PARTICIPATE TO OUR CURRENT FUND RAISING CAMPAIGN
DIGIFILM launches a new fundraising campaign as part of the ActForEntrepreneurs initiative with the crowdfunding platform Kryptown. ActForEntrepreneurs enables companies that have raised funds during the COVID19 period to accelerate the implementation of their financing with investors ready to support promising companies regardless of stock market conditions. You can participate to our campaign by following this link.
Also, DIGIFILM is present at the CANNES FILM FESTIVAL on June 22-27, 2020 : DIGIFILM is selected with 7 other startups to present its ARCHIFLIX solution at the Cannes Next 2020 Conference (Media Meets Tech) on June 23rd, 2020. « MEDIA MEETS TECH » is a showcase and networking platform that presents and connects selected European media innovators and cutting edge startups with the global film & entertainment business in the framework of Cannes NEXT – the innovation sidebar of Marche Du Film – Festival de Cannes, the number one industry platform for the global film industry.
UNDERLYING ISSUES OF DIGITAL
HOW TO EVALUATE THE INVALUABLE
THE IRREPLACEABLE IS NOT REPLACEABLE
If the Mona Lisa was destroyed, the calculation of the financial losses by the insurance companies would be based on the decrease of visits of the Louvre and other economic consequences on the tourism industry – airplanes, hotels etc.
Without Leonardo da Vinci’s masterpiece, the world would be a different place.
It is the same for any human creation.
The preservation of any film, piece of music, play, painting, book, or university course is at risk.
When the original artworks are paintings, sculptures, tapestries or ceramics, it is necessary to take all appropriate measures to protect them from deterioration or destruction.
90% of silent movies are now lost because there has been no follow up for decades. The BBC only started following a strict preservation policy in 1978 after they had thoroughly erased several seasons of Dr Who and some other emblematic TV shows.
In the media industry, this strategy of preservation is now at the center of artwork preservation policies.
These policies are applied to all sectors that have a long term archival strategy.
But what is the original?
Who hasn’t lost some of their photos in a hard disk crash?
Maybe we are blinded by all the wonders of technology, but we can’t ignore these problems, as some of them may impair the long-term sustainability of mankind. (cf: in 2014 in the white paper about Digital Preservation in the Age of Cloud and Big Data.)
Digital data is stored on unreliable and disposable media (hard disks, magnetic tapes, USB keys, etc.)
What can be restored in the long term from these unreliable and disposable media will degrade over time.
Despite migrations and maintenance, we estimate that 1% of the elements of digital origin are at risk of being lost or degraded after a few years. This calculation is based on the experience of users of the LTO solution, which requires regular and compulsory migrations, at least every 4 years.
A French film studio lost 20% of a recent film only 10 years after its first release.
This risk is unacceptable because it could reach more than 10% over 50 years.
The option of making physical analog copies of a digital original degrades the original quality
For digital photography
One may be tempted to print the photos to keep them in an album or other form. If the digital originals are destroyed or lost, then the hard copy could be scanned. But this operation considerably degrades the quality of the original, which cannot be retrieved
For the cinema
It is currently possible to create a negative from digital sources (preservation shoot). This solution allows the long-term preservation of a copy, which will not require any migration and whose storage is simple. However, when this item has to be digitized in case of loss of the digital sources, the same degradation problems will arise for the restored version, as with digital photography.
For example, to preserve the source code of a program, one can imagine to simply print it on paper. When scanning it back using Optical Character Recognition, the document, which may contain millions of lines of code, will most certainly contain errors. The same applies to contracts, architectural documents, medical images, geological exploration images, banking transactions, notarial deeds, music etc.
A DYNAMIC MARKET : + 15% / YEAR
DIGIFILM adresses the market for offline archiving of sensitive global data to protect against magnetic risks in the very long term, which is part of the strong dynamic of the data storage sector, estimated at USD 35 billion in 2019 and USD 70 billion in 2025.
The hypothesis made is that the ARCHIFLIX solution developed by DIGIFILM responds to 10% of this global market with a growth of +15% per year, a segment which should therefore reach approximately 7 Billion € in 2025.
This segment is divided into sub-segments as follows :
- Films, videos, games, etc.
- Press, historical and institutional archives, museums, banks, thirty-year-old legal documents
- Documentary films, geographic data, medical imaging, oil exploration, etc.
The film preserves images over a very long period of time, and the use of an optical code on the film merges the two worlds by bringing a simple and reliable preservation of computer data.
The ARCHIFLIX process consists in writing on the film a visual code which will allow, at recovery, to retrieve the original data of the data file (image, sound, subtitles etc.) without any degradation, thus bringing together the best of both worlds: the original quality of the digital and the longevity and simplicity of conservation of the film.
ARCHIFLIX thus combines the best of digital AND analogue worlds:
ARCHIFLIX allows for preserving your digital asset sources “for eternity” thanks to its associated services :
The ARCHIFLIX process makes it possible to preserve the elements of a digital source in the very long term for a reduced cost, a maximum safety and an optimal quality.
Our ARCHIFLIX process records the digital “code” of images and other data (sound, etc.).
- This protects against the colorimetric drift that will inevitably occur over time, creating inevitable distortions in image quality. On the other hand, it has absolutely no effect on the Visual Code, which uses only a small number of color levels that are selected for the purpose of their resistance to this drift.
- Data recovery is simple, accessible in open source and is done using a standard film scanner.
- Dust and scratches are not a problem with ARCHIFLIX, thanks to the redundancy implemented at the recording. This redundancy also ensures the complete retrieval of the original data, even in case of minor damage to the physical support.
THE TECHNOLOGY AND THE KNOW-HOW
The ARCHIFLIX encoding and recording technology developed by DIGIFILM Corporation is patented and controlled by DIGIFILM Corporation.
It is also protected against possible plagiarism or imitations, due to several years of research, which allowed to constitute a know-how difficult to catch up by potential competitors.
The open source recovery ensures the durability of the solution without any direct dependency on ARCHIFLIX.
A BREAK FROM THE DOXA OF THE ALL DIGITAL
: A HIGHLY EXPERIENCED FOUNDING TEAM
Our multifaceted experience and accumulated expertise have enabled us to build a long-term vision on the issue of digital asset preservation across all economic sectors.
CEO – Strategy / Developpement
Entrepreneur, innovating projects, inventor of color management patents
Technicolor (movie post-production)
Communication / Innovation
Independent producer(Les Films d’Antoine)
Inventor of a data archival patent
CEO and co-founder of Duboi
Rip HAMPTON O’NEIL
CTO – Technical / Production
Directeur R&D de B-Mac
Inventor of optronics device patents
CST R&D Director
(Commission Supérieure Technique de l’Image et du Son)
R&D Director and co-founder of Duboi
Member of AFNOR committees for Cinematography standardisation.
contact : firstname.lastname@example.org