2007 JTS Speakers
David Ackerman is senior audio engineer and manager of Harvard College Library Audio Preservation Services. He also co-chairs the SC-03-06 committee on audio metadata and TC-ARDL on archiving, restoration and digital libraries for the Audio Engineering Society.
Ahamer currently works at the Phonogrammarchiv of the Austrian Academy
of Sciences in Vienna. She is a scholar of African Studies specialising
in the Chadic language Hausa and currently working on her PhD thesis
about contemporary Hausa literature. She has worked as a network administrator
and webmaster for some time, and is now an archivist at the Phonogrammarchiv.
She started her training at the Archive by audio archiving African Language
recordings. Since then she has focussed on video archiving and in this
capacity is responsible for the videography workflow at their new video
evin is Curator of Oral History and Folklore and Director of Sound Preservation at the National Library of Australia. He is a member of t he UNESCO Memory of the World Sub Committee on Technology (MoW SCoT), Vice Chair of the IASA Technical Committee and editor of TC04 Guidelines in the Production and Preservation of Digital Audio Objects. He worked from 2004 to 2006 as Sustainability Advisor for the Australian Partnership for Sustainable Repositories and is President of the Australasian Sound Recordings Association (ASRA)
Casey has training and experience as both an audio engineer and a sound
archivist and is currently the Associate Director for Recording Services
at the Archives of Traditional Music (ATM) at Indiana University. He
manages all access/preservation transfer and restoration work for the
ATM's 110,000 audio recordings dating from the 1890's to the present.
From 1987 to 1993 he headed the Southern Folklife Collection in the
Manuscripts Department at the University of North Carolina as the Department's
Sound and Image Librarian. In 1993 he "ran away to join the circus," touring in the US and Canada with Cucanandy, a band that performed traditional
Irish music and dance and used archival resources in developing repertoire.
Now back in the world of archives, he is working on the ATM's collaboration
with Harvard University's Archive of World Music to develop a sustainable,
long-term, system for preserving audio in the digital domain. This initiative,
funded by NEH as a research and development project, is titled Sound
Directions: Digital Preservation and Access for Global Audio Heritage.
Mike is also currently Co-chair of the ARSC (Association for Recorded
Sound Collections) Technical Committee.
is a Systems Engineer with Sun Microsystems, supporting the digital
content space for studios, postproduction companies and some dotcoms.
Prior to coming to Sun Microsystems in January of 2006, he was Project
Director, Blu-ray Authoring System for Sony Pictures Entertainment New
Technologies from the beginning of the project in 2004 until 2006. Preceding
this position, he was Program Manager for Disney's MovieBeam development
and rollout, from 2002 to 2004. From the mid-1990s until 2001, Dave
was IBM's Digital Cinema lead and Executive Project Manager, where he
led projects at many of the studios in content security, digital dailies
and watermarking, and managed the IBM development of the prototype systems
launching the WB TV network.
Collard is responsible for Soho Images and Todd-ao UK, Ascent Media
Group Creative Services Film Laboratories & Digital Post Facilities
in the UK.
Soho Images has Film Restoration and Preservation services, including
a certified nitrate vault, and two 2K Film and Digital Grading Preview
Theatres which are used for Feature Film Digital Intermediate post production
and screening Digital Cinema Masters. Paul has presented conference
papers on Digital Intermediate, Digital Cinema and Digital Services
for Film Archives. In his current role, Paul is involved in the application
of Ascent Media's digitisation and asset management services to film
& video archives in the UK & Europe.
Paul is a Past President of BKSTS.
received his INTD diploma in Paris in 1978. He currently occupies the
position of Head of the Documentation and Archives Department of the
Radio Suisse Romande, Lausanne, Switzerland, since 1980. He is the Representative
of the RSR in the European Project MEMORIES (in charge of Users Operations
and of the Disseminations Issues).
is currently Director of Digital Imaging at Cineric, Inc., in New York,
where he oversees the quality control and throughput of color imaging.
