CONTRACTING FOR REFORMATING SERVICES

Prepared by: Alan F. Lewis Consultant in Audiovisual Archives 1829 Parkside Drive, NW Washington, DC 20012-2201 [t] 202-829-4664 [f] 202-829-4666 [e] [email protected]

© Alan F. Lewis 2007

1

THE AUTHOR – ALAN LEWIS Alan Lewis retired in 2005 as Audiovisual Preservation Expert in the Motion Picture, Sound and Video Branch of the U.S. National Archives and Records Administration (NARA). He joined NARA in 1991, late in his professional career, after 20 years in public television (WEDU-TV, Tampa, and PBS headquarters in Washington) and later directing the CBS News Film and Videotape Archives in New York. At NARA, his activities included purchasing products and services for housing machinebased AV archives collections, storing archival media, and reformatting these collections to preserve their contents. In this work he monitored the preservation status of the collections, developed priorities, identified product suppliers and services vendors, combined the needs of the collection’s custodians and NARA’s Preservation Division, developed Statements of Work (SOW), served on contract Technical Evaluation Committees (TEC) and as a Contracting Officer’s Representative (COR). His views on contracting are based on these activities in this large government agency but he believes that whether the archive is large or small, public or private, the principles and steps discussed below are relevant to all.

© Alan F. Lewis 2007

2

INTRODUCTION You and/or your department can’t do it all yourself. The all is the purchasing, leasing or contracting for all of the goods, services and technical support that are required for operating an audiovisual archives. Those needs might be divided into three groups: administrative, technical and preservation. Some of these various needs might be met by buying goods or services off-the-shelf but others, especially media reproduction services for rescuing content from obsolete formats, may require writing specifications and conducting formal processes because these are often out of the ordinary and/or above certain dollar thresholds that trigger very formal procedures. In all likelihood, administrative supplies and maintenance services for office equipment are off-the-shelf items that can be purchased through retail or wholesale providers. Some not-for-profit and educational institutions may have group purchase arrangements for quantity purchases at advantageous rates. Some may even maintain their own institutional supply rooms and maintenance technicians. It becomes incumbent on the AV archivist to find out about these in-house or in-institution resources and use them if possible. For example, the U.S. government’s General Services Administration (GSA) runs a very large supply and services operation and some state governments also have parallel operations. Universities may have their own central supply departments, and religious organizations and school systems often get substantial discounts from local retail establishments or the local branches of national companies. Technical equipment, services and supplies is that class of purchasing needs that involve the media handling and viewing equipment, storage furniture (shelving), etc. New equipment might be off-the-shelf, some may have to be purchased from used equipment sources to match obsolete formats, and some may have to be purchased by writing specifications to get special machines located or even manufactured to order. Preservation supplies and services cover a broad range of products and services including housings for AV media, collection relocation, temporary or permanent off-site storage, inspection and condition reporting of newly accessioned AV media, and probably the largest and most common, reformatting from archival media for access and/or preservation to more modern media or technologies. How formal your procedures are and what they’re called will be dependent on the size and nature of your own organization. Note that the terms purchasing, procurement and acquisition are often used somewhat interchangeably. The purpose of this instructional module is to touch on some basic activities of purchasing as they related to at least one of our frequent out-of-house contracted jobs, reproducing content from failing media and/or obsolete technologies. Attachment A to this module is a list of media laboratories that are known to, or who self-identify as, doing this type of work. Attachment B is a list of suppliers of products and nonreformatting services to archives and libraries that may also be useful to audiovisual

© Alan F. Lewis 2007

3

media archives. Attachment C is an actual “full blown” U.S. government procurement document used by the National Archives in the 1990s for the reproduction of motion picture film sound from obsolete Variable Area Push-Pull technology to new optical sound tracks.

THE PROCESS The staff of the Motion Picture, Sound and Video Branch of the National Archives had identified Class B Push-Pull sound tracks as a problem while using the picture and sound elements for film-to-video transfers for researchers and clients. NARA’s own in-house laboratory and local commercial laboratories used by NARA did not have the equipment to adequately play back this form of variable area, optical tracks. The material was important and a decision was made to seek an outside laboratory that was equipped and experienced to do this work. Thus a need was identified and it was assigned a relatively high priority for use of the funds that were available The goal was established to transfer their contents to variable area bilateral tracks for preservation of their contents. In terms of quality, affordability and the research done by the Image Permanence Institute on the long term stability of black-and-white emulsion film on polyester base dictated this to be the best and most affordable option available at that time. The concept of at that time recognized the reality that the driving force behind preservation reformatting has always been the rescue of content from media or technologies that had been developed for no-archival, commercial uses and thus do not have long term keeping as a part of their design considerations. Request for Bids. As will be seen by examining the government’s solicitation document, it is lengthy, detailed and bureaucratic, a document that potential vendors often find daunting. It contains 13 sections, designated Sections A through M. As an instructional tool, it merits reviewing page-by-page and extracting from it those portions that are required by and/or relevant to the “level of administration” in any particular institution. Further, it is important to understand the underlying principles involved in the process. Perhaps of even greater interest, it is relevant because some graduates of this Program may find themselves employed by laboratories that provide services to the archives field and could be on the “receiving end” of such a solicitation and have to deal with it! Tab A

Title Solicitation/Contract Form

Description/Comment This is a cover sheet containing a table of contents that also contains places for responders to the solicitation to include information. Its last section is the place where the Contracting Officer formally awards the contract to the successful vendor.

B

Supplies or Services

The work was envisioned as a five year project

© Alan F. Lewis 2007

4

and Prices/Costs

involving up to 200,000’ of 35mm film each year during that period. Hence, the price sheets provided a standard way for vendors to bid on the work and also allowed a means for them to project “cost-ofbusiness” increases over the period as they planned for rising costs of labor and supplies. The use of a standard pricing sheet requires all potential vendors to provide the same information in the same form so costs comparisons can be easily made.

C

Description/Specs/Work This is the key component, the Statement of Work Statement (SOW). It contains almost all the information that prospective vendors need to bid on the work. This is the place where the project is described in its fullest detail.

D

Packaging and Marking

This Section, only one page, is a mix of essential information having to do with packaging shipments and some kinds of project-related correspondence.

E

Inspection and Acceptance

This Section describes how the client will evaluate the quality of the work done.

F

Deliveries or Performance

This Section has to do with more of the details of security and shipping as well as some government contract boilerplate (standard language). The security and shipping aspects could have been included in Section C, Statement of Work.

G

Contract Administration This Section introduces the concept of a Contracting Data Officer’s Representative (COR), the successful vendor’s point of contact for technical matters, as well as more of the required government “administrivia.” The concept of a COR recognizes that in large institutions there needs to be someone familiar with the actual work to manage the day-by-day details of the contract and to ensure that the work is getting done satisfactorily. This relieves the Contracting Officer (CO) to handle the administrative details that are this individual’s area of expertise.

H

Special Contract Requirements

© Alan F. Lewis 2007

In the case of this solicitation, only Insurance Requirements were included in this Section. It can be

5

used as a catch-all for other odds and ends that may have to be added. I

Contract Clauses

This Section is nine pages of U.S. government boilerplate that is automatically added to all solicitations without action needed by the archive, the originator of the project.

J

List of Attachments

There are four Attachments with this solicitation: o J.1 is a form on which prospective vendors must describe their Past Performance in undertaking projects similar to this one. When doing a reference check, it provides a systemized means for you to get information from the vendor’s former clients. o J.2 is a Resume Format by which prospective vendors provide the qualifications of each person who it plans to assign to aspects of the project. o J.3 details your requirement on how you will require your original materials and the new ones made to be physically transported back and forth between your facility and the vendor’s laboratory. (This information could actually be part of another section of the solicitation.) o J.4 in the original solicitation this was the list of the film titles to be reproduced. It is not relevant to this instructional module and is not included with these materials.

K

Representations, Certifications and Other Statements of Offerrors

This Section contains 18 pages of boilerplate provisions most of which are referenced to the Federal Acquisition Regulations (FAR) and are not relevant to any institution other than a U.S. government agency. However, there are sections that may be useful in your planning and execution of a project so the Section is included.

L

Instructions, Conditions, and Notice to Offer

Section L is another 18-pager and is included with these materials despite the fact it is primarily U.S. government “boilerplate” having to do with process. However, there may be some relevant portions that

© Alan F. Lewis 2007

6

could be pulled out for your purposes. M

Evaluation Criteria [Factors] for Award

This Section contains vital procedural information on how to evaluate vendor responses.

