Welcome to the Haghefilm Foundation

The Haghefilm Foundation provides training in one or more of the following areas:

I. INTRODUCTION

Tour of the Haghefilm Laboratories

Introduction to the Haghefilm Foundation Internship

II. ANALOG MODULES

A. Sensitometry and Chemistry

A1 Introduction

Chemistry is the basis of motion picture film. This module presents how the “classical” sciences of photographic chemistry are used for the quality control of motion picture duplication and preservation, and how they are connected with the latest in digital techniques and film restoration.

A2 Processing Machines and Basic Chemistry Overview

A processing laboratory is basically a wet-chemical production unit. At the same time, it is the place where the final steps in the creation of moving images take place. This unit gives an overview of the basic chemistry steps, such as development and fixing, in the classical photographic process and motion picture production.

A3 Introduction to Sensitometry

At the heart of the quality control of making motion pictures is sensitometry, the science of the behavior of photographic emulsions. Understanding sensitometry, however, also provides an introduction to the qualities of photographic images and their reproduction in the art and preservation of motion picture film.

A4 The Sensitometer

This module introduces the properties of film materials, and their control and testing by controlled exposure in this instrument.

A5 Routine Sensitometry and the Densitometer

Numerous sensitometric strips are routinely checked on so-called “densitometers”. The photographic densities thus measured allow one to control the development of originals, master materials, and projection prints, but also, for instance, the proper functioning of printers and laser recorders. Thus, this module about quality control also provides an introduction to the numerous photochemical and digital production and preservation routes in a film restoration environment.

A 6 Development Processes and Techniques

In development, the latent image is made visible. This is the process where the moving silver image is born, and where its character can be influenced by choice of parameters such as development bath (chemistry) and processing time. In this module, different development processes (e.g., black and white positive and negative, soundtrack negative, varying black and white contrasts, color development) are explored in more detail, along with their sensitometric control and related practical techniques, such as the handling of undeveloped film in a darkroom.

A7 Color, Color Vision, and Color Film

Understanding color – a human perception rather than a defined characteristic of a material – is essential for comprehending the role and control of color in motion pictures. This module introduces the concepts of additive and subtractive color synthesis, and how these relate to film and other imaging systems.

A8 Gamma Curves, Film Materials, Film Speed

Different film materials have been tailored for different purposes – for instance, camera and duplicating stocks, projection materials, and special stocks. Their sensitivity to light and the qualities of the images they capture can be described by different parameters, often directly derived from sensitometry. This module introduces the concepts of gamma curves and film speed, as well as the properties of different film materials.

A9 Printing, Print-through Curves, Flashing

In duplicating or printing films, the interaction between different photographic materials can be characterized by printing curves and tests. It will further be shown how the so-called technique of “flashing” can modify the behavior of the materials in these processes by means of an additional, uniform exposure step.

A10 Push/Pull Development

Further control of the properties of a developed film material can be obtained by two special techniques, the so-called “push and pull” developments. These are introduced in this module.

A10 Heritage Color, Color Film Principles and History

In the course of film history, numerous, often short-lived, color film systems have been introduced. The few that prevailed, such as Technicolor, had a major impact on film history, technology, and aesthetics. As outlined in this module, they offer ongoing challenges for film preservation, but also an opportunity to deepen our understanding of motion picture color in general.

B. Timing (Black-and-white), Film Handling, Printing, and Conservation

B1 Department Tour

This module serves as an introduction to the specialized laboratory facilities in which this work is performed.

B2 Introduction to Conservation

Our Inflammable Heritage, a documentary film about Haghefilm’s work on the restoration of a rediscovered silent film from the Nederlands Filmmuseum, is screened and discussed in this module. It serves as an introduction to the field of film restoration and conservation, and the approaches taken in close collaboration between a film archive and a restoration laboratory.

B3 Basic Film Handling

Working with motion picture film is interacting with a material artifact that has unique, tangible characteristics and demands. This module gives an introduction to basic film handling skills.

B4 Basic Film Inspection

Film inspection is essential for archives and laboratories to judge the condition of film materials and, if necessary, make repairs to enable their mechanical duplication using printing or scanning equipment. This module introduces the basic skills for this task.

