saturday - melissa dollman...speakers: johan oomen netherlands instituut voor beeld en geluid...
TRANSCRIPT
AMIA/IASA 2010: Page 87Philadelphia, PA | United States
12:00pm 1:00pm | Lescaze�����Meeting: AMIA Cataloging & Metadata Committee
12:00pm 1:00pm | Washington C����� Meeting: AMIA Education Committee
12:00pm 1:00pm | Commonwealth D�����Open Meeting: Lessons From the First Year of the American Archive
Open Session on the American Archive, sponsored by the News, Documentary, andTelevision Committee. The American Archive is envisioned as the primary collection ofarchival content from public television and radio stations across the United States. Apilot project, concluded in January 2010, built a repository with audio/video contentfrom 22 stations, while assessing costs and capabilities and developing a workflow usingthe PBCore metadata standard. AMIA has been deeply involved in the American Archiveproject, which in its next phase will conduct a comprehensive content inventory for allpublic TV and radio stations. During this open meeting, Matt White, Executive Directorof the American Archive, will describe the next steps in the American Archive project,and we’ll discuss potential roles for AMIA members to provide guidance and hands onexpertise. Your ideas and involvement in building the American Archive will bewelcome!
12:00pm 2:00pm | Macy’s Department Store| Pre registration required����������A Mammoth Musical Midday Adventure: Tour of the Wanamaker Grand Court Organ
The largest symphonic pipe organ in the world resides one block from our conferencehotel. The Wanamaker Grand Court Organ in Macy’s Department Store has been theperformance vehicle for many of the world’s most famous organists for nearly a century.Hearing this organ is a must for sound archivists, organ aficionados, and classical musiclovers. The tour will begin at noon with a 45 minute concert that is also open to thepublic. At the conclusion of the concert, your tour through the internal workings of thishuge musical instrument of 28,500 pipes will begin. The tour is sponsored by yourfriends and fellow conferees, Ralph Sargent and Alan Stark, from Film TechnologyCompany, Inc.
1:00pm 2:00pm | Anthony�����Meeting: AMIA Academic/Archival Committee
1:00pm 2:00pm | Lescaze�����Meeting: AMIA Small Gauge/Amateur Film Committee
2:00pm 2:30pm | Washington A����� Paper: Ethics and Moral Rights in the Converging World
Speaker: Shubha Chaudhuri (India)
SaturdayNovember 6, 2010
IASA/AMIA 2010: Page 88 November 2-6, 2010
2:00pm 3:30pm | Washington C�����Black, Proud, Hidden, Lost: Accessing African American Media
Chairs: Jacqueline Stewart Northwestern University (United States)Leah Kerr Mayme A. Clayton Library and Museum (United States)
Speakers: Mark Quigley UCLA Film & Television Archive (United States)Devorah Heitner Lake Forest College (United States)
Outside of specifically curated collections, such as Indiana University’s Black Film Center/Archive, significant holdings of African American moving image media may be hiddenwithin larger archival collections. This session will focus on issues of access andmarginalization of content often inherent in the cataloging, collection, and curation ofBlack moving images. Through the presentation of case studies, problems of “lost”materials, inadequate archival description, and the process of uncovering valuablecollections will be explored.
2:00pm 3:30pm | Commonwealth D�����Transcoding 101: The Mechanics and Application of Digital VideoConversion Within the Archive
Chair: David Rice AudioVisual Preservation Solutions (United States)Speaker: Skip Elsheimer AV Geeks (United States)
Unraveling digital audiovisual transcoding and the methodology of converting one formof encoding to another is pertinent to meeting the goals of access and preservation. Skipand Dave will examine various transcoding utilities including commercial, free and opensource tools in a panel that will analyze the strategies, challenges, and negotiationsinvolved in efficiently providing access to audiovisual media collections. The presentation will consider the selection of codecs, tools and workflows to allow the archivist tocontrol quality and loss while enabling new uses of content through transcoding. We’lllook under the hood of software based tools and applications, identifying what to lookout for, how to evaluate lossless and lossy transcoding methods, verify results, andexamining the relationship between the source and the results. The session will alsohighlight automation, quality control, metadata, access and delivery.
2:00pm 3:30pm | Commonwealth C�����Session of Three Papers
Paper: Visual Quality Analysis an Archive Management ToolSpeaker: Peter Schallauer Joanneum Research, Media Services AS (Austria)
A significant amount of work in film and video preservation is dedicated to qualityassessment of the content to be archived or re used in the case of content alreadystored in the archive. During ingest of content it is of interest whether content reachesdefined quality criteria (e.g. image stability, focus, no freeze frames). For archivemigration it is of interest whether the content quality is preserved after the transcodingstep from the legacy to the new encoding (e.g. blocking). Quality analysis can be used todetect the best quality copy in the case that several copies of the same content areavailable within the archive. In archive exploitation it is of interest whether contentquality is sufficient for a certain intended usage (e.g. resolution, image stability, or noiselevel) or to estimate the restoration costs to reach the needed quality level.
SaturdayNovember 6, 2010
AMIA/IASA 2010: Page 89Philadelphia, PA | United States
In this paper we provide recent results on automatic, content based visual qualityanalysis tools. We present research results for electronic and film grain noise level as wellas dust level estimation, and furthermore for freeze frame and video breakup detection.In order to facilitate interoperability and exchange of impairment metadata betweendifferent tools and systems, a standardized way of description is needed. We give anoverview on our framework proposed for the description of visual impairments based onMPEG 7. Furthermore, we present novel film and video impairment visualization andsummarization techniques for efficient human exploration of visually impaired content.
Paper: EUscreen and EFG, the AV Aggregators for EuropeanaSpeakers: Johan Oomen Netherlands Instituut voor Beeld en Geluid
(Netherlands)George Eckes George Eckes Deutsches Filminstitut (Germany)
This presentation will firstly discuss the goals of Europeana and benefits this unifiedaccess brings to both users and contributing organizations. Secondly, the presentationwill outline the commonalities and differences between the two aggregations. Morespecifically regarding: Architecture, handling metadata, content Selection policy andhandling IPR, functionality and multi linguality.
Both projects have invested ample time defining Use Models by engaging in focus groupsand executing desk research. One of the common requirements that needed to beaddressed was the issue of providing multilingual access. However, film institutions andbroadcast archives often have a slightly different focus in terms of the way archivalcontent is archived, accessed and explored.
Paper: A Sound Vision on Mass Digitization: Quest for the Sweet Spotto Turn 17,500 Hours of Film Into an AssetSpeakers: Tom De Smet Netherlands Institute for Sound and Vision
(Netherlands)Dr. Henk den Bok Netherlands Institute for Sound and Vision (Netherlands)Harm Jan Triemstra Netherlands Institute for Sound and Vision (Netherlands)
The paper describes the outcome of a recent study conducted by The NetherlandsInstitute for Sound and Vision that will be digitizing 17,500 hours of archival film as partof the Images for the Future Project (2007 2014). Sound and Vision’s standard definition(Digital Betacam) digitization workflow needed to be replaced by a sensible HighDefinition digitization workflow. The study focuses on determining the scanning, codingand possible compression parameters necessary to successfully digitize 17,500 hours offilm for archiving purposes and to make it possible to access the material digitally.Building on the experience gained by two extensive pilot projects and research byFraunhofer IIS, Sound and Vision was able to make the decisions necessary to plan acomprehensive digital film archiving program and workflow, which are outlined in thepaper. Taking time as well as financial constraints into consideration, the study looks atSound and Vision’s decision to scan to uncompressed DPX files (HD 1440 * 1080 as wellas 2K), to refrain from jpeg2000 or other image compression for the archival format andto opt for XDCAM HD 422 as the digital access format. Subjective and objective qualityassessments are also described to corroborate the aforementioned decisions.