(Note: You may wonder about references in the document to the Fleet and Industrial Supply Center (FISC) Norfolk. In the 1990s, NARA contracted with the U.S. Navy to do some of its purchasing (called acquisition) work. It is not an unusual practice for a government entity that has expertise and temporary surplus capacity to contract for work from another government agency. In this case, the U.S. Navy was a contractor working for the U.S. National Archives and Records Administration.)

How simple the purchasing process is will depend on the size and complexity of your organization. The process will be very different for a small historical society with a few multi-tasking staff members as opposed to a major institution like a university or government agency with many departments that have single activities, like a purchasing department that deals only with purchasing administration (but not the substance of the purchasing requirement itself). There may or may not be written policies to be followed, but whether there are or not, there are basic steps that should be followed at whatever level of complexity or formality that is mandated by your particular situation. A well thought out and administered purchasing activity should have as its goal the creation of a win-win situation in which the archive gets high quality goods or services at an advantageous price and the vendor delivers those goods or services at a fair price that covers its actual costs, its overhead and allows for a fair profit. If this happens, both parties complete the “piece of business” feeling satisfied. I have an attorney friend who has told me that, “The palest ink on paper is better than the most remarkable personal memory.” I don’t know whether he was quoting some legal scholar from years ago or made this up from his own practical observations, but the fact is that purchases of goods or services of any size, cost, substance or impact on archival work need to be documented. In short, “Get it in writing.” A major purchasing process, whether formal or informal, involves a series of steps that should be followed: Identify the need and its place in the department’s or the larger institution’s overall priorities. Justify the project to “higher authority,” secure funding and get the OK to proceed.

© Alan F. Lewis 2007

Purchases of goods and services need to support the purposes, activities and priorities of the archive. Assuming there is an annual work plan, does the proposed purchasing activity fit into the plan and the budget? After identifying the need, it is essential to get a “buy-in” at all levels before moving forward. “At all levels” suggests getting approval from the higher-ups in your chain of command and perhaps an agreement from lower echelon staff that the goods or services are needed and will be used.

7

Prepare a general statement describing the project.

In a few sentences, capture the essence of the need and how the archive wishes to have it met by outside sources. This is the first step in getting the work into tight focus. This general statement might be an outline for the more detailed project description that will have to be drafted as the first step in writing a Statement of Work (SOW) for a services contract or a product description for a hard goods contract.

Identify vendor sources.

For the most part, vendors of goods and services to the AV archives field become known through their corporate or personal involvement in archives activities and organizations, advertising in relevant publications or communications to the field via internet activities (websites, AMIA-L, etc.). However, perhaps the best means of identification is through your personal contacts with other archivists who are already doing business with them. From this source you can secure both identification and performance information about companies. While e-mails are fast, some of your professional contacts may be hesitant to share information in writing but would be willing to talk on the telephone. Vendors can be among your best professional friends because they will share useful professional information, etc., However, you must always remember that their interest in you and your activities may only be as long-lived as you have money to spend with them. Remember to keep an arms-length relationship with vendors. It’s the best relationship for you while you are representing the interests of your institution.

Develop a cost estimate.

Contracting officers and purchasing agents call this doing a market survey. The cost of many off-the-shelf goods and services are available from colleagues in the field, published catalogs, rate cards, websites or other relatively easy to come by information. In other cases, you may have to talk to potential vendors. In these cases, nothing you do or say should give that party any encouragement that it might be a favored bidder. At this stage, this is not a price negotiation, only a cost inquiry.

Plan the entire purchasing process.

Consider the time and staff labor that may be necessary to go through this purchasing process and get organized to do it. Consider how the vendor responses will be evaluated and who will do the work. Consider how the end product of the contract will be used in the operation of the archive.

© Alan F. Lewis 2007

8

Write the specifications as a Statement of Work (SOW).

This is the task where the “vague yearning” turns into a specific and detailed requirement. It may be the most difficult and time consuming task in a purchasing activity. On the following pages and in Attachment C you will find a complete section called “Statement of Work” that you can use as a guide.

Develop a standardized price sheet.

Because a part of the purchasing process should be to evaluate all potential vendors on the same basis, your solicitation process should develop a pricing sheet that all vendors are required to use. Unless you do so, there may be no way to accurately and objectively judge the actual costs to do the work because each vendor may price it differently. By developing your own cost sheet requirement, you further define the work and require it to be thought of on your terms, not the potential vendor’s.

Publish the solicitation.

Through whatever means are deemed practical, advertise that you are publishing a solicitation and require vendors to request it. This reduces costs by not sending out copies to parties that are not seriously interested. In addition, and because our field is relatively small, you should already have a list of known vendors at hand. Don’t be surprised to hear from potential vendors you didn’t know about. Some may be qualified, some not and some may be companies that seek contracts by evaluating the requirements and then put together a team of subcontractors that may be appropriate to do the work required. Beware of their seeming expertise and their costs!

Receive and manage the responses.

As a part of the purchasing process, vendor responses should be required to arrive in a reasonable length of time after you have published the solicitation and before a deadline date you have established. A deadline date is important to stimulate responses and also gives you a date after which you will not accept responses. Honor your deadline, make no exceptions.

Evaluate the responses.

Depending on the size of your institution and the complexity of its purchasing processes, evaluation and selection of a vendor may require dividing the task between those who look at technical matters, specifically the responses to the SOW, and those who look at the costs and the process by which the vendor arrived at those costs. In the Federal government, major projects are submitted by

© Alan F. Lewis 2007

9

vendors in two separate volumes, usually loose leaf binders. One deals with the technical matters and the other with costs and their justification. A Technical Evaluation Committee (TEC) reviews that part of the responses and a procurement-trained financial analyst looks at costs. The TEC rates and ranks its findings from the most to the least acceptable bidder and the financial person measures that against the costs proposed by each vendor in order to select the vendor that provides the best value (not necessarily the least expensive) proposal. In smaller institutions, both aspects of this work might actually be done by one person or a small group of people. Award the contract.

After going through the technical and financial evaluation steps, review and recap them in writing. Make the decision and in a timely fashion, notify the successful and unsuccessful bidders. How much you tell the unsuccessful bidders about why their bids were rejected is a matter of institutional policy. Be careful about this because if you are a public institution, unsuccessful bidders may have the right to challenge an award, stop you from commencing the work and generally make life difficult for all concerned. In short, to the job right, properly, above board, and document it.

Monitor the work.

You may wish to have test batches done initially (specify this in the SOW), and then do the project in batches of work to be accomplished, checked, accepted, paid for, and then a next batch sent. You may wish on-site inspections to observe the work process from time-to-time. Whatever the case, don’t let the project go too far before you ascertain that the work is going according to the contract.

Accept the work.

By whatever processes you’ve put into place, have a means to formally accept the goods or services either in stages or in their totality. Put it in writing.

Complete the transaction.

Upon acceptance of the work, get the vendor’s final invoice and get it paid. Some contracts may be written with a discount for prompt payment or, on the other hand, a penalty for late payments. Pay promptly, write up a final project report and close the file.

© Alan F. Lewis 2007

10

THE STATEMENT OF WORK (SOW) The SOW is the place for the archive to state the detailed requirements of the project. This is where the nuts and bolts are fully spelled out and it is against this yardstick that prospective vendor responses - and then the successful vendor’s performance - will be measured. No matter how informal your processes and procedures, a statement of work needs to be in place. Vendors may hate them because they seem bureaucratic and formal (they are) and may prefer less formal (and less stringent?) dealings, but because money and specific performance are involved, a handshake deal just isn’t enough! In the case of machine-based audiovisual recordings that are to be reformatted for preservation or access, the following elements should be included in the SOW. For other kinds of procurements, modifications of these elements will be needed. Write a goal statement.

The SOW should begin with a background statement about your institution and/or department as well as a general statement about the nature of the project. This will help you clarify in your own mind the goal(s) of the activity or project. This also gives vendors an opportunity to see “the big picture” and decided whether to proceed with responding to the solicitation.

Describe the “source documents.”

This describes the material to be sent to the vendor for reproduction. Typically, they would be the archival originals, preservation copies, best available copies, etc., of the content you are trying to preserve by reformatting. The details of types, amounts, numbers, formats, sizes, program lengths, known technical problems and all other relevant detail needs to be spelled out in this section so prospective vendors will have a full and complete understanding of what they will be working with. Be thorough, complete, and honest so responses to your solicitation will be based on the best possible information about the materials. The goal is to avoid unpleasant surprises. Unpleasant surprises result in more work required, additional and/or unbudgeted costs, and a breakdown of what should be a good and truthful relationship between you and your vendor.

