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I started taking short road trips after I got my license at 16. I'd take day trips to Desert Hot Springs, Indio and 29 Palms. I had visited them as a kid when my family visited friends there. From there I took an overnight drive to Yosemite. I had a little VW bug. I got sleepy driving home at 2 AM, so pulled over on the highway to sleep. I slept in the back seat all jammed up. Then I took some day trips to the Sequioa's and Tiajuana. I was pretty broke, so no motels. Back then they didn't have restrictions on new licensees like they have now. Once you got your license...you could just drive! I didn't get into longer road trips until I got a cheap van. I guess all the early road trips I took instilled a nostalgic note in me when it comes to road trip films in the film archive. Recently I came across a fantastic 16mm home movie road trip film series called "All 48 in our 88 in 58." Sadly, I found out about the series after all the reels were sold except 1 reel, which I acquired. The collection was broken up and sold to different buyers over a number of months. Too bad it was not kept intact and sold as a collection. Here are some frames from that film. (All photos are from the seller of the film.) I always love when the road trip reels have progress maps in them. This filmmaker was pretty talented as far an amateurs go. He had nice comp, focus and exposure and a dash of creativity. That is all you can ask for! This reel was #9 of the series. Who know how many reels were in the series to cover all 48 states. If you look closely, you can see the name of their expedition on the back on their Olds 88 station wagon. As a bonus, I got some footage of a cable shovel on the road trip reel. Steam and diesel cable shovels are another area of collection in the archive. Lots of roadside attractions in the road trip reels! Looks like they did lots of camping, but maybe it is just a break for lunch. I wonder if they stayed in motels or camped all the way? The wife was in high heels a lot of the time. But she had changed for the cookout. That is the problem when a film series is broken up, you just have to guess. The wife would get out there in the fields, even in high heels. Maybe she is picking up a memento here...dunno. I got lots of other road trip films in the archive. Hopefully I will get a scanner someday. I got millions of feet of fantastic films! And if not, the best a person can hope for is that a picker gets ahold of them and they get resold on eBay if they kick off. That doesn't mean they would ever be online for viewing, but it beats them all being trashed in the nearest dumpster. Just never know how things will go. That is why I started to put up a few frames of the exceptional films online. I try and preserve something from them in case they all get trashed. You know the deal...something is better than nothing. It had just occurred to me this year to start saving the frames used in the online sales to include in the film description folder in the master film inventory. My preference would be to include a film sampler of the entire reel in the folder, but you need a scanner to do it. If no sampler is available, then a few snapshots of a film is good to have. A sped-up film sampler is a fantastic tool to have when you have thousands of home movies to deal with. They are good to have for any movie and not just home movies. But home movies are especially hard to deal with when they have no central theme. Here are examples of films sampler experiments I did to show you what I mean. Sampler experiments were made with still frames as well as by speeding up the film. There is a sweet spot that gives you a decent snapshot of a film along with being fast. Medical films - explicit content Internet Archive: Digital Library of Free & Borrowable Texts, Movies, Music & Wayback Machine <><><><> 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

When scanning gloss stock that is warped it is hard to get a good contact with the scanner glass. In this example the warped gloss stock produced a rainbow type of defect while scanning. Weighting the scanner lid can help get good contact with the original. Foam backer board must be used under the scanner lid as the flatbed scanner lid provides poor contact. 18 pounds of weight was used here. If you go above 22 - 24 pounds on the scanner lid, an Epson V600 scanner may break. Every scanner is different; you check its weight limits out for yourself. Unweighted scan of RPPC Crop of unweighted scan defect area. Crop of weighted scan defect area. Full report: Scan With Rainbow Defects Weighted / Unweighted Comparisons D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> 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

