Fall 2011 - Thursdays 1-5pm, Rm 643, 665 Broadway
additional sessions to be scheduled Thursdays 10-12
Moving Image and Sound: Basic Issues and Training
GT-2920
Instructor: Ann Harris, 212-998-1606
Class requirements:
Attendance is required at all regularly scheduled class sessions. Any unexcused absence may result in an incomplete. All activities (practice sessions and field trips) not scheduled during the Thursday class time (i.e., 10-5) are strongly recommended, but failure to attend will not result in an incomplete.
Class participation is absolutely required in this class. The major part (70 percent) of your grade is based on class participation. This includes hands on projects, practice, and tests, as well as verbal class participation.
There is one written project in the class. This project includes an in-class presentation. The project represents 30 percent of your grade. Your ability to deliver the paper and presentation on time will be a significant part of that grade.
Topics covered:
- What is this class about?
- Class participants' backgrounds, skills and goals
- Screening: Captain Celluloid Versus the Film Pirates, 1966, excerpt
- Core Concepts
- What are the requirements of this class?
- attendance and active participation
- reading and other assignments for each class
- written project and accompanying class presentation
- hands on exercises
- Standards and standards issuing organizations
- Audio Visual Systems
- Take a look at some examples of audio visual media
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Assignments due before class:
- Visit:
- Read:
- Annette Melville, ed., "Understanding
Film and How It Decays", The Film Preservation Guide,San Francisco: The Film Preservation Foundation, 2004, pp 6-18.
- Leo Enticknap, "Film" and "Cinematography and Film Formats", Moving Image Technology, pp 4-73.
- Ken Marsh, "The Big Works"and "Working the Big Works",Independent Video, pages 1-48.
- Optional
Topics covered:
- Introduction to the physical and chemical structure of film
- History and variety of film formats
- What artifacts exist as a result of media production? What gets saved and what gets lost? Knowing production process can aid
identification.
Practice:
- Film Handling Techniques and Tools
- Use of rewinds and split reels
Important:
- Sign up for one Bobst Library Research/Resources Session.
- Choose written project topics in class.
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Assignments due before class:
- Read:
- Leo Enticknap, Moving Image Technology, pp. 98-131 and 159-186
- Dana M. Lee, Television: Technical Theory, Audio and Analog Video
- Weise and Weynand, "Magnetic Video Recording Formats", How Video Works, pp 191-197
- Charles Bensinger, "A Grand Tour of Video Technology" and "The Video System", Video Guide, pp 14-32.
- PrestoSpace Magnetic Media Assessment Report, pp 9-12.
- Video Preservation Handbook, pp 1-6 section II.
- Visit:
- Review:
- Optional--Watch and Listen:
- Optional--Read:
- VideoFreex, "Hardware," Spaghetti City Video Manual, pp. 3-27
Topics covered:
- Introduction to the physical and chemical structure of audio and video media
- The technologies behind audio and video signals and formats
- History of audio and video formats
- Relationship between media and signal
- Screening: Discovering Cinema: Learning to Talk, 2004, Eric Lange and Serge Bromberg
Practice
- Re-housing media
- Practice loading and transporting media
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Assignments due before class:
- Read:
- Leo Enticknap, "Colour," Moving Image Technology, pp. 74-97.
- Guide to Identifying Color Movie Flim Stocks by Paul Ivester.
- Weise and Weynand, "Color Video", How Video Works, pp 57-71.
- Annette Melville, ed.,
Film Handling and Inspection,
Film Condition Report, The Film Preservation Guide,San Francisco: The Film Preservation Foundation, 2004.
- National Screen and Sound Archive, Australia,
Condition Reporting Program,
Film Identification and HandlingFilm Preservation Handbook
- Kodak, Handling Processed Film
- How is Shrinkage Measured?, AMIA, 2003.
Topics covered:
- Film Color
- Screening: Discovering Cinema: Movies Dream in Color, 2004, Eric Lange and Serge Bromberg
- Film Identification
- Film Formats
- Recognizing Film Element Type (release print, A/B rolls, negatives, etc.)
- Recognizing basic film types (reversal vs. print from negative; kinds of sound tracks, etc.)
- Film Edge Codes
- Film Inspection
- Recognizing mechanical damage to film
- Recognizing chemincal/biological damage to film
- What is vinegar syndrome?