In detail, describe the work to be done (“the deliverables”).

This is where you provide a full, complete and detailed description of the product or service you are seeking from the vendor. This is where you demonstrate to the prospective vendors that you know what you want and will settle for no less. If the project is a reformatting contract, the format, technology

© Alan F. Lewis 2007

11

and other related technical matters must be spelled out here. You may find that in advance of the project reaching this stage you’ve had to talk with many vendors in general terms in order to come to an understanding about the current state-of-the-art, what is physically and financially possible or practical, etc., etc. You can tap into their expertise but try not to telegraph too much interest to any particular vendor so that this vendor gets the sense that you’re already prejudiced for (or against) it. Define the “mechanics” of the project.

This is a place to lay out the administrative aspects of the project: the required beginning and ending dates, how you want the work to be batched or otherwise aggregated, periodic targets for the completion of portions of a large project, etc., etc.

Describe what else the archive will supply?

If you are a non-profit or government agency, you may be able to purchase and provide to the vendor raw recording media, packaging materials, pre-printed label stock, discounted shipping services, etc. This could be beneficial because if the vendor provides these things it will charge you the cost plus overhead plus some amount of profit. On the other hand, especially with raw recording stock, if there are quality problems with the project, it opens the door to disagreements. It could allow the vendor to blame the clientprovided items and not admit its own failure. Conventional wisdom is to let the vendor provide all the components of a project that could become problematic.

State a requirement for vendors to provide their corporate qualifications to do the work.

You should be interested in knowing about the prospective vendor’s corporate history, how long it has been in this business, how experienced are its managers, and for whom it has done similar work in the past.

State a requirement for vendors to provide the names and qualifications of the individuals who will be doing the work.

Ask for details about the education, experience, and qualifications of the individual staff members who will be doing your work. This should extend down to the receiving and shipping clerks who are the first and last employees who will have their hands on your materials.

© Alan F. Lewis 2007

12

State a requirement for information about the equipment to be used. How will quality assurance be conducted?

You should ask about the types of equipment to be used with your archival originals and how often and by whom that equipment is cleaned and maintained.

This is probably the most difficult single component of a reformatting contract. Side-by-side comparisons of the old and new media would be effective but all too often we do not have the ability to playback obsolete or technically problematic original recordings in-house so that we can see/hear them at the same time (or in sequence) with the newly made ones. Hence, we may have to rely on the vendor to do the high quality job that they are promising. Where standards exist for the proposed work (NIST, ISO, SMPTE, AES, etc.) it is important to know whether the vendor has them on the shelf, has read them, understands them and all personnel involved follow them. You will certainly want to know about the qualifications of the quality assurance person who is assigned to the project by the vendor and how the work will be done. An alternative approach to quality assurance is to contract with a second laboratory for side-by-side or sequential comparisons. However, this may not be a good solution because there is every reason for the second laboratory to denigrate the first laboratory’s work especially if it didn’t get the contract to begin with!

How are the new copies to be labeled?

Does your institution have a standard or are there industry standards for the contents of recording media labels? Are there specific font types or sizes that are preferred or required? Do you want the original (“archival”) recording date and the date the reformatting was done? Will you specify a permanent or removable adhesive? Are you insistent on an archival quality label stock and/or adhesive? How will content length be written, in general or specific terms? Do you use color codes? Do you have an institutional logo? Will you permit the vendor’s logo, name, address, etc. on your recording media labels?

How are the materials to be packaged?

How are the newly-made materials to be packaged in new primary containers and how are they to be amassed into larger containers (handling units) for shipment to your institution? Are the primary containers to be “archival?”

© Alan F. Lewis 2007

13

How are the materials to be shipped back and forth?

Probably the greatest danger your original materials will encounter is how they are handled when in transit from your facility to the laboratory and when they are returned. In-town laboratories may provide door-to-door service in their own vehicle (but only in the same environment as the driver and with no stops!) or in your own institution’s vehicle under the same controls. City-to-city shipping is much more problematic. Hence, careful packing by you and by the laboratory to prevent physical, thermal or moisture damage is vital. Even more care in protective packing is called for when one considers the shipping company’s trucks on both ends of the shipment, the flights or over-the-road trips in unheated aircraft or truck cargo compartments, and your material awaiting transfer from one travel mode to another in distribution centers. For city-to-city shipments, next day service should be used with pick-ups on Mondays through Thursdays with guaranteed deliveries on Tuesdays through Fridays. Thus there should be no over-the-weekend delays with archival media sitting in distribution warehouses. Be especially careful about three day holiday weekends and periods when extreme weather is anticipated.

How secure will the originals be?

This is a vital element that potential vendors should respond to in detail. You don’t want the careful and secure handling and storage of your original media to be any less in a vendor’s facility than what you provide in your own. All the concerns you have for the physical (fire, water, collapse, etc.) and intellectual protection (duplication, etc.) for your original materials should also be present in your vendor’s facilities and operations.

What kind of documentation and reports do you required?

You may require a number of types of reports on your project. The first, something that should be a part of the vendor’s initial response to the SOW, should be a treatment plan stating what they intent to do to your archival materials, how they will be handled and stored, whether they will be exposed to cleaning processes and how, etc., etc. This is an audiovisual adaptation of a conservator’s treatment plan. A second type of report, suggested to be on an item-by-item basis, would be a report on the appearance and condition of each item as it arrives in the laboratory for work and what is

© Alan F. Lewis 2007

14

done to the item as it passes through the vendor’s various processes. If the project will take an extended period of time, you may wish to require periodic progress reports on quantities of work completed, problems encountered, etc. etc. This type of report could be linked to periodic billing for portions of the work as they are completed in larger projects. Will you require a site inspection of the vendor’s facility as a part of your evaluation process?

There is much to be gained by making a site visit to a laboratory to which an archive is going to send its valuable, irreplaceable archival originals. The people and their qualifications, the physical location and the internal operations are all relevant to assuring the safety of your archival originals and the copies that will be made from them. Seeing the place, talking to the people, and following the path that your material will follow is very important.

Require the vendor to provide references to customers for whom it has done similar work in the past.

References are always an “iffy” proposition because a vendor isn’t likely to give you names of unsatisfied customers. However, you can ask those references for the names of other customers of the vendor that they may be aware of. In advance of talking to references, prepare a set of brief but targeted questions and use the same list of questions with all references so there’s a commonality to all the responses. The reference list provided by the vendor should include names, telephone numbers, e-mail addresses, the approximate dates of the services rendered and the nature of those services.

EVALUATING VENDOR RESPONSES A checklist may be the best way to guide yourself through evaluating potential vendors’ proposals: X

Description If you required prospective vendors to submit separate technical and financial responses, has the vendor done so? If not, you probably should reject the response completely because the vendor could not follow the simplest administrative instruction.

© Alan F. Lewis 2007

15

On first reading, or even from the cover letter, does the prospective vendor seem to understand what your needs are? On a point-by-point basis then, does the response meet every requirement stated in the SOW? Does the response “give you more” than simply saying, “Yes, we will do that.” It is surprising that some vendors may simply repeat general information from a brochure or website and not address your specific requirements. If you are reviewing both the ability to perform the work and the costs, is the pricing done in the form you required? Are costs “in the ballpark” with your market survey? If not, are they justified by some factor you did not anticipate in writing the SOW? Based on the SOW, has the vendor substantiated the claim that it can do the work? How long has the vendor been in business and in managing and doing this specific kind of work? The intent here is to try to weed out business firms who might respond to SOWs with some seeming degree of authority but actually have sought out subcontractors to assist in writing the response to the solicitation and who will then farm out the work if they become the successful bidder, a prime contractor. Prime and subcontractors are likely to drive costs up (multiple overheads and profits), confuses lines of authority and thereby loosening command, control, and accountability. What is the experience of the individuals who will actually be doing the work, the people who will be handling the irreplaceable archival materials all the way from the vendor’s receiving room, storage vault, technical center, quality control station, labeling, packing and return shipping. What type of equipment and/or processes, materials, and chemicals are used to prepare the originals for playback? Are they acceptable? What type of equipment will be used to playback the originals and, if relevant, to process the output signal. What is the maintenance schedule for the equipment that will run the archival originals? Are all these acceptable? Does the vendor offer anything over and above the stated requirements that adds value to its offering? It might be an acceptable idea for the Statement of Work to allow for prospective vendors to offer such added value items but beware, they may compromise the ability of your own institution’s evaluating process to objectively compare them to other responses that may or may not offer what is beyond the requirements of the SOW.

© Alan F. Lewis 2007

16

Has the vendor done the same or similar work for other clients? Who were they and may you contact them? For some services where longevity of a service or product is a factor, talking to clients from past years may be more relevant than more recent clients. Take references “with a grain of salt.” How valuable and trustworthy are they since they were provided by the prospective vendor? Nonetheless, what do those references say about the customer service, quality and timeliness of the vendor’s work, etc.? When interviewing a reference, ask whether they know of other clients that the vendor has done similar work for. Contact these “secondary references” and find out what their experience was with the vendor. How will the vendor substantiate the quality of its work and that its work will meet the appropriate industry standards as referenced in the SOW? If a site visit was conducted, are you satisfied with the facility, its people and equipment? Are there any risks to your original media by adjacencies to the vendor’s facilities? Will the vendor meet your requirements for reports, financial arrangements, and payment schedules? Does the vendor require initial start-up money, accept payments periodically during the period of performance, and not expect final payment until your final acceptance of the work or products? In the final analysis, after considering the technical merits of the responses to the solicitation and measuring them against the costs proposed by the various competing vendors, the choice comes down to selecting the vendor that provides the best value for the money. Note that best value ought to be the determining factor, not lowest bid. The concept of best value suggests that there is more to the purchasing of goods and services than just the lowest bid unless the lowest bidder delivers the same or better quality and service than another bidder. Be aware that large institutions with their formal purchasing processes will require that the selection of a bidder other than the lowest bidder will require full written justification. If the selection process has been done properly and each step is justified and documented, this should not be a problem.

© Alan F. Lewis 2007

17

ETHICS The purpose of this section is to discuss the subject as it is applied to the conduct of persons and processes used in purchasing goods and services in audiovisual archives. The subject of ethics as applied to the operations of archives and archival records in general might be found in other publications available in the literature of the heritage preservation field. In our audiovisual reformatting context, we need to be aware of three aspects of ethical conduct: •

The conduct of the archivist and/or all persons involved in representing the archival institution in the process.

•

The conduct of the archival institution itself in order to ensure the equal treatment of all prospective vendors.

•

The conduct of prospective vendors and the vendor that is selected to do the job.

Personal conduct. Hardly a week goes by without the national or local press reporting someone’s malfeasance in office. In recent months there have been stories about corporate officers found guilty of looting their companies or providing false or misleading information to investment regulators or tax entities; government officials misusing public funds for personal travel, goods or services; law enforcement officers trafficking in drugs, stolen goods, and unregistered firearms; legislators accepting money, travel, tickets to sporting events or other valuable things in order to influence legislation; purchasing officials accepting bribes to steer contracts to specific vendors; or former government officials retiring to take very lucrative positions with companies they used to do business with or regulate. All have violated laws, statutes or regulations and all have violated what are generally considered standards of ethical behavior in our society. Our job as people involved in contracting activities is to act as an ethical representative of our company, institution or government agency and to conduct ourselves in a way to avoid any fact or any appearance of impropriety. A generally accepted term is that contract managers should establish and maintain an arm’s length relationship with all their vendors. This requires not asking for or accepting favors, gifts or “other courtesies” as might be offered by current or prospective vendors. This may seem rude to a vendor who routinely picks up meal checks or sends holiday or birthday gifts. This raises two interesting questions: Should you even go to lunch with a vendor and should a vendor even know your birth date? All of this is in marked contrast to what sales people are taught: to establish a relationship with a client/customer. Relationships are OK … but keep them distant! Institutional conduct. Your archive, like its people, must have processes and procedures to ensure that as a corporate entity it acts properly by providing a fair and

© Alan F. Lewis 2007

18

level playing field for all prospective vendors, showing no favoritism and giving no advantage to any one over another. A component of proper institutional conduct is to follow the concept of full and open competition. Simply stated, this means opening the field for the purchase of goods and services as broadly as possible in order to have the widest selection of qualified providers. This is both to provide your institution with the widest range of choices – and presumably the best quality and prices – and to ensure that the purchasing process and the people involved in it are as free from favoritism and conflicts of interest. The opposite of full and open competition is the idea of sole source purchasing. A sole source situation arises when, after due diligence on your part, you can find only one qualified vendor to bid on providing a product or service to your archive. Sole source purchasing is fraught with potential problems because there is no competition to ensure that pricing is fair and appropriate and thus it puts the institution at the mercy of that single provider to deliver a quality service at a fair price. In cases where a decision is made to buy from a sole source, the action should be fully documented, justified in writing, and approved by a higher authority in the institution in order to protect the archivist. It is likely that prospective vendors may ask questions about the solicitation in general or the project in particular and the institution must have in place a means of answering those questions. Simple process questions might be answered individually, but questions dealing with the substance of the Solicitation or the Statement of Work portion of it should be answered to all the vendors who are reviewing the request for bids. This ensures that there is a level playing field but it does mean that a useful question is asked and answered that other vendors have not thought of. Vendor Conduct. The archive or the parent institution must make it clear to prospective vendors that it offers free and open competition to all qualified vendors who meet its requirements for business stability, experience in the field and the competence to do the required work in the time required. Vendors should not seek favors or exceptions or offer enticements in the form of goods, services, monetary rewards or anything that constitutes the appearance or the fact of a bribe.

IN SUMMARY The steps and processes outlined above are detailed and are admittedly bureaucratic. How many of them and to what depth they are practiced will vary from institution-toinstitution but they will dictate how successful you are in getting best value for the money you have available. Your task is to decide on the need for work to be done, to make the right choices in getting it done, to use hard-to-come-by resources effectively, to conduct yourself ethically, and to ensure your institution’s good reputation is maintained throughout the purchasing process.

© Alan F. Lewis 2007

19

ATTACHMENTS Attachment A: A Statement of Work used by the U.S. National Archives and Records Administration in the 1990s for a reformatting project involving 35mm obsolete film soundtracks. It is offered here as an example that can be used to formulate an archive’s or a parent institution’s own procedures. Attachment B: A multi-page list of motion media, audio and still photography laboratories known to the author to involve themselves in archival work. Attachment C: A multi-page list of suppliers of products, publications and information to the field of machine-based AV preservation.

© Alan F. Lewis 2007

20

NORTH AMERICAN “ARCHIVAL” FILM, VIDEO, AUDIO & PHOTO LABORATORIES (Updated 11/26/07) Compiled by Alan Lewis [t] 202-829-4664 [f] 202-829-4666 [e] [email protected] This is a list of various AV media labs that either advertise themselves as having had or are known to have had - experience in working with archives or on archival AV media projects. Some motion picture film labs also provide video services and some video labs provide film services. Some of the motion media laboratories that provide film sound track services also work with audio-only formats. A few of the film and video labs are licensed to handle nitrate film. An increasing number of “traditional” film and video labs also provide digitization services and “out-to-film” services. Some also digitize audio and still images so the divisions in this list of Film & Video Labs, Audio Labs, and Still Image Labs is now somewhat artificial. The list is not an endorsement of the companies by the compiler or by any professional association or organization. It was updated as of the date above. Many of the labs provide services beyond the very brief descriptions provided below. Users of this list are invited to forward to the compiler the names and addresses of other labs they know who are active in the media preservation field. Archives are encouraged to carefully and fully describe their projects and submit their requirements to a number of labs to get more than one professional opinion and more than one cost estimate. Budgeting should include not only the technical services required (and those must be specified in detail) but also include the cost of shipping the materials back and forth between the archive and lab, the raw stock to be used and the kind of packaging and labeling required for the finished product.

SECTION I - FILM AND VIDEO LABORATORIES:

San Francisco, CA 94131-1621 [t] 415-821-3359 [f] 415-821-7500 [e] [email protected]

A-1 Film Lab 333 West 39th St. New York, NY 10018 [t] 212-239-9530 [f] 212-239-9536 [w] www.A1filmlab.com

Ascent Media 2901 West Alameda Avenue Burbank, CA 91505 [t] 818-840-7311 [w] www.ascentmedia.com (film, video and digital services)

Adams Film-Video Ltd. 1581 Bank St. Ottawa, Ontario [t] 613-731-6416 [f] 613-731-6418 (film-to-video, including 8mm).

Atlantic Video, Inc. 650 Massachusetts Avenue, NW Washington, DC 20001 [t] 202-408-0900 [f] 202-408-8496

Antique Video Transfer 5001 Diamond Heights Boulevard

© Alan F. Lewis 2007

Audio Mechanics 1200 W. Magnolia Blvd.