EditportQuote Does diacetate film naturally stink of mothballs as it ages? Or has the film just been stored in a humidor can with a preservative in it? Examples of humidor film cans... From what I gather, the humidor film can was used for added humidity via water and not chemicals. But maybe they used the humidor cans for both. Photos: Daniel D. Teoli Jr. Archival Collection Here is what AI says about the mothball smell... Diacetate film, in the context of photographic and motion picture film, refers to a type of cellulose acetate base where two of the three hydroxyl groups on each glucose unit of the cellulose molecule have been replaced with acetyl groups. It was an early form of safety film, replacing the highly flammable nitrate film, and was used extensively in the early 20th century. Diacetate film is characterized by a characteristic smell of camphor or moth balls, and while it was a significant improvement over nitrate film, it did have some stability issues like shrinking and embrittlement, leading to its replacement by cellulose triacetate. Key Characteristics and History: Development: Diacetate film was developed by chemists in the early 20th century as a less flammable alternative to nitrate film. Chemical Composition: It's a cellulose acetate polymer where two of the three possible sites on each glucose unit are acetylated, according to the National Film and Sound Archive of Australia. Early Use: It was used in both sheet and roll film, particularly for 16mm cinema films, as noted by the National Archives. Limitations: Diacetate film did suffer from issues like shrinking, embrittlement, and distortion, leading to its eventual replacement by cellulose triacetate. "Vinegar Syndrome": Like other cellulose acetates, diacetate film is susceptible to "vinegar syndrome," a condition where it deteriorates due to the release of acetic acid, resulting in a vinegar smell, shrinkage, brittleness, and the formation of crystals. I'm thinking if the mothball smell is not a preservative, but a sign of deterioration; the reels need to be permanently aired out or at least stored in ventilated cans to de-gas. I have always kept them in non-ventilated metal cans thinking they were embalmed! 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

Internet Archive: Inside $621 Million Legal Battle by Record Labels Major record labels have sued the online library Internet Archive over thousands of old recordings, raising the question: Who owns the past? <><><><> 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

H-res... Why We Archive Things D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> 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

I had some old seeds I had bought in 2009. I was not going to plant them. I bought them to make sprouts. I made some sprouts but got lazy and stopped. I had them stored in the freezer and fridge. I was cleaning things out and thought I'd toss the seeds. But before trashing them I tested them for viability. I'm always testing things. Besides scanner, my middle name should be tester. Anway's...the seeds sprouted fine after 16 years. 16-year-old clover, broccoli, radish and alfalfa seeds purchased in 2009 and sprouted in March of 2025 <><><><> 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

Vaccumate was one of those film preservation treatments they did back in the day along with Vaporate. This sample of a Vaccumate treated film is marked with a 3. Maybe they had different versions. It is all just guess work. I could not find out anything about either treatment. Although you can't see it in the scan, the Vaporate film did seem to have a matte finish applied to the stock. I did not see any difference to Vacuumate treated film versus untreated film. <><><><> 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

I was scanning a small collection of The American Girl magazines from the 1940s. The magazines were kinda rough, so I was scanning by hand on a flatbed scanner instead of a sheetfed scanner. If I was using a sheetfed scanner I may have not seen the ad. For some reason this ad by Dell Tween caught my eye and it made me wonder when the word tween was first used. I Googled it and AI said it was the late 1980's. I hope they don't put AI in charge of the nukes. <><><><> 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