He has been a color timer since 1980 in the motion picture laboratory
industry. He began working in digital imaging in 1994 and has been with
Cineric since 2001.
Dumas currently works at the Research and Experiment Department of the
French National Audiovisual Institute (INA). He manages Research and
Development projects, he coordinates software developments, and he provides
technical expertise in the following fields: copyright protection techniques
for audiovisual content, preservation of archives, digital mass storage.
He manages R&D actions in the framework of internal INA projects
(video content detection and filtering system) and in the framework
of collaborative French and European projects. Before that, he participated
in software developments for audiovisual applications. Then, he conducted
different technical studies and professional training sessions at the
Technical Department of INA since 1995 before entering INA's Research
Department in 1997.
He notably co-authored
reference studies concerning the tools and techniques for the distribution
and storage of digitized audiovisual documents. He participated in selection
committees for French and European R&D support programmes. He also
contributed to the MPEG21 standard as far as multimedia content identification
is concerned and he participated in Eurovision workgroups on archive
management and audiovisual content protection. Education: Telecom Paris
/ ENST; specialization in audiovisual technologies and computer science
Edwards is the Senior Manager, Interconnection Engineering for the PBS
Interconnection Replacement Office. He is currently responsible for
the engineering management of the PBS Next Generation Interconnection
System (NGIS). Before joining PBS in 2002, he was the streaming media
product manager at Cidera, where he developed a broadband desktop video
channel for technical employees delivered using IP-over-satellite. He
has had significant experience with streaming media production and delivery
at the Internet service provider DIGEX as well as his own streaming
media company, The Sync. Edwards holds a Master's Degree in Electrical
Engineering from the University of Maryland, and is a member of IEEE
Fleischhauer's work experience includes film and video production, including
a six-year stint at public television station WWVU-TV in West Virginia.
At the American Folklife Center at the Library of Congress, he carried
out field research and developed publications and exhibitions. Fleischhauer
was a coordinator of the Library's American Memory pilot program from
1990-1998, and now works in the Library's National Digital Information
Infrastructure and Preservation Program (NDIIPP) program, concerned
with the preservation of content in digital form. Publications include
record albums and CDs, a laser videodisc, and various books and articles,
the most recent being the photographic book Bluegrass Odyssey, 1966-1986
(University of Illinois Press, 2001).
Fossati is Curator at the Nederlands Filmmuseum in Amsterdam where she
works since 1997 and is responsible for restoration projects and for
the Filmmuseum's Research & Development activities. Fossati participated
in the creation of the MA Preservation & Presentation at the University
of Amsterdam where she has been a member of the teaching staff since
She has published
several articles on colour in early film and digital film restoration,
and she has curated an educational website on film restoration. Her
recent publications include Digital technology entering film archives,
in Mieke Lauwers and Bert Hogenkamp (eds.), SAP jaarboek no. 5, KVAN,
2006; The Restoration of Beyond the Rocks, in Beyond the Rocks (USA,
1922), DVD release, Milestone Film & Video, 2006. and Beyond Distribution:
Some Thoughts on the Future of Archival Films in Frank Kessler and Nanna
Verhoeff (eds.), Film Distribution from 1895 to the 1910s, John Libbey
Publishing, Eastleigh, forthcoming in 2007. Fossati
is currently working on a PhD dissertation at the University of Utrecht
with the title: From Grain to Pixel: Theorising Film Archival Practice
in a Time of Transition from Analogue to Digital Technology.
John J. Galt
is currently the Senior Vice President of Advanced Digital Imaging at
Panavision's corporate office. His responsibilities at Panavision include
the development of digital imaging technologies in support of Panavision's
core motion picture and television production business. Galt
was project leader of the group that, with Panavision's technology partner
Sony, developed the "Genesis" digital cinematography camera.
