FIAF, Preservation and restoration of moving images and sound, 1986
Fédèration internationale des archives du film, Belgium
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TABLE OF CONTENTS
TABLE OF CONTENTS
LIST OF FIGURES
FOREWORD by the president of the current preservation comission
ACKNOWLEDGEMENTS I
CURRENT MEMBERS OF THE PRESERVATION COMISSION
AUTHORS
PREFACE
INTRODUCTION
PART 1 CINEMA FILM: ITS PROPERTIES AND PRESERVATION
CHAPTER 1 THE ESTRUCTURE OF CIENMA FILMS
1. Important historical dates
1.1. Motion picture film
1.1.1. Black and white film
1.1.2. Colour film
1.2. The nitrate base
1.2.1. Characteristics
1.2.2. Decomposition of the nitrate base
1.2.3. Shrinkage
1.2.4. Flammability
1.2.5. Requirements for preserving nitrate films
1.3. Triacetate base
1.3.1. Properties
1.3.2. Characteristics of acetate film
1.3.3. Shrinkage
1.3.4. Harmful gases
1.3.5. Conclusions for the preservation of acetate base
1.4. Polyester base
1.4.1. Characteristics
1.5. Emulsion layer
1.6. Special factors
CHAPTER 2 THE BLACK AND WITE IMAGE IN CINEMATOGRAPH FILM
2. Introduction
2.2. Formation of the black and white image
2.3. Preserving the black and white image
CHAPTER 3 THE RESTORATIO OF DISCOLOURED BLACK AND WHITE FILMS
3.1. Causes of discolouration
3.1.2. Treatment of discoloured film materials
CHAPTER 4: HISTORICAL DEVELOPMENT AND PROPERTIES OF THE COLOUR PHOTOGRAPHIC MATERIALS USED IN CINEMATOGRAPHY
4.1. The invention of colour film and the first experiments
4.2. Optical principles of colour photography
4.2.1. Light
4.2.2. The spectrum
4.2.3. Colour temperature
4.2.4. The eye and colour vision
4.2.4.1. The eye
4.2.4.2. The Young - Helmholtz theory
4.2.4.3. Primary and complementary colours
4.2.4.4. Colour sensation, brightness and colour adaptation
4.3. The principles of colour photography
4.3.1. Additive synthesis
4.3.2. Subtractive colour synthesis
4.3.3. Additive colour photography
4.3.4. The subtractive colour process
4.3.4.1. Separation negatives and the Technicolor system
4.3.4.2. Integral tripack films
4.3.5. The quality of colour reproduction
4.4. Colour development
4.4.1. Diffusion: migration of molecules
4.4.2. The Kodachrome process
4.5. Diffusion - proof coupling agents
4.5.1. Two different principles of solution
4.5.2. Film material with diffusion - proof coupling agents before 1939
4.5.3. First post - war developments
4.5.4. Colour reversal process
4.6. Theory and production techniques of dye masking
4.6.1. Theory
4.6.2. Appiled techniques
4.7. Coupling agents insoluble in water without oil forming agents
4.8. The development of colour film materials since 1950
4.8.1. Cinematograph films
4.8.2. Television films
4.9. Durability of the picture dyes
4.9.1. Cause of instability
4.9.2. Accelerated ageing tests
4.9.3. Dye classes
4.9.4. Azo dyes
4.9.5. Azomethines and indoanilines
4.9.6. Influence of the base
4.9.7. Constitution and incorporation of the colour coupling agents
4.9.8. Residual chemicals
4.9.9. pH values
4.9.10. Humidity, temperature, light
4.10. The precedence of the chromogenic development
4.11. Summary
CHAPTER 5 THE PRESERVATION OF DYES IN DEVELOPED COLOUR FILMS
5.1. Technique and economic prerequisites
5.2. Injuriius factors outside the control of archives
5.2.1. Dyestuffs
5.2.2. Bases
5.2.3. Residual chemicals
5.2.4. pH values
5.2.5.Harmful gases
5.3. Harmful factors within the control of the archive
5.3.1. Light
5.3.2. Temperature
5.3.3. Humidity
5.2.4. Possibilities of preservation
5.4. Aids for the temporary protection of colour films
5.4.1. Stabilisation of humidity by hermetic sealing
5.4.2. Regulation of temperature
5.4.3. The imprefections of these interim solutions
CHAPTER 6 PRESERVATION OF COLOUR FILMS BY MEANS OF COLOUR SEPARATIONS ON BLACK AND WHITE FILM
6.1. Colour analysis
6.2. Colour separation on black and white photo sensitive materials
6.3. The preservation of colour films in the form of black and white colour separations
6.3.1. Images in succession
6.3.2. Triad of normal images on 65 mm film
6.3.3. Use of unequal sized images
6.3.4. Reduced images triad
CHAPTER 7 REGENERATION AND RESTORATION OF THE COLOUR IN MULTILAYER COLOUR FILM
