Presentation and digitization of audiovisual archival media 1 - Exercise

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Name of lecturer(s):

Learning outcomes of the course unit:

The course aim is to acquaint students with the potential of digitalization, use and presentation of audio-visualization publich and private archives (not only cinema but also television and multimedia) in the creation of new cinema and television pices from various perspectives (in a wider aesthetic, technological, legal and politcal context). To provide a basic theory knowledge and to exercise key skills.

Students adopt theory knowledge, necessary for independent creative use of archive films in new audio-visual pieces in the era of digitalization.

Mode of study:

Attended classes

Prerequisites and co-requisites:

Recommended: completion of the course Audiovisual Archives, their Digitalization and Presentation l.

An additional supplementary benefit of the exercises is for the student to acquire practical knowledge of available audio-visual collections in our region and abroad, adopt basic principles determining their creative use in new audio-visual pieces in accordance with copyright, technical recommendations and regulations, such as dramaturgic and arrangement procedures. During the course the student also adopts basic terminology in that area which contributes to ease of communications with archived film pieces, as well as author representatives (collective management, heritage), TV news production, news program editing and documentary series, using a greater measure of older audio-visual material not only in the appending of various current events or important figuresor uncovering the background of significant moments in domestic or world events but also for education and primarily research of to date unknown phenomena caught by the cameraman.

Course contents:

This course is comprised of independent exercises supported by practical instruction in procedures demonstrated during theory instruction, supplemented by film screenings of digitally restored films with introductions, excursions to digital centers and film archives. As well, one aim is the practical exercises the student prepares with the help of partiial exercises on creative use of audio-visual archive material and their independent creation. Each student is, according to their focus (in directing, production, editing, image, or sound) to select one fo the three below-mentioned exercises.

The first exercise (recommended for Directing, Documentary, Scriptwriting, Centar of Audio-visual studies, Animation students) offer the potential to shoot and develop in an innovative manner a selected well-known scene from archived films.

The second possibility (recommended for Editing, Directing, Centre for audio-visual studies, Sound, Animation, Production) is the creation of teasers for a newly introduced digitalized archive film for cinema, TV or internet.

The third possibility (recommended for Camera, Photography, Animation, Production) is the digitalization and digital restoration of one's own photograph collection.

The fourth (recommended for Camera, Photography, Animation) is the toning, photographic print toning and manual coloring of a selected sequence of a B/W archive film by digital methods including, for example, creation of replicas of archive intertitles (according to the period conventions of values of toning or photographic print toning of images and period technological procedures.

The fifth (recommeded for Production, Scriptwriting and Editing, Centre for audio-visual studies), for student selected, is the implementation of a case study capturing the „life story“ of a cinemagraphic piece (from its origin and first introduction, through its forgottenness, damage by time or final loss to its restoration and renewed introduction in digital form) and comparison of various versions of that film (35mm copy or DCP viewing in the cinema, DVB-T in television broadcast, BRD/DVD/VHS in video players, video on demand, Europeana/YouTube/Vimeo/BFIPlayer (web multicasting) or video collection (.AVI, .MP4, . MKV?) from the internet, etc. A vital part of the partial work will be acquainting the student with the three pillars of technological-historical research which creates source certificates (published and unpublished including international and domestic standards, directives and recommendations), oral (interviews with artists, producers, technicians and distributors who took part in the film in the form of sound recordings, audio-visual programs), or published in certified form and cinematic (image and sound). Because a cornerstone of the dilemma solution is the preservation of the original form of a digitalized piece in its restoration is the so called premiere copy whose identification is often difficult and form as a result of the fading of color pigment from the first introduction of the film usually significantly changes. Aesthetic criteria often clash with the ethical, where the one deciding has to keep in mind which of some perspectives do not rely on the existence of the premiere copy. Relatively easy manipulation of the image and sound using digital technology, not only during restoration, inspires hope and conflict at the same time. In resolving issues, which logically arise, not only international exchange of experience can contribute but also the collaboration of restorers with film artists and collection archive curators is common around the world.

Recommended or required reading:

Students will be able to be acquainted with the basic use of a digital or film projector, as well as the entire workflow from identification and shooting source material (at the inspection table), execution of historical research, through digitalization, restoration (that is, reconstruction in HS-Art Annotator, retouching in PF Clean and grading in Da Vinci Resolve/Avid Symphony), through to originating a Digital Cinema Package (DCP) and presentation in a digital cinema on a short film exmaple and its digital archiving. (LTDP)

Assessment methods and criteria:

Credti (participation in excursions and exercises and execution of one exercise of student's choice.)

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Further information:

No schedule has been prepared for this course

The subject is a part of the following study plans: