Film Digitization

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Film digitization is the process of converting analog film footage into digital format, enabling preservation, editing, and distribution through digital media. This involves scanning the film frames to create high-resolution digital files, which can be manipulated and stored using digital technology.

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"Less is more": how understanding the process of motion picture film scanning can make your life easier

by Alice Plutino

2024, Color Research and A

Since the advent of the Digital Intermediate (DI) and the Cineon system, motion picture film preservation and restoration practices overcame an enormous change derived from the possibility of digitizing and digitally restoring film... more

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Color systems for motion picture film digitization: A critical review

by Alice Plutino

2024, Color Research and Application

Digitizing motion picture films is a crucial aspect of archival practices. Nevertheless, the primary purpose of this process is to convert analog film into a digital signal suitable for recording back onto film. Thus, the most popular... more

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Set of Methodologies for Archive Film Digitization and Restoration with Examples of Their Application in ORWO Region

by Marek JICHA

2023, Archiving

In this paper, we present a set of verified methodologies suitable for application to a particular problem of archive films' restoration and digitization, especially when a nonstandard laboratory or creative techniques were used, which is... more

Figure 1. Example (Czechoslovak film “Silver Wind” (1954)) compar- ing Agfa and ORWO color prints made in the years 1956, 1976 and 2001 from the same OCN Agfacolor B. (a) 1956 - Agfacolor PC7 (left). (b) 1976 - Orwocolor PC7 (center). (c) 2001 - Agfa-Gevaert color CP10 (right). CIEDE2000 color difference calculated (CIE xyY coordinates measured with VFX-Consulting SpecTD spectrophotometer & densitometer) for the skin tones of the frame in the upper row: AEyo(1956—1976) = 16.3, AEgo(1956~2001) = 14.0, AEpni1976_2001) = 4.1.

Figure 2. Example of specific color characteristics of ORWO and Kodak Eastmancolor release print (RP) before and after grading, using a frame of “The Firemen’s Ball”, an important piece of Czechoslovak cinematography produced in 1967. (a) RP ORWO scan (upper-left). (b) RP ORWO graded (upper-right). (c) RP Kodak scan (lower-left). (d) RP Kodak graded (lower- right).

Figure 5. Task comparison of film and digital restorer and the relationship between professional film and digital restorer of cinematographic works. The responsibility for the look of the archival digitized film and its sound lies on digital restorers educated in a given audio and visual artistic fields. [6]. Figure 4. General principle of the three techniques for derivation of colorimetric screen data in projected cinematographic images. (1) CIE XYZ sample measurement using spectrophotometer. (2) Measurement of 2D distribution of CIE XYZ tristimulus values using 2D imaging colorimeter. (3) CIE XYZ tristimulus values calculation using image data files.

Figure 6. Histograms of two image files: (a) R color channel, (b) G color channel, (c) B color channel. Cumulative distribution functions of two input images: (e) R color channel, (f) G color channel, (g) B color channel.

Figure 7. Example of color differences film prints analysis using AEoo CIEDE2000 map for the test frames from Figure 2. (a) ORWO scan vs. ORWO graded, AE = 15.9 (upper-left). (b) Kodak scan vs. Kodak graded, AE qo = 9.0 (upper-right). (c) ORWO scan vs. Kodak scan, AEoo = 12.5 (lower- left). (d) ORWO graded vs. Kodak graded, AEoo = 8.2 (lower-right).

Figure 8. Example of two versions of the test frame to be analyzed before and after grading, taken from film “Capricious Summer’, an important piece of Czechoslovak cinematography produced in 1967. (a) Input image x (left). (b) Output image y (right).

Evaluation scale of subjectively perceived color differences and experimentally obtained difference measure boundaries. Assessment of differences between evaluated im- age files based on their statistical properties The overall value AEgg as an objective measure of color dif- ference CIEDE2000 can be transformed into categories that indi- cate the subjective perception of the difference. This procedure allows for guidance to assess the impact of perceived differences in color and light tonality in two compared images while pro- jected onto a cinematographic screen. The following subjective scale was introduced in our previous work to express subjectively perceived difference. The boundaries of AEgo based on published and experimentally validated results [3, 4] to assess subjectively observed difference for each category are listed in Table 1. This methodology is intended to assess the color structure of images being compared based on the analysis of histograms of image files in different digital formats, especially distribution, i.e. Digital Cinema Package (DCP) and Intermediate Access Pack- age (IAP), or mastering and long term preservation, i.e. Digital Cinema Distribution Master (DCDM), Master Archive Package (MAP). The goal of this technique is to establish a process for simple conformity assessment of color structure in levels of pri- mary image colors R, G, B. It is based on the analysis of DRA’s histograms and its digital copies DCP, and archive files DCDM, MAP, IAP. This methodology serves as an assisting tool for digital restorer, who, along with the expert group, creates a DRA.