I read that HDD's lose magnetism over time and they must be re-recorded periodically to preserve the data. On 3.8.2025 I tested a retired Toshiba 500gb HDD that was formatted and filled up about 98% capacity with photos and videos on 2.17.2015. After it was retired, it was put in a ziplock bag and stored in a garage where temperatures ranged from 45F to 85F for the 10-year period. It was not run during that time. When I looked at it, all the data (photos / videos) were fine. I didn't do any drive software tests on it, as I didn't have any to use. I downloaded some drive software awhile back and it took over my computer, so I was happy to get rid of it. I archive audio, photos, videos and text files. Either they work or they don't work...those are the tests I'm using here. I then decided to do a microwave test on the HDD. I had originated this use of microwaving drives by accident. Last year I had ordered a 4TB Samsung SSD and it had problems from the start. But I was hopeful the bugs would work out and tried to use it anyway. I was transferring a 1.8TB file to it and it jammed near the end of the transfer. I was horrified to find out it would not let me delete my data before sending it back for a refund. Hence the microwave came into my head. It was a natural offshoot from using the microwave to treat moldy and mildewed paper, which I do regularly. I can't tell you how long this original microwave test was on the 4TB SSD, but it was just a few seconds. I didn't know what would happen or if it would wreck the microwave, so it was short. When I plugged the SSD into the computer it would not show up. I was happy with the results and gave it a little more microwave radiation after that for good measure. All we hear about nowadays is EMP danger with digital, so that also inspired me to do some microwave tests. Here are the tests for the HDD, SD card and thumb drives tested in a 1000-watt Samsung microwave. Toshiba 500gb HDD 1 second microwave test: Passed (I don't think the microwave does much microwaving in the first second.) 2 second microwave test: Passed 3 second microwave test: Failed - drive made a loud pop and sparks near the cord port. Computer would not recognize the drive. (Drive was microwaved without the cord.) Generic 4GB SD Card 1 second microwave test: Passed (I don't think the microwave does much microwaving in the first second.) 2 second microwave test: Passed 3 second microwave test: Passed / Failed (?) Some sparks. One computer would not recognize about 80% of the files and they only showed up as icons. When I clicked on an icon it would not load and it said the file was corrupted. Another computer played everything fine. 4 second microwave test: Failed - card made lots of sparks, plastic started to melt in spots on both sides of the card and there was a strong burned plastic smell. Both computers would not recognize the drive. Note: This test should be rerun with multiple cards for 3, 4, 5, 6 second tests to pinpoint the failure. I used 1 card and it received a total of 9 seconds of microwaving before it failed. (Not counting the 1 second test.) Generic 8GB Thumb Drives I used 2 thumb drives for this test. Thumb drive #1 1 second microwave test: Passed (I don't think the microwave does much microwaving in the first second.) 2 second microwave test: Failed - drive made an audio sound when inserting into the USB port, but the computer would not recognize it. I tried it on 2 computers. Thumb drive #2 3 second microwave test: Failed. Drive made a loud pop and sparks inside of the USB connector. Both computers would not recognize the drive. The rest of the HDD magnetism tests will be 12-year, 15-year, 18-year, 20-years and 22-years...if I'm still around. <><><><> 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

Interesting article on film preservation efforts. Vanishing Culture: No Film Left Unscanned | Internet Archive Blogs Vanishing Culture: A Report on Our Fragile Cultural Record : Luca Messarra : Free Download, Borrow, and Streaming : Internet Archive <><><><> 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

I was using the Internet Archive as an image hosting site to post photos at the forum. It allowed me to kill 2 birds with 1 stone. Archive something and participate here. The few others photo hosting sites I had used all banned me, so not many places to go. The I.A. was hacked a few weeks ago and it never came back up. Looks like someone really put the hurty ding-dong on the I.A. It is a bittersweet payback they can enjoy after they had banned me and removed over a hundred thousand of my contributions I had contributed over 6 years. I've been a volunteer archivist there for 9 years or so. One day they shut my account down and it went poof overnight. The people in Frisco did nothing for me to restore it after many requests. It was only restored by chance from a person in NYC that had some pull there. So, the I.A. can now understand what it feels like to have all your work disappear overnight. Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. Social Documentary Photography

I routinely weigh down the scanner lid with an extra hard foam backer to flatten out warped archival material tight on the scanner glass. In the old days we had vacuum frames to flatten things out...perfectly! I've had no trouble with using 16 - 18 pounds on the glass for years. Today I tried 22 pounds on an Epson V600 and it started to break. When I get a chance, I will write up a proper report, but too busy right now scanning! Be careful how much weight you put on your flatbed scanner...they will break! <><><><> RPPC - Raw Scan Oil wells Pacific Coast Highway Huntington Beach DDTJRAC