21

Burbank, CA 91506 [t] 818-846-5525 [w] audiomechanics.com (film sound track work)

Attn: Toni Treadway or Bob Brodsky (small gauge film-to-video transfers; information)

Audiovisual Preservation Solutions 426 Sterling Place – Suite 1A Brooklyn, NY 11238 [t] 917-548-8632 [e] [email protected] [w] www.avpreserve.com (various consulting services)

CBS Videotape Annex Television City 7800 Beverly Boulevard Los Angeles, CA 90036 [t] 213-852-2341 [f] 213-655-5023 Attn: Carl Maurizi (obsolete and current videotape transfer services)

Bay Area Video Coalition 2727 Mariposa Street – 2nd Floor San Francisco, CA 94110 [t] 415-861-3282 [f] 415-861-4316 Attn: Joanna Goldfarb, Preservation Mgr. [w] www.bavc.org (videotape reformatting)

Chace Productions, Inc. 201 South Victory Blvd. Burbank, CA 91502-2349 [t] 818-842-8346 & 800-842-8346 [f] 818-842-8353 Attn: Robert J. Heiber, President [e] [email protected] (film sound track work)

BB Optics 108 Franklin St. #4A New York, NY 10013-2952 [t] 212-966-6253 [w] www.bboptics.com Attn: Bill Brand (blow-ups from R8 & S8 to 16mm)

Chicago Audio Works, Inc. nd 676 N. LaSalle Drive – 2 floor Chicago, IL 60603 [t] 312-337-8282 [f] 312-337-8292 [e] [email protected] Attn: Scott D. Smith (audio and film sound preservation services)

Bluwave Audio Universal Operations Group 100 Universal City Plaza Universal City, CA 91608 [t] 818-777-0169 or 800-892-1979 [e] [email protected] [w] www.universalstudios.com Attn: Tom Regal, Manager Bono Film and Video Services 3200 Lee Highway Arlington, VA 22207 [t] 703-243-0800 [f] 703-243-6638 [w] www.bonofilm.com Attn: Tim Bono (full service film and video lab; film-totape transfers) Brodsky and Treadway 69 Warehouse Lane (P.O. Box 335) Rowley, MA 01969 [t] 978-948-7985 [f]978-948-3308 [e] [email protected] [w] www.littlefilm.org

© Alan F. Lewis 2007

C.W. Churchman Television 761 Germantown Pike Lafayette Hill, PA 19444 [t] 215-836-7649 [f] 215-836-7028 [w] telecineservice.com (film-to-video and video-to-video transfer services) Cinema Arts, Inc. The Art Building, Huckleberry Hill Angels, PA 18445 [t] 570-676-4145 [f] 570-676-9194 [e] [email protected] Attn: Janice Allen (full service film lab) Cinema Lab Motion Picture Laboratory 2735 South Raritan St. Englewood, CO 80110-1101 [t] 303-783-1020 [f] 303-806-0555 [e] robert@the cinemalab.com Attn: Robert David

22

Cineric, Inc. 630 Ninth Avenue, #508 New York, NY 10036 [t] 212-586-4822 [f] 212-582-3744 [e] [email protected] Attn: Balazs Nyari [w] http://www.cineric.com (full service film lab) CineTech 27200 Tourney Rd. - Suite 100 Valencia, CA 91355-4990 [t] 661-222-9000 [f] 661-253-3637 [w] www.cinetech.com Attn: Tom Tisch [t] 847-494-2301 (full service film lab & digital lab)

(film and video digitizing services) DC Video 177 West Magnolia Blvd Burbank, CA 91502 [t] 818-563-1073 [f] 818-563-1177 Attn: David Crosthwait

[e] [email protected] [obsolete video transfer services]

Digital Pickle 1169 Howard Street – Suite 203 San Francisco, CA 94103

Colorlab Laboratory and Telecine Services 5708 Arundel Avenue Rockville, MD 20852 [t] 301-770-2128 [f] 301-816-0798 also th 27 West 20 St. - #307 New York, NY 10011 [t] 212-633-8172 [f] 212-633-8241 [w] www.colorlab.com Attn: Russ Suniewick (full service film & video lab; small gauge film services)

[t] 415-861-4565 or 866-313-8386 [f] 415-651-9724 [w] www.digitalpickle.com [e] [email protected] (digitization from film, video, stills)

Consolidated Film Industries (CFI) (now owned by Technicolor) Crawford Communications, Inc. 3845 Pleasantdale Road Atlanta, GA 30340 [t] 800-831-8027 [w] www.crawford.com (video services, HD, film-to-tape transfers) Dayton Digital Filmworks 309 Hacker Road Dayton, OH 45415 [t] 937-454-1317 [f] 937-454-5555 Attn: Frank Wylie [e] [email protected]

© Alan F. Lewis 2007

DTS Digital Images [t] 818-557-7333 [e] [email protected] [w] www.dts.com (film restoration services)

DuArt Film Laboratories

23

245 W. 55th St. New York, NY 10019 [t] 212-757-4580 or 800-523-8278 [f] 212-333-7647 [w] www.duart.com (full service film lab) Dwayne’s Photo 415 S. 32nd Street Parsons, KS 67357 [t] 800-522-3940 & 620-421-3940 [w] www.K14movies.com Eight Millimter (8mm) Film Center see Brodsky & Treadway Exclusive Film & Video Services 101F1 Niagra St. Toronto, Ontario CANADA M5V 1C3 [t] 416-598-2700 [f] 416-598-0766 (film & video services) Film and Video Transfers, Inc. 8523 Reseda Blvd. Northridge, CA 91324 [t] 818-885-6501 or 800-350-6502 [f] 818-885-1914 [w] www.thetransferstation.com [e] [email protected] (film-to-video [incl. R8 & S8] & video-tovideo [incl. Betamax]; also transfer to and from PAL) Film Rescue International PO Box 44 or 255 Main Street Fortuna, North Dakota 58844-0044 [t] 306-695-2300 or 800-329-8988 [w] http://www.filmrescue.com (processes and prints old b/w & color still and motion picture film stocks) Film Technology Company Inc 726 North Cole Avenue Los Angeles, CA 90038 [t] 213-464-3456 [f] 213-464-7439 [e] [email protected] [w] www.filmtech.com Attn: Alan Stark (full service film and video lab) Film & Video Services 2620 Central Avenue, N.E. Minneapolis, MN 55418 [t] 612-789-8622 & 612-782-8554 Attn: Gary Rasmusson FotoKem Film and Video

© Alan F. Lewis 2007

2801 West Alameda Ave. Burbank, CA 91505 [t] 818-846-3101 [f] 818-845-5831 Attn: Jim Hannafin & Peter Eaves [e] [email protected] & [email protected] [w] www.fotokem.com (full service film & video lab) Four Media Company 2813 W. Alameda Ave. Burbank, CA 91505 [t] 818-840-7000 (full service film lab) Fuji Film (Arizona) 1-800-224-5227 (reportedly processes 8mm Kodak and Fuji film.) Great Lakes Video Service Inc. 1320 Front Avenue, NW; Grand Rapids, MI 49504 [t] 616-454-2002 or 800-987-5491 [w] greatlakesvideo.com (film, video & audio services) Haghefilm Conservation Willem Fenengastraat 39 Amsterdam, 1096 BM The Netherlands [t] +020-5685461 [f] +020-5685462 [e] [email protected] [w] www.haghefilm.nl Henninger Media Services 2601 Wilson Boulevard Arlington, VA 22201 [t] 703-243-3444 or 888-243-3444 [f] 703-243-5697 [w] www.henninger.com (full service video lab; film-to-video transfers) HFC Rejuvenation Hollywood Film Company 10909 Tuxford St. Sun Valley, CA 91352 [t] 818-252-6777 [f] 818-252-6770 [e] [email protected]

