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1</head><body><div hidden=""><!--$--><!--/$--></div><div data-locale="en" data-theme="dark"><header class="layout-module__cgl8AG__header"><a class="layout-module__cgl8AG__logo" aria-label="L&#x27;Immagine Ritrovata Group" href="/en"><img alt="L&#x27;Immagine Ritrovata Group" width="118" height="24" decoding="async" data-nimg="1" style="color:transparent" src="/images/logos/dark/logo-white.svg"/></a><button type="button" class="layout-module__cgl8AG__toggle " aria-expanded="false" aria-controls="site-nav" aria-label="Open navigation menu"><svg width="18" height="14" viewBox="0 0 18 14" fill="none" aria-hidden="true" class="layout-module__cgl8AG__toggleIcon"><line x1="0" y1="1" x2="18" y2="1" stroke="currentColor" stroke-width="1.5" stroke-linecap="round" class="layout-module__cgl8AG__bar1"></line><line x1="0" y1="7" x2="18" y2="7" stroke="currentColor" stroke-width="1.5" stroke-linecap="round" class="layout-module__cgl8AG__bar2"></line><line x1="0" y1="13" x2="18" y2="13" 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style="color:transparent" src="/images/logos/light/logo-black.svg"/><img alt="L&#x27;Immagine Ritrovata" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="hidden dark:block" style="color:transparent" src="/images/logos/dark/logo-white.svg"/></a><span class="layout-module__cgl8AG__logosDivider" aria-hidden="true"></span><a href="https://www.cinetecadibologna.it" target="_blank" rel="noopener noreferrer" aria-label="Cineteca di Bologna" class="layout-module__cgl8AG__brandLink"><img alt="Cineteca di Bologna" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="dark:hidden" style="color:transparent;object-fit:contain" srcSet="/_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=256&amp;q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=384&amp;q=75 2x" src="/_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=384&amp;q=75"/><img alt="Cineteca di Bologna" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="hidden dark:block" style="color:transparent;object-fit:contain" srcSet="/_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=256&amp;q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=384&amp;q=75 2x" src="/_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=384&amp;q=75"/></a></div><p class="layout-module__cgl8AG__brandTagline">A leading lab since 1992.</p></div><div class="layout-module__cgl8AG__colLabs"><h4 class="layout-module__cgl8AG__colHead">LABORATORIES</h4><div><span class="layout-module__cgl8AG__city">Bologna</span><br/><span class="layout-module__cgl8AG__country">Italy</span></div><div><span class="layout-module__cgl8AG__city">Paris</span><br/><span class="layout-module__cgl8AG__country">France</span></div><div><span class="layout-module__cgl8AG__city">Hong Kong</span><br/><span class="layout-module__cgl8AG__country">Hong Kong, SAR</span></div><div><span 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/_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=384&amp;q=75 2x" src="/_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=384&amp;q=75"/><img alt="Cineteca di Bologna" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="hidden dark:block" style="color:transparent;object-fit:contain" srcSet="/_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=256&amp;q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=384&amp;q=75 2x" src="/_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=384&amp;q=75"/></a></div><div class="layout-module__cgl8AG__mobileLogosRow"><div class="layout-module__cgl8AG__mobileLogos"><a aria-label="L&#x27;Immagine Ritrovata" class="layout-module__cgl8AG__brandLink" href="/en"><img alt="L&#x27;Immagine Ritrovata" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="dark:hidden" style="color:transparent" src="/images/logos/light/logo-black.svg"/><img alt="L&#x27;Immagine Ritrovata" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="hidden dark:block" style="color:transparent" src="/images/logos/dark/logo-white.svg"/></a><a href="https://www.cinetecadibologna.it" target="_blank" rel="noopener noreferrer" aria-label="Cineteca di Bologna" class="layout-module__cgl8AG__brandLink"><img alt="Cineteca di Bologna" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="dark:hidden" style="color:transparent;object-fit:contain" srcSet="/_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=256&amp;q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=384&amp;q=75 2x" src="/_next/image?url=%2Fimages%2Flogos%2Flight%2FcinetecaLogo.png&amp;w=384&amp;q=75"/><img alt="Cineteca di Bologna" loading="lazy" width="150" height="32" decoding="async" data-nimg="1" class="hidden dark:block" style="color:transparent;object-fit:contain" srcSet="/_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=256&amp;q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=384&amp;q=75 2x" src="/_next/image?url=%2Fimages%2Flogos%2Fdark%2FcinetecaLogo.png&amp;w=384&amp;q=75"/></a></div><p class="layout-module__cgl8AG__brandTagline">A leading lab since 1992.</p></div></div><div class="layout-module__cgl8AG__bottomBar layout-module__cgl8AG__contentWrap"><span class="layout-module__cgl8AG__meta">
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1<script>self.__next_f.push([1,"It's not just about cinematic masterpieces. When it comes to the preservation and promotion of audiovisual heritage, it's not just about high-profile restorations for festivals and arthouse screenings. In fact, the passage of time also threatens films stored in archives – both public and private – that house videos, films, and footage of various kinds: old commercials, news segments, sports features, corporate videos, television programs, audio contents, and home movies of all kinds. All these records, which represent the historical memory of past eras, risk being lost due to the deterioration of the media itself. At L'Immagine Ritrovata, we believe that all audiovisual heritage deserves to be properly preserved and promoted. For this very reason, we are dedicated to converting audio and visual content from analog media, such as tapes or film, into digital formats. This allows us to preserve the materials over time, improve their quality, and make them easily accessible and shareable through modern technologies, ensuring broader and more enduring enjoyment. Preserving, digitizing, and disseminating audiovisual heritage in the broadest possible sense has therefore become an urgent priority, a race against time. It is a challenge that L’Immagine Ritrovata is happy to take on, thanks to the most advanced technologies. From entire libraries to select collections, no project is too small or too large: we can handle any volume by offering top-tier, tailor-made solutions."])</script>
1<script>self.__next_f.push([1,"14:T4f0,We perform targeted repairs on fragile or damaged media to restore the film to a condition that allows it to be scanned safely.\n\nThe manual reparation of the film is the first working phase involved in the restoration of a film. Its aim is to restore the original film's mechanical capability, allowing for its passage through the machines in the successive phases of the restoration process (printers, scanners, telecine, etc). The artisan reparation work is carried out by hand, principally on a manual rewinding table. The instruments employed are scissors, scalpels, tweezers, swabs, solvents, specialized cinema adhesive tape, glue (our own production, specifically for splicing together nitrate film stock and acetate film stock) and brushes.\n\nDuring the reparation phase all splices are checked and, if required, redone. Any physical damage, such as breakages, strains or tears, which may be located at the perforations or on the actual images and may constitute lacunae of varying size and severity, is repaired. Furthermore, any areas of dirt are manually cleaned. The guiding principles during the reparation phase are the mechanical functionality and the aesthetic of the film stock: a good intervention is simply the correct compromise between the two.15:T6b1,"])</script>