SaturdayNovember 6, 2010
www.preferredmedia.comchicago london los angeles new jersey new york sydney
Preferred Media is a global network of Specialized Media facilities designed to preserve, protect,
organize and make accessible its clients’ valuable media assets.
We are pleased to announce the opening of a new facility in Los Angeles, as well as extensive improvements to our web site
and online asset management service.
our new Los Angeles facility
a new and improved web experience
AMIA/IASA 2010: Page 91Philadelphia, PA | United States
2:30pm 3:30pm | Congress����� IASA EB and Committee Meeting (Members only)
3:30pm 5:00pm | Commonwealth����������AMIA Membership Meeting
Members and guests are encouraged to attend to hear the annual report from the AMIABoard of Directors. The open forum will provide an opportunity for members to raiseissues and challenges not addressed elsewhere during the conference.
3:30pm 5:00pm | Congress����� IASA General Assembly (Members only)
5:30pm 6:30pm | 33rd Floor�����AMIA/IASA 2010 Closing Cocktails
Please join us for cocktails as we say goodbye to colleagues and friends and mark theclose of the 2010 Conference.
7:00pm 9:30pm | Reading Market | Separate Registration Fee Required����� IASA Farewell Dinner at the Reading Market Terminal
Farewell while exploring this unique and extraordinary historic farmers market in CenterCity Philadelphia, with mouth watering aromas, produce fresh from the field, Amishspecialties, fresh meats, seafood, and poultry... in daytime, an exhilarating selection ofbaked goods, meats, poultry, seafood, produce, flowers, ethnic foods, cookware andeclectic restaurants are peppered throughout the Market and at nighttime, a festiveplace reserved just for you!
8:00pm | International House | Ticket required����� AMIA Restoration Screening: On The Bowery
Lionel Rogosin’s style as an independent filmmaker was straightforward and compassionate. His films, made “from the inside” showed the subjects he chose in their normalsurroundings and allowed them to speak in their own words. By choosing ordinarypeople caught up in universal problems homelessness, racial discrimination, war andpeace, labor relations, and poverty Rogosin made his point poignantly. The Oscar®nominated On the Bowery is a masterpiece of the American blend of documentary/fiction. On the Bowery chronicles three days on New York’s skid row, the Bowery. In theearly part of the 19th century, it was an elegant place of large mansions and respectabletheater. When the elevated trains came in, it covered the street in darkness and theBowery soon became known as the place for low rents and cheap drinks. Film providedby Milestone Films. A limited number of tickets available for Conference attendees pick up your ticket at the Registration Desk.
SaturdayNovember 6, 2010
order online at:http://www.imagepermanenceinstitute.org
Features:
This large poster (47” x 35”) takes the viewer through the���������� ����� �� ������ ������� ��� ��������� ����the use of microscopy-imaging techniques.
35mm reversal positive Dufaycolor
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AMIA/IASA 2010: Page 93Philadelphia, PA | United States
Join us in the Vendor Cafe!Please join us for the vendor exhibits in the 2010 Vendor Cafe. It’s a great place toget a cup of coffee, have a quick meeting or just hang out between sessions. Thevendor exhibits are a wealth of information about our industry. What is new, whatworks, what doesn’t work, what’s on the horizon... the information and the servicesthese companies offer is important. So take advantage of the opportunity and sayhello!
On Thursday, you can see all of the entries in AMIA’s 2010 Short Film/Video con-test. The challenge? To create a film or video that conveys the importance of pre-serving the world’s moving image heritage. The winner will be screened at ArchivalScreening night, but on Thursday you’ll be able to see all of the entries in viewingareas in the Vendor Cafe.
On Friday is the IASA Poster Session in the Vendor Cafe. Posters include:• Turning Archives into Assets• TV Speaks: Curating Oral Histories Online• The User and the Archivist, How Kenya National Archives is Making theConvergence• Developing and Managing Digital Collections: All You Need to Know• Laying Claims to Africa’s Migrated Archives: Problems and Prospects• Digitized Musical Instrument Sample Libraries - A Valid Archival Resource?• History at Risk: A Survey to Determine the Size and Status of Local TVVideotape Archives
The Vendor CafeThursday - Friday: 8:00am - 4:00pm
AMIA/IASA 2010: Page 95Philadelphia, PA | United States
Feenyx Oty Limited 1MediaServices GmbH 2Iron Mountain Film and Sound 3Tuscan Corporation 4Underground Vaults & Storage 5Iron Mountain Film and Sound 6Blackmagic Design 7Digital Vision 8Flashscan8.us 9Pixel Farm 10Posters & Short Film ViewingDC Video 15Image Systems TrackEye, Inc. 16Stil Casing Solution 17Kinoton America, Inc. 18
Specs Bros., LLC 19Colorlab Corp. 20Colorlab Corp. 21Hollinger Metal Edge, Inc. 22RTI Group 23Cube-Tec International 24National Boston, LLC 25Christy’s Editorial 26Posters & Short Film ViewingUnderground Archives 31The MediaPreserve 32Front Porch Digital 33Dancan Cinema Sevices 34Digital Film Technology 35Nauk’s Vintage Records 36
AMIA/IASA Vendor CafeMillennium Hall - Second Floor
The Vendor CafeListing By Booth Number
AMIA/IASA 2010: Page 97Philadelphia, PA | United States
The Vendor Cafe
Blackmagic Design1551 McCarthy Bl., Suite 106Milpitas, CA 95035p. 408.954.0500 x321 | f. 408.954.0508terryf@blackmagic-design.comwww.blackmagic-design.com
Blackmagic Design creates the world’s highest quality video editing products, color correctors, videoconverters, routers, waveform monitors and film restoration software for the feature film, post-production and television broadcast industries.
Christy’s Editorial Film & Video Supply3625 W. Pacific Ave,Burbank, CA 91505p. 818.845.1755 | f. [email protected]
For over 35 years, Christy’s Editorial has provided the Motion Picture and Television Industry with topquality products, rentals and service. Christys Editorial offers a complete line of Avid Editing Systemsand Storage for Rent, Deck Rentals, Film Supplies, Film Equipment, Peripherals, as well as PostProduction Facilities to house your productions.
Colorlab Corp.5708 Arundel Ave.Rockville, MD 20852p. 301.770.2128 | f. [email protected]
Full film-to-film preservation and film-to-tape mastering in SD and HD from 8mm, Super 8, 9.5mm,17.5mm, 28mm, and 35mm. Replasticizing treatment and preservation from nitrate originals.
Cube-Tec InternationalAnne-Conway-Straße 128359 Bremen Germanyp. [email protected]
For more than a decade Cube-Tec serves media archives all over the world with state-of-art preservationtechnology. QUADRIGA, Media-Inspector and Dobbin Rendering Farm help migrating large collections oflegacy media formats in a quality-controlled way. While Cube-Workflow provides modular web-basedtechnology to streamline the work of the archive department.
Dancan Cinema Services S.L.Calle Explanada de Catillete 3Aptd. X-66 - Puerto de Mogan35135 Mogan . Las Palmas de GC EspanaP. 34.697.226.485 fax [email protected]
The career of Morten Jacobsen, director of Dancan Cinema Services,has spanned from cameraman tofilm producer and then , in the 1970s, the film reel business took over. It was Tuscan. Then he started toproduce the square Dancan which was the need in the last century for shipping. In this millenium hedesigned and constructed a new revolutionary series of film cans for storage and recently moved toGran Canaria where he has his Spanish operation. Talk of retirement? No way. See you in my booth!
IASA/AMIA 2010: Page 98 November 2-6, 2010
DC Video177 West Magnolia Blvd.Burbank, CA 91502p. 818.563.1073 | f. [email protected]
DC Video provides videotape transfer, re-mastering, and digitizing services that enable older recordingsto be usable today. To provide this path of format migration, DC Video possesses rare machines andprofessional expertise to provide the highest quality transfer of picture and sound.
