I agree with Serge Bromberg, regarding critical to remember when restoring.
Restoring a whatever its technical and artistic qualities film will undoubtedly re 10, 20 or 30 years later.
The real ethics have during restoration is to prepare the original material for future restorations to come.
Return to film in the digital restoration that contribute to securing the restoration carried out, but not to the original material.
This implies the inventory and prepare the original movie to a suitable storage equipment, and if necessary, make prints of the original elements of security (in the case of decomposition, discoloration or irreversible condition of the original material used to restore the moment).
It is by doing this, we can ensure that future generations, access to the original material film, the successive restorations become as documents to guide future restoration, or documents demonstrating an approach technology and tastes of an period.
This orientation of the material is maintained as close to the negative if it can be applied relatively simply on a particular film, must also be applied to fully digital movies.
A "digital negative" and must be maintained as close to its original state before all digital post production phase leading to the work completed.
It now remains to re adjust the process of preservation and storage of digital data in the same spirit as for the film medium, ie think of future restorations used to watch the movie again with the new technical conditions.
Olivier Pruvost August 2014
Marine Valès radio "the mov" (Radio France), several interviewees questioned all having an interest in films, preservation and restoration of those above.
stakeholders are : Serge Bromberg (Lobster films), Galeshka Moravioff (films sans frontières), Alex Masson (Critique de cinema), Olivier Pruvost (Filmo).
Films Restoration and Ethics
Patrimony Department / The media says / Technicals files / The Film grain and HD
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AD UNO AD UNO SPIETATAMENTE - 1968.
AGI MURAD, IL DIAVOLO BIANCO - 1959.
AL DI LA' DELL' ODIO - 1972.
ANARCHISTES OU LA BANDE A BONNOT (LES) - 1968.
ANNEE SAINTE (L') - 1976.
ARRIVA DURANGO PAGA O MUORI - 1971.
ARLESIENNE (L') - 1941.
ASSASSIN A PEUR DE LA NUIT (L') - 1942.
AVENTURIERS (LES) - 1967.
AVVENTURE DI MARY READ - 1961.
AVVENTURIERO (L') - 1967.
BANDERA (LA) - 1935.
BELLE ET LA BETE (LA) - 1945.
BORDELLA - 1976.
C E SARTANA VENDI LA PISTOLA E COMPRATI LA BARA - 1971.
CERTO, CERTISSIMO, ANZI PROBABILE - 1969.
CHARRETTE FANTOME (LA) - 1939.
CHARTREUSE DE PARME (LA) - 1947.
CHIAMAVANO KING (LO) - 1971.
CHOUANS (LES) - 1946.
COLLINA DEGLI STIVALI (LA) - 1970.
CONFESSIONE DI UN COMMISSARIO DI POLIZIA AL PROCURATORE DELLA REPUBLICA - 1971.
CRACKS (LES) - 1968.
DON CESARE DI BAZAN - 1942.
DU GUESCLIN - 1943.
DUE CROCI A DANGER PASS - 1967.
ETERNEL RETOUR (L’) - 1943.
FELICIE NANTEUIL - 1942.
FEUX DE LA CHANDELEUR (LES) - 1972.
FILM D'AMORE E D'ANARCHIA - 1973.
FLUSSPIRAFEN VOM MISSISIPPI - 1964
GENDARME A NEW YORK (LE) - 1965.
GENDARME DE SAINT-TROPEZ (LE) - 1964.
GENDARME EN BALADE (LE) - 1970.
GENDARME ET LES EXTRA-TERRESTRES (LE) - 1978.
GENDARME ET LES GENDARMETTES (LE) - 1982.
GENDARME SE MARIE (LE) - 1968.
GIGANTE DI METROPOLIS (IL) - 1961.
GIOVEDI (IL) - 1964.
GOLDSUCHER VON ARKANSAS (DIE) - 1964
GRAND PATRON (UN) - 1951.
HORSE (LA) - 1970.
I PIRATI DELLA COSTA - 1960.
IMPUTAZIONE DI OMICIDO PER UNO STUDENTE - 1971.
INTOCCABILI (GLI) - 1969.
LUCREZIA - 1969.
MAESTRO E MARGHERITA (IL) - 1972.
MARIA CHAPDELAINE - 1934.
MARITI IN CITTA - 1957.
MAZURKA DEL BARONE (LA) - 1974.
MUR DE L'ATLANTIQUE (LE) - 1970.
MYSTERES DE PARIS (LES) - 1943.
ORPHEE - 1949.
PETIT BOUGNAT (LE) - 1969.
PETROLEUSES (LES) - 1971.
PETRUS - 1946.
PISCINE (LA) - 1968.
PROFESSIONISTI PER UN MASSACRO - 1968.
RUY BLAS - 1947.
SCHWARZEN ADLER VON SANTA FE (DIE) - 1962.
TANTE ZITA - 1967.
TRATTA DELLE BIANCHE (LA) - 1952.
TUTTO A POSTO E NIENTE IN ORDINE - 1974.
URSUS, IL TERRORE DEI KIRGHISE - 1964.
VIE DE BOHEME (LA) - 1942.
VISITEURS DU SOIR (LES) - 1942.
ZORRO A LA CORTE D' INGHILTERRA - 1969.
ZORRO CONTRO MACISTE - 1963.
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