B5 Basics of Printers and Film Cleaning Machines

This module introduces the mechanical and photographic pieces of equipment – that is, film cleaning and printing machines – used in the duplication of historic film materials.

B6 Black-and-white Timing

In copying or printing black-and-white materials, the proper tonality of every shot needs to be controlled by determining the exposure settings, a technique called grading or timing, which is introduced in this module.

B7 Black-and-white Printing (including Flashing)

Once a film has been timed, it can properly be copied or printed on a printing machine. The technique of flashing, introduced in this module, can be employed for contrast control. It is especially useful in capturing an archival projection print’s tonality range in film preservation, to achieve the best possible protection material in collaboration with archival specialists.

B8 Special Printing Techniques in Conservation

Imperfections in archival materials, such as the inconsistent relative positions of sprocket holes and frame lines within a print, may need to be compensated for in printing. Silent film intertitles sometimes only exist in brief segments of a few frames that need to be stretched to a suitable length. This module introduces such special printing procedures.

B9 Introduction to Tints, Tones, Stencilling, and Other Early Color Techniques

Among the most mesmerizing properties of archival film materials from the early 20th century are the color systems applied to black-and-white materials by means of tinting, toning, hand- or stencil-coloring. These techniques, and the challenges they present in film preservation, are introduced in this module.

B10 Handling of Archival Film Material

Film inspection is especially demanding in the handling of archival material. Students will experience firsthand how the fragile nature and chemical instability of film stocks present an extra challenge, and require understanding and recognizing different historical film materials and techniques (such as tinting, or the splicing of projection prints), as well as the kind of damage and decomposition that can be encountered.

C. Timing – Color

C1 Printer Control

Like other equipment in a motion picture laboratory, film printers need to be constantly controlled using suitable test films, as introduced in this module.

C2 Colormaster Timing Exercise

The Colormaster is a video-assisted device that allows color timing, that is, the proper setting of exposure and color balance on a shot-by-shot basis. In this module, the student can set the timing values for a sample negative.

C3 Answer Print and Filter Corrections; Correction Print

Once a first print – the “answer print” – has been produced using color timing, subtle final corrections can be made. As demonstrated in this module, this is typically done using filter settings on a rewind table. Corrections are then implemented in a so-called “correction film print”.

C4 Projection

Ultimately, a print’s grading and color timing can only be judged in optimum viewing conditions, that is, projection of the film print in an appropriate screening environment. This module provides an introduction to 35mm film projection.

C5 Final Evaluation of the Print

The last step in color timing is to view and discuss the result with the individual(s) responsible for curating and/or commissioning the project. When feasible, students can participate in such a meeting, when any final aesthetic or curatorial decisions are made, in close collaboration and discussion with the color timer.

C6 Color Timing in the Preservation Process

This module demonstrates how color timing in the preservation process needs to be informed by knowledge about the historic context of the material. In many cases, original elements may be available for comparison, offering the opportunity but also the challenge to match the look of a film on modern printing material to historic, often quite different types of color film materials.

C7 Flashing and Basic Desmet Method

Flashing, a special technique in film duplication, can not only be employed for contrast control. It is also part of the so-called “Desmet Method”, a flashing and printing route that allows one to approximate the appearance of the historic techniques of film tinting and/or toning on modern color stock.

III. DIGITAL MODULES

D. Digital Imaging

D1 General Workflow, from Camera Original to Final Print

In this module, an overview of the world of digital intermediate (DI), post-processing, and digital restoration is given. The student is introduced to general concepts as well as the typical digital workflow and its techniques, which he or she can follow in more detail or, where feasible, participate in during subsequent digital imaging and grading modules. Working with such tools requires understanding both digital and analog; photochemical imaging (e.g., how random film grains differ from static pixels); that a Look-Up Table (LUT) yields substantially more control over image properties than working with film’s characteristic curves; and why analog media are still often preferred for initial image capture, as well as final image output and storage.

D2 Digital Scanning on the Ursa Telecine

Many users prefer to edit offline with a QuickTime file, the electronic equivalent of a rush print, resulting in the creation of an Edit Decision List (EDL) to direct the further work, along the lines of a work print. Towards this end, a standard definition scan is made and often graded (“best light”) on an Ursa telecine. An introduction to the operation and use of this equipment is provided in this module.