Digital Film TechnologyPO Box 1087Lake Villa, IL 60046p. 847.867.5709 | f. [email protected]
DFT Digital Film Technology provides high-end film and digital post production solutions for a variety ofcommercial media, film and content markets including; film studios, broadcast operations, and postproduction facilities. DFT products include the SCANITY™ Film Scanner, Spirit family of DataCines® andTelecines, Shadow Telecine, Scream grain reducer, LUTher color calibration tool, Bones digitalintermediate (DI) workflow solution and Bones Dailies non-linear dailies software solution.
Digital Vision4605 Lankershim Blvd. #700North Hollywood, CA 91602P. 818.769.8111 | f. [email protected]
With over 20 years experience in image processing, Digital Vision provides the leading solutions for filmand tape content restoration and re-mastering.
Feenyx Pty. Limited2 Garsia StCampbell, ACT 2612 Australiap. 461.2.6162.3979 | f. [email protected]
MAVIS provides integrated management of all media assets, regardless of medium (moving image,recorded sound, still image, text, object etc.) and format (all analogue and digital formats aresupported). MAVIS is designed to interoperate with other systems including web applications, DigitalAsset Management systems and Workflow Management systems via its XML and Web Servicesinterfaces. Feenyx distributes MAVIS free of licensing fees.
Flashscan8.usp. [email protected]
Flashscan8.us is pleased to introduce MWA Nova’s new multi-gauge, 1920 x 1080 HD (opt. 2K or 4K)16mm and/or 35mm film transfer system the flashtransfer Vario. Learn more in our suite or vendorbooth at the AMIA/IASA Conference. Get hands-on experience with the flashscanHD 8mm/Super8 and16mm flashtransfer standard definition systems. Book your demos of both systems for AMIA/IASA orafterward, on our“West to California Tour” Nov. 9-23. Contact Ted Langdell to arrange a test drive.
The Vendor Cafe
AMIA/IASA 2010: Page 99Philadelphia, PA | United States
The Vendor Cafe
Front Porch Digital2011 Cheery St. , Suite 207Louiseville, CO 80027p. [email protected]
Front Porch Digital is the global leader in content storage management (CSM) solutions and, with the2008 acquisition of SAMMA Systems, it is now the global leader in the migration and preservation ofvideotape to digital files as well. Having merged operations with SAMMA, Front Porch provides an end-to-end solution for cost-effectively digitizing, accessing, and preserving media past, present, andfuture. Front Porch Digital now can accelerate migration of vulnerable videotape - on an unprec-edented, global scale - to optimize and secure digital storage. www.fpdigital.com
Hollinger Metal Edge, Inc.6340 Bandini Blvd.Commerce, CA 90040p. 323.721.7800 | f. 323 [email protected]
We specialize in custom products- let us solve your archival storage dilemma. Our creative and flexiblestaff is ready and waiting to help. Remember, just because it isn’t in the catalog doesn’t mean it isn’tpossible.
Image Systems TrackEye, Inc.2711 Centerville Road, Suite 400Wilmington, DE 19808p. [email protected]
Image Systems AB has been providing high quality scanners for over 15 years. Recently the GOLDENEYE Film Scanner has been developed especially for the Archiving Market where the software drivenfilm motion provides very gentle film handling. Handles 8, 16, 35 and 70mm.
Iron Mountain Film & Sound Archives1025 N. Highland Ave.Hollywood, CA 90038p. 323.466.9287 | f. [email protected]
Iron Mountain continues to lead the industry in preserving and transferring analog and digitalentertainment assets, offering unmatched expertise and resources, including: Experience managingmore than 15 million film and sound elements from more than 1,500 customers, including all of thetop entertainment companies; A fully integrated digital studio to handle analog to digital transfer ofboth audio and video assets; A team of experts who come from the entertainment world andunderstand the industry’s special requirements, standards and emerging technologies; Highly secure,climate-controlled facilities that ensure preservation of valuable film and sound elements; A dedicated,trained, and screened staff of security professionals who keep assets secure and protected.
AMIA/IASA 2010: Page 101Philadelphia, PA | United States
Kinoton America, Inc.33 Jacksonville Road, Unit 1Towaco, NJ 07082p. 973.331.9200 | f. 973.331.9203lutz.schmidt@kinotonamerica.comwww.kinotonamerica.com
Kinoton has served the motion picture industry for over 60 years. We therefore know and respectthe enormous cultural and historical significance and value of our cinematic heritage Our highestwhen designing equipment for handling and presenting archival films is thus to safeguard theseirreplaceable historical treasures. Our reliable, user-friendly products ensure easy, gentle handlingand viewing of archival film prints of all kinds with the best possible picture and sound quality,without any risk of damage.
The MediaPreserve111 Thomson Park DriveCranberry Township, PA 16066p. 800.416.2665 | f. [email protected]
The MediaPreserve, an Audio Visual Laboratory, provides audio, video, and film reformatting tailoredto our clients’ needs. The MediaPreserve has a mixture of legacy playback machines and digitaltechnology capable of reformatting historical and modern media. We create high quality digital filesand client specific metadata.
Media Services GmbHEichetwaldstraBe 6a-5081 AnifSalzburg, Austriap. +43.660.555.3155paul.leitner@mediaservices.atwww.mediaservices.at
MediaServices GmbH is a group of senior professionals working for major international companieswithin the media industry. In research and development MediaServices cooperates with leadingresearch institutions on award winning projects. Paul Leitner, the founder of MediaServices, startedto work on automated archive systems and automated quality inspection in 1994 when he wasworking for Sony Music. We are very proud of AudioInspector and excited about the possibilities ofour unique VideoInspection Library.
National Boston115 Dummer StreetBrookline, MA 02446p. [email protected]
National Boston is a 22,000 square foot production facility with a drive-in soundstage and a fullcompliment of video and audio services. We offer film to tape transfers, color correction and fileformat conversions including Quad, 1" and 3/4' video formats. With over 30 standard definitionformats, we offer conversions to High Definition 1080i, 720p, SR and D5.
The Vendor Cafe
IASA/AMIA 2010: Page 102 November 2-6, 2010
Nauck’s Vintage Records22004 Sherrod LaneSpring, TX [email protected]
Nauck’s Vintage Records is the world’s premier company dealing in 78rpm & cylinder recordings. Inaddition to their bi-annual auction catalogs, Nauck’s offers a wide range of turntables, audioequipment, custom styli, collector & archival supplies, books & discographies, record sleeves andoriginal wind-up phonographs. Visit them at www.78rpm.com
The Pixel FarmUnit 1 Pattenden Business ParkPattenden Lane , TN12 9QS United Kingdomp. +1 805 527 [email protected]
The Pixel Farm manufactures and markets innovative image-processing technologies that meet thedemands of professionals working in the motion picture, broadcast TV and interactive entertainmentindustries. Our products - which address V | F. , DI and restoration - are well-known and well-loved bydigital artists worldwide, as they seamlessly integrate into the most demanding post-productionenvironments, whilst supporting creativity and maximizing productivity.
RTI Group4700 W. ChaseLincolnwood, IL 60712p. 847.677.3000 | f. [email protected]
The RTI Group is the world-leading manufacturer of motion picture film laboratory, archival andrestoration equipment, videotape migration and optical disc care and restoration equipment. The RTIGroup consists of BHP wet and dry film printers and special prints heads for archival films, LipsnerSmith Film Cleaners, Imagica Film Scanners and Recorders, Treise Engineering and Calder EquipmentProcessors, Rewash and rejuvenation equipment, Filmlab Systems Colormaster Film Color Grading andTiming Equipment and RTI Viseotape Cleaners/Inspectors and DiscChek Optical Disc Repair andInspection Equipment. We also offer a full line of quality control equipment, film inspection, archivalfilm scanners, rewinders, silver recovery and chemical mixing. The RTI Group…the bridge connectionanalog and digital film restorastion.
