[Tig] archival workflows

Lou Levinson joe.beats at yahoo.com
Fri Dec 13 16:10:54 GMT 2013


all,

first you have to decide what you mean by archival.
sadly, the first question asked these days is, how much can we make/spend?
this comment speaks for itself.
do you want to get the most off the film possible?
      getting the most off the film is fairly straightforward: nyquist points the way. by this measure, using a north light 2 with an 8k array making 4k files is as good 
as it gets except under very special circumstances. 4k will get you what you want off the 35mm frames from the real world. only prime lens, no filter, locked down camera frames may push this. not all 4k is created equal, or even 4k, really. hdr is one of the current red herrings. most movies shot from edison till now don't have it on the film. only with vision 3 stocks will you find that 10bit dpx
may not be enough,so use 16 and watch what happens to your memory budget.

what do you want to do with it once you have it?
so now you've got 4k 10bit dpx frames of 50+mb a frames. this makes
about 1.5 tb per 20 minute reel. are you playing games with a souped up desktop running what appears to be professional software, or do you need to be working on 4 projects at a time day in and day out and find ways to make money on the pittance the studios want to pay for this ? and remember, the movies that will command the lowest revenues will require the most restoration work, 9 out of 10 times.

how are you going to protect what you've done against the ravages of time?
you're not. not yet, even writing back to new neg will only get you 100 years under lab perfect conditions, and the number of people who do this well is down to a handful.

i think that all this pursuit of economic success will be the cause of many historical works being lost or compromised. one thing we seem to have lost across all sectors of business in our society is the idea that doing something
right the first time is the least expensive thing to do in the long run

lou


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