I offer my services as a consultant to supervise film conservation and restoration together with Guido Pappadà.
Below, a brief summary of our experiences both in modern and historic films in the field:
From 1995 onwards we became ever more involved in researching and developing solutions with manufacturers and technology suppliers to enable digitisation of entire films. This came about for several reasons:
Firstly, I had founded, designed and built a new digital facility that I decided to call Cinecittà Digital and which was next door to Cinecittà’s film processing labs in Rome. The time and effort working intimately in both the chemical and digital labs was to prove important for us.
At the same time an increasingly extensive experiences in visual effects supervision led us to perffect and research methods in how to make cuts between analogue and digital scenes invisible - it was to prove the technical founding stone, together with a profound understanding of the original creative intentions of the film makers, for digital film conservation and restoration, and ultimately the now well established digital intermediate process itself.
In 1999, Guido and I worked on a very important restoration of Charlie Chaplin’s film “The Kid” - 1921; with careful handling, we scanned the 35mm. black and white negative in very high resolution scans in Rome. Significant parts of the negative had very visible fungicidal growth, so we also scanned a positive print that had, luckily, been printed before the damage to the negative had come about. Then the damaged parts were substituted by careful rotoscoping, stabilising, colour balancing and compositing work.
The restored film was printed and shown to the Chaplin Family and to the public in Bologna at an event of l'immagine Ritrovata. The Chaplin Family were so enthralled with the pristine quality results that they decided to award the conservation, custody, and restoration of all of their considerable library of films to the “Cineteca di Bologna” from then on.
From 2003 to the present day we have continued to work on many film projects together with Guido Pappada'.
With a consortium created ad hoc, and the involvement of the digital lab we are currently researching and developing restoration processes to contribute to new, higher quality with 8k scans for the process. In essence a "library of defects" will be created, so as to make the elimination of those defects possible. Programming the elimination of defects process with Artificial Intelligence will enable it to become faster and faster.