1<script>self.__next_f.push([1,"L'Immagine Ritrovata has invested in an area dedicated to providing what are commonly known as \"chemical treatments\" (drying, softening, rehydration), meaning that it is capable of giving a second life to film which otherwise would have been lost. In fact, the chemical deterioration of film is an increasingly frequent problem in the sector, a natural and irreversible process, which in the most extreme cases can result in the destruction of nitrate and cellulose triacetate film material. A material suffering from chemical deterioration undergoes chemical and physical transformations which significantly reduce functionality and, therefore, the possibility of utilizing it. This makes it impossible to work directly with the film in its deteriorated state and, therefore, impedes any possibility of a successful restoration project.\n\nThanks to drying treatments, film bonded together (in whole or only in part), can once again be utilized without the risk of the support or emulsion being damaged when mechanically unwound. Similarly, a film that has become dry and fragile due to chemical deterioration, sometimes resulting in physical deformation or loss of original flatness, can recover its lost flexibility and plasticity by means of a specialized softening and rehydration treatment. Subsequently, it too can be worked on without risk of damage or breakage. Thanks to interventions of this nature and the continual monitoring of their progress, and the reaction of reels which have undergone such treatment, it is now possible to temporarily restore the mechanical functionality of film suffering from chemical deterioration, allowing the material to be duplicated without suffering any further damage."])</script>
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1<script>self.__next_f.push([1,"We specialize in color correction for productions and restorations, creating consistent looks that stay true to the original footage in calibrated environments.\n\nIn cinematographic restoration the term \"grading\" is used to describe the procedure of altering the scanner's base signal to recuperate and improve the information and details, the original look and tone which are present on the film. Today, color correction is carried out digitally as the instruments available allow for a far more exact intervention on the film's photography with respect to traditional photochemical techniques. These techniques permit the virtual reconstruction of images which would otherwise be irrecoverable, where the level of deterioration excludes the possibility of intervention by traditional means. In this way the possibility of recovering visual documents and all the information contained within them is considerably increased.\n\nTwo types of color corrections can be carried out: primary color correction (regarding the entire image, by modifying contrast, luminosity, color, saturation) and secondary color correction (regarding only selected elements from the image: a specific area of the frame or just a color). The purpose of color correction is to obtain the final look of the film, which is then transferred to all types of support, from video to film. For this reason, it is very important that the work is carried out on monitors that have been systematically calibrated according to international standards."])</script>
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1<script>self.__next_f.push([1,"A solid grounding, both technical and theoretical, is an integral part of our activities and the services offered by L'Immagine Ritrovata Group. We believe that summer schools, training courses, and consulting services are key tools for sharing, maintaining, and disseminating the knowledge and principles of preservation — film preservation in particular — which we have developed through years of experience in the field of restoration and conservation. Training new qualified personnel is one of the ways in which we contribute to the safeguarding of cultural heritage, by making our staff, equipment, and software available.\n\nIn this regard, the most significant example is undoubtedly the FIAF Film Restoration Summer School, which we have been hosting at our Bologna headquarters since 2007. Held annually until 2010 and every two years from 2012 onwards (except for 2020), the project moved outside Bologna for the first time in 2013, reaching Asia at the National Museum in Singapore. Given the success of the pilot in Singapore, further international editions were organized:\n- 2015, Mumbai, in collaboration with FHF – Film Heritage Foundation\n- 2017, Buenos Aires, in collaboration with CINAIN – Cinemateca y Archivo de la Imagen Nacional\n- 2019, Mexico City, in collaboration with UNAM - Universidad Nacional Autónoma de México\n\nThese intensive courses are aimed at specialists, film archive staff, and students: the FIAF Film Restoration Summer School alternates screenings, lectures, and hands-on sessions, with the goal of deepening participants' knowledge of film preservation and restoration while, at the same time, offering practical training in current best practices in restoration and archiving. While the focus remains primarily on the preservation of film heritage, recent editions have also included classes on the handling of photographic and printed materials. Organized by the Fondazione Cineteca di Bologna and sponsored by the Fédération Internationale des Archives du Film (FIAF), the Association des Cinémathèques Européennes (ACE), and the European Union's MEDIA Plus program, the Film Restoration Summer School has, to date, held 11 editions in Italy, training over 420 professionals from 86 different countries, and 4 sessions abroad, training over 190 professionals.\n\nFor further information on the contents, objectives, and structure of the Summer School, please visit the dedicated section of our website, where you will also find deadlines and instructions on how to submit your application for future editions. The staff of L'Immagine Ritrovata Group, continuing a partnership that began in 2015, are also among the leading technical trainers at the Film Preservation \u0026 Restoration Workshop organized annually by the Film Heritage Foundation. Born out of the Indian edition of the FIAF Film Restoration Summer School, this specialized course has now reached its tenth edition, benefiting from the support of FIAF in collaboration with international film archives and institutions."])</script>
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1<script>self.__next_f.push([1,"We are acutely aware of the quantity, quality and variety of information that may accompany any given collection, be it in the margins, on the back of a print, on the original housing materials or as accompanying documents. Thus, after assessing the conservation status of the materials, a photograph is taken to provide an overview of any given support and the relevant relation it may have to accompanying materials of any kind.\n\nThis step serves to document and thus preserve any relevant relationship between two or more elements. An example may be a negative kept in an annotated envelope. A documentation image would allow the preservation of the annotated information, as well as any aesthetic and material information of the negative as well as of the envelope. This information would be available for access in the digital realm, together with the digital surrogate of the negative.\n\nFurthermore, such documentation also allows for condition monitoring as well as keeping track of any \"unusable\" images resulting from blank or unexposed frames in the case of negatives. Any type of conservation issue that limits an object's manipulation is duly documented to keep track of any original whose digitization would pose a realistic threat to its physical condition.\n\nOur absolute priority is developing and applying best practices regarding object handling and digitization. In keeping with our work ethic, the above principles reinforce and consolidate accurate and solid workflows, placing the condition and identity of the original support at its core."])</script>
