Daniel D. Teoli Jr.

Terrible problem. Not talking about Tyler. But many times, you can't understand the dialogue. They wreck the films with crazy audio mixes. And sometimes the background music makes the film unwatchable. I am a one man show. Maybe, once every 30 to 40 films I may get to show a rough cut to someone before finalizing it. But I don't have the eyeballs looking at my films in production like pro productions do. And the person I may show it to is not a pro, just a friend. Yet these so-called pros still produce shit on a regular basis even with dozens or hundreds of eyeballs looking at the work in progress. I just don't get it. Stop it people! As far as shorts? That is the specialization of my film archive / film production. Thousands of them in the archive, professional and non-professional. But I have no film scanner as yet to bring them to the digital screen. And near a hundred shorts of my own work...all digital. On the positive side of things. I was hit with a flood a couple weeks ago. Trashing the flood damaged material has freed up some room for a scanner...if and when. Here is a sample of a non-professional, museum quality short. Halloween Hallucinations October 31,1931 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/search?tab=all&query=Halloween+hallucinations+teoli (I put 2 links of the same film because sometimes there is problems viewing with 1 link. The I.A. seems to be jammed up this morning and links are not working, so maybe try later if you have an issue.) I like shorts because they are more affordable, easier to deal, they take up less space and my ADD likes fast jobs as opposed to long jobs; whether it is other people's work or my own. <><><><> Selection from Hesco Barrier Survey Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

In 2001 a flood hit in Ohio and destroyed my VHS archive as well as some of my personal photography that was stored in a basement. Raw sewage and mold took care of it and I lost it all. On 6.22.2026 we got a torrential downpour at 4.30PM and the cine' film archive got flooded. I didn't know it until the next day when I started to smell things and walked in the room. Luckily it was not sewage, but the carpet and pad were soaked and everything sitting on it was wet. Maybe the only safe place might be the 2nd floor if you got an attic to catch the drips if the roof leaks? I'll be out for some time with this mess. I'm old and health is poor, so work goes very slow. No insurance. I'm chipping away at pulling up the rug and pad after I vacuumed everything with a wet Shop Vac. I've felt sick from the wet stink the last few days. But every day seems to get a smidgeon better than the previous day. Subfloor is concrete, so at least it is not a mess of moldy plywood. BTW, if you want to pull up wall to wall carpet; get some big pliers and go to the corner of the rug. Grab / pinch the corner and pull up. It removes the carpet from the nail strip. Get a dedicated carpet knife to cut the carpet. I've tried all sort of knives; carpet knives work best. But have lots of blades. Cut sections of carpet that you can deal with and roll them up and secure with duct tape. I hope to be back to the forum someday, once I get caught up. Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Google says +/- 20% of parts of YouTube content is AI generated. It may be more than that for certain areas of thumbnails. In the political commentary area and historical / educational video section I think it may be much higher for thumbnails and some video. While there are no official statistics from YouTube, studies estimate that over 20% of videos shown to new users and Shorts viewers are AI-generated. This content primarily consists of low-effort "AI slop" or "brainrot"—such as automated story narrations over gameplay loops, bizarre cartoon storylines, and text-to-image videos. [1, 2, 3, 4, 5] The prevalence and impact of AI on YouTube can be broken down by the following: How Much of YouTube is AI? Algorithm Exposure: A study by Kapwing analyzing YouTube Shorts found that 21% of videos fed to new accounts were AI-generated, and up to 33% fell into the "brainrot" category. [1, 2] High Viewer Engagement: Despite being heavily criticized, AI-generated channels have amassed over 63 billion views, with leading channels generating millions of dollars annually in ad revenue. [1] Creator Tool Usage: On the flip side, the vast majority of human creators (over 90%) use Generative AI for supportive, "behind the scenes" tasks rather than full video generation. These tasks include generating video ideas, drafting titles, creating thumbnails, or translating audio. [1, 2] YouTube's Crackdown on "AI Slop" YouTube has aggressively cracked down on low-effort, purely AI-generated channels. The platform updated its policies to combat "inauthentic content," leading to the termination and demonetization of hundreds of large channels relying on robotic voiceovers, repetitive templates, and generic stock footage. [1, 2] How to Spot AI Videos YouTube requires creators to label "realistic" AI-generated or synthetic content. You can often check for this manually in the video description or look for platform-applied labels on the video player. Common giveaways of unlabelled AI content include: [1] Stiff, unnatural, or highly repetitive AI voiceovers. Generic video loops (like parkour, soap-cutting, or video game footage) paired with unrelated audio. Distorted or "dream-like" morphing effects on images and faces. [1, 2 , 3, 4]

Any new developments with them? How are they doing with their scanner business?