Specs Bros., LLCPO Box 195Lodi, NJ 07644p. 973.777.5055 | f. [email protected]
SPECS BROS. is a magnetic tape decontamination and restoration facility that specializes in disasterrecovery and the rejuvenation of archival tapes suffering from material breakdown. We have beenrestoring magnetic materials since 1983. The services we offer include: Fire Restoration; FloodReclamation; Archival Rejuvenation; Incubation for Binder Hydrolysis; chemical decontamination;fungus removal; reel/hub/shell repair and duplication.
The Vendor Cafe
AMIA/IASA 2010: Page 103Philadelphia, PA | United States
The Vendor Cafe
STil Casing Solution76 St. Paul Street, Suite 301Quebec, QC G1K 3V9 Canadap. 418.694.0449 | f. [email protected]
To remain the epitome of professionals dedicated to insuring the protection and integrity of your film,audio, and data content with an ongoing development of products of exceptional quality and design.NEW A “stylish box” tending to all your assets. Warner Bros. and STiL Casing Solution joined forces togive you an opportunity to have an edge over your photographic material, paper and other media.
Tuscan Corporation7115 Virginia Road, Suite 111-6Crystal Lake, IL 60014p. 847.458.7280 | f. [email protected]
In continuing to meet the needs of our evolving industry, we’re setting a new pace with our activelyventilated ProVent container. To ensure the maximum lifespan for your film collection, properventilation is paramount. The better your film can breathe, the less likely it is to succumb to vinegarsyndrome. After extensive research, we’ve developed a revolutionary new actively ventilated containerthat significantly improves airflow compared to standard ventilated containers, reducing free acid levelsand literally breathing new life into your valuable film collection.
Underground Archives1605 Old Route 18Wampum, PA 16157p. 724.526.0555 | f. [email protected]
Underground Archives is a full service Records Management company that specializes in Vital Records.We operate the largest underground climate controlled storage environment in the industry. Protectyour collection in our secure, climate controlled environment.
Underground Vaults & StoragePO Box 1723Hutchinson, KS 67504p. 620.662.6769 | f. 620.662.8871storage@undergroundvaults.comwww.undergroundvaults.com
For over 50 years, UV&S has been a leader in secure offsite storage and information managementoffering services ranging from managed inventory to preservation programs for the entertainmentindustry. With its primary facility located 650’ underground, UV&S operates six nationwide locations,serving worldwide clients from nearly every sector of industry.
Thought Equity Motion works with more than 400 rights
holders globally, including BBC Motion Gallery, Paramount
Pictures, Sony Pictures Entertainment, National Geographic,
The New York Times, and the NCAA®. Its Platform Service
offering for rights holders includes:
and delivery
physically redundant storage
with global sales and footage licensing networks to
deliver revenue
NCAA is a registered trademark of the National Collegiate Athletic Association. All other names, trademarks or services marks, are the property
of their respective owners. © 2010 Thought Equity Motion, Inc. All rights reserved.
platform.thoughtequity.com | 310.593.4655
AMIA/IASA 2010: Page 105Philadelphia, PA | United States
AttendeesTo October 18, 2010
Fouant A. MalakHellenic National Audiovisual
Archive
Sulasteri Abd. HamidNational Archives of Malaysia
Ruta AbolinsUniversity of Georgia
David AckermanLoeb Music library
Tom AdamiUnited Nations Mission in Sudan
(UNMIS)
Gary AdamsBlackmagic Design
Steve AdamsNARA
Matthew AddisIT Innovation
Geoff AlexanderAcademic Film Archive of North
America
Vasilios AlexopoulosERT SA
Barry AllenBarry Allen Film Preservation
Consultancy
Vickie AllenPBS
Audrey AmidonNational Archives and Records
Administration
Tina AnckarmanNational Library of Norway
Seth AndersonNYU - MIAP
Joy ArdizzoneThought Equity Motion
Carla ArtonLibrary of Congress
Thomas AschenbachColorlab
Ilse AssmannSABC
Jenifer BaldwinTemple University Libraries
Rebecca BallentineDisney Destinations, LLC
Raymond BarberHollywood Vaults
Karen BarcellonaAcademy Film Archive
Jonathan BarlowEastman Kodak Company
Kevin Barrett20th Century Fox
Brian BarteltPost Haste Sound
Matthew BartonLibrary of Congress
Andrei BartsevichClose-Up Global Entertainment
Karen BaxterCalifornia Institute of the Arts
Thomas BealGeorge Blood Audio, L.P.
IASA/AMIA 2010: Page 106 November 2-6, 2010
Jeff BeaulieuIron Mountain Film & Sound
Archives
Christopher BeerWGBH
Schawn Belston20th Century Fox
Susan BennettCNN
Nicholas BerghEndpoint Audio Labs
Tom BernierProvincial Archives of Alberta
Howard BesserNYU - MIAP
Yngvil BeyerNational Library of Norway
Michael Biel
Sue BigelowCity of Vancouver Archives
Jean-Louis BigourdanImage Permanence Institute
Aaron BittelUCLA Ethnomusicology Archive
William BjelfNARA
Nicole BlainCanadian Broadcasting
Corporation
Daniel BlazekLibrary of Congress
George BloodGeorge Blood Audio, L.P.
Joan BoadasGirona City Archives
Ian BogusUniversity of Pennsylvania
Ronald BonkChace Audio by Deluxe
Tim BonoBonoLabs
Joëlle BorgattaMEMORIAV
Leslie BourgeoisLouisiana Public Broadcasting
Stephanie BoyleAustralian War Memorial
Kevin BradleyNational Library of Australia
Jennifer Breier
Eric BrickerIron Mountain Film & Sound
Jack BrightonIllinois Public Media
Jeffrey BrittCrawford Media Services
Elena Brodie KusaIndependent
Myer BrostoffAcademy Film Archive
Peter BrothersSpecs Bros.
Susan BrothersSpecs Bros.
Nicholas BrowneUCLA
Marco BuarqueCPDOC/FGV
Melitte BuchmanNYU
Mette Charis BuchmanDanish Broadcasting Corporation
Peter BulckeNT Audio
Alan BurdetteEVIA Digital Archive Project
Reid BurnsReliance MediaWorks
Robert ByrneSan Francisco Silent Film Festival
Preston CabeGeorge Blood Audio, L.P.
Sonia CampaniniUniversità degli Studi di Udine
Jeffrey CappGartenberg Media Enterprises
Joe CaracappaPRO-TEK Vaults
Frank CardelloThought Equity Motion
Karen CarianiWGBH Educational Foundation
Karin Carlson
Rich CarlsonKodak
Curt CarlssonSwedish Radio
Ed CarterAcademy Film Archive
Jared CaseGEH
Jeanette CaseyMusic Library, UW-Madison
Mike CaseyIndiana University Archives of
Traditional Music
Stefano CavaglieriFonoteca Nazionale Svizzera
Shubha ChaudhuriArchives and Research Centre forEthnomusicology. American Inst.
of Indian Studies
Jennifer CherAIG
Larry ChernoffMTI Film
Kelly ChisholmLibrary of Congress
Kathy ChristensenCNN
Thomas ChristieNY Public Library
Leah ChurnerElectronic Arts Intermix
Larry ChwirutOffice Movers, Inc.
Rebecca ClemanElectronic Arts Intermix
Maureen ClementsNPR
AttendeesTo October 18, 2010
AMIA/IASA 2010: Page 107Philadelphia, PA | United States
Dwight CodyBoston Connection Inc.
