Through lectures and demonstrations, participants will study topics such as: common film stocks; decomposition and image fading; the Super 8 and 16mm motion picture formats; the 35mm slide format; sound formats; the identification and inspection of film elements; working with film labs; liquid gate printing and scanning; analog, digital, and hybrid film restoration and QC; film projection and exhibition; Digital Cinema Packages; and strategies for storing digital film data. Case studies and typical workflows will demonstrate the application of these concepts. The workshop will include dedicated time for Q&As and discussion among the participants and instructors. The workshop will provide participants with a foundational understanding to properly identify, preserve, and exhibit artists’ films.
Enrollment in this workshop is limited to 16 participants. Participants are expected to attend all three days of the workshop.The workshop is tuition-free, thanks to generous support from the Andrew W. Mellon Foundation.
Workshop leader
John Klacsmann is Archivist at Anthology Film Archives in New York City where he preserves artists’ cinema and experimental film. Klacsmann holds a Bachelors of Science in Computer Science from Washington University in St. Louis and is a graduate of the George Eastman Museum’s L. Jeffrey Selznick School of Film Preservation. Before joining Anthology in 2012, he worked as a preservation specialist and optical printing technician at Colorlab, a film laboratory in Maryland. He co-edited two volumes of The Collections of Harry Smith: Catalogue Raisonne and Manuel DeLanda: ISM ISM. He is a contributing editor to INCITE: Journal of Experimental Media.
Guest speakers
Tommy Aschenbach is founder and president of Video and Film Solutions and owner of Colorlab, Inc., a film and video laboratory in Rockville, Maryland. He is a noted expert in film preservation and is especially renowned for his work developing digital tools for preserving moving image content.
Julian Antos is the Technical Director at the Music Box Theatre and the Executive Director of the Chicago Film Society. He also works as a freelance technician installing film loopers in museums and galleries, and has been an instructor and organizer of recent Association of Moving Image Archivists (AMIA) Archival Film Projection Workshops. He enjoys shooting 16mm film, especially of local wildlife and transportation.
Sasha Arden is a graduate student in NYU's Time-Based Media conservation program. Their professional experience includes installation of media-based artworks at the San Francisco Museum of Modern Art, managing hundreds of media exhibits at the Oakland Museum of California, overseeing audiovisual resources at the San Francisco Art Institute, and freelance consultation, production, and installation of media-based artworks for Bay Area artists. Sasha has worked closely with slide projectors, developing shared resources for maintenance of equipment and exhibition-related interventions using a microcontroller to drive projector functions.