COURSE UNIT TITLE

Offered By

Film Design and Screenwriting

Level of Course Unit

First Cycle Programmes (Bachelor's Degree)

Course Coordinator

AZIZ BAHADIR ÖZKAN

Offered to

Sound Editing and Cinematography
Film Design and Directing
Film Design and Directing
Animation Film Design and Directing
Cartoon Film and Animation
Film Design and Screenwriting
Film Design and Screenwriting

Course Objective

Film identification - Film repair, chemical treatment and washing - Film comparison - Film scanning and telecine - Digital restoration - Colour correction - Sound scanning and sound restoration - Mastering and Digital Cinema - Data and Network management and back-up strategies - Film recording - Photochemical preservation and restoration - Analogue grading - Print and processing

Film Identification This very first step involves the identification, study and analysis of film materials, different elements (negative, positive, intermediate), trademarks, edge codes and marks, shape and size perforation, etc. Film Repair, Chemical Treatment and Washing Film handling and inspection: how to fix tears and breaks using adhesive film tape; analysis of old splices; restoring splices by hand with cement; repairing film to prepare it for cleaning and scanning or printing; cleaning of film nitrate, triacetate and polyester manually and with an ultrasonic cleaning machine. Film Comparison Film comparison and analysis to choose the best prints for restoration. Film Scanning and telecine Scanning and telecine of a motion picture image from 35mm and 16mm negative, positive and intermediate materials to a digital file (4K and 2K). Digital Restoration Digital treatment of images using dedicated software to eliminate physical damage to the film resulting from usage and the manual handling of film, as well as the restoration of visual clarity of images by working on problems like grain, instability and flicker without affecting the original material. Digital restoration has a wide range of tools and possibilities; therefore it is vital for archivists to know what can be done in order to establish their specific restoration work-flow.

Learning Outcomes of the Course Unit

Mode of Delivery

Face -to- Face

Prerequisites and Co-requisites

None

Recomended Optional Programme Components

None

Course Contents

Recomended or Required Reading

To be announced.

Planned Learning Activities and Teaching Methods

TRAINING PROGRAM - Film identification - Film repair, chemical processing and washing - Film comparison - Film scanning and telecine - Digital restoration - Color correction - Sound scanning and sound restoration - Mastering and Digital Cinema - Data and Network management and backup strategies - Film recording - Photochemical protection and restoration - Analog grading - Printing and processing

** Film Identification This first step is to identify the film materials, different elements (negative, positive,), trademarks, edge codes and marks, shape and size perforation, etc. It includes definition, examination and analysis.
** Film Repair, Chemical Treatment and Washing Film processing and inspection: how to fix tears and breaks using adhesive film tape; analysis of old additions; restoring broken attachments by the method of manual repair; Pre-film repair to prepare for cleaning and scanning printing
*** cleaning of film nitrate, triacetate and polyester by hand and ultrasonic cleaning machine. Film Comparison Film comparison and analysis, choosing the best prints for restoration
**** Film Scanning and Telecine Scanning a cinema image from 35mm and 16mm negative, positive and intermediate materials to a digital file (4K and 2K) and phases of telecine processing.
*** Digital Restoration How to digitally process images using special software to eliminate physical damage caused by the use and manual handling of the film, and also to restore the visual clarity of the images by working on problems such as grain, instability and shake without affecting the original.
*** Digital restoration has a wide variety of tools and possibilities; It is therefore essential for archivists to know what can be done to create their own custom restoration workflow.

Assessment Methods

Further Notes About Assessment Methods

None

Assessment Criteria

*** Digital restoration has a wide variety of tools and possibilities; It is therefore essential for archivists to know what can be done to create their own custom restoration workflow.

Language of Instruction

Turkish

Course Policies and Rules

After participants will: - know how a film can be restored using new digital and analogue technologies in a modern, flexible work environment; - be able to manage a complete restoration work-flow; - know how to choose the best format to restore a film and have it digitized from film support to 35mm, DCP, HD and SD broadcasting until DVD support; - be able to discuss each step of a restoration project in detail with a restoration laboratory; - - know how to manage a film restoration project budget.

Contact Details for the Lecturer(s)

Aziz Bahador OZKAN - 0532 324 77 87 bahadir.ozkan@deu.edu.tr

Office Hours

Thursday 13-15

Work Placement(s)

None

Workload Calculation

Contribution of Learning Outcomes to Programme Outcomes