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EYE International Conference

27 - 30 May 2017

From Saturday May 27 to Tuesday May 30, the annual EYE International Conference takes place at EYE Filmmuseum in Amsterdam. This year, the conference will host for two days a special 40th edition of the technical symposium The Reel Thing.

Founded and curated by Grover Crisp and Michael Friend, The Reel Thing addresses current thinking and most advanced practical examples in the field of preservation, restoration and media conservation, and creates an international common ground for discussion and evaluation. The Reel Thing has been presented all across the United States, as well as Europe and South America, since its inception in 1994.

The Reel Thing at EYE Filmmuseum is a two-day program with a unique line-up of 25 international experts, including laboratory technicians, academics, archivists, new media technologists and preservationists. The Reel Thing includes technical presentations and special screenings of restored films. 

The 3rd conference day, on Tuesday May 30, takes place at the new EYE Collection Centre and includes workshops, presentations, a book launch and tours through the building. 

The opening of the EYE International Conference on Saturday May 27 at 16h45 is part of the EYE Collection Day


Please note

  • Registration also grants access to the EYE Collection Day on Saturday, May 27 (11h30) , highlighting recent projects from the collection of EYE Filmmuseum, and to a special EYE on Art programme on Tuesday May 30 (19h15)
  • Registration fee includes lunch and dinner on Sunday and Monday


Venue 27-29 May: EYE Filmmuseum, IJpromenade 1, Amsterdam

Venue 30 May: EYE Collection Centre, Asterweg 26, Amsterdam

Fees and registration via The Reel Thing.

schedule.pdfpdf, 25.86 KB
booklet_may_30.pdfpdf, 320.87 KB
speaker_bios.pdfpdf, 36.35 KB

Sunday May 28

In the Heat of the Night (Norman Jewison, 1967, USA)
4K restoration (2017) by Park Circus in collaboration with MGM. European premiere.
With an introduction by Grover Crisp (Executive Vice President Asset Management, Film Restoration & Digital Mastering, Sony Pictures)


Monday May 29

Un Chapeau de Paille d’Italie (René Clair, 1927, FR)
4K restoration (2016) by the Cinématèque Française and the San Francisco Silent Film Festival.
With an introduction by Céline Ruivo (Curator, Cinématèque Française)


Restoring Ula Stöckl's Neun Leben Hat Die Katze (The Cat Has Nine Lives)

Julia Wallmüller, Deutsche Kinemathek


Recovering Early Optical Sound

Simon Lund, Cineric, Inc.


The Restoration of Le fer à cheval (1909) by Camille de Morlhon.

Marcello Seregni, Associazione Culturale Hommelette (Trieste) / Fondazione Cineteca Italiana

Alice Rispoli, Associazione Culturale Hommelette (Trieste) / Cineteca del Friuli


Dick Higgins’ “For the Dead”: The Challenges of Preserving a Moebius Strip Loop Film

Kristof Efferenn, Kunsthochschule für Medien Köln

Arnaud Obermann, Staatsgalerie Stuttgart


The REMI Project – Handmade Emulsion Primitive Colour

Esther Urlus, WORM Filmwerkplaats


Preservation and Accessibility of Digital Born and Digitized Film

Jeroen De Mol, EYE Filmmuseum

Annegien Schrier, EYE Filmmuseum


HDR Grading Applied to Film Heritage

Audrey Birrien, Éclair


Preservation Metadata for DPX

Marjolein Steeman, Netherlands Institute for Sound and Vision

Josefien Schuurman, Netherlands Institute for Sound and Vision


Restoring Fritz Lang’s DER MÜDE TOD (Destiny)

Anke Wilkening, Friedrich-Wilhelm-Murnau-Stiftung


Preserving Imperfection – Ethics and Pragmatism in Digital Preservation

Tone Føreland, National Library of Norway


Traditional Photochemical Printing – Sharing Laboratory Techiques

Tiago Ganhão, Cinemateca Portuguesa

Paolo Bernardini, Cinemateca Portuguesa


Innovating Analogue Lab Techniques for use in the Digital Age

Gerard de Haan, Haghefilm Digitaal


Film Restoration Using Classical Conservation/Restoration Tools and Techniques

Ulrich Ruedel, University of Applied Science, Berlin

Anke Mebold, Deutsches Filminstitut, Wiesbaden


Building a Flexible High Resolution Scanner for Legacy Film Capture

Daniel Borenstein, Centre national du cinéma et de l'image animée

Chris Hall, Filmlight Ltd, UK


Acoustics for Small Rooms

Gilles Barberis, l’Immagine Ritrovata

Lorenzo Rattini, DAS – DecoAcousticSolution


The Digital release of Napoleon vu par Abel Gance (1927)

Ben Thompson, BFI National Archive

Paul Wright MIET – Dragon Digital Ltd. 


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