I received an email from someone critiquing my archive for its lack of metadata. The discussion will give you some background on how my archive operates, its goals and how it compares to what a proper archive should look like, as proposed by Homer. I've also included an old, warped Kodachrome 4x5 from my archive that was probably shot in the late 1940's for your perusal to open things up. Here is the letter... --------------------------------------------------- Hi Daniel, I wanted to say that the collections across your sites are fairly impressive and I'm sure that they hold significant historical and cultural value. However, as most of them appear to be missing essential information that would draw interest from the right people and institutions, may I suggest that every single image, video, audio etc. comes with the expected meta data? Put differently, one needs to stop thinking in terms of "interesting old stuff" and start thinking in terms of archival evidence, and become very methodical about the approach. The metadata should answer five questions at the very least, in order to be genuinely useful: Who made it? What is it? When and where was it made? How did it get here / in your possession? What exactly has been digitised, altered, preserved, or lost? Does the original artefact still exists, and who has it now? In more practical terms, a serious record should include the following. The aim is not to write an academic essay for every object. The aim is to give each item enough context for archivists, historians, curators, researchers, and institutions to understand what it is, where it came from, whether it can be used safely, and why it matters. 1. Basic identification Unique item or collection ID Title or short descriptive name Item type: photograph, film, audio, letter, poster, document, etc. Collection name Related items, if any 2. What it shows or contains * Short description * People, places, organisations, or events shown or mentioned * Date or estimated date * Location, if known * Language, if relevant * Any inscriptions, labels, captions, handwriting, stamps, or notes 3. Where it came from * Original source: film, print, negative, tape, letter, scan, etc. * How it was acquired: garage sale, estate sale, donation, auction, found collection, etc. * Acquisition date * Acquisition location * Previous owner or seller, if known * Any uncertainty about provenance 4. Rights and permissions * Copyright status, if known * Rights holder, if known * Whether it may be public domain * Whether copyright is uncertain * Any privacy, donor, cultural, or ethical restrictions * Credit line required for use Important: old does not automatically mean public domain. If rights are uncertain, say so clearly. 5. Physical object details * Original format: 35mm film, photographic print, negative, cassette, reel, typed letter, handwritten letter, etc. * Size or duration * Colour or black and white * Condition: damaged, faded, scratched, torn, mouldy, incomplete, etc. * Whether the original still exists * Where the original is stored 6. Digital file details * File format: TIFF, JPEG, WAV, MP3, MP4, PDF, etc. * File size * Pixel dimensions, scan resolution, audio quality, video resolution, or duration * Date digitised * Equipment or method used, if known * Whether the file is an original scan, edited version, restored version, or access copy 7. Why it matters * Short note on historical, cultural, artistic, social, or research value * Why this item or collection may be useful * Relevant themes or subjects * Links to related people, places, events, collections, or publications. I appreciate that achieving this level of curation, cataloguing, and archival description is a gargantuan amount of work. In practice, not every object can be documented perfectly from day one, and some metadata will always be incomplete, uncertain, or provisional. That is normal. The point is not to produce museum-grade records overnight, but to apply a methodical approach that makes the material safer, more discoverable, more useful, and more credible over time, that someone else (or an institution) can take over without spending tends of years to try to identify what all of that is and means. As yourself, most people and institutions are underfunded and short staffed and simply don't have the capacity to investigate such materials despite the potentially strong interest. Even a basic structured record is better than a loose upload with no context. At minimum, each item or collection should have enough information to explain what it is, where it came from, what is known or unknown about its creator, what rights status is attached to it, what physical or digital format it exists in, and how it was digitised. Uncertainty is acceptable; silence is the problem. A record that says “creator unknown”, “date approximate”, “copyright undetermined”, or “provenance based on garage-sale acquisition, unverified” is still far more useful than no record at all. A better approach would be phased and systematic rather than perfect from the outset. Start with a minimum viable metadata standard for every item or collection: identifier, title, format, date or date range, creator if known, place if known, source/acquisition details, rights status, short description, digitisation details, and condition notes. Then improve records gradually