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1<script>self.__next_f.push([1,"Once the materials have been physically prepared for digitization, they are set up in two different configurations according to the support type:\n\n• Transmissive materials—such as negatives and positive transparencies—are digitized using conservation-grade ANR holders and a high quality backlit base as a light source.\n• Reflective materials—such as prints, postcards, posters and sheet music—are placed on a conservation-grade white matte base and illuminated with high quality reproduction grade lamps.\n\nThese configurations allow for the treatment of a vast majority of phototypes, documents and formats.\n\nThe equipment used for digitization is state-of-the-art, modular and configurable, allowing us to offer customized solutions that accommodate the specific characteristics of different materials and different projects.\n\nCapture is done with camera bodies equipped with sensors upwards of 102 and 150 MP, leveraging advanced camera positioning systems to ensure precise and high-resolution acquisition.\n\nIn the field of cultural heritage digitization particularly, accurate color reproduction is paramount. This is guaranteed by the use of color profiles specifically designed for the reproduction of cultural heritage, created with specialized equipment and under strictly controlled lighting conditions. Different methods of measurement of color accuracy are used in order to constantly ratify color reproduction of materials.\n\nDuring digitization, technical metadata related to the origin of the digital surrogate image is automatically generated by the capture systems (EXIF). Other, descriptive metadata can also be integrated after defining with the collection holder the vocabularies and metadata schema that will contain them. This will ensure description accuracy and as a result, long-term relevance of digital surrogates."])</script>
1<script>self.__next_f.push([1,"1a:T48e,The principal objective of the post-production process is to create a presentable and intelligible positive version of the digitized negative image. The expected result is curated in close collaboration with the collection holder and can include any or all of the following treatments, applied according to the characteristics of the original images:\n\n• Positivisation\n• Crop\n• Color cast removal\n• Light level correction\n• Basic color correction\n\nIn principle, all treatments are applied in strict respect of the photographic characteristics of the original support.\n\nAdvanced post-production treatment is an optional and highly specialized service. It is a more meticulous process, dedicated to the elimination of foreign bodies, such as incrusted dust particles and hairs, or physical deterioration, such as scratches or lacunae that can obstruct the appreciation of the image. Such treatment can include:\n\n• digital cleaning\n• digital restoration\n• Localized cast removal\n• \"Look oriented\" color correction.\n\nThese are delicate procedures that require experience and know-how to ensure the highest level of historical and philological fidelity.1b:T5f8,"])</script>
1<script>self.__next_f.push([1,"Film is undoubtedly the ultimate photographic medium: negatives represent a true unicum when it comes to photographic preservation. However, despite photography's long-standing reliance on negatives, which are unparalleled in quality, duplicating these originals has never truly been implemented methodically as a large-scale conservation strategy. Without the ability to duplicate negatives and in the absence of other equally valid and reliable preservation materials, the loss or potential deterioration of the original film would and has resulted in irreparable damage.\n\nIn order to address this need, we offer an exclusive long-term preservation service: the preservation negative. This process uses film recorders with a horizontal 8-perforation gate that is specifically designed to accommodate the photographic format. Laser recorders transfer negative images back onto 35 mm stock, an innovative solution that finally provides a concrete possibility to duplicate original negatives.\n\nWhat if the original negative does not exist? Not all photographs are taken on film. With the decline of analog cameras, we are increasingly dealing with digital-born originals. This service is therefore not only aimed at archives, museums, and conservators concerned with the well known issues of long term preservation of original photographic negatives. The preservation negative is also designed for artists, galleries, and collectors who want to safeguard photographs originally created in digital format on a stable film support."])</script>
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1<script>self.__next_f.push([1,"The contemporary need to promote access to collections — whether cinematic, photographic, audiovisual, or otherwise — as a means of fostering a better understanding of history, traditions, and national identities within a global context is a fact, and international policies clearly reflect it. The urgency of digitizing cultural heritage goes hand in hand with the need to properly assess, conserve, restore and enhance it, so that it can be passed on to future generations. As a result of this transition to digital, an increasing number of film institutions are choosing to set up an in-house laboratory to meet their own conservation and distribution plans. Unfortunately, undertaking this kind of projects means facing bureaucratic mazes, legal issues, significant economic and financial challenges, and important technological choices. In such a context, which can easily prove daunting, L'Immagine Ritrovata Group offers support to those organizations, institutions and foundations that decide to take on the challenge, providing a comprehensive consulting service.\n\nWe will guide you through every aspect of setting up digital laboratories, from administrative matters and design, right through to the more technical aspects of installing the equipment. By relying on our experience, you will be supported in:\n- conceptual design of the digitization and restoration laboratory\n- floor plan layout\n- selection of the best equipment\n- cabling design\n- technical assistance during the start-up phase\n- research and preparation of national and international tenders, for both public and private contracts\n- training on the use of equipment\n- training in film, photographic, audiovisual and other conservation and restoration practices\n\nIf you would like more information about these services, please do not hesitate to contact us through the form available on our website. While respecting the confidentiality and privacy of the institutions that rely on us, we will be glad to share case studies with you."])</script>
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1<script>self.__next_f.push([1,"This service is aimed at public and private archives and collections holding heterogeneous materials that vary in nature and medium: film materials (feature films, but also ads and tv-movies, etc.), photographic and printed materials (such as works of art, advertising campaigns, sketches, catalogues, promotional materials, archival documents…), as well as iconic objects (stage costumes, awards and honors, design objects, clothing and jewelry, etc.) or audiovisual materials (jingles, television news broadcasts, industrial and documentary footage, and so on). Very often, this vast heritage is not only poorly preserved, but not even catalogued or inventoried, leaving institutions to navigate a maze of dusty cabinets and forgotten boxes. Left in these conditions, the risk is to lose an important part of history and identity — whether individual or public, corporate or institutional. More than that, it risks losing a treasure trove: a wealth of testimonies that, once made accessible and properly valued, can offer a cultural lens through which to read the present in light of the past.\n\nThrough an on-site visit and direct analysis of the holdings, we offer a comprehensive assessment of the materials, their state of conservation, the environmental storage conditions, and the critical issues linked to the different media: from the chemical-physical deterioration of film to the instability of photographic materials, from the risks of technological obsolescence to the hazards posed by flammable materials such as nitrate. Based on this survey, we can provide you with our assessments in the form of reports that include:\n- a reasoned mapping of the collection, identifying the priorities for intervention\n- operational proposals for the conservation, digitization (including 3D, if required) and restoration of the materials\n- practical guidance on conservation methods and conditions (climate, environment, packaging and storage), tailored to the specific characteristics of each type of medium\n- collection monitoring\n- recommendations for proper management, cataloguing and future promotion of cultural heritage\n\nThe aim is to provide institutions, organizations and private owners with a concrete tool to guide their conservation decisions, ensuring the long-term safeguarding of materials that are often unique — valuable testimonies to visual, industrial, artistic and communication history. This is where forgotten holdings become living heritage: through a strategic approach built on active conservation, fully respecting the original historical artefacts, but always with an eye to the future."])</script>