High Sierra Productions

24

7220 40th Street, NW Gig Harbor, WA 98335 [t] 253-265-6802 (film to video xfrs including 9.5 & 28mm) I-Cubed 401 E. Illinois, Suite 330 Chicago, IL 60611 [t] 312-645-0303 [f] 312-645-0373 [w] www.i-cubed-fx.com [e] [email protected] Attn: Michel Dawson (film restoration, digitization) Interface Media Group 1233 20th Street NW Washington, DC 20036 [t] 202-461-0500 [f] 202-296-4492 [(film service video lab; film-to-video lab) Interformat (see Monaco Digital Film Labs) International Center for 8mm Film 69 Warehouse Lane / P.O. Box 335 Rowley, MA 01969-0735 [t] 978-948-7985 [f] 978-948-3308 [e] treadway@littlefilm. org [w] www.littlefilm.org (film-to-video transfers, technical information) ITI Image Treasury (now part of Deluxe Labs) John E. Allen, Inc, P.O. Box 452 New Foundland, PA 18445 [t] 201-391-3299 [f] 201-391-6335 (full service film lab, stock footage) Kodak Premium Processing Qualex Corporation 16-31 Route 208 Fair Lawn, NJ 07410 (R8, S8 & 16mm film processing) Media Archive Systems, LLC 16540 Willow Glen Dr. Odessa, FL 33556 [t] 888-792-9098 or 813-792-9098 [w] www.notape.biz (tapeless archive services)

Media Matters, LLC

© Alan F. Lewis 2007

450 West 31st St. New York, NY 10001 [e] info media-mmatters.net [w] www.media-matters.net [t] 212-268-5528 Attn: Jim Lindner (consulting, SAMMA tape transfer device) The Media Preserve Preservation Technologies, L.P> 111 Thomson Park Drive Cranberry Township, PA 16066 [t] 800-416-2665 or 724-779-2111 [w] www.themediapreserve.com (audio & video reformatting & digitization) MediaRecall 1 Northfield Plaza Northfield, IL 60093 [t] 847-947-3120 [f] 847-881-0703 [w] www.mediarecall.com [e] [email protected] Attn: Scott Wallin (digitization services) Metropolis Film Labs 115 West 30th Street, Suite #302 New York, NY 10008 [t &f] 212 563 9388 [f] 212-563-9390 [w] metropolitanfilmlab.com [e] [email protected] (film-to-video transfers and related services) Monaco Digital Film Labs 234 Ninth Street San Francisco, CA 94103 [t] 415-864-5350 [f] 415-864-5682 [w] www.monacosf.com Attn: Rob Monaco (full service film and video lab) NT Audio 1833 Centinela Ave. Santa Monica CA 90404 [t] 310-828-1098 [f] 310-828-9737 [w] www.ntaudio.com Attn: Karen Kalish, Edel Adam, or Jon Seifert (film sound track work) NT Picture & Sound 1400 Cahuenga Blvd. Hollywood, CA 90028 [t] 323-957-4200 [f] 323-957-4212

25

(film-to-tape transfers)

(full service video lab)

On-Site Video 201 E. Southern Avenue - #112 Tempe, AZ 85282 [t] 480-967-5062 [f] 480-967-4806 [w] www.on-sitevideo.com (film to video transfers, etc.)

Rocky Mountain Film Laboratory 560 Geneva Street Aurora, CO 80010 [t] 303-399-6444 [w] rockymountainfilm.com [e] [email protected] Attn: Steve Dock (processes and prints old still and mopix film stocks)

Pac Lab 37 East 1st Street New York, NY 10003 [t] 212-505-7797 [f] 212-475-6211 [e] [email protected] [w] www.pac-lab.com (film processing) Plattsburgh Photographic Services 18 Elm Street Plattsburgh, NY 12901-1827 [t] 518-561-6312 [e] [email protected] Attn: Martin Baumgarten (film processing) Post Modern Company 2734 Walnut Street Denver, CO 80205 [t] 303-539-7001 [f] 303-539-7002 [w] www.postmodernco.com Attn: David Emrich) (audio restoration from media including mopix) Prep Film Service 21940 Cumberland Northville, MN 48167 [t] 800-793-3456 [w] www.prepfilm.com (film transfers) Pro8mm by Superb Sound 2805 West Magnolia Blvd. Burbank., CA 91505 [t] 818-848-5522 [f] 818-848-5956 Attn: Philip Vigeant [e] [email protected] [w] www.pro8mm.com (film-to-video transfers; film sound track work) RGB Video Services 7948 Oxford Avenue, Suite 102 Philadelphia, PA 19111 [t] 215-464-3158 Attn: Joe Pagano

© Alan F. Lewis 2007

SabuCat Productions PO Box 902875 Palmdale, CA 93590 Attn: Jeff Joseph [t] 800-538-7228 or 661-538-9395 [f] 661-538-1745 [e] (date code chart, film trailers) Scene Savers (Division of PPS Group) 602 Main Street, Suite 900 Cincinnati,OH 45202 [t] 800-978-3445 & 513-621-6677 [f] 513-421-6141 [w] www.theppsgroup.com Attn: John Walko, Technical Sales Mgr. [e] [email protected] (media transfers, digitizing) Silver Spring Studios 801 Wayne Avenue – Suite 200 Silver Spring, MD 20910 Attn: Debi Brent, Director of Production [t] 301-608-2511 [f] 301-608-0525 (video-to-video transfers) Sony Media Services 4275 W. Main Street Dothan, AL 36305 [t] 866-347-7669 or 334-793-7655 ext. 3100 [w] www.sonymediaservices.com (audio & videotape recovery services; film-to-video transfers) SPECS Bros. Video Services P.O. Box 195 Lodi, NJ 07644 [t] 800-852-7732 or 973-777-5055 [f] 973-777-5065 [e] [email protected] Attn: Peter Brothers (magnetic media cleaning & restoration, media transfers)

26

Standby Program, The 135 West 26th Street, 12th Floor New York, Ny 10001-6833 [t] 212-206-7858 [w] www.standby.org [e] [email protected] (audio & video preservation services) Summit Film Lab & Media Services (Closed) Technicolor Creative Services 1631 Gardena Ave. Glendate, CA 91204 [t] 818-500-9090 [f] 818-500-4099 [e] Jordan.jacobs@thomsonnnet [e] www.technicolor.com (media transfer services) Triage Motion Picture Services 516 N. Larchmont Blvd. Los Angeles, CA 90004 [t] 323-962-7420 [f] 323-962-7423 Attn: Tony Munroe; Paul Rutan, Jr. [e] [email protected] [w] www.triage.to/home.htm Video Interchange 92 George Luce Rd Waldoboro, ME 04572 [t] 207.832.5064 [w] http://www.videointerchange.com/ (audio & video services) Video Post and Transfer 2727 Inwood Road Dallas, TX 75235 [t] 214-350-2676 [f] 214-352-1427. [w] www.videopost.com VidiPax LLC Long Island Business Center th 30-00 47 Avenue – Suite 600 Long Island City, NY 11101 [t] 800-653-8434 or 718-482-7111 [f] 718-482-1370 [e] [email protected] [w] www.vidipax.com (magnetic media services; film-to-tape transfers)

© Alan F. Lewis 2007

Vtape 401 Richmond Street West, Suite 452 Toronto, Ontario M5V 3A8 [t] 416-351-1317 http://www.vtape.org (videotape transfer, incl. obsolete formats) Attn: Kim Tomczak Western Cine Movie Laboratory (Closed) See: Cinema Lab Motion Picture Lab Jim Wheeler 1732 Tierra Nueva Lane Oceano, CA 93445 [t] 805-489-8737 [f] 805-489-8747 [e] [email protected] (videotape consulting & restoration) WRS Film Laboratory (Closed) Xepa Digital 1137 Branchton Road (19-N-3) Boyers, PA 16020-0137 Attn: Edwin Outwater [t] 724-794-3686 [f] 724-794-3292 [[w] www.xepadigital.com [(video transfer work) Yale Film & Video 3906 West Burbank Blvd. Burbank, CA 91505 [t] 818-558-3456 or 800-955-9253 [e] [email protected] film processing [incl. R8 & S8]; sells R8 stock, video services) YCM Labs 3140 Claybourne Ave. Burbank, CA 91505 [t] 818-843-5300 [f] 818-842-7006 Attn: Richard Dayton (full service film lab)

27

SECTION II - AUDIO LABORATORIES: Airshow Mastering 3063 Sterling Circle – Suite 3 Boulder, CO 80301 [t] 303-247-9035 or 888-545-9035 [f] 303-247-9037 [w] airshowmastering.com Attn: Ann Blonston, [e] [email protected] (also has a studio in Springfield, VA)

Chace Productions, Inc. 201 South Victory Blvd. Burbank, CA 91502-2349 [t] 818-842-8346 or 800-842-8346 [f] 818-842-8353 [w] www.chace.com Attn: Robert Heiber, Pres. [e] [email protected] (film sound and audio lab)

Allegro Data Systems 3416 Munstead Trail Frisco, TX 75037 [t] 214-923-9463 [w] www.allegrodatasystems.com Attn: Alan Brunton

