Digitally Restored Authorizate
MAGO Declaration of the Digital Restored Authorizate (DRA)
Original document (PDF file)
Application of DRA method on digitization in Czech Republic (PDF file)
Digital Restored Authorizate (DRA)
Approved on February 16, 2013 in Mons (Belgium) by IMAGO Annual General Assembly IMAGO is a non-profit, non-union Federation for European Cinematographers, representing 47 national associations (32 European members and 15 non European associated members) standing for the recognition of the cinematographer as a key player in the audiovisual cultural chain. Its goals are to heighten the artistic and technical quality of professional cinematography.
The cinematographers, as co-authors of cinematographic works and authors of the image, hereby claim that only Digital Restored Authorizate (DRA) preserves as completely as possible all quality aspects of their technical and artistic contribution thus preserving the authors’ moral and economic rights.
A. In case of digitization of film heritage:
Digital Restored Authorizate (DRA)1 is a digital transfer from the Original Camera Negative (OCN)1 or if not available from the intermediate films (IM)1 approved by the Director of Photography and Representatives of a professional Author Cinematography Association according to the Reference Show Print (RP)1.
DRA is physically represented by Master Archive Package (MAP)1 as long-term digital preservation master and Digital Cinema Distribution Master (DCDM)1 as digital projection master which both are satisfying the lower criteria.
Digital Restored Authorizate (DRA) may only be considered as one of original sources of cinematographic works if it satisfies the following criteria:
1) the image is digitally processed in appropriate spatial resolution + in original frame rate + in original aspect ratio and image size + appropriate dynamic range and color resolution;
2) it is produced with the supervision of officially recognized professional film restorers;
3) it is produced with the collaboration of authors of cinematography, sound and direction (if they are available) and representatives of their Professional Associations;
4) it is approved by “Expert Group” (officially recognized restorers, mentioned available authors and representatives of their Professional Associations) which should sign in mutual agreement an official certification;
5) the differences in visually perceptible quality between RP and DRA must be in reference to image tonality and color distribution unrecognizable as a key prerequisite for preserving the authenticity of film heritage;
6) it is used as the source for generating Intermediate Access Package (IAP)1 from which all delivery formats (for D-Cinema, TV, home-video, the web, etc.) must be derived without any distortion of criteria defined above (except resizing and different levels of compression, depending on the resolution of each delivery format).
In case that those criteria are not fulfilled, the digital master without official certificate has to be considered an infringement of unwaivable moral authors rights of cinematographers.
B. In case of digitally originated movies:
Digital Authorizate (DA)1, digitally originated film physically represented by an Digital Cinema Distribution Master (DCDM), constructed from digitally born images by a digital cinematographic camera and graded by the Director of Photography of the movie satisfying Digital Cinema relevant ISO standards.
IMAGO confirms that when a certified DRA is created, the cinematographers won’t claim any remuneration in concept of creation of digital master itself, but of course are claiming fair remuneration for any kind of exploitation of the DRA. Therefore final costs of digitization will decrease as well as DRA will bring higher quality.
European Commission reported that 85% of 1.03 million hours of European film heritage is out-of-commerce, and hence not accessible. While 98.5% is still not digitized, currently locked away in cans in the archives. That is also why IMAGO promotes the right of reproduction in the sense of Art. 2 Information Society Directive 2001/29/ES and the making available right in the sense of Art. 3 of mentioned Directive but consider that therefore it is absolutely necessary to recognize Digital Restored Authorizate (DRA) as the standard of digital master to preserve film heritage for future generations.
Glossary of Terms
DA (Digital Authorizate) – New digitally originated master graded under the supervision of the Cinematographer satisfying relevant ISO standards for digital cinema.
DAP (Distributon Access Package) – Any kind of dissemination format (for D-Cinema, TV, home-video, the web, etc.).
DCDM (Digital Cinema Distribution Master) – An uncompressed and unencrypted set of image, audio and subtitle files satisfying relevant ISO standards as digital distribution master and not generally designed for long-term digital cinema preservation, allowing creation of DCP.