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1<script>self.__next_f.push([1,"In order to be digitized, the originals must be properly prepared. Depending on the type of analog support, it is often necessary to perform manual steps to ensure that subsequent processing can proceed correctly. This preparatory phase always begins with a careful inspection of the materials received. The first check focuses on the external condition (matching of incoming data, external condition of the reels or tapes, etc.). Our expert technicians then proceed to an internal inspection to assess the actual condition, record the available elements, and measure any shrinkage or other physical damage that would prevent the originals from passing through the scanning equipment.\n\nIn the case of film and magnetic tapes, whether audio or video, each item is analyzed on a film rewind table, where splices, perforations, any tears and stains, or pre-existing repairs are checked and repaired. If necessary, we also perform consolidation or reel joining. In the digitization of news broadcasts from 1952 to 1985 for the RAI Teche project, for example, each film (service) has been joined into uniform reels of approximately 300 mt each, containing, respectively, 12 video services (16 mm) and 8 audio reels (magnetic).\n\nWhen it comes to videotapes, however, our technicians are able to repair all major professional formats (U-MATIC, BETACAM SP, DIGITAL BETACAM, BETACAM SX, BETACAM MPEG IMX). Our labs are also equipped with specialized ovens for baking the originals: a controlled process that helps mitigate or eliminate readability issues caused by mold, humidity, and poor storage conditions.\n\nThe final stage of preparation involves the manual and/or mechanical cleaning of the analog support. Removing dirt is essential for successful digitization, but total respect for the originals remains our guiding principle. All cleaning procedures are carried out in a targeted manner based on the type of media to ensure that no substances are used that could affect or damage it."])</script>
1<script>self.__next_f.push([1,"1f:T50a,Our labs are fully equipped for digitizing:\n· Film: 8 mm, S8 mm, 9.5 mm, 16 mm, S16 mm, 17.5 mm, 28 mm, 35 mm, 65 mm, and 70 mm\n· Videotapes in various formats, such as U-MATIC, all types of VHS, SUPER VHS, BETACAM SP, DIGITAL BETACAM, BETACAM SX, BETACAM MPEG IMX, DVCAM, and MiniDV\n\nOur specialized technicians and a wide range of scanners and equipment for converting analog supports to digital files ensure optimal quality in the acquisition process, without compromising the condition of the originals.\n\nDepending on the support, format, and condition of the material, we can offer various solutions, selecting the most suitable strategy for each project: from telecine to the most meticulous scans, including videotape conversion, we offer 2K and 4K workflows to meet every need for archiving, preservation, and the enhancement of cultural heritage.\n\nThe result, however, depends heavily on the state of preservation of the analog supports, as well as on the equipment used. For this reason, if requested, we supplement the digitization service with appropriate upscaling and color correction.\n\nFinally, each digital surrogate undergoes rigorous quality control to ensure the integrity and consistency of the delivered files and the highest possible fidelity to the original source.20:T8db,"])</script>
1<script>self.__next_f.push([1,"We recover and digitize optical and magnetic soundtracks from a wide variety of formats and supports, including historical, obsolete, or critically damaged materials.\n\nOur state-of-the-art acquisition systems make L’Immagine Ritrovata Group one of the few laboratories in the world capable of performing high-definition scans of optical sound negatives of any format. The ability to adjust acquisition parameters (gamma, contrast, and scan area) in real time allows us to recover materials that would otherwise be difficult to read and to obtain sources optimized for subsequent processing stages.\n\nIn addition to optical recording onto new 35 mm column negatives, we perform audio conversions, acquisitions, and transfers to and from a wide range of formats and media, both contemporary and historical.\n\nIn the field of audio digitization, each piece of material represents a unique case and requires careful preliminary evaluation. For every new project, we analyze the characteristics and state of preservation of the available sources, taking into account, when necessary, previous processing and similar cases. Building on established procedures, we then identify the most appropriate workflow and acquisition parameters.\n\nThis approach, combined with our constant search for customized solutions, allows us to handle particularly complex materials, developing new acquisition strategies when necessary and offering a targeted, high-quality service for every project.\n\nUpon completion of the digitization process, the acquired materials are verified and, when necessary, undergo conforming. We check the integrity of the recordings and for any artifacts or anomalies introduced during the acquisition, such as those caused by dust, dirt, deterioration, or irregularities in the original medium. Whenever possible, the affected tracks or sections are re-scanned using more appropriate parameters.\n\nThe various acquisitions are then verified and harmonized, correcting any discontinuities or inconsistencies while preserving the characteristics of the original material.\n\nEach digitized track is finally subjected to rigorous quality control to ensure the integrity and consistency of the delivered files and the highest possible fidelity to the original source."])</script>
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1<script>self.__next_f.push([1,"To provide an appropriate solution for every kind of need, we have developed various strategies and customized workflows that consider the objectives and scope of different projects.\n\nEspecially when dealing with large archives and extensive audio/video collections, we are faced with enormous quantities of material to digitize. Projects of this magnitude require extensive experience and organization; otherwise, there is a risk of misplacing or forgetting certain items or skipping steps in the process.\n\nTo ensure optimal management of even the most ambitious projects, we can support you from the initial preparation stages through to the end of the digital conversion process, offering:\n- management and transportation of materials\n- dedicated processing line\n- process automation\n- temporary on-site labs\n\nThe preparation and transfer of originals is a very delicate phase: even the slightest distraction or inaccuracy can result in materials being lost or misplaced. Upon request, we handle the assembly and packaging of pallets, systematically checking off the material lists provided by the client and labeling the pallets themselves with references to the checklists. For transportation, we rely on a trusted carrier that provides vehicles with adequate capacity and a real-time GPS tracking system. Upon the materials’ arrival at our facilities, we verify that they match the shipping lists and record their receipt in the system: any discrepancies are detected immediately, allowing us to take prompt action to prevent errors or inaccuracies from propagating.