by adding controlled subjects, transcriptions, related people, related places, technical metadata, provenance notes, and links to related materials. The essential shift is this: the upload itself is not the preservation work. The preservation work is the combination of the object, its metadata, its provenance, its rights assessment, its technical integrity, and its historical context. Without that structure, the material may be online, but it is not truly curated, not truly archival, and not fully usable. Best of luck, Homer --------------------------------------------------------- Here is my reply... Hello Homer, Nice to hear from you! Thanks for taking the time to outline your suggestions. I seldom, if ever get such thoughtful letters nowadays. I get a lot of emails from younger people. Goddamn, they can hardly write a coherent sentence or two, Homer. You must be a professional archivist, or you are one heck of an anal citizen archivist! (Anal as in an analysis oriented person.) I can't argue against adopting any of your suggestions. Unfortunately, I am a 1 man show and an old man at that. Health is poor and not much time or energy left to do it all. Consequently, I prefer to get the most bang for my buck and document as much of the material I can and let others do what investigative / text work / metadata work they would like to do. I'm not a professional archive, museum or special collections library. Even so, there are benefits as well as shortcomings when you are a 1 man show, Homer. My archive can be very fast acting when it comes to acquisitions and making decisions. For example, I've dealt with a lot of museums over the years. Museum acquisitions usually follow this hierarchy. The curator proposes the acquisition to the head curator. The head curator proposes the acquisition to the deputy director. The deputy director proposes the acquisition to the director. The director proposes the acquisition to the acquisition committee. The acquisition committee votes to approve or not approve the acquisition. Now, every museum is different, but this is a common example of the acquisition process. It may take 6 months to a year for the acquisition decision to be made. And I'm talking about donations to the permanent collection, it does not have to be a purchase. From what I gather, but I'm not sure, this is the reason most museum curators are women. Women have a lot of patience to deal with all that acquisition process bullshit. I couldn't deal with it, Homer. For my archive, I can acquire things in 10 seconds. Even though non-professional I maintain a very large and diverse archive that prides itself in putting hi-res open content material online. I modeled my archive after the 'old' Getty Open Content archive. The 'new' Getty has gone to hell. The diversity and scope of my archive has nothing to do with the popular politics of the day aka wokeness. It has to do with the fact that I have a huge number of interests and have no prejudice in collecting. But, I will admit my fast moving, 1 man archive cannot compete with professional archives when it comes to metadata and text. Here is Google on the subject: Professional archives and special collections often employ staff dedicated solely to organizing, structuring, and managing data about collections. The specific title for this role depends on the institution, but these professionals most commonly hold the following titles: Metadata Archivist: The most direct title; these professionals specialize in applying standardized metadata schemas to both digital and physical records so they are easily discoverable. Digital Archivist / Digital Asset Manager: In archives with heavy digitization programs or "born-digital" records, this role focuses on the long-term preservation and structured metadata of digital files. Metadata Librarian: Frequently used in academic or research library settings, these individuals bridge the gap between traditional library catalogs and archival finding aids. Archival Metadata Specialist: Often seen in large, grant-funded projects or specialized societies, this title highlights expertise in the transcription and cataloging of specific historical collections. Depending on your professional background, would you like to explore archival degree programs, look at typical salary expectations, or learn about specific metadata standards (like Dublin Core or EAD) used in the field? A while back a person wrote to me to complain that I didn't offer PDFs of certain material. I gave him hi-res JPEGs. Isn't that better than giving him a shitty low-res PDF like some archives offer, Homer? From what I offer, many things are possible. He could make his own PDF in any res he chose to, as well as individual JPEGs to use as he liked. I can either spend my time making PDFs and writing text or in acquiring and digitizing archival material and putting it out there. Homer, in the big picture I don't know much about most of what I archive. I don't do this as a job; I'm not a professional archivist. I do it as a volunteer archivist also known as a citizen archivist, as the Internet Archive terms such people. I do this work out of a love for preservation of history; but mostly I do it from my own curiosity about certain subjects. I just acquire what interests me and archive it for the historical record as an offshoot to my own