Liz CoffeyHarvard Film Archive
Tom ColleyVideo Data Bank
Chelsea CookeKeene State College
Anne CooperNational Film & Sound Archive
Mark CooperUniversity of South Carolina
Talya CooperStoryCorps
Robert J. CortiWarner Bros.
Stéphanie CôtéCinémathèque québécoise
Barbara Crandall20th Century Fox
Grover CrispSony Pictures Entertainment
Michael CroneHessischer Rundfunk
David CrosthwaitDC Video
Sarah CunninghamLyndon B. Johnson Library &
Museum
Meghan CurreySmithsonian Institution
Daniela CurròHaghefilm
Steven CusimanoCable Public Affairs Channel
Antonio Da SilvaUnited Nations
Peter DahlbeckDahlbeck Engineering Company
Susan E DaltonDalton Data Works
John DamerUCLA
Virginia DanielsonHarvard University
Lisa DavidsonChace Audio by Deluxe
Matthew DaviesNational Film & Sound Archive
Brian DavisHigh Point University
Matthew DavisIndiana University
Steve DavisCrawford Media Services
Louise De ChevignyRadio-Canada
Rufus De RhamNYU - MIAP
Paula De StefanoNew York University Libraries
Gene DeAnnaLibrary of Congress
Kurt DeggellerMemoriav
David Deitch
Elizabeth Delaney
Cory Dieterly
Katrina M. DixonNortheast Historic Film
Melissa DollmanSchlesinger Library, Harvard
University
Jovita DominguezUCLA
Joanne DonovanSchlesinger Library, Radcliffe
Institute
Dennis DorosMilestone Film & Video
Nancy DoschNational Library Of Medicine
Annette DossGetty Research Institute
Maxine DuceyWisconsin Center for Film and
Theater Research
Brittan DunhamNYU - MIAP
Andrea DunlapMakani Power
Jon DunnIndiana University
Nino DzandzavaSelznick School
James EcclesChace Audio by Deluxe
Georg EckesDeutsches Filminstitut - DIF
Joseph EckhardtMontgomery CountyCommunity College
Evan EdelistReliance MediaWorks
Ray EdmondsonArchive Associates
Courtney EganNational Archives and Records
Administration
Stefan ElnabliNorthwestern University Library
Cornelia EmersonArts/Collections/Education
Leo EnticknapUniversity of Leeds
AttendeesTo October 18, 2010
IASA/AMIA 2010: Page 108 November 2-6, 2010
Dan Erdman
Kristin EshelmanDodd Research Center University
of Connecticut
Jason Evans GrothIndiana University
Aimee EverrettThe Historic New Orleans
Collection
Carolyn FaberSchool of the Art Institute of
Chicago
Woods FairbanksWestern Washington University
Mohd FarizalNational Archives of Malaysia
Tariq FattaniDeluxe Digital Restoration
Christiane Fennesz-JuhaszPhonogrammarchiv
Natalia FidelholtzStoryCorps
Zac FinkFilm Technology Company
Gila FlamThe National Library of Israel
Karma FoleyHuman Studies Film Archives
Walter ForsbergNYU - MIAP
Giovanna FossatiEYE Film Institute Netherlands
Heather Fox
Evelyn FrangakisThe New York Public Library
Alison FreakeProvincial Archives of Alberta
Mary FreemanDrexel University
Caroline FrickGeorge Eastman House
Hannah FrostStanford University Libraries
Jean GagnonCinémathèque québécoise
Rosa GaiarsaUCLA Film & TV Archive
Cassandra GallegosGeorge Blood Audio, L.P.
Amy GallickLibrary of Congress
Natalia GanemClose-Up Global Entertainment
Anne GantEYE Film Institute Netherlands
Joseph GardnerNortheast Historic Film
Jon GartenbergGartenberg Media Enterprises
Lorenzo GattornaNYU MIAP
Lars GaustadNational Library of Norway
Ann Michele GearyUCLA
Nadia GhasediWashington University
Julia GibbsFilm Studies Center, University
of Chicago
Sandra GibsonNYU - MIAP
Steve GilbertKane Library Relocation Services
David GiovannoniFirst Sounds
Randy GitschPRO-TEK Vaults
Theo GluckThe Walt Disney Studios
Nancy GoldmanPacific Film Archive
Stephen GoldsmithTata Communications
Victoria GoodfellowCBC
Bruce GordonLoeb Music Library, Harvard
University
Elena GorfinkelUW-Milwaukee, Art History
Department
Jeff GoughAcademy of Motion Picture Arts
& Sciences
Troy GowenInt’l Tennis Hall of Fame &
Museum
Karen GracyKent State University
Bruce GrahamAscent Media
Brian Graney
Shelly GrantNational Library of Australia
Jennifer GravesEmporia State University
Judith GrayAmerican Folklife Center,
Library of Congress
Richard GreenLibrary and Archives Canada
Steve GreeneNational Archives
Kathryn GronsbellTemple University
Rebecca GuentherLibrary of Congress
Grace GuggenheimGuggenheim Productions, Inc.
Jacqui GuptaBBC
Marissa HaddockPRO-TEK Vaults
Albrecht Haefner
Siobhan Hagan
Emily HalevyCrawford Media Services
Caitlin HammerNYU - MIAP
AttendeesTo October 18, 2010
AMIA/IASA 2010: Page 109Philadelphia, PA | United States
Marit HamreNRK - Norwegian Broadcasting
Corporation
Ann HarrisNYU Cinema Studies/MIAP
Megan Harris
Robert HarrisThe Film Preserve, Ltd.
Denise HartmanPennsylvania State University -
Media Sales
Dorinda HartmannWisconsin Center for Film and
Theater Research
Tina HarveyLibrary and Archives Canada
Jim HarwoodPRO-TEK Vaults
Kelly HaydonNew York University
Judy HeaneySyda Foundation
Jane HedbergHarvard University Library
Sterling HedgpethLucasfilm Ltd.
Robert HeiberChace Audio by Deluxe
Amy HelbingIron Mountain Film & Sound
Robert HendricksonGeorge Blood Audio, L.P.
Fritz HerzogAcademy Film Archive
Callie HolmesLibrary of Congress
Heidi HolmstromNational Archives and Records
Administration
Mark HoodIndiana University Archives of
Traditional Music
Jan-Christopher HorakUCLA Film & Television Archive
Serge HoudeRadio-Canada
Joerg HoupertCube-Tec International GmbH
Charles HowellLibrary of American
Broadcasting - U of MD
Sally HubbardHBO
Robert HudsonCarnegie Hall
Mary HuelsbeckIndiana University - Black Film
Center/Archive
Barbara Humphrys
Emily HurwitzLibrary of Congress
Jeanine IntindolaMGM Technical Services
Khandaker IslamCanadian Museum for Human
Rights
Rachel JacobsMGM Technical Services
Morten JacobsenDancan International Sales
Vijay JadhavNational Film Archive of India
Gisa JaehnichenUniversiti Putra Malaysia
Ashok JainTriveni Inc., DigitalTalkies
Division
Gina JamesNBC Universal
Vishnu Jani
Jennifer JenkinsUniversity of Arizona
Crispin Jewitt
Anna JhiradMarigold Productions, LLC.