\n\nTo ensure maximum physical and cybersecurity for both originals and digital copies, we implement a custom-designed processing line: the operators, workstations, and servers assigned to this task will be dedicated exclusively to the current project, thereby ensuring the complete confidentiality of the content.\n\nThe technological heart of our digitization workflows is Telestream Vantage Pro, a media processing automation platform that orchestrates every phase of the workflow: from ingest to transcoding, from quality control to final archiving. Vantage allows us to design complex, fully automated workflows capable of handling large volumes of film material in parallel with maximum reliability and traceability. The system is complemented by the Lightspeed G8 server, equipped with dual NVIDIA GPUs dedicated to accelerating computationally intensive image processing operations (such as scaling, deinterlacing, and frame rate conversion), ensuring reduced processing times even for ultra-high-resolution content and HDR formats. Thanks to its integration with our in-house developed software solutions, Vantage becomes the control center for the entire lab: it automatically monitors every stage of the process, manages exceptions, and ensures consistent quality for every single project, regardless of the volume processed.\n\nCan the originals not be moved from their storage location due to the fragility of the support, restrictions imposed by heritage preservation authorities or other regulatory bodies, the sensitive nature of the content, etc.? No problem. We’d be happy to set up a temporary lab at your facilities, providing machinery, equipment, operators, and appropriate training for any in-house staff."])</script>
1<script>self.__next_f.push([1,"22:T426,L'Immagine Ritrovata has been pursuing continuous training for years, which takes various forms. In addition to courses and Restoration Schools, a number of internship positions are available each year.\n\nInternships must last 6 months.\nWe only host extracurricular internships.\nThe internship aims to provide specialized professional training in a specific department of the laboratory. No \"itinerant\" internships moving from department to department are available. A brief description of each department's activities can be found by browsing our website.\nThe departments with available internship positions will be announced as candidates express their interest in the laboratory's activities.\n\nCandidates wishing to apply for an internship can send an email to [email protected].\nIf you already have a clear idea and are ready for an introductory interview (also via Skype), you may attach to your introductory or information request email a CV in .pdf format, maximum 2 pages, with a photo, named as follows: CV_FirstName_LastName_CurrentYear.pdf."])</script>
1<script>self.__next_f.push([1,"6:[\"$\",\"$L12\",null,{\"formats\":\"$undefined\",\"locale\":\"en\",\"messages\":{\"Navigation\":{\"home\":\"Home\",\"services\":\"Services\",\"laboratory\":\"Laboratories\",\"portfolio\":\"Portfolio\",\"news\":\"News\",\"summerSchool\":\"FIAF Film Restoration Summer School\",\"contact\":\"Contact\"},\"Home\":{\"title\":\"Home\",\"hero\":{\"eyebrow\":\"FILM RESTORATION SINCE 1992 — YOUR HERITAGE HUB, STARTING TODAY.\",\"title\":\"Cultural heritage professionals.\\nDigital solutions experts.\",\"description\":\"Entrusting us with your cultural heritage will launch your history into the future.\",\"primaryCta\":\"Explore our laboratories\",\"secondaryCta\":\"OUR SERVICES\"},\"partners\":{\"lead\":\"They entrusted us with their heritage\"},\"whoWeAre\":{\"title\":\"WHO WE ARE\",\"heading\":{\"number\":\"00\",\"titleMain\":\"WHO WE\",\"titleAccent\":\"ARE\",\"description\":\"\"},\"p1\":\"Since its founding in Bologna in 1992, an initiative of the Fondazione Cineteca di Bologna, L'Immagine Ritrovata has grown over time into an international network of four laboratories that operates on a large scale, undertaking prestigious public and private commissions.\",\"p2\":\"The group brings together specialists and masters in the restoration, conservation, and digitization of cultural heritage, offering expertise honed over years of experience within an environment that consistently prioritizes innovation, internationalization, and interdisciplinary collaboration.\",\"p3\":\"Our highly specialized equipment and qualified technicians enable us to provide tailored solutions that ensure the highest quality of the final product, while fully respecting the safety of the originals.\"},\"laboratories\":{\"heading\":{\"number\":\"01\",\"titleMain\":\"OUR\",\"titleAccent\":\"LABORATORIES\",\"description\":\"Four laboratories. Two continents. One mission: to preserve cultural heritage.\"},\"cards\":{\"1\":{\"title\":\"L'Immagine Ritrovata\",\"location\":\"Bologna, Italia\",\"description\":\"Headquarters and heart of the group, L’Immagine Ritrovata is a highly specialized film restoration lab, founded in 1992 under the auspices of the Fondazione Cineteca di Bologna.\",\"tags\":\"4K SCAN · DIGITAL RESTORATION · AUDIO · FILM REPAIR\"},\"2\":{\"title\":\"L'Image Retrouvée – Eclair Classics\",\"location\":\"Paris, France\",\"description\":\"Founded in 2016 to meet the needs of French film libraries and archives, L'Image Retrouvée is our Paris office and has since established a reputation for expertise recognized worldwide. In 2020, the laboratory expanded with the acquisition of Éclair Cinéma, which was renamed Éclair Classics upon joining the group.\",\"tags\":\"DIGITAL RESTORATION · COLOR GRADING · PHOTOCHEMICAL\"},\"3\":{\"title\":\"Haghefilm\",\"location\":\"Waddinxveen, The Netherlands\",\"description\":\"Founded in 1899, in 2022 L’Immagine Ritrovata Group acquired Haghefilm, now one of the best-equipped photochemical laboratories in the world. A place where films are still all about film.\",\"tags\":\"PHOTOCHEMICAL · DEVELOPMENT · PRINTING · SCAN\"},\"4\":{\"title\":\"L'Immagine Ritrovata Hong Kong\",\"location\":\"Hong Kong SAR\",\"description\":\"Opened in 2015, the Hong Kong facility is the group’s first internationally based laboratory and the first to introduce 4K restoration in Asia.\",\"tags\":\"DIGITAL RESTORATION · 4K SCAN · PRESERVATION\"}}},\"skills\":{\"heading\":{\"number\":\"02\",\"titleMain\":\"OUR\",\"titleAccent\":\"SERVICES\",\"description\":\"From analog to digital. Every format, every era, every technical challenge met with artisanal precision.\"},\"items\":{\"1\":\"Film Restoration\",\"2\":\"Audio/video digitisation\",\"3\":\"Digitization and restoration of still images\",\"4\":\"3D scanning\",\"5\":\"16 mm and 35 mm processing\",\"6\":\"Consulting and training\"},\"subtitles\":{\"1\":\"Bringing films from the past back to life so that they can continue to move us today.\",\"2\":\"Transforming the analogue past into digital memory, ready to be experienced and shared in the future.\",\"3\":\"Bringing out the best in both analog and digital, preserving every detail over time.\",\"4\":\"Capturing reality to transform it into a digital model, ready to be explored, preserved and reinvented.\",\"5\":\"Convert