visual education. I don't know the backstory or provenance of much of the material I deal with. Most of it boils down to...'acquired from a picker on eBay' or 'picked up at a yard sale' or 'found in the trash,' type of thing. I do spend a lot of time making sure most of the material is digitized in decent quality. Something that is lacking in many professional archives I see when it comes to what they offer to the general public. So, I would hope that my image quality would make up for my lack of text / metadata. The other option that you suggest would be to document only a very small fraction of what I do and spend my time writing and filling out forms and checklists. The result of that would be to let the majority of the material I deal with end up in the landfill of material lost to history. My personal nature is not much for text, Homer. I'm a visual sort of person. I used to be a street and social documentary photographer. So, I spend time on visuals and not on text. I put my effort into the quality of digitization, that is allowed within my limited financial and time budget as well as some audio work. But none of my work is of the highest quality, due to a lack of finances for highest quality digitization. And not much effort is spent on text due to lack of time, lack of interest in text and poor health. Homer, my archive operates under the auspices of...something is better than nothing. And let me just touch on the health issues I mentioned to you above, Homer. If I sit too long, sciatica acts up and my leg gets shooting pain radiating down the leg and it goes numb. Then the leg aches and keeps me up all night and has sharp shooting nerve pain while I walk in the daytime. If I stand in one place too long my gouty toe bothers me and my ankle and knees start to act up. Since I can't afford electric worktables of adjustable heights my back and neck act up. I get wrist, elbow and shoulder pain from the computer mouse. Eyes are also an issue with the computer screen, and on and one. Homer, when you are old, daily life is very different from when you are young. Consequently, you get less done and it takes longer to do it. Here is the general rule for this topic we are discussing, Homer. "Don't give more of what you freely want to give, even if you will get no thanks. Expectations, such as thanks, are pre-planned resentments." 12 -Step Program I'll be honest with you Homer. If I had to fill out your checklist form of metadata requirements, I'd give up archival work completely. I'd have to be paid to do that type of drudgery work. And it would not be a field I'd want to work in anyway, even if I was paid. I only work in areas that interest me, not wanting to work with material that I have no interest in. That allows me to give freely of what I can and want to give, but I can't give much else beyond that. Thanks again for your excellent suggestions! Sincerely, Daniel D. Teoli Jr. Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Evaporation of Filmrenew film cleaner in a capped bottle. I haven't been doing much film cleaning over the past few years. I need a decent cine' film scanner. But I did lots of film cleaning when I was learning the ropes about cine' film scanning in the early days of the film archive. I'll give you some info on film cleaning at the end. I had this bottle of Filmrenew sitting around for years. I swore it kept shrinking even with no use. So, I marked it on 3.24.2025. I came across it yesterday while doing some organizing. I was shocked to see how much cleaner had evaporated and I marked it for the second time. I've got a gallon of this stuff somewhere. Who knows how much of it is left. I'm glad I don't sleep with it in my bedroom, breathing all those chemicals. I can now see why they used glass for storing certain chemicals. When it comes to cleaning cine' film you have 2 directions to go; fast or slow evaporating film cleaner. Edwal makes a fast evaporating film cleaner. It is OK for a fast job where you don't have heavy duty dirt. But if you had dirty film and used Edwal, it would leave lots of dirt on the film. The dirt needs time to loosen and you need something that will not evaporate so fast. Filmrenew or Vitafilm are both slow evaporating film cleaners and film lubricators. So they do deep cleaning of film. But they are a pain to wipe off compared to the fast evaporating cleaners that dry up almost instantly. You can test this all yourself. You clean dirty film normally as you would with Edwal, then reclean with Filmrenew and see all the dirt that was left behind. Being a broke archivist, I just switched over to using 99% isopropyl alcohol for film cleaning. It is a fraction of the price of Filmrenew or Vitafilm and does adequate cleaning. I also don't get doped up from breathing the chemicals from the slow evaporating cleaners. I got enough chemicals for free from working in the wet darkroom for 35 years. But if you got some filthy, dirty film; nothing beats Filmrenew or Vitafilm for cleaning. The downfall of 99% alcohol is it is a fast evaporating film cleaner and can leave dirt behind. It also does not lubricate the film. And no matter what you use here in this discussion, nothing cures vinegar syndrome. It may halt or slow it down where it is at, but it does not reverse anything. See: <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