An JieunNYU - MIAP
Mona JimenezNew York University - MIAP
Lisbeth JohannessenThe National Library of Norway
Lisa JohansenNRK Archive & Research
Kirston JohnsonDuke University Libraries
Martin JohnsonNew York University
Lewanne JonesAutonomedia
Gunnel JönssonSwedish Broadcasting Resources
Aude Julien Da Cruz LimaCREM CNRS France
Joel Kanoff
Kris KatroshPryor Center for Arkansas Oral
and Visual Historyy
Victoria KeddieNew York University
Mary KeeneMuseum of Modern Art
Tara KelleySelznick School
Scott KellyWalt Disney Company
Sean KellyUniversity of Amsterdam
Gordon KiddShambhala Archives
Sean KilcoyneSelznick School
Karen KingNational Public Broadcasting
Archives
Lynne KirsteAcademy Film Archive
Mary Ellen KitchensBayerischer Rundfunk
AttendeesTo October 18, 2010
IASA/AMIA 2010: Page 110 November 2-6, 2010
Dimitra KitsiouHellenic National Audiovisual
Archive
John KlacsmannColorlab
Michael KohnLucasfilm
Charles KolbNational Endowment for the
Humanities
Christina KovacNational Archives and Records
Administration
Laura Krasnow
Kelly KressNewberry Library
Michele KribsOregon Historical Society
Reto Kromerreto.ch Ltd
Ramesh KumarNew York University
Drago KunejInstitute of Ethnomusicology
SRC SASA
Anthony L’AbbateGeorge Eastman House
Chris LacinakAudioVisual Preservation
Solutions
Justin LaLibertySelznick School
Charles Lamb
Jo LammertUniversity of Texas at Austin
School of Information
Andrew LampertAnthology Film Archives
Anna LamphearUniversity of Texas Libraries
Frédéric LapointeSTIL Casing Solution
Mary LarsonOklahoma State University
Marie LascuNYU MIAP
James LaytonEast Anglian Film Archive
Carole Lazio
Louise LedeenNetApp Inc.
David LeeWessex Film & Sound Archive
Kevin LeeHome Box Office
Anke LeeningsDeutsches Rundfunkarchiv
Gypsye L Kate LeggeArchive Consultant and
Advocate
Andrea LeighLibrary of Congress
Paul LeitnerMediaServices GmbH
Tania LentiniAustralian Centre for the
Moving Image
Lindy LeongUCLA Cinema and Media Studies
Maya LermanLibrary of Congress
Packard Campus
Tyler LeshneyDeluxe Archive Solutions
Hermann LewetzÖsterreichische Mediathek Wien
Grace LileWITNESS
Peter LimburgHaghefilm Conservation
James LindnerMedia Matters / SAMMA
Systems
Heather LinvilleAcademy Film Archive
Ross LipmanUCLA Film & Television Archive
Zack Lischer-KatzNYU - MIAP
Heinz LooserSchweizer Radio DRS
Tom LorenzCube-Tec International GmbH
Tom LorenzCube-Tec International GmbH
Samantha LosbenNYU - MIAP
Amy LuckerInstitute of Fine Arts, NYU
Keith LufWGBH Educational Foundation
Xilonen LunaComisión Nacional para elDesarrollo de los Pueblos
Indígenas
Karen LundLibrary of Congress
Scott LunsfordUniversity of Arkansas
Pryor Center
Gail MacFarquhar
Michael MacKinnon20th Century Fox
Meghan MadonnaSub Pop Records
Margaret MajorackReliance MediaWorks
Susan MalsburyNew York Public Library
Andy MaltzAcademy of Motion Picture
Arts & Sciences
Kevin ManbeckMTI Film
Angelique MansellIron Mountain Film & Sound Archives
Josef MarcFront Porch Digital
Guy MarechalMemnon
AttendeesTo October 18, 2010
AMIA/IASA 2010: Page 111Philadelphia, PA | United States
Jeff MartinIndependent Archivist
Nicole MartinDemocracy Now!
Louis MassiahScribe Video Center/Swarthmore College
Tadashi MatsuuraGeorge Blood Audio, L.P.
Lindsay MattockUniversity of Pittsburgh
Jenni MatzArchive of American Television
Taylor McBrideNYU - MIAP
Andrea McCartyHBO
Katie McCormickUNC Charlotte
Graham McDonaldNational Film & Sound
Archive Australia
Frances McElroyShirley Road Productions
Martina McGinnFeenyx Pty Ltd
Jim McGuiganGeorge Blood Audio, L.P.
Nancy McLeanColorlab Corp.
Kevin McMahonSouthern California Institute of
Architecture
Mark McNuttGeorge Blood Audio, L.P.
Megan McSheaArchives of American Art
Brian MeachamAcademy Film Archive
Yvonne MedranoMGM
Daniel MeillerDeutsche Kinemathek, Berlin
Belinda MerrittMTI Film
Michel MertenMemnon Archiving Services
Sara MeyersonArchival Management
Courtney MichaelWGBH Media Library & Archives
John MiglioreThe Kitchen
Alana MillerSILS - Pratt Institute
Mary MillerBrown Media Archives, UGA
Ross MilsteinFremantleMedia
Candace MingNYU - MIAP
Rob Mobley
Jen MohanNewscred
Azimah Mohd AliNational Archives of Malaysia
Kara MolitorUCLA-MIAS Student
Taz MorganUniversity of Amsterdam
Anne MorraThe Museum of Modern Art
Bill MorrowFootage File
Alice MoscosoNYU Libraries
Tawnya MosierUniversity of Utah
Multimedia Archives
Benjamin MoskowitzNew York University
Sofia MouratoThought Equity Motion
Michael MullinGeorge Blood Audio, L.P.
Bruno MungerDigital Vision
William MurphyAVArchives Services
Jacob NadalUCLA Library
Paul NarvaezPRO-TEK Media
Preservation Services
Kurt NauckNauck’s Vintage Records
Thomas Nemeth
Yvonne NgWITNESS
Mary Grace NicolasMGM Studios
Susi NiewahnerScene Savers
Michèle NoirjeanPaul Sacher Foundation
Henry Nyabuto ZakayoKenya National and
Documentation Services
Breandán Ó NualltáinComhaltas Ceoltóirí Éireann
Samantha OddiNYU - MIAP
Bronwyn OfficerNational Library of New Zealand
Jung Yun OhNYU - MIAP
Peter OleksikAudio Visual Preservation
Solutions
Benedict OlgadoNYU - MIAP
Bob O’NeilNBC/Universal
Claudy Op den KampUniversity of Plymouth
Andrew OranFotoKem
Devin OrgeronEditor, The Moving Image
AttendeesTo October 18, 2010
IASA/AMIA 2010: Page 112 November 2-6, 2010
Marsha OrgeronThe Moving Image/NorthCarolina State University
Stephen O’RiordanUniversity Of California
San Diego
Vickie O’RiordanUniversity of California,
San Diego
Eric OttoCalifornia Institute of the Arts
Amanda OtzenThe New Zealand Film Archive
Kurt OtzenThe New Zealand Film Archive
James OwsleySony Pictures Entertainment
Rachel ParkerLibrary of Congress
Stephen ParrOddball Film+Video/SanFrancisco Media Archive
John PassmoreAnthology Film Archives
Franz PavuzaPhonogrammarchiv
Rebecca Payne CollinsNational Film Preservation
Foundation
Kimberly PeachGeorge Blood Audio, L.P.
Thomas PeaseLibrary of Congress,
Packard Campus
Pio PellizzariFonoteca Nazionale Svizzera
Kristin PepeOutfest
John PettitTemple University Libraries,
Urban Archives
David PierceCopyright Services
Erik PiilNYU - MIAP
Datu Roynie PindatunNational Archives of Malaysia
David PiperDance Heritage Coalition
Vincent PirozziModern VideoFilm
Dana PlepysCineGrid Exchange
Dean PlionisColorlab Corp.