7.1. Ascertainment of the degree of the degradation of the dyes
7.2. Methods of restoration
7.2.1. Chemical restoration
7.2.2. Photographic restoration
CHAPTER 8 SOUND IN FILMS HISTORICAL DEVELOPMENT AND PRESERVATION METHODS
8.1. Sound recording methods used in cinematography
8.1.1. Brief historical survey
8.1.2. Photographic (optical) sound recording
8.1.3. Magnetic recording
8.2. Sound records
8.2.1. Types of optical sound records
8.2.2. Magnetic sound records
8.2.3. Sound tracks on release prints
8.2.4. Checking and release printing of sound tracks
8.3. Preservation of sound recordings
8.3.1. Requirements for the preparation and storage of sound tracks
8.4. Repair and restoration of sound tracks
8.4.1. Repairs
8.4.2. Restoration
PART II MAGNETIC RECORDINGS
CHAPTER 9 THE HISTORICAL DEVELOPMENT OF MAGNETIC TAPE RECORDING OF MOVING IMAGES AND SOUND
9.1. Introduction
9.2. First steps
9.3. The non magnetic base and the magnetizable layer
9.4. Paper tapes for broadcast
9.5. Acetate base, new magnetic materials and mass tapes
9.6. Postwar progress in the development of magnetic materials
9.7. Thinner base
9.8. Magnetic stereo sound on moving images
9.9. Tape cassettes
9.10. New magnetic oxide creates incompatible systems
9.11. Magnetic video recording for television use
9.12. Further developments
9.13. In summary
CHAPTER 10 THE BASIC PRINCIPLES OF MAGNETIC TAPE RECORDING
10.1. The fundamental problems of audio and video recording
10.1.1. Frequency modulated recording
10.1.2. Direct recording
10.1.3. Digital recording
10.1.4. Principles of operation for a tape recorder
10.2. Basic magnetic processes
10.2.1. Magnetic fields
10.2.2. Magnetic circuits
10.2.3. Magnetic heads
10.3. Basic magnetism
10.3.1. Ferromagnetism
10.3.2. Macroscopic magnetization processes
10.3.3. Hysteresis in ferromagnetic materials
10.4. Recording
10.4.1. Video recording
10.4.2. Audio recording
10.4.2.1. DC- premagnetization (blas)
10.4.2.2. Hf- premagnetization (blas)
10.5. Erasure
10.6. Magnetization of the tape
10.7. Print through effect
10.8. Playback
10.8.1. Gap attenuation
10.8.2. Distance attenuation
10.8.3. Thickness losses
10.8.4. Gap skew attenuation (azimuth)
10.8.5. Head mirror attenuation
10.8.6. Playback frequency response
10.8.7. Frequency response equalization
10.9. Noise
10.9.1. Background noise
10.9.2. DC field noise
10.9.3. Modulation noise
CHAPTER 11 GUIDELINES FOR THE CONSERVATION OF MAGNETIC TAPE RECORDINGS
11.1. Structure of the tapes
11.1.1. Base materials
11.1.1.2. Coeficients of expansion
11.1.1.3. Tape varieties
11.1.1.3.2. Perforated tapes
11.1.1.3.3. Identification of the base material
11.1.2. The magnetic coating
11.1.2.1. Structure
11.1.2.2. The binding agents
11.1.2.3. The magnetic particles
11.1.2.4. Iron oxide
11.1.2.5. Chromium dioxide
11.2. Major problems of conservation
11.2.1. General introduction
11.2.1.1. Identification data for tape recordings
11.2.1.2. Standardization of playback characteristics
11.2.1.3. Recommendations for archives
11.2.2. Stray magnetic and electro magnetic fields
11.2.3. Deterioration during storage
11.2.3.1. Magnetic instability
11.2.3.2. Chemical instability
11.2.3.3. mechanical instability
11.2.4. Plasticizer losses
11.2.5. Background noise
11.2.5.1. Low noise oxide
11.2.5.2. Constant (DC) field noise
11.2.6. Print through effect
11.2.6.1. General introduction
11.2.6.2. Contact copying
11.2.6.3. Curie temperature
11.2.6.4. Wavelength dependence
11.2.6.5. Echo signal instability
11.2.6.6. Measures for reducing print through
11.2.7. Variation in the geometrical dimension of tapes
11.2.7.1. Elongation
11.2.7.2. Shrinking
11.2.8. Adhesion of magnetic tapes
11.2.9. Electrostatic charging
11.2.9.1. Testing methods
11.2.10. Winding speed
11.2.11. Recommendations concerning storage conditions
11.2.11.1. Vault types
11.2.11.2. Teperature
11.2.11.3. Humidity
CHAPTER 12 THE RESTORATION OF MAGNETIC RECORDINGS OF SOUND
12.1. Introduction
12.2. Chief recording factors
12.3. The most important sources of error
12.3.1. Frequency response
12.3.1.1. Technical deficiences in older tapes
