The Digital Dilemma 2 – A Cultural Heritage at Risk

Categories: Archiving , Kimberly Snyder
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Kimberly Snyder
President and General Manager
Entertainment and Commercial Films Group
Vice President of Eastman Kodak Company

It’s no secret that the entertainment industry is engaged in a technology transition that puts high stakes on the line when it comes to the preservation of motion picture assets. “The Digital Dilemma 2,” recently published by the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, takes a thorough and analytical look at the impact of the digital revolution on filmmakers’ assets, and in particular, the assets and processes of independent filmmakers.

The report follows 2007’s “The Digital Dilemma,” which focused on studio content, and like its predecessor, this second in-depth study covers critical topics for the overall industry in terms of securing entertainment assets for the long term.

Korean Classic Cinemas are Cultural Properties of Modern Times

Categories: Archiving
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The Korean Film Archive

Written by Bong-Young Kim
Head of Film Conservation Center, Korean Film Archive
Translated with permission from the Korean Film Archive

Movies document the culture and awareness of contemporary times and such recognition, elevates the cultural value of movies.

Back in February, Turning Point of the Youngsters, by Jong-Hwa Ahn (1934) was registered as a cultural property in Korea. This is the eighth classical film registered as cultural property, all of which are securely kept in the Korean Film Archive.

AMIA - Image is Everything...Protect it.

Day 2: Kodak's presence at AMIA

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Kodak attendees at the Kodak Booth at the AMIA Vendor Cafe: Diane Carroll-Yacoby, Nicole Phillips, Rick Utley

We're continuing our Kodak presence at the Association of Moving Image Archivists conference this week in Austin, TX. Kodak has sponsored a booth in the popular Vendor Cafe at the Austin Hyatt Regency Downtown. We've had a lot of Kodak friends stop by to inquire about our presentation at The Reel Thing on Wednesday, where we discussed KODAK Asset Protection Films for the future. Additionally, many have inquired on our KODAK Media Asset Management Solutions Service, which we are currently beta testing. A panel discussion with the George Eastman House, describing the Case Study which was done for this offering, is scheduled for tomorrow Saturday, November 19.

Capturing the Triple Crown on Super 8

Secretariat wins the 1973 Triple Crown
Secretariat wins the 1973 Triple Crown - by Bob Gately

Bob Gately became a horse lover when he saw Elizabeth Taylor and Mickey Rooney in National Velvet when he was 10 years old. Little did he know that later in life, he would shoot some rare and valuable motion pictures of horses.

Gately started bringing his Cavalier Super 8 movie camera to the Belmont racetrack in 1971, when an unlikely rags-to-riches horse named Canonero II was generating tremendous hype as a Triple Crown candidate. Canonero II had surprised everyone by winning the Kentucky Derby and the Preakness Stakes, and a victory at the Belmont Stakes would make the horse the first since Citation in 1948 to complete horseracing’s ultimate feat.

8 Ventures of CJ

100D

My research in preparation for the launch of KODAK Ektachrome 100D Color Reversal Film in the Super 8 mm format led to a trip down nostalgia lane. As you’ll recall, 100D Film is a daylight-balanced 100-speed film, incorporating bright saturated colors and fine grain with excellent sharpness. It features some of our latest technological advances, and all of our internal testing show that it is an ideal candidate for Super 8.

As I scanned through some old press releases, it became apparent that Kodak has consistently touted the fact that many of today's great cinematographers and directors began their careers at the counter of their local photo shop, buying a cartridge of Super 8 film. In its own way, my experiences with Super 8 helped lead me to this point. During my early teenage years, my best friend and I toyed with the idea of bringing our vision to the screen. We brainstormed a few ideas, sketched out a plan, grabbed a Super 8 camera and went out shooting. We tried our hand at a few short comedy routines along the lines of Monty Python’s Flying Circus. We even tried some simple animation. These poor attempts at comedy make me cringe as I think back on it. In our few public showings, we certainly generated some laughter, but I suspect that most of it was at our expense. Although we had a blast making the films, the results suggested that we were both better off pursuing other careers. As summer came to conclusion, we put away the camera and moved on to other activities.

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