Cutting Corporation, The 4940 Hampden Lane - Suite 300 Bethesda, MD 20814 [t] 301-654-2887 [f] 301-654-3271 [e] [email protected]

Audio-Restorations.com 5779 Desoto Ct. [t] 860-326-3693 Santa Rosa, CA 95409 [t] 707-539-2872 [f] 707-539-6001 [e] [email protected] [w] www.audio-restorations.com Avocado Productions 8931 West 65th Avenue Arvada, CO 80004 [t] 800-246-3811 or 303-456-5706 [w] avocadoproductions.com Attn: Angie Dickinson (magnetic wire & tape transfers) Bay Area Video Coalition Audio & Video Preservation 2727 Mariposa St., 2nd Floor San Francisco, CA 94110 [t] 415-861-3282 [f] 415-861-4316 [w] www.bavac.com Belfer Audio Laboratory and Archive Syracuse University Library 222 Waverly Avenue Syracuse, NY 13244-2010 [t] 315-443-2093

RA Friedman Archival Audio P.O. Box 30066 Philadelphia, PA 19103 [t] 215-875-9892 Richard L. Hess Aurora, Ontario CANADA (formerly in Glendale, CA) [t] 877-827-3349 (1-877-TAPE-FIX (US and Canada toll free) [e] [email protected] & [email protected] [w] www.richardhess.com Master Digital Corp. Covington, LA Attn: Parker Dinkins [w] masterdigital.com Graham Newton Audio Restoration by Graham Newton PO Box 672 Don Mills, Ontario M3C2T6 CANADA [t] 416-444-3444 [w] www.audio-restoration.com NT Audio 1833 Centinela Ave. Santa Monica CA 90404 [t] 310-828-1098 [f] 310-828-9737 [w] www.ntaudio.com Attn: Karen Kalish, Edel Adam, or Jon Seifert National Public Radio Audio Engineering Division

© Alan F. Lewis 2007

28

635 Massachusetts Avenue, N.W. Washington, DC 20001 [t] 202-414-2000 Pavek Museum of Broadcasting Attn: Steve Raymer 3515 Raleigh Avenue St. Louis Park, MN 55416 [t] 952-926-8198 [f] 952-929-6105 (audio transfer services) Doug Pomeroy 193 Baltic Street Cobble Hill, Brooklyn, NY 11201-6173 [t] 718-855-2650 [e] [email protected] Safe Sound Archive & George Blood Audio 21 West Highland Avenue Philadelphia, PA 19118-3309 [t] 215-248-2100 [f] 215-242-2177 [e] [email protected] Attn: George Blood Shifrin, Art nd 73-42 192 St. Fresh Meadows, NY 11366 [t] 718 464-7076 [e] [email protected] [w] www.shifirin.net Smolian Sound Studios 1 Worman’s Mill Court - #4 Frederick, MD 21701 [t] 301-694-5134 [f] 301-694-5179 [w] www.soundsaver.com

[t] 800-852-7732 or 973-777-5055 [f] 973-777-5065 [e] [email protected] Attn: Peter Brothers (emergency services, mag media cleaning & restoration, transfers) Strauss, Konrad, Director of Recording Arts & Associate Professor of Music Indiana University School of Music http://php.indiana.edu/~kstrauss http://www.music.indiana VidiPax LLC Long Island Business Center 30-00 47th Avenue – Suite 600 Long Island City, NY 11101 [t] 800-653-8434 or 718-482-7111 [f] 718-482-1370 [e] [email protected] [w] www.vidipax.com (magnetic media services; film-to-tape transfers) Worldwide Music Network P.O. Box 1776 Maple Grove, MN 55311 [t] 763-494-9222 [w] www.worldwidemusicnetwork.com [e] [email protected] Xepa Digital 1137 Branchton Road (19-N-3) Boyers, PA 16020-0137 Attn: Edwin Outwater [t] 724-794-3686 [f] 724-794-3292 [[w] www.xepadigital.com

Seth B. Winner Sound Studios, Inc. 2055 Whalen Avenue Merrick, NY 11566-5320 [t&f] 516-771-0028 [e] [email protected] Sony Media Services 4275 W. Main Street Dothan, AL 36305 [t] 866-347-7669 or 334-793-7655 ext. 3100 [w] www.sonymediaservices.com (audio & videotape recovery services; film-to-video transfers) SPECS Bros. Services P.O. Box 195 Lodi, NJ 07644

© Alan F. Lewis 2007

29

SECTION III - PHOTOGRAPHIC LABORATORIES: Visual Image Presentations Chicago Albumen Works (Div. of National Air Survey Center Corp.) 174 Front Street 10010 Renfrew Rpad P.O. Box 805 Silver Spring, MD 20901 Housatonic, MA 01236 [t] 301-920-0641 [t] 413-274-6901 [f] 413-274-6934 [f] 301-920-0933 [w] www.albumenworks.com [w] www.nascc.com (still and aerial photography and (still photo restoration) services) Conservation Center for Art and Historic Northeast Document Conservation Artifacts South 23rd St.; Philadelphia, PA 19103; [t] Center 215-545-0613 100 Brickstone Square. [f] 215-735-9313 [w]www.ccaha.org Andover, MA 01810-1494 [t] 978-470-1010 [f] 978-475-6021 [w] www.nedcc.org MV B&W Photo Labs th [e] [email protected] 33 Little W. 12 Street #204 New York, NY 10012 (preservation & still photography [t] 212-929-3036 [f] 212-929-3149 services) [w] www.mvlabs.com (photo reproduction services) (file: lablist.doc)

© Alan F. Lewis 2007

30

AUDIOVISUAL & ARCHIVAL PRODUCTS, SERVICES, REPAIRS AND INFORMATION SUPPLIERS Compiled by Alan Lewis, Washington, DC [t] 202-829-4664 [f] 202-829-4666 [e] [email protected] (Rev. 11/26/07) This is a list of companies known to provide equipment and/or supplies useful to AV and textual archives. The descriptions of the products or services offered by each are very brief because of space limitations. The list is updated from time to time as new information is received by the compiler from the companies and from people working in the field. Readers are invited to forward the names, addresses and communications links of other suppliers that come to their attention. The list is not an endorsement of the companies or the quality of their goods or services by the compiler or by any professional association or organization. Some suppliers, especially those in the electronic equipment business, are located in the Washington, DC area which is the compilers location. There are similar companies in many other locales. Film, video and audio laboratories dealing with archival originals are not included in this list but are available on a separate list.

Absolute Beta Products 225 East Main Street & PO Box 130 Remington, VA 22734 [t] 540-439-3259 [f] 540-439-9780 [e] [email protected] (Betamax maintenance, supplies & programming) Attn: Joseph Korpsak Action Camera 360 West Portal Avenue – F San Francisco, CA 94127 [t] 415-564-0699 [f] 415-564-2221 [w] www.actioncamerasf.com (equipment & supplies)

AheadTeK 6410 Via Del Oro San Jose, CA 95119 [t] 408-226-9800 & 800-971-9191 [f] 408-226-9195 [w] www.aheadtek.com (magnetic head rebuilders, incl. 2” Quad) Alan Gordon Enterprises 5625 Melrose Avenue

© Alan F. Lewis 2007

Hollywood, CA 90038 [t] 323-466-3561 [f] 323-871-2193 [w] www.alangordon.com [e] info@alan gordon.com (new and used film equipment) American Interfile and Library Services [t] 800-426-9901 [w] www.americaninterfile.com [e] [email protected] (collections relocation) American National Standards Institute (ANSI) (Operations Office) (ANSI headquarters is in Washington, DC) 25 West 43rd Street -4th Floor New York, NY 10036

[t] 212-642-4900 [f] 212-398-0023 [w] http://www.ansi.org (publisher of standards used in archives, labs, etc.) Arcal LLC P.O. Box 3397 Fullerton, CA 92834 [t] 800-272-2591 [f] 714-871-0453 [w] www.arcal.com

31

[e] [email protected] (audio and video supplies) Archival Methods, LLC 235 Middle Road Henrietta, NY 14467 [t] 866-877-7050 [f] 585-334-7067 [w] www.archivalmethods, com (archival products) Archival Products PO Box 1413 Des Moines, IA 50305-1413 [t] 800-526-5640 [f] 888-220-2397 [w] www.archival.com

