restoration, but at special effects for the cinema instead.

Once corrected the data is then re-recorded back onto film in one of several devices, at varying resolutions. The highest resolutions possible are approximately equivalent to that of modern Eastman 35mm film, although many archive films have considerably lower resolutions.

Cost is critical, and at present, because the scanning rate, and especially the re-record rate, is so slow, no archive can justify the expense for the restoration of complete film lengths. An affordable re-recorder [the Solitaire III costing about £150,000] takes 40 secs to re-record one frame of 35mm colour, and the fastest re-recorder [Cineon Lightning], takes 10 secs per frame. In London in January 1997 the basic cost of scanning a frame of 35mm film into framestore, and re-recording it back onto film again is £10. This precludes the restoration of faded films where the problem is found throughout the entire length, and only short damaged sections currently justify this type of restoration.

Digital restoration is undoubtedly here to stay, and as the process becomes more productive, it is only a matter of time before the film archive’s budgets and the costs of the service and equipment meet.