I thought I'd be done by now with optical media stress tests. But Smartbuy BD-R and Ridata BD-R proved to be better than I thought. You never know about these things. Memorex BD-R proved to be one of the worst and you would think it would be among the best! I have to update the article, but addendum test results are here below. Here are previous BD-R stress tests. Blu-ray Discs …they are not all the same. – Daniel D. Teoli Jr. Archival Collection – II (home.blog) Memorex BD-R 25GB single layer 6x. Tested twice. Both tests failed within 30 days of sun. Smartbuy BD-R 25GB 1-6X. Passed 2 months of sun and tests are ongoing. Ridata BD-R 25GB 6x. Passed 2 months of sun and tests are ongoing. None of the BD-R I've tested have been interim champs. In other words, they die within a month of sun or will last a year of sun; so it will be interesting to see what these 2 discs can actually take. If you have Memorex BD-R, I would not use them for archival work. Personally, I use the remaining stock I have for temp work only. <><><><> Reel People Film ad 1983 Selection from Daniel D. Teoli Jr. Film & VHS Ad Archive 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

People don't think much of cleaning the photographs before they scan. But RC paper especially attracts a lot of dust. Here is a before and after scan of a RC photo showing how cleaning it affects the scan. Dirty photo Cleaned photo Beside cleaning the originals, the scanner glass has to be clean. But just cleaning it half-ass is not the answer. You have to scan the scanner glass to see how clean it is. Here are 2 scans of the scanner glass. You do it by scanning the open scanner in a pitch-black darkened room. The first scan shows a half-ass clean job, done by say your average jabroni. The second scan show a more thoughtful clean job...after the scanner glass was removed and cleaned. Don't get too anal with the cleaning, sure do a good job. But even if you got an ISO grade clean room...dust and dirt get into the scanner from the originals when you are dealing with archival material. And the scanner itself can make its own dirt from within as it operates. Point is...dirt will find your scanner...just clean the scanner every so often. And you find this out by scanning the scanner itself. Scanner glass after half-ass clean job. Scanner glass after removing the glass and a proper clean job. If you have an assistant, have them blow the glass off with compressed air before you reinstall it. I don't, so I make do with what I got. If you scan 3D materials with your scanner it is better to have a dedicated 3D scanner as well as a photo scanner. Sometimes the scanner glass can get scratched from scanning 3D materials. <>><><> 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

Roundtable 2023 Speaker Presentations | DT Heritage (heritage-digitaltransitions.com) Speaker presentation videos. Deals with archives and preservation. <><><><> Subway NYC 2016 Selection from The Americans...60 years after Frank artist's book. D.D.Teoli Jr.

https://archive.org/details/storagepreservationmotionpicfilmteolijr.a.c.39

What can be stored the longest. ?

Someone told me that the original Star Wars had faded red and all that is left are digital copies. Do you think that is true? I imagine the dye transfer films should be pretty good for color. But what about the films that were not Technicolor IB? In my archive I have Kodachrome 16mm going back to 1939 that looks pretty good. I had read the early Kodachrome version faded. I've found a few early 1938 samples of Kodachrome that faded somewhat and they verify Kodak changed the formulation.