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Modern methods for the visualization of lenticular film colors

by David Pfluger

2022, Color Culture and Science Journal

Color Culture and Science Journal, Colour Photography and Film, Vol. 14, No. 01 (2022), p.64-72 Giorgio Trumpy, David Pfluger, Lutz Garmsen Some of the first home movies shot in color used a 16mm lenticular film produced by Kodak from... more

Fig. 2. Kodacolor lenticular film system — Left: Diagram describing the three stages of the lenticular color reproduction—shooting/processing/projection—for an ‘object’ represented by a red dot. Right: Front view of the processed photo-emulsion with superimposed stripes that indicate the location of the color separations.

Fig. 4. The color reconstruction process — A: The input image. B: The lenticules’ boundaries. C: The position of the color components. D: The final color image. The transformation of the image content into digital form enables a viable way to make these movies available to The lenticular screen is quite clearly discernible as a regular vertical pattern overlaying the photographic image (Fig. 4-A). The numerical localization of the dark lines that mark the boundaries of the lenticules (Fig. 4-B) is essential to find and allocate the color information from a monochrome emulsion scan. The automatic localization with signal processing is sometimes complicated. The lines are not necessarily perfectly vertical and straight already from the film fabrication or became damaged and warped due to aging. Geometric distortions and defocusing might occur during scanning due to film misplacement or optical aberrations of the imaging system. In addition, the silver particles constituting the photographic image obscure the lenticular pattern in all dense areas of the image. The doLCE software positively localizes the lenticular borders and _ efficiently reconstructs the colors in certain cases (Reuteler and Gschwind, 2014). However, when the above-mentioned complications are relevant, the proper localization of the lenticular screen is error-prone and often fails. complications are relevant, the proper localization of the 4. Numerical color reconstruction

Fig. 3. Kodacolor ad suggesting a setting for the appreciation of the films (Movie Makers Magazine, 1928). In the original procedure, the colors of lenticular film were displayed with a regular 16mm projector equipped with a tripartite filter similar to the one used during shooting. The projection was rather dim, and it could be only shown to a few people in a small projection setting (Fig. 3). Nowadays, the original filter attachments for cameras and projectors are hard to find, and analog projection is a threat to the unique reversal originals due to shrinkage and fragility of the film material. It is therefore difficult to display these films with the original procedure.

“ig. 5. Representation (not in scale) of the digitization process of the optically reconstructed lenticular color. A: Single mage capture with a color image sensor and the tripartite color filter. B: Triple image capture with a monochrome mage sensor and a moving slit.

Fig. 6. Top: Chromaticity values of Kodacolor1928 space derived from the transmittances of the filter for projection (reported in the plot) in comparison with DCI-P3. Bottom: The five-step process for the color correction of digitized lenticular films.

Fig. 7. Digital images of a lenticular film frame with inset enlargement. 1: Black-and-white scan of the film emulsion. 2: Slit scan. 3a: Output of deep-doLCE. 3b: Output of deep-doLCE after color correction. 3c: Merge of luminance from 1 and chrominance from 3b. In view of the linear von Kries model (Brill, 1995), the adaptation scaling must be performed at the cone response level (LMS), and therefore the color space conversion requires five steps, which are reported at the bottom of Fig. 6. The colorimetric specifications of Kodacolor1928 define the first 3-by-3 matrix, which provides the XYZ values of the RGB input image (step- A). The conversion from tristimulus to cone response and back (step-B and step-D) are the 3-by-3 matrices of the CIECAM02 Color Appearance Model (Moroney et al., 2002). The chromatic adaptation consists of the scaling The results of the methods described in the previous sections are reported in Fig. 7.

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Film Digitization

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