D3 Digital Scanning on the Oxberry and Arriscan

Unlike the creative process of the grading of a transfer on an Ursa telecine, scanning on a dedicated, high-resolution scanner (2K, 3K, 4K or 6K resolution) is a technical procedure aimed at capturing the entire information in a negative, frame by frame, using a film-material-specific LUT for optimized results. This is the starting point to make the material’s entire information content available digitally for the subsequent editing and grading processes. Also, Kodak’s Digital Ice process on the Arriscan can already provide an effective dust cleanup of the material at this early stage. This module gives an overview of this equipment and its operating principles.

D4 Digital Restoration

For digital restoration, a variety of tools with different strengths can be employed. These include Diamant, Eyeon Fusion, and Nucoda Phoenix, but also more commonly known software such as Adobe Photoshop and Adobe Aftereffects. This module discusses these tools and their combination, and how in deciding their application towards restoration, focus must be maintained on the integrity of the final moving image and its truthfulness to the creative intent and/or history, as well as the client’s requirements.

E. Digital Grading and Output

E1 Preparation for Digital Grading

For materials edited offline, an online edit based on the EDL must be prepared and checked against the QuickTime work-print file. This is usually followed by cleanup of the image, to allow complete focus on the content in the subsequent grading process, without distraction of any remaining artifacts.

E2 Inserting Titles and Special Effects during the Grading Process

Digital effects can often be supplied from outside sources and integrated during the grading process. However, more complex processes might require a postproduction supervisor to obtain and implement feedback from the director. Very complex effects may even have ramifications for how the material should be shot in the first place (e.g., blue screen or green screen processes).

E3 Digital Grading on Nucoda

Sometimes, certain effects can even be inserted within the grading process. This is the major advantage of the Nucoda: working in layers, it also provides unrivalled control in the grading itself, allowing, for instance, the isolation of particular colors or objects, and can thus be substantially superior to analog grading in production or preservation projects.

E4 Digital Preparation for Intermediate Negative Recording

For the final output of the digital information on an analog master medium such as color intermediate or b/w duplicate negative film, preparations need to be taken digitally. LUTs ensure that different materials can be correctly exposed, and aspect ratio and size of the film frame must conform to the client’s specifications.

E5 Formats and Export
In addition to a film master, numerous final output formats are available to clients. They are also of relevance to archivists as access media, and include HDCAM, standard-definition video (DigiBeta), or even, for the Internet, QuickTime files. The requirements of modern D-Cinema and its lower cost, bit rate, and encryption equivalent E-Cinema, also need to be taken into account. In a digital workflow, it is also quite possible to mix and, to a certain degree, match a variety of such media for input, if so required by a particular project.

IV. SOUND

F. Analog Sound

F1 Optical Soundtracks

Optical tracks have been the motion picture soundtrack format for most of the last century. Conservation in this format is typically done by straight copying from source elements such as projection positives, sound negatives, or magnetic tape to preservation sound negative. The original characteristics and remaining limitations of these processes are discussed as an important consideration in the curatorial decisions required in film restoration.

F2 Formats

Unconventional preservation projects can provide interesting challenges in the format of available source material – media such as 78 rpm records, VHS tapes, or audio cassettes have been sourced in past such projects. They also provide case studies to discuss archival and preservation issues extending beyond film, that is, format obsolescence and hardware availability.

G. Digital Sound

G1 Digital Sound Formats

Currently, the most frequently used digital motion picture sound formats in the Netherlands are Dolby Digital and DTS (Digital Theater System). In this module, these sound systems are discussed, along with the history and evolution of motion picture multi-channel and digital sound formats. An introduction to modern soundtrack mixing in a Dolby-licensed and calibrated sound master room is also given.

G2 Digital Sound Restoration

For sophisticated sound restoration, resorting to digital technology is a necessity. For instance, digitally re-editing and matching different analog sources of varying type, completeness, and condition are feasible. Sound restoration provides excellent case studies for the technical choices and ethical issues facing the film restorer. Thus, using modern digital sound technology towards improved quality while maintaining the original’s artistic integrity is discussed, along with the re-purposed stereo or multi-channel remixes of originally monaural soundtracks often requested by clients.