Prior to Genesis, Galt was also responsible for the "Panavized"
version of the Sony HDW-F900 first used by George Lucas on Star Wars
episode 2. John
Galt was previously employed as Vice President, High Definition Technology
Development for Sony Pictures High Definition Center. His main responsibilities
were the integration of electronic and film imaging systems. This included
film preservation, High Definition film transfer systems and electronic
cinema. Galt was project leader of the group that designed and built
the first High Definition Telecine in North America. He
holds numerous U.S., British, and Japanese patents in film and electronic
imaging related areas.
Gertz has been Director for Preservation for the Columbia University
Libraries since 1989. Prior to that, she was Head of Reformatting for
Columbia. She has an MLS from the University of Michigan and a PhD from
Yale University in Indo-European Linguistics. Janet spends much of her
time managing projects to digitize, reformat, conserve, or otherwise
preserve books, archival collections, and audio materials. Outside of
Columbia she has served on committees and task forces in many preservation-related
organizations, including the Research Libraries Group, the Digital Library
Federation, and the National Information Standards Organization. She
has served on many American Library Association committees and task
forces, recently as Chair of the Recording Media Committee, and she
is a past Chair of the Preservation and Reformatting Section. She teaches
preservation for the Long Island University Palmer School of Library
and Information Science, is a member of the NEDCC School for Scanning
faculty, and over the past twenty years has written and spoken on many
aspects of preservation.
Ian has worked and consulted for over 20 years as a preservation and technical specialist in film and sound archives, libraries and broadcasting organizations around the world. He is working currently as a media preservation consultant for Media Matters in New York, where he conducts research, provides information services and develops new technology solutions for US and overseas clients.
Bob has been involved in film sound preservation since 1990 when he
joined Chace Productions. A member of AMIA since 1991, SMPTE, the Academy
of Motion Pictures Arts and Sciences and ACVL, Bob has served on the
National Film Preservation Board Advisory Task Force and the Library
of Congress panel for the State of American Television and Video Preservation.
He has spoken on film sound preservation, restoration and re-mastering
at AMIA, ACVL, SMPTE and ARSC conferences. Prior to joining Chace, Bob
was the Manager of Technical Operations at Warner Hollywood Studios
and an award winning documentary/industrial filmmaker in Chicago, Illinois.
Bob graduated from Purdue University in 1973 with a Bachelor of Arts
has been involved with tape recording since he bought his first tape
recorder in 1963 at the age of eleven. He
worked at ABC-TV in New York from 1974-1981 as an audio-video systems
engineer. He designed ABC's first 8-track audio sweetening room, among
other projects. During that period, he also recorded many concerts and
servicesas well as recorded or produced about a half dozen record
albumsfor St. Thomas Church on Fifth Avenue at 53rd Street. Two
of these recordings were re-released on Priory Records out of the UK
a few years ago.
In 1981, Richard
joined McCurdy Radio Industries in Toronto-they had supplied much
of the audio equipment for the last large ABC project he worked on and
he thought it would be interesting to move to Canada and to work on
the "other side" for a while. McCurdy
was sold in 1983 and Richard (and his new bride) went to Glendale, California,
to work for 21 years at National TeleConsultants, where he held various
titles including vice president and principal consultant. He worked
on a wide variety of high-end design projects.In
1999, he had the opportunity to "go public" with the restoration
of the 51 oldest tapes in the U.S. and from then on, he returned to
his early passion of tape recording. He was able to evaluate this as
a second career by working part time at tape restoration while working
full time for NTC. Tape restoration continued to excite him. In
2004, Richard and his wife decided it would be good to return to her
hometown of Aurora, Ontario, and go into tape restoration full-time.
He has been getting great customer feedback and has been involved in
researching, along with a host of others, the degradations of recording
Martin Jacobson is presently Head of Technology and Development at The Swedish National Archive of Recorded Sound and Moving Images. He studied Electronic Engineering Technology and has twenty-five years experience in technology issues including communications and audiovisual applications and systems. For more than a decade he has focused primarily on digitization and preservation issues related to audiovisual content. He has recently led a successful effort to create an automated mass digitization facility with a capacity of 650 thousand hours per year. He teaches classes in Digital Archiving at the University of Stockholm, and Audiovisual Digitization at the University of Gothenburg.
