THE CONTRIBUTIONS OF ARCHIFLIX
ANALOGUE IMAGES ON FILM OF VISUAL DIGITAL CODES
FULL DIGITAL SOURCE
(« VISUAL CODE »)
The basis = WORM (Write Once, Read Many)
Enhanced with a true “STORE AND FORGET” mode
ARCHIFLIX plus:
Open standard, easy to read
Proofreading retrieval is ensured at all times, thanks to a standard and durable technology
YOUR VALUABLE DATA FOR THE LONG TERM
ARCHIFLIX DURABLE STORAGE AND THE EUROPEAN LAW ON TRADE SECRETS
IN THE LIFE CYCLE OF AN "ASSET" IN TERMS OF THE LAW ON BUSINESS SECRECY,
ASSET PRESERVATION IS THE KEY ELEMENT DEALT WITH BY
natural security
ARCHIFLIX, a natural simple additional security to keeping data on servers
QUICK RETURN
Allows you to retrieve this data on magnetic file at any time within 72 hours
EXTENDED PRESERVATION
And this over a very long period of time: 50, 100 years or even more
What role could Digifilm play in securing
our digital heritage for future generations?
In this episode of Tech Talks Daily, recorded at the IT Press Tour in Malta, I am joined by Antoine Simkin, co-founder of Digi Film Corporation.
Antoine Simkine is also the lead producer and managing director of the Paris-based Les Films d’Antoine, which was founded in 2004. He was also the executive producer of the VFX of about one hundred feature films such as “The City of Lost Children”, “Amelie”, “Alien Resurrection” by Jean-Pierre Jeunet, “The Ninth Gate” by Roman Polanski, “Ronin” by John Frankenheimer, “Joan of Arc” by Luc Besson, and “The Man Who Cried” by Sally Potter.
Antoine Simkine then worked for 20th Century Fox as a VFX producer during the final phase of the development of “I Robot” by Alex Proyas.
With a unique background in cinema and digital visual effects, Antoine brings a fascinating perspective on the challenges and solutions for long-term data preservation in our rapidly evolving digital age.
Antoine shares his journey from pioneering digital visual effects in the 1980s and 90s to tackling one of the industry’s most pressing issues: the longevity of digital data. Reflecting on his experience working with formats like Sony DIR and DTF tapes, he highlights the challenges of data migration, evolving standards, and the risks of losing critical digital assets. His work with Digifilm Corporation introduces an innovative approach to solving these problems by blending the permanence of film with the precision of digital encoding.
We explore how Digifilm’s Archifix solution offers a robust alternative to traditional storage methods, ensuring data preservation for decades, if not centuries. Antoine provides insight into the diverse applications of this technology, from the cinematic world to industries such as nuclear power, defense, and architecture, where the need for secure, offline data storage is paramount.
As data volumes grow exponentially and regulations around data integrity and security tighten, Antoine’s vision for the future of Digifilm highlights the critical importance of balancing technological advancements with sustainable, long-term preservation strategies. Could this approach be the missing piece in solving the global data storage puzzle?