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Title of Journal: Multimed Tools Appl

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Abbravation: Multimedia Tools and Applications

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Springer US

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DOI

10.1007/s11406-015-9656-9

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1573-7721

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Unsupervised digital movie restoration with spatia

Authors: Alessandro Rizzi Anna Jerry Berolo Cristian Bonanomi Davide Gadia
Publish Date: 2014/07/01
Volume: 75, Issue: 7, Pages: 3747-3765
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Abstract

In this paper we present an efficient approach to digital color restoration based on the idea of recovering the appearance of color rather than the original color signal since in most of the cases for old films the original reference is missing and new films or digital coding can be subject to severe gamut transformations This approach is based on the application of algorithms inspired by the capabilities of the Human Vision System of automatically adjust to the variation of color and lightness in the scene The proposed method allows more unsupervised restoration We present an overview of the approach characteristics of this family of algorithms and restoration examplesSince its invention in the nineteenth century cinema has become one of the most important media of popular culture becoming in fact next to the books our historical memory Unfortunately color films are subject to the aging of dyes contained in the emulsion and of the support itself The decay is a natural process that usually introduces a color dominant loss of contrast and/or color desaturation Color negative and positive film color print material interpositives and color motionpicture release print are all affected in the same way 29 The decaying process is irreversible and the most effective method to slow it is to store photographic and cinematographic material at controlled temperature and humidity 14It has been estimated that about 80  of the movies produced between 1910 and 1920 have been lost 28 If not restored a large part of the film cultural heritage will be lost relatively quickly Hence the strong ethical obligation to preserve and restore those moving images that represent our social memoryThe relevance of this problem is wellknown as stated by the European Broadcasting Union “Differential dye fading is the most common image degradation phenomenon in archived colour films” 5 Martin Scorsese the famous movie director has started several years ago the challenge of making people aware about the need of a wide film restoration movement “Movies touch our hearts and awaken our vision and change the way we see things They take us to other places They open doors and minds Movies are the memories of our lifetime We need to keep them alive” 39 Since 1980 UNESCO has recognized “moving images” as an integral part of world’s Cultural Heritage 41Thanks to the relevant technical progresses of the last years the digital restoration of color has widely spread Digital techniques allow an easier removal of color casts equalization of the frame histogram expansion of the dynamic range and adjustment of desaturated colors Moreover it can address artifacts not treatable by traditional photochemical techniques Citing again the European Broadcasting Union “Dye fading cannot be corrected by film treatment A certain amount of fading is normally correctable in printing process but correcting for fading beyond 30   in a filmtofilm process is complex and uses specialized techniques” 5 Finally digital techniques allow easily multiple attempts however constant supervision by qualified personnel is still required Moreover a digital pipeline can address effectively the scaling of the restored content to the different formats and gamuts necessary for the multiple different visualization devices currently available in cinemasCurrent state of the art in digital restoration is mainly based on color grading techniques “primary” grading affects the levels of RGB gamma shadows and highlights in the entire frame while “secondary” techniques apply changes only on a selected range of colors or windows in the frameIn this paper we collect and resume our personal experiences and results from the works and projects we have conducted in the last years in the digital film restoration field and we describe the method used based on the idea of recovering the appearance of color rather than the original color signal This approach is based on the application of Spatial Color Algorithms SCAs 37 a family of algorithms inspired by the capabilities of the Human Vision System HVS of autonomously adjust to the variation of color and lightness in the scene

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