Paul PlutnickiWGBH Educational Foundation
Joanna PosesFreelance
Kate PourshariatiUniversity of Pennsylvania
Museum of Archaeology andAnthropology
Anna Pranger
Andy PrattDeluxe Archive Solutions
Rachel PriceMovingImageArchiveNews.org
Samuel B. PrimeUCLA | Moving Image
Archive Studies
Matt PristavePost Haste Sound
Dafydd PritchardNational Screen and Sound
Archive of Wales
Mark QuigleyUCLA Film & Television Archive
Sandy RamosLibrary and Archives Canada
Richard RanftThe British Library
Joshua RangerAudioVisual Preservation
Solutions
Paul RaytonAmerican Cinematheque
Brian RealUniversity of Maryland
Emjay RechsteinerEYE Film Institute Netherlands
Miranda RectenwaldAssoc. of St. Louis Area
Archivists
Tom RegalUniversal Studios
Ulrike ReichholdCineric
Michele ReillyUniversity of Houstno Libraries
Stephanie RennePacific Basin Institute at
Pomona College
Menno ReversHaghefilm Conservation
Rebecca ReynoldsColorlab
David RiceAudioVisual Preservation
Solutions
Charles Richardson
Eddie RichmondUCLA Film & Television Archive
Frank RicottaEastman Kodak Comapny
Meredith RimmerHBO
Sharon Pucker RivoNational Center For Jewish Film
James RobertsNational Film Board of Canada
Caitlin Robertson20th Century Fox
Charles RogersUCLA
Emmett RogersGeorge Blood Audio, L.P.
AJ RohnerColorlab Corp.
Simon RooksBBC
Gerald RoskillyFotokem
AttendeesTo October 18, 2010
AMIA/IASA 2010: Page 113Philadelphia, PA | United States
Elena Rossi-SnookThe New York Public Library
Rajendra RoyThe Museum of Modern Art
Caroline RubensAppalshop, Inc.
Neil RubensteinJohns Hopkins University
Applied Physics Laboratory
Nan RubinCommunity Media Services
Ulrich RuedelHaghefilm Foundation
Celine RuivoEclair LAB
Rudy RuizHugh M. Hefner Moving
Image Archive
Bill RushLibrary of Congress
Michela RussoUniversity of Amsterdam
Gary RutkowskiArchive of American Television
Ghyslain SabourinCBC
Asle Sæternes
Crystal SanchezNYU - MIAP
Clara Sanchez-DehesaSelznick School
Cynthia SandersOber Kaler
Ralph SargentFilm Technology Company, Inc.
Elias SavadaMotion Picture Information
Service
Angela SawardWellcome Trust
Daniel SbardellaNew York Public Library for the
Performing Arts
John ScarffHollywood Vaults
Peter SchallauerJoanneum Research
Andrew SchlegelGeorge Blood Audio, L.P.
Angela SchmidtAlaska Film Archives
Teague SchneiterIsumaTV
Ariel Schudson
Dietrich SchüllerPhonogrammarchiv
Chase SchulteGlobal Curators
Ginger ScottVtape
Toby SeayDrexel University
Anthony SeegerUniversity of California Los
Angeles - UCLA
Bill SeeryStandby Program
Gabriel SegoviaIron Mountain Film & Sound
Xavier SenéBibliothèque nationale de
France
Winter ShanckWNET.ORG
Maria SharafutdinovaSelznick School
Wendy ShayArchives Center, NMAH
Nicola ShayerSelznick School
Milton R. ShefterMiljoy Enterprises, Inc.
Karan SheldonNortheast Historic Film
Herbert ShellenbergerInternational House Philadelphia
Mikhail SheydinClose-Up Global Entertainment
Elaine ShilstutPresbyterian Historical Society
Sungeun ShinSelznick School
Roxanne Shirazi
Lee ShouldersGetty Images
Whitney ShumanUCLA
Jennifer SidleyLibrary of Congress
Alan SilversCinetech/Ascent Media
Bob SimmonsSony Pictures Entertainment
Joséphine SimonnotCREM CNRS France
Ronald SimonsEYE Film Instituut Nederland
Colleen SimpsonTechnicolor
Janice SimpsonAscent Media
Jessica SimsNational Archives and Records
Administration
Swarn Singh SinghGuru Nanak Academy Ratia
Lindsay Skay WhitacreWGBH
Bob SkySmart Post Sound
Amy SloperHarvard Film Archive
Douglas SmalleyLibrary and Archives Canada
Libby SmigelDance Heritage Coalition
David SmithArchives New Zealand
AttendeesTo October 18, 2010
IASA/AMIA 2010: Page 114 November 2-6, 2010
Kristin SmithImage Permanence Institute
Robert SmithCARGOPak Corp
Marius SnydersSound and Vision, The
Netherlands
David Sommerfield
Hannah SommersNPR
Lauren SorensenBay Area Video Coalition
Laura Soto-BarraNPR
Paul SpehrSpehr Misc
David SpencerUNCSA Moving Image Archives
Alan StarkFilm Technology Company, Inc.
Deborah SteinmetzHU, Steven Spielberg Jewish
Film Archive
Jacqueline StewartNorthwestern University
Stephanie StewartUNC
Kristen StitzerUCLA - MIAS
Rachael StoeltjeIndiana University
Deborah StoiberGeorge Eastman House
Jeff StoiberThe L. Jeffrey Selznick
School of Film Preservation
Daniel StokesNational Archives
Jessica StormUCLA Moving Image
Archive Studies
Ed StratmannGeorge Eastman House
Dan StreibleNYU/Orphan Film Symposium
Whitney StrubRutgers University, Newark
Marc StruemperAustrian National Library
Martha StumJHU/Applied Physics Laboratory
Peter Stwertka
Marcos Sueiro BalWNYC New York Public Radio
Russ SuniewickColorlab Corp.
Dwight SwansonCenter for Home Movies
Elizabeth SweeneyBoston College Burns Library
Ashley SwinnertonNYU - MIAP
Christiane TaddeoRadio-Canada
Linda TadicAudiovisual Archive Network
John TariotFilm Video Digital
Irene TaylorWashington University
in St. Louis
Mark TaylorNational Air and Space Museum
Ned ThanhouserThanhouser Company Film
Preservation, Inc.
Deidre ThiemanNBC Universal Archives &
Collections
Chuck ThomasInstitute of Museum and
Library Services
Laura ThornburgParamount Pictures
Diane ThramInternational Library of
African Music
Janet Topp FargionThe British Library
Brian TowlePreferred Media
Cheryl ToyamaJapanese AmericanNational Museum
Ernie TracyKinoton America, Inc.
Katie TrainorMuseum of Modern Art
Toni TreadwayBrodsky & Treadway
Sandy TrioloNational Library of Medicine
Amy TurnerSouthern Methodist Univ.
Leah TuttleDeluxe/MGM Technical Services
Martin TzanevWITNESS
Chalida UabumrungjitFilm Archive
Andy UhrichIndiana University
Communication and Culture
Moriah UlinskasBay Area Video Coalition
Steve UnklesAudio-Visual Archives
Rick UtleyPRO-TEK Vaults
Pamela VadakanCalifornia Preservation Program
Dirk Van DallBroadway Video Digital Media
Kara Van MalssenBroadway Video Digital Media
Melissa VandeBurgtCSU, Channel Islands,
Broome Library
Sara VelezPrivate consultant
AttendeesTo October 18, 2010
AMIA/IASA 2010: Page 115Philadelphia, PA | United States
Erwin VerbruggenNetherlands Institute for
Sound & Vision
Lacey VerhageNYU - MIAP
Steven VillerealUniversity of Virginia Library
Tom VincentAardman Animations
Jonah VolkNew York Public Library
Jacqueline von ArbNorwegian Institute of Recorded
Sound/MemNor AS
Daniel WagnerGeorge Eastman House
Tim WagnerGeorge Eastman House
Marit Johanne WagonesNRK Archive & Research
Nan WakefieldNew York Philharmonic
Robert WalkerIron Mountain Film & Sound
Archive Services
Nadja WallaszkovitsPhonogrammarchiv
Allasia WalterEURIX S.r.l.