The Association of Moving Image Archivists (AMIA) has announced a robust program for its annual conference, which brings together over 600 experts to share perspectives on the latest methodologies and technologies being used in the acquisition, preservation, restoration, exhibition and use of audiovisual media. The event runs Nov. 30 to Dec. 2 at the InterContinental New Orleans, and is preceded by two days of workshops, including a Community Archiving Fair, a Hack Day, and a presentation of The Reel Thing, a technical symposium that explores recent restoration projects. A detailed schedule and session descriptions can be found on the AMIA conference website: www.amiaconference.net. Over 40 seminars will address topics such as the management of efficient transfer and migration workflows; strategies for licensing archives; updates on tools and processes in annotation, metadata, and modeling; approaches for handling and protecting rare elements; and case studies on the preservation of important analog and digital collections. Screenings will include AMIA’s Archival Screening Night – a program of rarely seen clips from archives around the world; “Dawson City: Frozen in Time” followed by a Q&A with director Bill Morrison; and “Reel Bad Arabs: How Hollywood Vilifies a People,” a documentary offering devastating insights into the origins of stereotypic images and their development at key points in U.S. history. This year, AMIA shines a spotlight on efforts being made to preserve and provide access to underrepresented archives. Specialists from Smithsonian’s National Museum of African American History and Culture, the Asian/Pacific American Institute, Israel Film Archive, Jack G. Shaheen Collection and the Shoah Foundation, to name a few, will share their experiences and offer their expertise. Highlights include: · The New Preservationists: How Documentary Filmmakers are Excavating Rare Media Artifacts to Tell Their Stories – A new emphasis on archival-based programming from Netflix, Amazon, HBO, Hulu, ESPN, and other international players has shined a new light on archives. With Academy Award® and Emmy®-nominated filmmaker Robert Stone and Peabody Award-winning filmmaker Shola Lynch, this session will explore the craft of the archive-inspired film and show how these projects themselves are vehicles for preservation efforts. · Reel News: Broadcast Videotape and the Historical Record of Resistance – A significant portion of moving image records from U.S.-based social movements in the 20th century, including the struggle for African American, Chicano/a, LGBTQ, and civil and human rights, exists on endangered 2-inch videotape. This panel will screen footage and illuminate the vital, socially relevant content emended on tapes, while providing attendees with strategies for developing initiatives at their own institutions for preserving this material and presenting it to the public. · Let the Computer and the Public do the Metadata Work! – The American Archive of Public Broadcasting (AAPB), with Pop Up Archive, has created more than 71,000 transcripts of historic public broadcasting recordings using the open source Kaldi speech-to-text software. At this panel, WGBH will share a game called FixIt to crowdsource correction of speech-to-text generated transcripts, and panelists will discuss potential computational linguistic tools and methodologies to enhance discoverability of digital media collections. · The Great Migration: A Public Digitization Workflow – The Great Migration is a public digitization program initiated by the Smithsonian Institution's National Museum of African American History and Culture (NMAAHC). Visitors are invited to bring their home movies, on any format, to the museum and have them inspected and digitally scanned by NMAAHC media preservation staff. This session highlights how museum preservation efforts and public education coalesce, revealing basic steps for personal digital archiving while building the nation's largest research collection of African American home movies. “Every year, AMIA’s annual conference brings together the largest gathering of the restoration/preservation community who are making incredible progress in their work to ensure treasures from the past are accessible for the future,” said AMIA President Andrea Kalas. “AMIA members are the cultural caretakers of important audiovisual media, and this event marks an incomparable opportunity to learn and connect with a worldwide contingency of professionals in the field.” To register, visit the AMIA Conference website for full details: http://www.amiaconference.net/

The Association of Moving Image Archivists (AMIA) announces that Dennis Doros, co-owner of Milestone Films, has been elected president of the international association by AMIA members. Doros will be inducted into office at the annual AMIA Conference in New Orleans (Nov. 29 – Dec. 2), when he will begin a two-year term. He succeeds Andrea Kalas, who has led the organization forward for the past two years. AMIA members have also elected three new directors to the Board of Governors: Casey Davis Kaufman, senior project manager for the WGBH Media Library and Archives and project manager for the American Archive of Public Broadcasting; Andrea Leigh, moving image processing unit head at the Library of Congress National Audio Visual Conservation Center; and Yvonne Ng, senior archivist at WITNESS, an organization that supports people using video to protect human rights. They join board members Jayson Wall of The Walt Disney Studios, consultant and doctoral student Lauren Sorensen, doctoral student/field scholar Melissa Dollman, John Polito of Audio Mechanics, and Teague Schneiter from the Academy of Motion Picture Arts and Sciences. AMIA is the world’s largest professional organization dedicated to the acquisition, description, preservation, restoration, exhibition and use of audiovisual media. The association’s programs help members stay abreast of the latest methods and technologies, ensuring that our cultural treasures are accessible for future generations. The AMIA membership includes archivists, educators, librarians, digital asset managers, technologists, collectors, genealogists, filmmakers, historians, consultants, studio executives, environmentalists, distributors, and broadcasters from around the world — all of whom are actively engaged in the art and science of media preservation and presentation. Doros comments, “I am deeply honored to have the opportunity to serve AMIA, an organization that has meant so much to me both personally and professionally. The friendships, connections, and camaraderie I have found here have helped me discover, research, and preserve some of the most challenging and rewarding projects of my career. I am inspired on a daily basis by this passionate and supportive international community. I know that working together, we can bring greater diversity, fairness, and outreach to our field while saving a lot of great moving images for generations to come.” Doros began his career at Kino International in 1984, where he was responsible for restoring Erich von Stroheim’s Queen Kelly and Raoul Walsh’s Sadie Thompson, both starring Gloria Swanson. In 1990, he co-founded Milestone Films with his wife, Amy Heller. Working with film archives and labs around the world, they have restored and distributed a wide range of independent films that include works by Shirley Clarke, Charles Burnett, Margot Benacerraf, Billy Woodberry, Kathleen Collins, Marcel Ophuls, and Kent Mackenzie. Filmmakers Martin Scorsese, Barbara Kopple, Steven Soderbergh, Thelma Schoonmaker, and author Sherman Alexie have worked with Milestone to promote special restoration projects. For the past 12 years, Doros has been a consultant to Turner Classic Movies (TCM). Doros and Heller have been awarded the National Society of Film Critics’ Film Heritage Award five times and first Special Archival Award; the International Film Seminars’ Leo Award; the NY Film Critics Circle’s Special Award twice; the LA Film Critics’ first Legacy of Cinema Award; and a Film Preservation Honors award from Anthology Film Archives. Doros served three terms on the AMIA Board of Directors, and was the 2016 winner of AMIA’s William S. O’Farrell Volunteer Award in recognition of his contributions to the field. For more information, visit www.amianet.org.