What is the number at the top and bottom right? What is the Lut filter? (Internet photo)

Well, things change. Films change and digital change. So, nothing wrong with keeping up with things. We used to have similar debates all the time on the photo forums. Color vs. B&W, digital vs. film, this camera vs. that camera. Although he is talking about color, Ernst Hass sums things up to this discussion at hand … “There are black and white snobs, as well as colour snobs. Because of their inability to use both well, they act on the defensive and create camps. We should never judge a photographer by what film he uses- only by how he uses it.”

Yes, but are they doing anything with this celluloid film? I see very few film shorts or longs being uploaded here by the celluloid film devotees. Or are they just interested in the 'idea' of shooting film or gear discussion?

Well, if you like filmmaking, find something you can do to express what art you have within you. It all depends on if you like it enough to pay to do it or you want to be paid. That is the acid test for love. Are there a lot of people on this forum that will quit rather than use digital? Drop your ego people. Gelatin film or digital are just tools in the toolbox.

Didn't know about the NDAs. Always learning. Also amazing you only own a set of filters. Good for you, that you are not all cluttered up with gear sitting around.

Ted, from what I gather, much of the discussion here is more about gear and not practice. The working DP's are too busy being working DP's and have to time for forums. We used to have a lot more interesting contributions from the old timers. But they died or left.

From Reddit… paint cab or gut anxiety (1)1000×802 137 KB paint cab or gut anxiety (2)1000×802 143 KB paint cab or gut anxiety (3)1000×802 145 KB Some Redditer said it would cost $60,000 to gut and redo. They got some fussy people out there. I think it is a lady, but not sure. Maybe the gayest of men might get anxiety from this kitchen, dunno. If things ever implode in America, I wonder how they will take it?

I think if they can...they will. Everything in the USA and most everywhere else is always based on profit / greed. It is human nature. Much of the USA's manufacturing base has been destroyed due to profit and greed. This is the reason humans can't be good commies...greed and egomaniacal humans. We do what we perceive is best for us and not for the whole. Now, don't take what I am about to say the wrong way. I am only using the commie discussion as an example, not to be political. It just underscores that if humans can, they will...when it comes to greed and the destruction of all to get $$. This worldwide shit show that has unfolded over the last few years should prove to people that humans can't be commies. Humans are too **(obscenity removed)**ed up to be good commies. Too corrupt, egomaniacal, dishonest and greedy. Humans are not ants or bees, only they can be good commies. To do commie right you have to be heartless and thoughtless. You run by instinct which is instilled in you. You don't have to discuss it, you don't take a vote on it...you just do it! See what AI says about it... "Worker bees forcibly evict drone bees (males) from the hive, usually in late summer or autumn. Because drones consume significant food resources without performing work, they are expelled to ensure the colony's survival through winter. They are either physically dragged out or starved, resulting in their death." Now, commie may work in small, intentional communities, like the old hippie communes. But will you run it like a beehive and throw out members when they get too old to work and are useless eaters? Will you have to discuss it? Will you take a vote on it? Now, bringing the commie ants or bees back to AI moviemaking. They would do what is best for their survival as a group. Not for the profit of a handful of bees. Humans just don't think that way. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Outlook Spam Filter : http://www.outlook-spam-filter.com : Free Download, Borrow, and Streaming : Internet Archive And even if you got no pride. Do it for the historical record. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography