<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Can put my archivist hat on for a moment? If that’s OK, I’d hope that the scanning might be done on something better than the Blackmagic. <div class=""><br class=""></div><div class="">Don’t get me wrong. Love the things. Its brilliant that they based on the old Cinetel telecine mechanics and I, of course want to be patriotic for an Australian product. And they give a lot of bag per buck for around $US60k fully set up - for something like doing release prints or fine grains in good condition for re-release on HD TV. <div class=""><div class=""><br class=""></div><div class="">But their best output is actually only UHD (that’s really only 3k, not the full 4k) for 35mm. 2k only for 16mm, if that’s part of the project. And to a max of 10 colour bit. This is a bit short of what the consensus in the field agrees will record true 35mm colour, which is at least 4k and maybe 12 or 16 colour bit. They are also bit unforgiving for shrunken or damaged film, or for doing scans off and not up to A and B rolls. Which in some cases is the source material you really need to go back to, to do a ‘preservation scan’ which will both give you plenty of restoration options once the scan’s been done and create a decent .dpx file you can return in future if you have money and time to do a better job. For a bit more (say a bit upwards of $100-150k), there is a whole class of scanners that go the next level up (its’ a little off-topic, but see the Swiss Diastor Projects recent white paper on current film scanner technologies here for a bit of background briefing on this: <a href="https://diastor.ch" class="">https://diastor.ch</a>)</div><div class=""><br class=""></div><div class="">But then who has even $100k US in the Japanese indie sector? The work Imagica does in restoring Japanese studio classic cinema is world class. It’s probably got better since the there Bologna film archive people, whose film restoration unit is the market leader in this field, set up office in Hong Kong and gave them a competitor for Asian film restoration business. It’s a pity that the Japanese indie sector can’t access this resource in at least a good corporate citizenship kind of way. Maybe through a Japanese equivalent to the US National Film Preservation Foundation 25 films of significance listings and to the attached kudos, publicity and preservation funding that goes with this. </div><div class=""><br class=""></div><div class="">Those who know the NFPF lists and something of the politics behind the lobbying and decision will detect the very strategic balance each year’s list strikes between classic Hollywood and vital works from the canon of US indie / documentary / avant grade / minority community representation / home movie filmmaking. About 50-50%. </div><div class=""><br class=""></div><div class="">I’m being quixotic, but perhaps one of the first initiatives of the new, stand alone NFC can be to work on industry partnerships towards a similar Japanese conversation starter and consensus-based funding program… </div></div><div class=""><br class=""></div><div class="">Quentin Turnour.</div><div class="">National Archives of Australia.</div></div><div><blockquote type="cite" class=""><div class="">On 12 Mar 2018, at 1:21 PM, Japanese Cinema Discussion Forum via KineJapan <<a href="mailto:kinejapan@lists.osu.edu" class="">kinejapan@lists.osu.edu</a>> wrote:</div><br class="Apple-interchange-newline"><div class=""><div dir="ltr" class="">I had a nice talk with Aihara Hiromi, who helps out with foreign film festivals here and there. She's involved in an interesting project. Rapid Eye Lab (Peter Schulz, Stephan Holl, et al) acquired a Black Magic scanner that enables 4K scans on the (relative) cheap. They are apparently focussing on independent films of note, and not just Japan. <div class=""><br class=""></div><div class="">The pink film project was just announced at Berlin with a tribute to producer Sato Keiko. First films are Yamatoya's <i class="">Inflatable Sex Doll of the Wastelands, </i>Adachi's <i class="">Gushing Prayer</i> and Suo's <i class="">Abnormal Family</i>. Films by Mukai and Watanabe in the pipeline. </div><div class=""><br class=""></div><div class="">I've heard the film center has collected some pink film, but I've never heard of restorations. So this is a great thing, and the choices are interesting. These films are easily rentable now for those involved in programming. Details are in the attached press kit.</div><div class=""><br class=""></div><div class="">Markus</div><div class=""><br class=""></div><div class=""><br clear="all" class=""><div class=""><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><span style="color:rgb(136,136,136)" class="">--- </span></div><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div dir="ltr" class=""><div style="font-size:small" class=""><font face="courier new, monospace" color="#274e13" class=""><b class=""><img src="https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download" width="56" height="96" class=""><br class=""></b></font></div><div style="font-size:small" class=""><font face="courier new, monospace" color="#274e13" class=""><b class="">Markus Nornes</b></font></div><div style="font-size:small" class=""><span style="font-family:'courier new',monospace" class=""><font color="#38761d" class=""><b class="">Professor of Asian Cinema</b></font></span></div><div class=""><font size="1" color="#38761d" class=""><font face="courier new, monospace" class="">Department of Screen Arts and Cultures</font><span style="font-family:'courier new',monospace" class="">, Department of Asian Languages and Cultures, Penny Stamps </span><span style="font-family:'courier new',monospace" class="">School of Art & Design</span></font></div><div style="color:rgb(136,136,136);font-size:small" class=""><font face="courier new, monospace" color="#6aa84f" class=""><br class=""></font></div><div class=""><font face="courier new, monospace" size="1" color="#93c47d" class=""><b class="">Department of Screen Arts and Cultures</b></font></div><div class=""><font face="courier new, monospace" size="1" color="#93c47d" class=""><b class="">6348 North Quad</b></font></div><div class=""><font face="courier new, monospace" size="1" color="#93c47d" class=""><b class="">105 S. State Street</b></font></div><div class=""><font face="courier new, monospace" size="1" color="#93c47d" class=""><b class="">Ann Arbor, MI 48109-1285</b></font></div><div style="color:rgb(136,136,136)" class=""><br class=""></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
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