Elizabeth WaltersHarvard University Library
Lance WatskyUCLA Moving Image
Archive Studies
Arthur WehrhahnMuseum of Modern Art
Stephen WeilMemnon Archiving Services
Sarah WeinblattLibrary of Congress
Anne WellsChicago Film Archives
David WexlerHollywood Vaults
Jim WheelerDigitalForward
Alexis WhiteMGM
Mark WhiteHuman Studies Film Archives,
Smithsonian Institution
Matthew WhiteCorporation for Public
Broadcasting
Taylor WhitneyPreserving The Past, LLC
Ann WilkensWisconsin Public Television
Peter WilliamsonMuseum of Modern Art
Greg WilsbacherUniversity of South Carolina
Steve WilsonHarry Ransom Center/University
of Texas
Kimberly WineCNN
Pam Winn BarnettHBO
Pamela WintleHuman Studies Film Archives,
Smithsonian Institution
Timothy WisniewskiJohns Hopkins Medical Archives
Kathleen WittboldCorporation for Public
Broadcasting
Adrian WoodInkulla Media
Kent WoynowskiThe Historic New Orleans
Collection
Richard WrightBBC R&D
Maria WroblewskaBiblioteka Narodowa
John YanezWarner Bros.
Sandra YatesUniversity of Texas - Austin
Caroline YeagerGeorge Eastman House
Janis YoungLibrary of Congress
Arlene YuNew York Public Libraryfor the Performing Arts
Zuzana ZabkovaSelznick School
Lindsay ZarwellSteven Spielberg Film
& Video Archive
AttendeesTo October 18, 2010
IASA/AMIA 2010: Page 116 November 2-6, 2010
Page 1. The famous LOVE sculpture was designed in aluminum by Robert Indiana forPhiladelphia’s bicentennial. It is located at the end of the Benjamin Franklin Parkway in JFK Plaza,better known to locals as LOVE Park. Photo by Jim McWilliams. Photo courtesy of PhiladelphiaCVB.
Page 21. Operating Room, circa 1900. A photograph of the operating theater at JeffersonMedical College, Philadelphia. Photo courtesy of Philadelphia CVB.
Page 23. From On The Bowery. AMIA’s 2010 Restoration Screening, on Saturday, November 6th.On The Bowery was the first of Lionel Rogosin’s award winning films, garnering the Grand Prizefor Documentary at the 1956 Venice Film Festival, the British Award for Best Documentary andnomination for an Oscar® as best documentary. Publicity still. Courtesy of Milestone Films.
Page 35. The series of Sylvester Stallone’s “Rocky” movies were filmed in Philadelphia from 1975through 1990. Atop of the famous steps of the Philadelphia Museum of Art, which wereimmortalized by the original “Rocky,” visitors can see Rocky’s footprints, Photo by EdwardSavaria, Jr. Photo courtesy of Philadelphia CVB.
Page 37. Dissecting Room by Thomas Anshutz, ca. 1879. Oil on cardboard (grisaille), 10 x 12 1/2inches. Philadelphia is home to the nation s first hospital and medical school, as well as the firstart school and museum. It is home to an extensive collection of medical art ranging from arecently unveiled outdoor mural honoring nurses to Thomas Eakins painting The Gross Clinic atJefferson Medical College of Thomas Jefferson University. Photo courtesy of Philadelphia CVB.
Page 41. First day of Airmail Service, May 15, 1918. Army airmail pilot Lt. Torrey Webb receives acelebratory watch from a representative of the Hamilton Watch Company. Each of the pilotsflying the first day’s mail between Washington, DC, Philadelphia, Pennsylvania, and New YorkCity received a Hamilton Watch. Webb flew the Curtiss Jenny JN 4H between New York City andBustleton airfield near Philadelphia on May 15, 1918.Benjamin Lipsner Collection. NationalPostal Museum. A.2006 2..
Page 49. Founded in 1984, Philadelphia’s Mural Arts Program has painted nearly 3,000 muralsthroughout the city, providing art as a “city service” to neighborhoods. The city supportedprogram works in partnership with community residents, grassroots organizations, governmentagencies and others to create murals of enduring value while actively engaging youth in theprocess. Photo by Edward Savaria, Jr. for the Philadelphia CVB.
Page 63. Hammond sales office Philadelphia circa 1900.
Page 79. Rodin Museum. The Thinker” is among Auguste Rodin’s most famous pieces which canbe found at the Rodin Museum on the Benjamin Franklin Parkway. Photo by Andrea Golod.Photo courtesy of Philadelphia CVB.
Page 94. Army Air Corps pilots Major Reuben Fleet and Lt. George Boyle. Major Reuben Fleet ofthe Army Air Corps (left) and Lieutenant George Boyle (right) standing near a Curtiss Jenny (JN4H) airplane on May 15, 1918. Major Fleet was tasked by the U.S. Army and the Post OfficeDepartment with arranging the first regularly schedule airmail service flights in the UnitedStates. The flights began on May 15, 1918 with flights between Washington, D.C., Philadelphia,Pennsylvania, and New York City. Major Fleet and Lt. Boyle were photographed at Washington’stemporary airmail field on the polo grounds near the Potomac River. The pair are admiring MajorFleet’s new wristwatch. The Hamilton Watch company presented each of the Army Air Corps
Image Credits
AMIA/IASA 2010: Page 117Philadelphia, PA | United States
The Cover. University of Pennsylvania Museum of Archaeology and Anthropology(Penn Museum) sponsored expeditionary film Matto Grosso (c.1931) “production”photo. Left to right: George Rawls, lead actor, Floyd Crosby A.S.C., cameraman and codirector, Arthur Rossi, second camera, and Ainslee Davis sound recordist, in the fieldin Mato Grosso Brazil. Penn Museum #25717.
Image Credits
airmail pilots with a new wristwatch in honor of their historic flights. 1918. Benjamin LipsnerCollection. National Postal Museum. A.2008 17.
Page 105. Coppelia International Ballet Classique. Anastasia Babayeva and Denis Gronostayski,both Bolshoi trained dancers who in true fairy tale fashion fell in love, married and gave upinternational dance tours to settle down with children here in Pennsylvania. They continue toteach Russian classical ballet in a dance studio near Philadelphia. Photo by Karen Kilimnik.Credit to Dance/USA Philadelphia advocating for dance as an art and a vital component of ourculture.
Page 117. Photo by Rick Echelmeyer. When English Quaker William Penn founded Philadelphia,he welcomed people of all religions. Perhaps as a result of Penn’s hospitality to all, the city hasbecome a center for religious art. Philadelphia art museums are home to many religious piecesamong their collections. Death on a Pale Horse, Benjamin West (1738 1820), 1817, oil oncanvas, 147 x 115 in. Gift of the City of Philadelphia, by exchange. Located in the PennsylvaniaAcademy of Fine Arts Washington Foyer. Photo courtesy of Philadelphia CVB.
Page 120. The Philadelphia Art Museum decorated for an exhibit. Photo courtesy of PhiladelphiaCVB.
IASA/AMIA 2010: Page 118 November 2-6, 2010
It takes a lot of people working very hard to ensure asuccessful conference. Put together two Associations, withthree programming committees working across fourcontinents - almost all of them volunteers - and you have justpart of the challenge for 2010.
Thank you to the sponsors and donors, without whom theConference would not be possible ...
To the IASA Organizing Committee, the Joint ProgrammingCommitte, the AMIA Conference Committee and TaskForce, and all of the local members of both organizationsthat have worked for more than a year to bring theconference together and make your experience inPhiladelphia the best it can be ...
To the speakers and workshop leaders who develop pro-gramming and workshops that address every facet of ourfield...
To the volunteers and others who give so much of their timeand energy throughout the year ...
To the volunteer staff, who give up their vacation time tospend a week at the Conference making sure everything runssmoothly ...
And especially to all of those attending this year ....
On behalf of the IASA Executive Board and theAMIA Board of Directors and staff -
Thank you!
Thank you!