Jones is the Moving Image Archiving and Preservation (MIAP) Research
Fellow in the Barbara Goldsmith Preservation and Conservation Department
at New York University (NYU) Libraries. She received her M.A. in 2005
from NYU as a graduate of the inaugural class of Tisch School of the
Arts' MIAP Program. Her professional experience includes internships
at the Museum of the Moving Image in Astoria, New York, NYU's Elmer
Holmes Bobst Library, WNET/Thirteen, and the New York Public Library
for the Performing Arts. Ms. Jones worked as a research assistant for
the Library of Congress's National Digital Information Infrastructure
and Preservation Program (NDIIPP): "Preserving Digital Public Television," a cooperative project with NYU, Thirteen/WNET, WGBH Boston, PBS, and
the Library of Congress. Since 2005, she has been a board member of
the New York based nonprofit organization Independent Media Arts Preservation,
Bill Klinger is a consulting engineer. For more than thirty years, he has been researching the history, technology, and products of the cylinder record industry. His personal collection includes more than 7,000 cylinder records. Bill chairs the Cylinder Subcommittee of the ARSC Technical Committee. He reports on the subcommittee’s progress in developing an optimized Archival Cylinder Box.
was born 12.5.1969 and studied sound engineering and experimental music
science with the focus on computer technology at Hochschule für
Musik und Darstellende Kunst in Vienna from 1989 - 1992. In parallel
to his studies he founded and managed Impact Audio, a sound company
dealing in the classical recording field (Sony Music, arte nova...)
for recording and mastering and providing sound design for the public
address industry for major classic music live events (Zubin Metha &
Israel Philharmonic Orchestra, Mozart in Schönbrunn, Wiener Klangforum).
The close cooperation
with Austrian Mediathek led to the foundation of NOA Audio Solutions
together with Peter Kuhnle in 1999, and here they developed, as one
of the first with the NOA product range, a meaningful approach of audio
mass digitization in quality controlled workflows. Within his company
he works as product and project manager mainly with the development
of parallel media ingest and batch processing from metadata driven workflows.
Christophe Kummer is married and the father of 2 children.
the founder of AudioVisual Preservation Solutions, has several years
experience assisting University, Nonprofit, Government, and Corporate
archives on a wide array of moving image and sound preservation and
access issues. Chris is also an Adjunct Professor for the NYU Moving
Image Archiving and Preservation Program and has consulted with organizations
including the Library of Congress, Stanford University, Witness, and
the Image Permanence Institute. His projects have addressed all aspects
of audiovisual preservation, including high efficiency reformatting,
facility design, collection management, metadata development, workflow
design, and digital asset management. As a passionate advocate for the
advancement of the field Chris also lectures, sits on advisory boards,
chairs committees and is active in standards forming and relevant organizations
including the Audio Engineering Society, The Society of Motion Picture
and Television Engineers, Association for Moving Image Archivist, International
Organization for Standardization, and Moving Image Collections.
is our operations manager. His function covers first the management
of the production, then the establishment, maintenance and application
of procedures, and, last but not least, the configuration and exploitation
of studios and IT infrastructure. To fulfil all those important missions,
he can rely on his educational background in IT sciences, a strong commercial
experience and 15 years practices in settlement of several projects
directly or indirectly linked to Memnon's fields of activities: picture,
video, movie and sound production.
He has been involved
in projects like virtual montage systems - even before the concept became
popular-, the creation of a movie and video production company; the
implementation of data base management systems and automatic protocol
in the nuclear medicine's imagery field. He
implemented also a sophisticated back office, providing data management
and restitution in customer relationship management and exploitation,
supplying multilingual/multi-alphabet value added services in the first
web applications using xml language principles. His professional background
allowed him to become the ideal person to contribute to the implementation
of Memnon in its form today and to continue facing the numerous challenges
encountered for its future progression.