12.3.1.2. The results of changing technical standards
12.3.1.3. Storage defects
12.3.1.4. Defects caused by the technical equipment
12.3.1.5. Possible ways of eliminating errors
12.3.2. Signal to noise ratio
12.3.2.1. Technical problems of older recordings
12.3.2.2. The influence of technical standars
12.3.2.3. Correction of errors
12.3.3. Required playback facilities for restoration work
12.4. Restoration of magnetic video recordings
PART III TRANSFER OF THE SYSTEMS AND NEW MEDIA
CHAPTER 13 THE TRANSFER OF CINEMA FILM ONTO THE MAGNETIC RECORDING SYSTEM
13.2. Image quality specification
13.3. Preservation and transfer
13.4. The principle of producing video frequency electrical signals
13.4.1. Camera scanners and telecines
13.5. Storage of the picture content
13.5.1. On magnetic tape
13.5.2. On video disc
13.6. Large screen video projection
CHAPTER 14 NEW RECORDING MATERIALS AND NEW TECHNOLOGIES
14.1. New technologies
14.1.1. Magnetic method
14.1.1.1. Principle of method
14.1.1.2. Magnetic tape as a storage medium
14.1.2. Electrophotographic method
14.1.2.1. Principles of method
14.1.2.2. Aspects of long term preservation
14.1.3. Hologram method
14.1.3.1. Principles of method
14.1.3.2. Aspects of long term preservation of holograms
14.1.4. The video disc
14.1.4.1. Introduction
14.1.4.2. Optical video disc
14.1.4.3. Video disc as storage medium
14.2. Transfer methods from one medium to another
14.2.1. Film to new media transfer
14.2.1.1. Film and tape transfer to disc
14.2.1.2. Film and tape transfers to holograms
14.2.2. Tape to film transfer
14.2.2.1. Tape to film transfers by filming the television screen
14.2.2.2. The triniscope method
14.2.2.3. The vidtronics method
14.2.2.4. The electrophotographic method
14.2.2.5. The laser method
14.2.3. Video disc to film transfer
14.2.3.1. Reconstruction of the motion picture image from the holographic image
14.3. Possibilities for the use of new technologies in motion picture conseration
14.3.2. Image quality specifications
14.3.3. Conclusions
PART IV TEHCNICAL PRACTICES OF AUDIO VISUAL ARCHIVES
CHAPTER 15 STORAGE BUILDINGS
15.1. Position
15.1.1. General principles
15.1.2. legal requirements
15.2. Design of storrage buildings
15.2.1. Ground level store with automatic air conditioning plant
15.2.2. Underground store with automatic air conditioning plant
15.2.3. Ground level store with thermal insulation
15.2.4. Insulation and air conditioning
15.3. Storage buildings for nitrate film
15.3.1. Capacity of nitrate vaults
15.3.2. Racks, partitions and compartments
15.3.3. Air conditioning and ventilation
15.3.4. Fire prevention
15.3.4.1. Pressure vents
15.3.4.2. Sprinkler installations
15.3.4.3. Doors
15.3.4.4. Emergency exits
15.4. Storage buildings for acetate film and magnetic tapes
15.4.1. Storage units
15.4.2. Partitioning against fire
15.4.3. Air conditioning
15.5. Storage buildings for colour films
15.5.1. Vaults and the level of the ground water table
15.5.2. Insulation
15.6. Other requirements
15.6.1. Films not to leave the store
15.6.2. Card indexes
CHAPTER 16 THE NATURE AND FUCNTION OF EQUIPMENT USED BY FILM ARCHIVES FOR FILM HANDLING AND PERMANET PRESERVATION
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CHAPTER 17 MACHINES FOR THE RECORDING OF AUDIO AND VISUAL SIGNALS ON MAGNETIC TAPE
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CHAPTER 18 FILM STORAGE PROCEDURES
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CHAPTER 19 STRUCTURE OF A TECHNICAL DEPARTMENT AND QUALIFICATION OF ITS STAFF MEMBERS
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PART V CHRONOLOGICAL SURVEY
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CHAPTER 20 SYNOPTIC TABLE OF PRINCIPAL DISCOVERIES AND INVENTIONS MAKING POSSIBLE THE DEVELOPMENT OF RECORDING AND REPRODUCTION TECHNIQUES FOR MOVING IMAGES AND SOUND
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SELECTED BIBLIOGRAPHY
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LIST OF FIGURES
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DESARROLLO
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ENLACE
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