The preservation of the early sound film is a major issue for a curator.
How to scan the first sound films and keep all the information found on the optical sources in the 35 mm sound negative?
We propose to show from examples, the different problems that may arise when scanning an optical sound: density problem, clipping signals
Should we adapt these scans to modern sound reproduction systems? Should we keep frequencies that could not be reproduced by the old reproduction systems ?
Through examples, we will show the problems after scanning optical sound and the solutions we can propose: heterogeneous sounds, lack of music and sound effects, outdated mixes intentions, sound effects that do not stick with reality.
Born in France in 1965. Head of restoration of Digimage Classics
Digimage Classics lab is located in Joinville Le Pont, near Paris, on the preserved site where Charles Pathé built in 1906 one of his factories dedicated to raw stock manufacturing, printing, processing and tinting of films.
Today, our lab has bridged the gap between its past and present, providing optimal and safe conditions for digitizing and printing of nitrate films.
Our lab is specialized in repairing film, digitizing in 4k, color grading in theaters, restoration, DCP, long term conservation by shooting on 35mm negative and LTO.