Hermann Lewetz has been living in Vienna since the mid-1980’s following schooling at Elektrotechnik in Fachhochschule Augsburg Kamera and Film-Editing in Filmschool, Vienna. He has been working at the Österreichische Mediathek since 2001. He also gives lectures concerning mass storage and digitization workflows.
Lindner, an internationally respected authority on the preservation
and migration of magnetic media, is the Managing Member of Media Matters.
Jim pioneered many of the techniques now commonly used for videotape
restoration and has lectured widely and written about media preservation
for the past twenty years. After founding the videotape restoration
company VidiPax, he served as its president and executive director,
stepping down after selling the company in 2001. He is a founding director
of the National Television & Video Preservation Foundation and acted
as a witness and panelist for the Library of Congress' "The State
of American Television." Jim was twice a member of the board of
the directors of the Association of Moving Image Archivists and FIAT.
Currently, Jim sits on the Executive Board of SEAPAVAA and is the Chief
Video Consultant for the National Audio-Visual Conservation Center at
the Library of Congress. An active participant in SMPTE and ANSI standards
committees, Jim has also served as Chairman of the Board of Anthology
MacCarn is Chief Technologist for the WGBH Educational Foundation. He
is currently responsible for long-term planning, investment and adoption
of new technologies. His career with WGBH began in 1985 as director
of engineering. Mr. MacCarn co-authored "Universal
Preservation Format," a recommended practice for archiving
media and electronic records for the National Historical Publications
and Records Commission of the National Archives. He is also co-author
of an article entitled "Understanding
the Preservation Challenge of Digital Television" for the National
Digital Information Infrastructure and Preservation Program of the Library
of Congress. Mr. MacCarn has a patent pending for a "Universal
Digital Data Preservation System." He received a BS degree in Computer
Science from the University of Missouri, St. Louis where he held the
honor of University Scholar, and did graduate work in Computer Architecture
at the University of New York at Stony Brook. He is a member of the
Society of Motion Picture and Television Engineers, the Institute of
Electrical and Electronic Engineers and the Association for Computing
Dir Matthews enrolled at Columbia College Chicago to study photography,
but wound up studying film, concentrating in cinematography. I freelanced
for 5 years after that, but I gave up the glamour for counselor training.
I received my Certified Addictions Counselor certification from the
state of Arizona. It wasn't long, however, before I smacked myself on
the forehead and said, I've got to get back into image making! So I
returned to Chicago, where I now freelance and teach in the Film Department
as an adjunct faculty member. All of this, of course, when I'm not working
in the Portfolio Center. Some of my more notable freelance jobs are
camera for an ABC special America the Beautiful, and the HD concert
film The First Waltz. My
job in the Portfolio Center is to coordinate the archives. Outside of
work, I am a freelance videographer, a photographer, and run a small
dessert business with my wife. My images have been shown at the Tucson
International Film Festival and Columbia College Chicago.
Mazzanti has been active in the field of film archiving and restoration
for over 20 years, starting as a Film Archivist, and as a founder and
director for over 10 years of the Bologna Film Festival, dedicated to
film history and preservation.
As a preservationist,
he founded and directed an internationally renowned film restoration
laboratory, and in this capacity he is responsible for the analog or
digital restorations of hundreds of silent and sound films. He also
teaches and writes about theory and practice of film archiving and restoration,
and is a Member of the Technical Commission of the International Federation
of Film Archives. Currently he is an independent consultant in Europe
and in the US on major projects involving the transition of traditional
Film Archives to Digital technologies for preservation and access.
Professor John McBride received a degree in Aeronautical Engineering
from the University of Southampton in 1978. In 1986, he received a PhD
for his work at Plymouth University with a thesis on Electrical Contact
Phenomena. From 1985 to 1987 he lectured in the Mechanical Engineering
Department at Plymouth University and from 1987 he has been a lecturer,
senior lecturer and now Professor of Electro-Mechanical Engineering
in the School of Engineering Sciences at the University of Southampton.
