Papers by Michelle S Carlos
Film restoration in general is full of dilemmas. Working on the restoration of applied colour fil... more Film restoration in general is full of dilemmas. Working on the restoration of applied colour films in particular presents different levels of difficulties. This thesis aims to discuss the challenges met as well as the various methods used particularly in the digital colour restoration of applied colour silent era to provide a reference for the possible current technologies and techniques used in digital colour restoration of such difficult historical films. It will be pointed out that the line between colour grading for enhancement and for maintaining the look close to the original is blurred. Therefore there will be discussions about the ethics involved in colour restoration, the responsibilities of the restorer and the colourist, why having just an eye for colour is not enough and that being informed about conservation disciplines is also necessary when dealing with colour restoration of archival material. This thesis will act as a bridge between two worlds: the archives/curators and the post—to stage that unspoken dialogue between them because of limited understanding on both practices.
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Film restoration in general is full of dilemmas. Working on the restoration of applied colour fil... more Film restoration in general is full of dilemmas. Working on the restoration of applied colour films in
particular presents different levels of difficulties. This thesis aims to discuss the challenges met as well
as the various methods used particularly in the digital colour restoration of applied colour silent era to
provide a reference for the possible current technologies and techniques used in digital colour
restoration of such difficult historical films. It will be pointed out that the line between colour grading
for enhancement and for maintaining the look close to the original is blurred. Therefore there will be
discussions about the ethics involved in colour restoration, the responsibilities of the restorer and the
colourist, why having just an eye for colour is not enough and that being informed about conservation
disciplines is also necessary when dealing with colour restoration of archival material. This thesis will
act as a bridge between two worlds: the archives/curators and the post—to stage that unspoken
dialogue between them because of limited understanding on both practices.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
The task of archiving historical photographs remains a challenge especially for inexperienced col... more The task of archiving historical photographs remains a challenge especially for inexperienced collectors. Getting the right information on the proper storage, identification and cataloguing of such fragile and valuable objects is crucial for its long-term preservation. Assistance from experts in this field is needed especially when dealing with important archival objects that are easily prone to damage and deterioration.
This paper addresses the common issues encountered when documenting, inspecting and storing archival photographs by using as an example a hypothetical scenario. This will serve as a guide on how to create a report that describes the conditions of a suitable facility and the proper practices in handling such objects.
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In the past couple of decades technology in the scanning of film has developed rapidly and opened... more In the past couple of decades technology in the scanning of film has developed rapidly and opened doors to the digitisation of archival films. The century old motion picture films can now be resurrected in their former glory but with this wide array of options available, users are in constant inevitable dilemma: which scanner technology to use? What is a telecine and a film scanner?
This paper will present the different scanning technologies, its benefits and limitations as a crucial process in the digitisation of motion picture film. Some history on the development of the technology and essential technical specifications will also be explained to aid in selecting the best technology in archival film scanning as well as some film basics to fully understand the medium used for this process.
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Conference Presentations by Michelle S Carlos
In order to assist the Haus des Dokumentarfilms (HDF) in transitioning from a tape-based video pr... more In order to assist the Haus des Dokumentarfilms (HDF) in transitioning from a tape-based video production workflow into a file-based one, a tape-to-file migration workflow was designed and implemented using existing equipment combined with the latest hardware and software solutions that best suited the technical requirement and financial capacity of HDF.
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Papers by Michelle S Carlos
particular presents different levels of difficulties. This thesis aims to discuss the challenges met as well
as the various methods used particularly in the digital colour restoration of applied colour silent era to
provide a reference for the possible current technologies and techniques used in digital colour
restoration of such difficult historical films. It will be pointed out that the line between colour grading
for enhancement and for maintaining the look close to the original is blurred. Therefore there will be
discussions about the ethics involved in colour restoration, the responsibilities of the restorer and the
colourist, why having just an eye for colour is not enough and that being informed about conservation
disciplines is also necessary when dealing with colour restoration of archival material. This thesis will
act as a bridge between two worlds: the archives/curators and the post—to stage that unspoken
dialogue between them because of limited understanding on both practices.
This paper addresses the common issues encountered when documenting, inspecting and storing archival photographs by using as an example a hypothetical scenario. This will serve as a guide on how to create a report that describes the conditions of a suitable facility and the proper practices in handling such objects.
This paper will present the different scanning technologies, its benefits and limitations as a crucial process in the digitisation of motion picture film. Some history on the development of the technology and essential technical specifications will also be explained to aid in selecting the best technology in archival film scanning as well as some film basics to fully understand the medium used for this process.
Conference Presentations by Michelle S Carlos
particular presents different levels of difficulties. This thesis aims to discuss the challenges met as well
as the various methods used particularly in the digital colour restoration of applied colour silent era to
provide a reference for the possible current technologies and techniques used in digital colour
restoration of such difficult historical films. It will be pointed out that the line between colour grading
for enhancement and for maintaining the look close to the original is blurred. Therefore there will be
discussions about the ethics involved in colour restoration, the responsibilities of the restorer and the
colourist, why having just an eye for colour is not enough and that being informed about conservation
disciplines is also necessary when dealing with colour restoration of archival material. This thesis will
act as a bridge between two worlds: the archives/curators and the post—to stage that unspoken
dialogue between them because of limited understanding on both practices.
This paper addresses the common issues encountered when documenting, inspecting and storing archival photographs by using as an example a hypothetical scenario. This will serve as a guide on how to create a report that describes the conditions of a suitable facility and the proper practices in handling such objects.
This paper will present the different scanning technologies, its benefits and limitations as a crucial process in the digitisation of motion picture film. Some history on the development of the technology and essential technical specifications will also be explained to aid in selecting the best technology in archival film scanning as well as some film basics to fully understand the medium used for this process.