- Using and reading AD strips
Practice:
- edge code reading exercise
- reading and setting up AD strip tests
- rewind practice
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Assignments due before class:
- Read:
- Screensound Australia,
Photographic Image Quality,
Cold Storage of Film,
Preparation for Long Term Storage,
Occupational Health & Safety, Film Preservation Handbook
- User Guide for AD Strips, Image Permanence Institute.
- IPI Climate Notebook, Image Permanence Institute.
- James M. Reilly, IPI Storage Guide for Acetate Film, Image Permanence Institute
- Peter Z. Adelstein, IPI Media Storage Quick Reference Guide, Image Permanence Institute
- Leo Enticknap, "Exhibition and Presentation," Moving Image Technology, 132-158.
- Kodak, Splicing For the Professional, Film Notes Issue #H-50-01. On the Film-Tech page, click on "Manuals", then choose, under "Quick Links", "Eastman Kodak Film Notes". It is the first listed
- Small Movies, , The Art of Splicing.
- Screensound Australia, Film Repair, Film Preservation Handbook.
- Harold Brown, "Film Joins (Splices): Comments on Cement and Tape Splices," Technical Manual, FIAF Preservation Commission, 1985.
Topics covered:
- Film Inspection
- Film shrinkage
- Use of Shrinkage gauge
- Film Quality Assessment
- Color quality, contrast, grain, resolution, sharpness
- Film Storage Issues
- Using 16mm film viewers
- Table Top Viewers
- Cinescan
- Steenbeck
- Film Repair Techniques and Tools
- hot splicers
- tape splicers
- Sprocket repair
Important:
- Sign up for first film splicing practice time appointments.
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Assignments due before class
- Read:
- Task Force to establish selection criteria of analogue and digital audio contents for transfer to data formats for preservation purposes, Click Publications -> IASA Publications and scroll down.
- AMIA Videotape Preservation Fact Sheets, Tape
Inspection (Fact Sheet 9, begins page 20), Video Preservation Fact Sheets, 2003.
- John W.C. Van Bogart, Magnetic Tape Storage and Handling.
- Fred R. Byers, Care and Handling of CDs and DVDs.
- PrestoSpace Magnetic Media Assessment Report, pp 14–42.
- Video Preservation Handbook, pp 7, section II.
- Rosaleen Hill, Videotape Preservation: Format Identification and Condition Assessment (Part I), AABC Newsletter, vol. 15, n. 3, summer 2005.
- Sarah Stauderman,
Assessing a Collection for Preservation in Looking Back/Looking forward: a Symposium on Electronic Media Preservation
- Dana M. Lee, Television: Technical Theory: How It Connects Together and Waveform Monitors and Vectorscopes
- Review:
Topics covered:
- The state of assessment and prioritization
- Available tools and guides
- Degradation mechanisms and risks of loss
- Care and handling of AV media for preservation
- Equipment and tools needed for identification and inspection
Activities
- Practice loading and transporting various types of media
- Practice using identification and inspection tools
- Exploring risks of loss through controlled experiments
Important:
- Format History Outline due next week (10/20) before class, (approximately 2 pages)
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Assignments due before class:
- Read:
- Leo Enticknap,Projection Best Practices, MIC Programmers Portal, 2006.
- Handling and Projecting 35mm Archive and Studio Prints: Voluntary Guidelines, National Preservation Board, Public Access and Educational Use Task Force, 1994.
- Edward Blasko, "Theatrial Projection," The Book of Film Care, Eastman Kodak Company, 1992, pp 62-69.
- Paolo Cherchi Usai, "Preserving Film Outside the Vaults: A Report on Projection, Shipping and Temporary Storage Facilities,", Journal of Film Preservation, number 64, 2002, pp. 9-15.
- Torkell Saetervadet, "Treatment of Archival Material," The Advanced Projection Manual, FIAF/Norwegian Film Institute, 2006, pp. 57-62.
Topics covered:
- Inside a 16mm Projector
- Projection practice
Important:
- Format History Outline due before class (approximately 2 pages)
- Class meets next week (10/27) 10am to 2pm
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Assignments due before class:
- Read:
- Review:
Topics covered:
- Focus on Technical and Structural metadata
- The role of metadata generated in inspection, assessment and preparation for long term storage and reformatting
- Audio Tape
Activities:
- Practice loading open reel audio
- Continue collecting video and audio data
Important:
- Class meets at 10:00 next week (10/28). Cineric visit next week.
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Assignments due before class
- Read:
- An Overview of the Film Preservation Process, MIC Preservation Portal.
- Read, Paul and Mark-Paul Meyer. "Introduction to the Restoration of Motion Picture Film", Restoration of
Motion Picture Film, Oxford: Butterworth-Heinemann, 2000, pp 1-5.
- Gartenberg, Jon, "The Fragile Emulsion", The Moving Image 2:2 (Fall 2002),
pp 142-152
- Frye, Brian. "The Accidental Preservationist: An Interview
with Bill Brand", Film History 15:2 (2003), p 214
- Annette Melville,
The Curatorial Role
Duplication, The Film Preservation Guide.
- Leo Enticknap, "Archival Preservation," Moving Image Technology, pp. 187-201.
- Eastman Kodak, "Dealing With a Laboratory", Motion Picture Film, Rochester: Eastman Kodak, 2000.
- Optional Reading
Topics covered:
- Film Preservation Issues
- Film preservation terminology: How do we differentiate among the terms preservation, conservation, restoration, reconstruction?
- What are some of the major issues with film preservation?
- What is the role of the film laboratory?
- Film Preservation--using digital means
- Film splicing Technique
Important:
- Tour of Cineric Film Lab, Today, 2pm., 630 Ninth Avenue, Suite 508, between 44th and 45th Streets.
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Assignments due before class
Topics covered:
- Video History: What Are We Preserving
- Preservation Formats
Activities:
- Screening: examples of early video works
- Screening: Playback: Preserving Analog Video
- Video Cleaning techniques
Important:
- Format History paper and class presentations due in two weeks, Dec. 1. Turn in digital copies of paper + bibliography and presentation before class begins.
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Nov 17 No Class--AMIA Conference
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Dec 1 Student Presentations of Format / Process History Project
-
Format History Papers must be delivered by the start of class
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Class Meets at 10:00am, 721 Broadway, room 648
Assignments due before class:
- Read:
- Torkell Saetervadet, "Designing and Equipping a Cinema for the Presentation of Modern and Historic Films," The Advanced Projection Manual, FIAF/Norwegian Film Institute, 2006, pp. 11-56.
- Cinema Studies Department 35mm Projection Manual
Topics Covered:
- 10am Session (10am to noon): The 35mm Projection Booth
- noon Session (12pm to 2pm): The 16mm Projection Booth
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Assignments due before class
- Read:
- Movie Stuff Description
- Cinema Studies Department Film Sniper Manual
- Kineta
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Research Assignment
Examples of student work from
2003-2009
All projects must be submitted in electronic format. The final versions of these projects will be made part of the MIAP digital archive, available online.
Plagiarism Advisory
Research Project—Historical Paper and Presentation: In this project, each student will choose one film, video or audio format or one film, video or audio process to research.
Students must create an annotated bibliography and a detailed description/history that must include:
- time period for the format / process
- physical/chemical makeup and properties
- (oxide used, track configuration, physical dimensions, housing, sprocket size and configuration,
varieties of emulsion composition and characteristics, etc., as appropriate to the format/media)
- If you are researching a process, provide a detailed description of how the process worked.
- associated playback devices or equipment
- competing formats / processes
- main user groups and use environments
- well known content associated with the format / process
- formats that preceded and followed
- what, if any, technological capabilities were introduced on entry of the format / process into the market?
- what, if any, technological capabilities lead to the demise of the format / process in the market?
- known preservation issues/concerns
The bibliography should cover the whole format / process, but the paper, beyond the elements above, can focus on one aspect or variation of the format or process.
FORMATS / PROCESSES (you must choose a topic from this list or propose an alternative, with a written justification that must be accepted by your instructor):
- Phono-Cinema-Theatre, Vivaphone, Chronophone (early image/sound interlocking systems, choose one)
- 8 track audio cassette
- Gaumont Chronochrome
- Two Color Kodachrome
- Wet or liquid gate preservation processes
- variable density sound tracks
- Hazeltine color analyzer
- polyester film base
- acetate audio tape
- Cartrivision
- Philips Videocassette sytem
- V-Cord Video system
- Panasonic MII Video
- S-VHS
- Sony D-1
- Cineon system
- General Electric Octaplex Video Recorder
- Pixelvision
- The Video Portapak
Resource Suggestions:
- Due dates---Two page outline, October 20. Final written report, December 1, at the beginning of class; In class presentation, December 1.