DRA (Digital Restored Authorizate) – A digitally restored and authorized cinematographic work satisfying DRA specification.
DSM (Digital Source Master) – A non-specified set of image and audio files digitally done in post-production depending on the content provider and technical facilities i.e. data from motion picture scanner.
DCP (Digital Cinema Package) – DAP for digital cinema distribution generally not suitable for long-term preservation.
IAP (Intermediate Access Package) – Unencrypted but packaged set of image and audio files, descriptive and additional technical metadata and media (image in visually lossless compression, audio uncompressed) created from MAP or DCDM; it is designed for generating any kind of dissemination packages (for D-Cinema, TV, home-video, the web, etc.) but not for long-term digital preservation while it contains only projectable image area and supports ISO digital projection frame rate.
IM (Intermediate Film) – Any duplicate film element positive and negative, colour or B/W, made as intermediate between OCN and final print.
MAP (Master Archive Package) – Unencrypted but packaged set of image and audio files, descriptive and even additional technical metadata and media (image in mathematically lossless compression, audio uncompressed) done from DSM in arbitraty resolution and designed for long-term digital preservation while it should contain the whole film area (including eventual optical soundtrack, sprocket holes etc.) and support original frame rate.
OCN (Original Camera Negative) – An original film element exposed in the motion picture camera.
OST (Original Soundtrack) – An original motion picture soundtrack recorded on a magnetic or optical carrier used as an authoritative reference point for digital restoration.
RP (Reference Show Print) – A carefully produced answer print approved by the Cinematographer from the time of first release generally used as an authoritative reference point for digital restoration.
DECLARATION HUELVA 2004
1st International Congress on Authorship Rights of Cinematographers In November 1999, during the Camerimage Film Festival celebrated in Torún (Poland), cinematographers from 22 National Associations publicly claimed through the “Torún Declaration”, the recognition of their status as co-authors of cinematographic and audiovisual works. This has been another step in the international process of consciousness in relation to the creative work of cinematographers. At the 1st International Congress on Authorship Rights of Cinematographers in Huelva, November 2004, representatives of 28 National Societies have reached the following conclusion:
• Cinematographic and audiovisual works are recognized worldwide as work of artistic creation and therefore are protected by intellectual property laws according to the applicable international legislation. • The cinematographic and audiovisual work is the result of the contribution of several creators.
• The artistic contribution of the cinematographer in the creation of moving pictures is always essential for the result of the cinematographic and/or audiovisual work.
• The cinematographer is always author of cinematography and in every case co-author of the cinematographic and audiovisual works.
• The cinematographers gathered in the 1st International Congress on Authorship Rights of Cinematographers in Huelva, claim the specific recognition of our status as full co-authors of cinematographic and audiovisual works, and we require from the public authorities to provide for all necessary means to guarantee our protection and effective participation in any and all benefits generated by these works.
Joint Statement from IMAGO about the EU XXL proposal
The represented Societies in the International Cinematographers Conference in Budapest (Nov. 17th to 19th 2010) are aware that the European Union has given creativity and innovation greater importance on the Agenda for the coming decade. There is an unacceptable lack of political lobbying on the European level regarding the massive problems cinematographers and other creatives in the audiovisual sector are facing today. IMAGO agreed that it should be part of and support a common initiative together with the other relevant European umbrella organizations like FERA, FSE, ECSA, FFACE, ECA to improve the lobbying for all creatives of audiovisual works and increase the flow of communication and information between these organizations and the EU institutions. IMAGO proposes this common initiative to be carried out and managed by EU XXL FILM in Vienna, due to its fundamental knowledge about the structures of the EU legislation processes and its experience in political networking. IMAGO supports the efforts of EU XXL FILM to discuss and promote the idea of this common initiative with other umbrella organizations within the audiovisual creative community. The aims of these efforts we unanimously define as to install a lobby platform by democratic legitimation and participation of each umbrella organization.
Nigel Walters BSC President of IMAGO