1ing camera negatives into digital dailies for editing.\",\"6\":\"Paving the way for growth by transforming our knowledge and tools into practical skills, ready to help professionals and projects thrive.\"}},\"restorations\":{\"heading\":{\"number\":\"03\",\"titleMain\":\"OUR\",\"titleAccent\":\"ORIGINS\",\"description\":\"Reborn classics. Saved masterpieces.\"},\"featured\":{\"title\":\"Novecento\",\"meta\":\"Bernardo Bertolucci - 1976\",\"description\":\"4K Restoration — 2021 — L'Immagine Ritrovata, Bologna\"},\"stats\":{\"1\":{\"value\":\"30+\",\"label\":\"years of experience\"},\"2\":{\"value\":\"4\",\"label\":\"laboratories\"},\"3\":{\"value\":\"100+\",\"label\":\"SPECIALISTS  \"},\"4\":{\"value\":\"50+\",\"label\":\"countries\"}}},\"news\":{\"heading\":{\"number\":\"04\",\"titleMain\":\"NEWS \u0026\",\"titleAccent\":\"EVENTS\",\"description\":\"Latest releases, screenings, and events from our laboratories worldwide.\"}},\"cta\":{\"eyebrow\":\"Next screening\",\"titleLine1\":\"Do you have a heritage\",\"titleLine2\":\"to preserve?\",\"description\":\"Every work deserves a second chance. Tell us about your project.\",\"primaryCta\":\"Contact us\",\"secondaryCta\":\"Our laboratories\"}},\"Services\":{\"title\":\"Technical Services\",\"heading\":{\"titleMain\":\"OUR\",\"titleAccent\":\"SERVICES\",\"description\":\"A comprehensive range of services. From physical media to digital distribution, every service is provided in accordance with the strictest international standards.\"},\"tabsAriaLabel\":\"Service sections\",\"description\":\"A complete pipeline. From physical film to digital distribution, every service performed to the highest international standards.\",\"backToMacroareas\":\"Back to macroareas\",\"selectedMacroareaLabel\":\"Selected macroarea\",\"previousService\":\"Previous service\",\"nextService\":\"Next service\",\"toolsLabel\":\"Tools\",\"processesLabel\":\"Processes\",\"macroareas\":{\"overline\":\"Macroareas\",\"title\":\"Explore by operational area\",\"description\":\"Select a macroarea to view the connected services and move into the dedicated workflow.\",\"viewServices\":\"Open services\",\"serviceCountLabel\":\"services\",\"noServicesMessage\":\"The services for this macroarea are currently being defined.\",\"items\":{\"cinematicRestoration\":{\"label\":\"Film restoration\",\"description\":\"Film handling, restoration and preservation workflows.\",\"detailDescription\":\"Where it all began. L'Immagine Ritrovata was founded and has grown around the restoration of film, with the aim of reviving, preserving, and promoting the international film heritage. Through analog and digital processes, we work to restore cinematic works so they can be screened using today's technologies while retaining their original look. From collating elements to chemical treatments, from repairing damages to scanning—sometimes frame by frame—every restoration requires precision and skill to reinstate the mechanical integrity and physical properties of the film itself. In keeping with the tradition of Italian mastery in manufacturing, the manual work strikes a balance between functionality and aesthetics to ensure maximum effectiveness in the subsequent stages of the process, which focus on the philological reconstruction of all available elements and digital restoration.\"},\"audioVideoDigitization\":{\"label\":\"Audio/video digitization\",\"description\":\"Capture, synchronization and audio recovery.\",\"detailDescription\":\"$13\"},\"stillImageTreatment\":{\"label\":\"Digitization and Restoration of Still Images\",\"description\":\"Digitization, enhancement and preservation of photographic heritage.\",\"detailDescription\":\"Beyond moving images. Thanks to the expertise gained over the years, L'Immagine Ritrovata Group puts its professional skills to work for the photographic heritage in its broadest sense. The processing of still images encompasses the full range of techniques used to digitize, enhance, and preserve photographs and other static visual content. From converting transmissive (such as negatives, slides, and glass plates) and reflective media (such as prints and posters) from analog to digital formats to post-production work, from digital restoration to printing on a preservation negative, the goal is to preserve still images over time and make them more accessible, while respecting their original qual
1ity and appearance.\"},\"scans3d\":{\"label\":\"3D scanning\",\"description\":\"Technical digitization and comparative analysis.\",\"detailDescription\":\"The world in digital form. Always committed to delivering excellence and keeping pace with the times, L'Immagine Ritrovata Group is venturing into the world of 3D scanning, a technology that captures the shape and characteristics of a real-world object, transforming them into a three-dimensional digital model. Using specific sensors and devices, geometries, dimensions and, in some cases, even textures and colors are detected, enabling the creation of a precise virtual replica. This process can be applied across a wide range of fields, such as design, industry and cultural heritage in general, facilitating the analysis, archiving, reproduction and sharing of objects in the digital world.\"},\"postProduction\":{\"label\":\"16 mm and 35 mm processing\",\"description\":\"Film processing, finishing and production workflow consulting.\",\"detailDescription\":\"From set to post-production. Designed for filmmakers who choose to shoot on film, we offer 16mm and 35mm processing, post-production, and consulting on the workflow best suited to each production. Our labs can handle the entire process, from camera negative to digital dailies in all formats necessary for post-production, distribution, and archiving.\\n\\nThe Italian director and screenwriter Francesco Sossai entrusted us with his film Le città di pianura, which premiered at the 2025 Cannes Film Festival in the Un Certain Regard section. Nominated for a David di Donatello Award in 16 categories and honored at several other festivals, Le città di pianura is considered by critics to be one of the best films of the year.\"},\"consultingTraining\":{\"label\":\"Consulting and training\",\"description\":\"Specialist guidance and knowledge transfer.\",\"detailDescription\":\"Sharing our method. In recent years, international policies and requirements regarding the preservation and accessibility of cultural heritage have strongly encouraged public and private institutions to develop new digitization and preservation plans. This has often led to the need to set up in-house digital labs or to upgrade the technology of existing facilities. The Immagine Ritrovata Group offers specialist support and bespoke training programs to help professionals, institutions and enthusiasts acquire specific skills. Through workshops, courses and targeted consultations, we share our technical, methodological and creative knowledge, thereby facilitating the informed use of digital and analogue tools and promoting innovation and professional development in the audiovisual and multimedia sector.\"}}},\"items\":{\"documentation\":{\"label\":\"DOCUMENTATION AND STUDY OF MATERIALS\",\"title\":\"DOCUMENTATION AND STUDY OF MATERIALS\",\"subtitle\":\"A cultural approach\",\"description\":\"The restoration process begins with the study and inspection of the material and concludes with the documentation of the work undertaken.\\n\\nThe analysis of the available elements and non-filmic sources allows for the most appropriate restoration workflow to be determined and the establishing of a timeframe for the conclusion of the work, as well as the immediate identification of the urgency of the work.\\n\\nAt the end of the restoration process all work phases, problems encountered and solutions adopted are accurately documented.\",\"tools\":[\"DaVinci Resolve\",\"Phoenix\",\"MTI Film\",\"Diamant\"],\"processes\":[\"Material's inspection\",\"Source analysis\",\"Element analysis\",\"Workflow\",\"Timeline\"]},\"repair\":{\"label\":\"FILM REPAIR\",\"title\":\"FILM REPAIR\",\"subtitle\":\"The film hospital\",\"description\":\"$14\",\"tools\":[\"Splicers\",\"Ultrasonic cleaning\",\"Manual inspection\"],\"processes\":[\"Damage inspection and identification\",\"Repair of perforations\",\"Inspection and replacement of joints\",\"Reinforcement of supports\",\"Removal of stubborn dirt\"]},\"chemical\":{\"label\":\"TREATMENT OF CHEMICALLY DETERIORATED FILM\",\"title\":\"TREATMENT OF CHEMICALLY DETERIORATED FILM\",\"subtitle\":\"Advanced conservation: chemical treatments\",\"description\":\"$15\",\"tools\":[\"Climate chambers\",\"pH testing\",\"Technical cataloging\"],\"processes\":[\"Re
