I wonder if compression artifacts will be seen as an intrinsic part of the experience of watching films of the late 90s-2010s and future generations of codec designers will have to work out how to preserve them.
Oh, absolutely! There was a trend starting over a decade ago to use MPEG glitches artistically, “datamoshing.” Kanye West’s “Welcome to Heartbreak” is not quite a history of glitch art, but it’s got both MPEG glitch work and also VHS paraphernalia, in addition to a bunch of other neat effects: there’s a really cool one three minutes in that looks like Ye’s dancing in front of an expanding cloud of black cubes.
There’s also already a romanticization of the late-’90s through mid-‘00s American DVD-watching culture among people who were teenagers in that time; the “Hot Couch Theory”. I’m a bit surprised that I don’t have an example of artistic MPREG compression artifacts on hand, since I feel like we’re ripe for it?
I’ve heard about this technique earlier and find it really impressive. I actually thought about it previously when I watched the restored version of “Once Upon a Time in the West”, which has strong film grain, but you can think of any historic film and it probably will have strong grain.
The idea that grain is very monotonous and can be easily removed from an input image using low-pass-filtering and ad-hoc-generated later during decoding is simple but also ingenious!