He is chair of the Electro-Mechanical research group, and Head of Research
in the School (2001-05). His main research interests include Electrical
Contacts, Metrology and Instrumentation.
Arne Nowak graduated with a degree in Electrical Engineering
from Technische Universität Ilmenau, Germany, in 2002. Subsequently,
he worked as a research assistant at TU Ilmenau in the field of television
studio technologies and virtual TV studios. In 2006 he joined Fraunhofer
Institute for Integrated Circuits IIS to work in the European EDCine
project on the development of a digital film archive system.
Nunes was born in Portugal in 1979. He graduated from Instituto Superior
Técnico (Lisbon, Portugal) with a specialization in Computer
Vision. He is an experienced Workflow Analyst, and he is currently with
the Engineering Operations department at MOG Solutions, where he is
deeply involved in customer's interfacing for requirements gathering
and specification. In
addition, he also has specific training in international R&D project
management. Currently, he is the operational manager of MOG Solutions
contributions to European Union R&D projects, such as WorldScreen
(www.worldscreen.org) and EDCine (www.edcine.org).
Franz Pavuza has been working with the Phonogrammarchiv of the Austrian Academy of Sciences since 2002, responsible for the technical affairs of the videographic section. He has a MS degree (Electronics) from the Vienna University of Technology. He joined the university as an R&D assistant for R&D projects in cooperation with industry partners and government supported funds in audio, video and industrial electronics. He has published various papers focused on specific measurement problems in audio and video. He is a member of the AMIA, where he joined the Digital Initiative Committee, and of the SMPTE. His job at the Phonogrammarchiv includes presentations for workshops (ERPANET, National Library of Austria) and conferences (IASA, FIAT, DELOS).
Pichler received his masters degree in information technology from the
University of Technology in Vienna in 1968 and graduated as PHD in 1972.
Until 2002 he was assistant professor at the University of Technology
Vienna. He is working in the field of audio, video and circuit design.
He is expert on the court of commerce in Vienna and consulting engineer
in this fields. He lectures at the University of Technology in Vienna
and on the University of Applied Sciences in Vienna. He is author of
more than 100 papers in the field of audio and electronic circuit design
and holds more than 40 patents. Heinrich Pichler is member of AES, IEEE,
ITG and other national and international scientific organisations.
Prior to joining
NYU Digital library, Unni Pillai spent 15 years as a real-time embedded
systems software engineer in the console game industry. He worked on
developing physics based simulations, real time video servers on the
PLAYSTATION 2, motion capture tools, and various frameworks for application
development. He studied Electrical Engineering at SUNY Stony Brook,
graduating in 1991. He is presently working on the NDIIPP Preserving
Digital Public Television project and is working on the technical design
and implementation of the Preservation repository at NYU Digital Library.
His current work areas include metadata interoperability, distributed
computing, grid based storage systems, and automation of work-flows.
Read joined Kodak Ltd in the UK in 1960 (after studying chemistry, biology
and mathematics at University College, London), working in applied research,
teaching, lecturing and commissioning technical motion picture film
facilities throughout Europe and Asia. In the 1960's, Paul spent two
years at Eastman Kodak in the USA, with Ph.D. studies at RIT in (photographic)
chemical engineering. He joined Kay Laboratories in London as Operations
Director in 1973, and in 1979 set up as an independent technical consultant
specializing in project and technical management of new technology in
the film and TV industry. Since then, clients have included companies,
government departments in many countries, the courts and insurance companies,
with visiting teaching posts in universities.