1storation of chemical and physical properties\",\"Drying treatment\",\"Restoration of flatness\",\"Softening treatments\",\"Rehydrating treatments\"]},\"washing\":{\"label\":\"FILM WASHING\",\"title\":\"FILM WASHING\",\"subtitle\":\"Extensive surface cleaning\",\"description\":\"We perform professional cleaning to remove dust, impurities, and residues from the surface, thereby improving scan quality.\\n\\nMechanical film washing involves cleaning the film using specialized washing machines—state-of-the-art machines designed to systematically remove surface contaminants (oil, grease, dust, and other residues). Through intelligent software that constantly monitors the dimensions of the rolls, motor speed, and other key parameters, the washing system ensures consistent, gentle, and stable film transport and uniform winding.\",\"tools\":[\"Film washers\",\"Certified solvents\",\"Controlled drying\"],\"processes\":[\"Mechanical cleaning\",\"Residue removal\",\"Drying and inspection\",\"Preparation for scanning\"]},\"scan\":{\"label\":\"2K AND 4K SCANNING\",\"title\":\"2K AND 4K SCANNING\",\"subtitle\":\"360° scanning\",\"description\":\"Our labs are outfitted with professional equipment capable of scanning nitrate, diacetate, and triacetate films, even those in very poor condition. We can scan and process even films with severe physical damage using our standard digital restoration workflow. Both color and black-and-white films can be scanned using exclusive sub-liquid technology that removes dirt and hides surface scratches during the scanning process. This allows us to drastically reduce cleaning time, a factor that truly makes a difference, particularly with archival materials.\\n\\nFrom \\\"sprocketless\\\" mode to PIN gate acquisition, from continuous feed to frame-by-frame, we can meet any digitization need, ensuring optimal performance from the lowest resolutions up to 4K.\",\"tools\":[\"2K scanner\",\"4K scanner\",\"Wet-gate\"],\"processes\":[\"Nitrate scanning\",\"Di- and triacetate scanning\",\"Sprocketless technology\",\"Frame-by-frame acquisition\",\"Sub-liquid option\"]},\"comparison\":{\"label\":\"COMPARISON\",\"title\":\"COMPARISON\",\"subtitle\":\"Comparison of Sources\",\"description\":\"The Comparison Department is the area of the laboratory that specifically deals with projecting the reconstruction of films, through the comparison of all available elements in the form of low-resolution digital files. The main instrument used in the comparison process is audio-video editing software, which allows for a frame-by-frame analysis of the sources to compare their state of completeness.\\n\\nThis study complements information coming from the Repairs Department, allowing for accurate and precise feedback on the elements. Throughout the duration of a restoration, the Comparison Department is the one place where a film in its entirety is readily available, where all the sources that have arrived at the laboratory, once analyzed, can be immediately referenced, allowing for a constant and complete overview of the project.\",\"tools\":[\"Timeline compare\",\"Reference viewer\",\"Technical reports\"],\"processes\":[\"Source criticism\",\"Assessment of differences\",\"Analysis of completeness\",\"Editorial validation\"]},\"digital\":{\"label\":\"DIGITAL RESTORATION\",\"title\":\"DIGITAL RESTORATION\",\"subtitle\":\"Correction and Reconstruction\",\"description\":\"The Digital Restoration department utilizes a variety of cutting-edge software tools for digital cleaning and digital retouching. These tools are used in parallel and in combination to address a wide range of issues and damage:\\n\\n• image stabilization\\n• deflickering\\n• color breathing correction due to color deterioration\\n• elimination of lines\\n• reconstruction via the interpolation of partial lacunae and entire frames\\n• elimination of tape and splice marks\\n• elimination of dirt, dust and scratches\\n• reduction of mold halos\\n• reduction or elimination of grain\\n• video noise correction\\n\\nThe software allows for manual, semiautomatic or automatic workflow, which is supplemented by thorough control and frame by frame correction carried out by specialists in this sector.\",\"tools\":[\"Phoenix\",\"Diamant\",\"DaVinci Resolve\",\"Audio suite\"],\"processes\":[\"Digital cleaning and retouching\",\"Frame-by-frame correction\",\"Result review\"]},\"colorCorrection\":{\"label\":\"2K AND 4K COLOR CORRECTION\",\"title\":\"2K AND 4K COLOR CORRECTION\",\"subtitle\":\"Digital Grading\",\"description\":\"$16\",\"tools\":[\"DaVinci Resolve\",\"Reference monitor\",\"LUT management\"],\"processes\":[\"Image cleanup\",\"Noise reduction\",\"Primary color correction\",\"Secondary color correction\"]},\"masteringDci\":{\"label\":\"MASTERING AND DCI\",\"title\":\"MASTERING AND DCI\",\"subtitle\":\"Cinema and broadcast deliveries\",\"description\":\"We provide professional solutions for video and digital cinema in the following formats:\\n\\n• Digital Video: HDCAM and HDCAM SR 4:2:2 and 4:4:4, Digital Betacam, Betacam SP, Blu-ray, DVD, files of any format and codec.\\n• DCI: Digital Cinema Distribution Masters (DCDM), Digital Cinema Packages (DCP), Key Delivery Messages (KDM), 4K and 2K resolutions, InterOP and SMPTE standards.\\n\\nOur labs use the best equipment on the market for creating DCPs and video masters, and our processes strictly adhere to international audio/video and DCI specifications. Video masters are checked on calibrated professional monitors, while DCPs are tested in a cinema with a projector and integrated server.\",\"tools\":[\"DCP creator\",\"QC suite\",\"Conform tools\"],\"processes\":[\"Creation of deliverables\",\"File integrity check\",\"Certified delivery\"]}
1,\"subtitles\":{\"label\":\"SUBTITLES\",\"title\":\"SUBTITLES\",\"subtitle\":\"Accessibility and Localization\",\"description\":\"We create, adapt, and synchronize multilingual subtitles for film restoration, festivals, and international distribution using proven workflows.\\n\\nAll restored cinematographic works, whether produced in Italy or in any other country around the world, are provided with subtitles. Depending on the film's distribution and the language of the original version, films are subtitled in English, Italian, French, and the major European languages, including versions for the hearing impaired. Thanks to a dense network of external collaborators coordinated by the subtitling department, we are able to translate films from all over the world.\\n\\nThe process of adaptation, translation, spotting, revision, and production of subtitle files takes place in parallel with the restoration phases. We provide subtitles for any medium and format, from film to DVD and Blu-ray, from digital cinema to electronic subtitles for theatrical release.\",\"tools\":[\"Subtitle editor\",\"Language QC\",\"Burn-in tools\"],\"processes\":[\"Adaptation\",\"Translation\",\"Version for the deaf\",\"Production of subtitle files\"]},\"audioRestoration\":{\"label\":\"AUDIO RESTORATION\",\"title\":\"AUDIO RESTORATION\",\"subtitle\":\"Cleaning and sound restoration\",\"description\":\"We eliminate noises, distortions, and imperfections through processes designed to preserve the original sound character.\\n\\nAll audio work is performed with a constantly updated system, to guarantee perfect compatibility with any other studio, laboratory or professional. A large range of plug-ins, analog outboards and PMC speakers complete the equipment.\\n\\nAll restorations undertaken begin with a careful analysis of the material and an in-depth study of the period and region from which it originates, thereby respecting the originality and uniqueness of the source.\\n\\nA constantly growing audio library, over a terabyte in size, allows for the recreation and reconstruction of any environment or sound effect during the post-production phase.\\n\\nEditing of live recordings, sound design, multi-channel mixing of music and effects, mastering for broadcast, TV and cinema, complete the work available from our organization.\",\"tools\":[\"Audio restoration suite\",\"Spectral tools\",\"Monitoring room\"],\"processes\":[\"Digital cleaning and retouching\",\"Live-action editing\",\"Sound design\",\"Multichannel mixing\"]},\"filmRecording\":{\"label\":\"FILM RECORDING\",\"title\":\"FILM RECORDING\",\"subtitle\":\"Back to film\",\"description\":\"Our laboratories are equipped with film recorders. These machines, which feature a laser system, allow us to record digital images onto 35 mm film at 2K or 4K resolutions. Solid-state lasers ensure that the film is exposed with high-quality images, recorded quickly and reliably.