LOS ANGELES (August 15, 2016) - The 38th edition of The Reel Thing, a three-day symposium addressing audio/visual restoration and archiving, will explore the constantly evolving ecosystem of film and digital restoration and preservation. This year's program will examine legacy film restorations and showcase modern technologies being used to futureproof collections and keep them viable for future display and distribution formats. The event will take place August 18-20 at the Academy's Linwood Dunn Theater in Hollywood. In addition to discussions with industry leaders, premiere screenings of several restored films are scheduled, including the original, uncensored version of John Huston's BEAT THE DEVIL; Marlon Brando's single directorial project ONE-EYED JACKS; and Robert Altman's MCCABE AND MRS. MILLER. Created and co-founded by Grover Crisp, executive vice president of asset management for Sony Pictures, and Michael Friend, director of digital archives and asset management at Sony Pictures, the event supports the programs and services of the Association of Moving Image Archivists (AMIA). "At The Reel Thing, our presenters continue to demonstrate the recovery of the achievements of the first century of cinema even as we assess the challenges presented by the first decades of digital moving image culture," says Friend. "Ever-more effective tools are being devised to address the mechanical and optical challenges of film restoration, and significant new technologies for the long-term preservation of digital data are rapidly evolving. At the center of this activity, technicians, archivists and the rest of the subjective human audience for cinema continue to examine, refine and redefine our understanding of the notion of preservation for both analog and digital moving image art." "It is an exciting time for the archival community as we address the changing technologies that help to preserve collections and our cultural heritage, whether it is film, audio, video or any flavor of digital you choose," notes Crisp. "Our audience is interested in the problems and potential solutions surrounding how we can cope with the issues we encounter in this still hybrid analog/digital landscape we find ourselves in." Presentations at The Reel Thing will feature expert-guided discussions on such topics as UHD/HDR, scanning, color correction, frame rate adjustment, color space and gamut. Case studies on the approach to preserving legacy films in higher quality standards and the processes applied will highlight several panels. Audio restoration will also be explored, looking at the latest technologies in sound. Speakers are expected to include: Michael Pogorzelski, Academy Film Archive; John Polito, Audio Mechanics; David Marriott, Lynette Duensing and Craig Rogers, Cinelicious; Lee Kline and Ryan Hullings, The Criterion Collection; Chris Reynolds, Deluxe Entertainment Services Group; Steve Kochak, Digital Preservation Laboratories, Inc; Wojtek Janio, Fixafilm; Andrew Oran, FotoKem; Gilles Barberis, L'Immagine Ritrovata; and Snowden Becker, UCLA, among others. For more information and to register for The Reel Thing, go to www.the-reel-thing.org. The symposium offers several registration options, as well as discounts for certain industry groups and students.