Since 1989, a long
term interest in archive film lead to the legal guardianship of the
British Pathé collection, membership of the Gamma Group, and
involvement with the EU project Archimedia on behalf of a London client,
Soho Images, and technical consultant on film restorations, initially
using conventional film, now digital techniques. Since 1997 clients
have included digital intermediate feature film post-production companies
in Europe. Consultant on several European Union film research projects
including FIRST, 2000-2003, and EDCine, 2006-current. Member of FIAF
Technical Commission. Fellow of BKSTS.Author
of many papers on motion picture technology and archive film restoration,
including A Short History of Cinema Film Post-production, Polzer, Potsdam
2006, and, with Mark-Paul Meyer, Restoration of Motion Picture Film,
Butterworth Heineman, Oxford, 2000.
James M. Reilly
James is Director of the Image Permanence Institute at the Rochester Institute of Technology. He is well known for his research on the effects of temperature and humidity on library, archives, and museum collections, deterioration of 19th-century photographic prints, environmental monitoring and control, management of film archives, and the major causes of image deterioration. He is the co-director of the Advanced Residency Program in Photograph Conservation at George Eastman House. He is a consultant to numerous museums and government agencies and is sought after worldwide as a teacher and seminar speaker. He has written extensively on preservation issues, and in 1998 he received a Technical Achievement Award from the Academy of Motion Picture Arts and Sciences.
Nan Rubin manages special projects in technology planning at WNET in
New York, where she was instrumental in creating the Thirteen Tape Archives
in 1999 when the station moved. She is project director of Preserving
Digital Public Television, developed in partnership with Boston's
WGBH, PBS and New York University, to design a model preservation repository.
The project is funded by the Library of Congress through its National
Digital Information Infrastructure Preservation Program (NDIIPP.)
Ernesto was born in Portugal in 1976. He is co-founder and Head of Engineering
Operations of MOG Solutions, a leading provider of MXF based solutions.
He is an experienced
contributor to standardization. He was active in MPEG in the development
of MPEG-21, as a co-editor of Part 2 of the standard, Digital Item Declaration.
Currently he is a member of SMPTE and the Chairman of SMPTE W25.10,
the MXF Working Group. He also has extensive experience in contributing
to European Union R&D projects over the years, such as Worldscreen,
EDCine, CONTESSA, G-FORS, ASSET and NUGGETS, among others.
Dietrich Schüller is director of the Phonogrammarchiv
of the Austrian Academy of Sciences. A specialist in audiovisual preservation
and restoration, he has worked as a consultant to a number of audiovisual
archives world-wide. He was Chair of IASA TC for many years and has
served on JTS Organising Committees from 1987 - 2000. He is now Vice-President
of the Intergovernmental Council for the Information for All Programme,
and Chair of the Sub-Committee on Technology for the Memory of the World-Programme
of UNESCO, member of the European Commission on Preservation and Access
(ECPA) and of the Audio Engineering Society. and Vice Chair of the AES
Standards Subcommittee SC03 on Audio Preservation and Restoration.
He is author of
numerous publications on audiovisual preservation, lecturer at several
Austrian Universities and visiting professor at the Teachers University
of Fuzhou, China. He is also engaged in national and international training
seminars on audiovisual archiving, more recently in Europe doer Project
TAPE, Mexico, the Caribbean, China, the Philippines, Singapore, and
John Spencer is President of BMS/Chace LLC. As a member of the NARAS P&E Wing Deliverables Committee, Spencer is a co-author of the Recommendation for Delivery of Recorded Music Projects document (also adopted by AES) and remains an active proponent of bringing transparency to the Master delivery process for record labels. He is also a member of the ARSC Technical Committee, the AMIA Digital Issues Committee, and various AES committees (Digital Libraries and Studio Production and Practices).
James M Turner
James M Turner is a professor at the École de bibliothéconomie et des sciences de l'information, Université de Montréal. He holds a PhD in information science from the University of Toronto. His research activities are focused on storage and retrieval of still and moving images, indexing images, metadata for digital images in a networked environment, preservation of digital images, and audio description. He teaches in the areas of multimedia information systems, managing visual and sound information and moving image archives, and preservation of digital information. He is a lifetime member of AMIA and a member of the Section on Audiovisual and Multimedia of IFLA. More information about his professional activities can be found at mapageweb.umontreal.ca/turner.
Vilmont received an educational training in chemistry and graduated as
a Ingénieur chimiste (Chemical engineer) with a specialization
in physico-chemistry analytical techniques. He also obtained a university
post-graduate degree (D.E.S.S.) in preventive conservation management
of Cultural heritage.
Léon-Bavi Vilmont is a research scientist at the CRCC, a joint
research laboratory of the French Ministry of Culture, the National Science
Research Council (CNRS) and the National Museum of Natural History. Léon-Bavi
VILMONT is employed by the French Ministry of Culture. He carried out
research in the field of cultural heritage preservation studying at first
the ageing of collection materials (natural and synthetic polymers), the
characterization of their physical, mechanical and chemical properties
and finding methods for safeguarding and long-term preservation. He then
developed research - since 1999 - in the preservation of modern information
carriers (audiovisual and digital media).
is currently involved in PrestoSpace FP6 IST European project on the preservation
of the Audiovisual Heritage, and he is in charge of the media assessment
Work Package. Léon-Bavi
every year at numerous educational and cultural institutions: Université
Paris I (Panthéon-Sorbonne), Institut national du patrimoine, Archives
de France, etc. and provides scientific consultancy in the field of preventive
Tape Restoration and Archival Services. Education: B.S.E.E., University of California at Berkeley; Graduate work at San Jose State University; 32 years at "U. of Ampex."
Tape Engineer and Expert Witness: -- Internationally recognized authority on tape preservation and tape restoration. --Engineer, tape media and tape recorder design and development, Ampex Corporation (Ampex perfected professional audio and video tape recording). --Presented papers at Conferences in Italy, Germany, Spain, France, Sweden, Brazil, Canada, Chile, and U.S. --Presented seminars at UCLA, U.C. San Diego, Canadian Maritime Provinces, and Southeast Asia. --Annually, teach two days at the Selznick Film School. --Chaired two international conferences on tape problems and solutions. --Member of special Library of Congress Video Heritage Task Force. --Expert for the U.S. Department of Justice Nixon White House (Watergate) tape case. --Member, Ford Foundation Advisory Committee for preserving historical material in tropical countries --Advisor to FBI, Library of Congress, U.S. National Archives, National Transportation Safety Board, and other organizations. --Consultant for NASA to determine problem with Jupiter Galileo probe tape recorder. --Invented the original instant replay. Co-recipient of an Emmy for subsequent instant replay development.
Professional Affiliations: --Speaker, newsletter contributor and Past-Chairman of the Preservation Committee, AMIA. --Speaker and Journal contributor, Society of Motion Picture & Television Engineers (SMPTE). --Tape Standards Committee, Speaker and Journal contributor, Audio Engineering Society (AES). --Preservation Committee & Speaker, International Federation of Television Archives (FIAT). --Tape Standards Commission, American National Standards Institute (ANSI). --Tape Standards Commission, International Standards Organization (ISO)
Nadja Wallaszkovits received her master's degree in comparative musicology
from the University of Vienna and graduated as an audio engineer from
the School of Audio Engineering (SAE) Vienna. Since 1988 she has been
working as recording and balancing engineer in the studios of the Vienna
Concert House and for private national and international recording companies,
focusing on classical, jazz and pop music, including film and video
sound and synchronisation.
In 1998 she joined the Phonogrammarchiv of the Austrian Academy of Sciences,
where she has been managing the audio department as a chief engineer
since 2004. She is specifically responsible for audio restoration, digital
archiving and rerecording of historical tape collections. She works
as a consultant for archival technology and systems implementation for
National and International Project Partners. She lectures at the University
of Vienna and has held several training seminars, recently in the context
of the Project TAPE.
Nadja Wallaszkovits is Member of Technical Committee of the Audio Engineering
Society (AES), Chair of the Audio Engineering Society Austria (AES Austria)
and Member of Technical Committee of the International Association of
Sound Archives (IASA).