\\n\\nIt is possible to record all common aspect ratios (1:1.19 - 1:1.33 - 1:1.37 - 1:1.66 - 1:1.85 - 1:2.35 CS) at speeds of up to 1.7 seconds per frame for 2K resolutions or 3.5 seconds per frame for 4K resolutions.\",\"tools\":[\"Film recorder\",\"Densitometer\",\"Sensitometric controls\"],\"processes\":[\"Film out\",\"Archival storage\",\"Digital-to-analog conversion\",\"Long-term preservation\"]},\"printingDevelopment\":{\"label\":\"PRINT AND PROCESSING\",\"title\":\"PRINT AND PROCESSING\",\"subtitle\":\"The photochemical workflow\",\"description\":\"The film processing department represents the group's historical core and keeps our laboratories closely connected to the roots of cinematographic technology. We are equipped to traditionally duplicate original 16 mm and 35 mm negative and positive materials, both black-and-white and color. Thanks to our extensive experience, our laboratories are at the forefront of the treatment nitrate material with specific shrinkage issues and, in general, in upholding the historical value of the original materials.\\n\\nThanks to a modern fleet of equipment, we provide printing and development services for working copies and release prints—both color and black-and-white positives—and, for enthusiasts of analog media, following the completion of digital image and sound processing, we can transfer the digitally restored version back to film.\",\"tools\":[\"Printers\",\"Processing baths\",\"Chemical control\"],\"processes\":[\"Film processing\",\"Photochemical duplication\",\"Nitrate processing\",\"Printing and developing working copies and release prints\"]},\"trainingCourse\":{\"label\":\"TRAINING, WORKSHOP \u0026 FIAF FILM RESTORATION SUMMER SCHOOL\",\"title\":\"TRAINING, WORKSHOP \u0026 FIAF FILM RESTORATION SUMMER SCHOOL\",\"subtitle\":\"Our commitment to the future\",\"description\":\"$17\",\"tools\":[],\"processes\":[]},\"materialsInspection\":{\"label\":\"MATERIAL'S INSPECTION\",\"title\":\"MATERIAL'S INSPECTION\",\"subtitle\":\"Identification and diagnosis\",\"description\":\"All materials are identified and categorized according to each one's imaging processes, format or dimensions as well as their condition. Analyzing the original supports in this way allows us to determine the most appropriate workflow, establish a timeline for completing the work, immediately identify any critical issues, and efficie
1ntly communicate with the collaborating institution throughout the project.\",\"tools\":[],\"processes\":[]},\"documentationFiles\":{\"label\":\"DOCUMENTATION\",\"title\":\"DOCUMENTATION\",\"subtitle\":\"An overview of the originals: preserving context\",\"description\":\"$18\",\"tools\":[],\"processes\":[]},\"originalsCleaning\":{\"label\":\"PREPARATION FOR DIGITIZATION\",\"title\":\"PREPARATION FOR DIGITIZATION\",\"subtitle\":\"Removing superficial dust\",\"description\":\"Superficial cleaning of fixed-image supports is done following strict conservation protocols with the sole objective of preparing them for digitization.\\n\\nWhen dealing with most image supports, it is usually necessary to remove dust and other foreign particles from both support and emulsion sides. This is achieved by using dry methods, with air blowers and soft-hair brushes. For persistent dust deposits on transmissive media, such as film negatives, specific tests can be carried out using solvents that do not interact with the emulsion at hand. These treatments are always done in full compliance and approval with the collaborating institution.\",\"tools\":[],\"processes\":[]},\"acquisitionPreparation\":{\"label\":\"PREPARATION\",\"title\":\"PREPARATION\",\"subtitle\":\"Project Design\",\"description\":\"All digitization projects are the result of close collaboration with the institution that hosts the original materials in order to make sure that the digitization effort is tailor-made to the needs and uses of the institution as well as its end users.\\n\\nBased on the cataloging information and guidelines provided by the collection holder, a file-naming system is defined and/or developed for methodical application throughout the digitization process. Wherever necessary, any pre-existing original cataloguing systems are replicated in the naming of the corresponding digital surrogates.\",\"tools\":[],\"processes\":[]},\"audioDigitization\":{\"label\":\"AUDIO DIGITIZATION\",\"title\":\"AUDIO DIGITIZATION\",\"subtitle\":\"Sound Digital Capture\",\"description\":\"We recover optical and magnetic data using high-definition scans of any format.\\n\\nOur up-to-date acquisition systems make L'Immagine Ritrovata Group one of the few laboratories in the world capable of scanning optical negatives of any format in high definition. All work processes that follow the scan stage will be improved and quickened by the ability to real-time manipulate chromatic scale, contrast and scan area onto materials that used to be unreadable.\\n\\nIn addition to optical recording onto new 35mm column negatives, we can perform conversions, acquisitions, and audio transfers from and to any format and medium, both current and obsolete.\",\"tools\":[],\"processes\":[\"Digitization of optical and magnetic media\",\"Optical recording\",\"Conversions, acquisitions, and transfers\"]},\"stillDigitizationMetadata\":{\"label\":\"DIGITIZATION AND METADATA ENTRY\",\"title\":\"DIGITIZATION AND METADATA ENTRY\",\"subtitle\":\"Digital capture with metadata\",\"description\":\"$19\",\"tools\":[],\"processes\":[]},\"stillPostProduction\":{\"label\":\"BASIC AND ADVANCED POST-PRODUCTION OF TRANSMISSIVE NEGATIVE MATERIALS\",\"title\":\"BASIC AND ADVANCED POST-PRODUCTION OF TRANSMISSIVE NEGATIVE MATERIALS\",\"subtitle\":\"From positivization to digital restoration\",\"description\":\"$1a\",\"tools\":[],\"processes\":[]},\"export\":{\"label\":\"EXPORT\",\"title\":\"EXPORT\",\"subtitle\":\"File sharing and deliverables\",\"description\":\"All files created are tailored to meet each institution's specific needs. Depending on the requirements, we can provide long-term preservation RAW files, high-quality uncompressed master files as well as all types of access files.\",\"tools\":[],\"processes\":[]},\"reconditioning\":{\"label\":\"CONSERVATION-GRADE REHOUSING\",\"title\":\"CONSERVATION-GRADE REHOUSING\",\"subtitle\":\"The right container for every original\",\"description\":\"To ensure long-term preservation of original materials, whether on reflective or transmissive supports, it is essential to identify suitable containers based on the characteristics and needs of each collection itself as well as the collection holder.\\n\\nWe can provide targeted, customized recommendations to determine the most appropriate solution for any collection, providing the highest-quality archival-grade materials for long-term storage.\",\"tools\":[],\"processes\":[]},\"longTermPreservation\":{\"label\":\"LONG-TERM PRESERVATION\",\"title\":\"LONG-TERM PRESERVATION\",\"subtitle\":\"Preservation negative\",\"description\":\"$1b\",\"tools\":[],\"processes\":[]},\"digitalLibraryMnemonica\":{\"label\":\"DIGITAL LIBRARY: MNEMONICA\",\"title\":\"DIGITAL LIBRARY: MNEMONICA\",\"subtitle\":\"Your digital archive\",\"description\":\"Thanks to our partnership with Mnemonica, an Italian company with over 20 years of experience in the media sector, we offer cutting-edge solutions for the preservation and distribution of restored films.\\n\\nMnemonica Archive, the winner of the prestigious \\\"Creative Europe MEDIA – Innovative Tools and Business Models\\\" grant for its contribution to Europe's audiovisual heritage, is dedicated to the preservation and promotion of digital film works.\\n\\nA digital archive that allows you to preserve masters in a structured, always-accessible, fully searchable, and secure environment. Mnemonica Archive lets you have your files just a click away, ready for screenings, deliveries, distribution, and any other need you may have.\",\"tools\":[],\"processes\":[\"Digital archiving\",\"Metadata\",\"Category-based search\",\"Viewing\",\"Sharing\",\"File transfer\",\"Active preservation\"]},\"labConsulting\":{\"label\":\"CONSULTING SERVICES FOR SETTING UP OR EXPANDING DIGITAL RESTORATION LABORATORIES\",\"t
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