1. RESTORATION: An objective and creative process. Krems, 23 September 2011 Thomas C. Christensen

2. Preservation vs. Restoration Preservation is the long term conservation of an original film element, or as authentic a duplicate as possible thereof. Restoration is the re-creation of a screening element adhering as closely to the original screening experience as possible.

3. DET DANSKE FILMINSTITUT / DANISH FILM INSTITUTE To preserve is to show Both preservation and restoration aim to give access to film heritage for present and future audiences.

4. Analogue film laboratories are closing Analogue film screenings will soon only happen in archive theatres Archive film theatres must be equipped to screen digital film elements to be able to screen new films Archive holdings must be digitized to provide access The (Digital) Future is Now!

11. Preservation Analogue films can be stored cold and dry for centuries without need for migration/duplication. Digital preservation is a parallel activity to passive storage of analogue film and will require additional funding. Digital and electronic media are prone to hardware, software, file format and runtime obsolescence. Migration and refreshing is an ongoing activity. Digital preservation is a complex activity and not cost efficient compared with analogue preservation.

12. Restoration Digital restoration offer many magnificent tools, which allow powerful manipulation. Film archives must strive for authenticity. Film archives have a moral obligation to retain the link to the film as a heritage element and to not over-restore. Film archives must engage in digital restoration and production of digital film elements in order to develop a professional discourse on ethical standards in digital restoration.

13. Creativity in film restoration Be creative in regards to technology and access technology. Be careful not to loose quality and authenticity. Creative re-use and re-purposing of heritage objects can be powerful components in new cultural products. However, the historical value of a heritage object is based on retaining an unbroken link to the past.

14. Access and Programming Digital access can create new users and uses, generating new cultural value beyond imagination. DCP distribution will open up wider distribution of heritage films, also to non-FIAF venues. However: This requires film archives to actively create authentic digital cinema quality elements, especially of public domain and orphan films. Analogue film archive ethics still apply, they must just be translated into digital.

15. Edit information Title numbers Tinting indications Classic film restoration

17. The use of (secondary) grading tools Substitution of image elements Image stabilization De-grain Automated dust and scratch removal Un-ethical digital restoration?

18. http://www.dfi.dk/Nationalfilmografien http://www.dfi.dk/FaktaOmFilm/European-Film-Gateway/EFG-–-A-Key-To-The-Moving-Images- Of-Europe.aspx http://www.dfi.dk/Filmhuset/Filmarkivet/Artikler-og-links/Artikler-om-filmbevaring.aspx http://www.dae- filmheritage.eu/mediapool/100/1000452/data/DAEFH_Consultation_Paper_FINAL.pdf Links