Art Supply Enterprises 1351 Ocean Avenue Emeryville, CA 94608 [t] 510-428-9011 [f] 510-652-7079 (acid free hold down tape) Association of Cinema and Video Laboratories Chip Wilkinson, President c/o Cineric Film Laboratory 630 Ninth Avenue New York, NY 10036 [t] 212-586-4822 [f] 212-582-3744 [e] [email protected] (publishers of media laboratory standards) Association of Moving Image Archivists 1313 North Vine St. Hollywood, CA 90028 [t] 323-463-1500 [f] 323-463-1506 [e][email protected] [w] www.amianet.org (professional organization, publisher) Association of Recorded Sound Collections P.O. Box 543 Annapolis, MD 21404-0543 (professional organization, publisher) Atomic Film Company 3625 West Pacific Avenue Burbank, CA 91505 [t] 323-462-6200 [f] 323-464-9100 (KEM, CTM Debrie, etc.) Attn: Joel Marshall

© Alan F. Lewis 2007

ATR Services 2101 Pennsylvania Ave. - Suite 11 York, PA 17404 [t] 717-852-7700 [f] 717-852-7755 [w] www.atrservice.com [e] [email protected] (audiotape machines, related equipment & repairs) Audio Engineering Society (AES) 60 East 42nd St. – Room 2520 New York, NY 10165-2520 [t] 212-661-8528 [f] 212-682-0477 [w] www.aes.org (professional organization) Audiopak PO Box 3100 Winchester, VA 22604 (Audiopak cartridges) ASRS of America 225 West 34th Street New York, NY 10122 [t] 212-760-1607 [f] 212-714-2084 [e] [email protected] (compact shelving) Bags Unlimited 7 Canal Street Rochester, NY 14608-1910 [t] 800-767-2247 or 585-436-9006 [f] 585-328-8526 [e] [email protected] [w] www.bagsunlimited.com (archival and other storage containers) Bay Area Studio Engineering (B.A.S.E.) 54 Ney Street San Francisco, CA 94112 [w] www.analogrules.com (analog tape machine parts, service & sales) Biblio Design Ltd. 1240 Park Avenue, Sujite 1F New York, NY 10128 [t] 212-876-1114 [f] 212-369-1872 [w] bibliodesignltd.com (compact shelving) BKSTS – The Moving Image Society Pinewood Studios, Iver Heath Bucks SLO ONH ENGLAND [t] 01753 656665 [f] 01753 657016 [e] [email protected]

32

(professional society, training, standards, instructional wall charts, publications, etc.)

Blick Art Materials – see: Dick Blick Art Materials BMS Catastrophe 303 Arthur Street Ft. Worth, TX 76107 U.S.: 800-433-2940 [f] 817-332-6728 [w] www.bmscat.com (full service, all media disaster recovery company) Bonded Services 504 Jane Street Ft. Lee, NJ 07024 [t] 201-944-3700 [f] 201-592-0727 [e] [email protected] or [email protected] Attn: Georgine Hoch, Sales & Marketing (media storage in North America locations) Bookmakers International 8601 Rhode island Avenue College Park, MD 20740 [t] 301-345-7979 [f] 301-345-7373 [e] [email protected] (archival supplies and equipment) Boston Connection, The P.O. Box 1835 Cotuit, MA 02635 [t] 617-908-6258 [f] 508-428-2036 [w] www.cutfilm.com [e] [email protected] Attn: Dwight Cody (film equipment and repairs, Steenbecks & Moviolas) Bradley Broadcast/ Pro Audio 7313-G Grove Road Frederick,. MD 21704 [t] 301-682-8700 or 800-732-7665 [f] 301-682-8377 [w] www.bradleybroadcast.com (audio & video equipment and supplies) Broadcast Video Gear 2701 Ontario St. Burbank, CA 91504 [t] 800-842-5111 [f] 818-847-1275 [e] [email protected] [w] www.broadcastvideogear.com

© Alan F. Lewis 2007

(used video equipment) Brodart Co. PO Box 3037 Williamsport, PA 17701 [t] 888-820-4377 [f] 800-283-6087 [w] www.brodart.com (library & archival supplies, equipment, furnishings) Bulb Direct, Inc. 1 Fishers Road Pittsford, NY 14534; [t] 800-772-5267 [f] 800-257-0760 [w] www.bulbdirect.com (lamps, bulbs) Bulbtronics, Inc. 45 Banfi Plaza Farmingdale, NY 11735 [t] 800-654-BULB [f] 516-249-7742 [w] www.bulbtronics.com (lamps, bulbs)

C&H Distributors [t] 800-558-9966 [f] 800-336-1331 [w] www.chdist.com (shelving, cabinets, industrial supplies) Cargocaire Division (see Munters Corp._ CartGuys, The 3420 N. Flanwill Blvd. Tuscon, AZ 85716 [f] 509-694-1545 [w] www.cartguys.com [e] [email protected] (Dynamax & Fidelipac cartridges, machines) Century Magnetics, Inc. 2158 Renard Court Annapolis, MD 21401 [t] 800-688-1978 [w] www.centurymagnetics.com [e] [email protected] (audio and video tape, etc.) Chiswick Packaging (now part of Staples Industial) 33 Union Ave. Sudbury, MA 01776 [t]888-280-2228 [f] 888-443-1701 [w] www.chiswick.com

33

(packaging, shipping & industrial supplies)

(measurement devices, laboratory & safety equipment)

Christy's Film & Video Supply 3625 West Pacific Ave. Burbank, CA 91505 [t] 800-556-5706 or 818-845-1755 [f] 818-845-1756 [w] www.christys.net [e] info@christy’s.net (new and used film & video equipment and supplies)

Communications Arts Books Hastings House Publishers 141 Halstead Ave. Mamaroneck, NY 10543; [t] 914-835-4005 [f] 914-835-1037 (publishers of professional books)

Cine Photo Tech Inc. [t] 718-424-1600 [f] 718-457-4778 [w] www.cinephototech.com [e] [email protected] Cole-Parmer Instrument Co. 625 E. Bunker Court Vernon Hills, IL 60061 [t] 1-800-323-4340 [f] 847-247-2929 [w] www.coleparmer.com [e] [email protected] [w] coleparmer.com

Compass Library Relocation and Consulting Service 158 Pioneer St. Brooklyn, NY 111231 [t] 516-486-6000 [f] 718-855-5884 (collections relocation) Conney Safety Products 3202 Latham Drive P.O. Box 44190 Madison, WI 53744-4190 [t] 800-356-9100 [f] 800-845-9095 [w] www.conney.com (safety equipment)

Conservation Center for Art and Historic Artifacts 264 South 23rd St. Philadelphia, PA 19103 [t] 215-545-0613 [f] 215-735-9313 [w] www.ccaha.org (conservation and training services) Conservation Resources International 5532 Port Royal Road Springfield, VA 22151 [t] 800-634-6932 or 703-321-7730 [f] 703-321-0629 [w] www.conservationresources.com [e] [email protected] (housings, supplies, books) Council on Library and Information Resources 1755 Massachusetts Avenue, NW - Suite 500 Washington, DC 20036-2188 [t] 202-939-4750 [f] 202-939-4765 [w] www.clir.org CTM Debrie Cinematography 125 avenue Louis Roche 92230 Gennevilliers, France Attn: Thierry Gatineau, Int’l Sales Manager [t] 33 6.15.40.39.77 [f] 33 (1) 40.85.82.63 [w] www.ctmdebrie.com (film handling equipment & machines)

© Alan F. Lewis 2007

34

Dancan International Sales Mariendalsvej 53 - 2000 Frederiksberg - Copenhagen - Denmark [t] (+45) 40 50 41 80 [f] (+45) 29 54 88 11 [w] www.dancan.dk [e] [email protected] Attn: Morten Jacobsen (film storage containers, acidity testers) Demco P.O.Box 7488 Madison, WI 53707-7488 [t] 800-962-4463 [f] 800-245-1329 [w] www.demco.com (library and archival supplies and furniture) Denstor Mobile Storage Systems, Inc. 24333 Indoplex Circle Farmington Hills, MI 48335 [t] 800-521-9334 [f] 616-791-9916 [w] www.denstor.com (compact shelving) Diagraph Snyder, Inc. P.O. Box 520 8233 Ogden Road Herrin, IL 62948 [t] 800-233-1456 [w] www.diagraphsnyder.com [e] [email protected] (marking pens, labels, label printers) Dick Blick Art Materials P.O. Box 1267 Galesburg, IL 61402-1267 [t] 800-828-4548 [f] 800-621-8293 also Customer Service: 800-723-2787 Product Info: 800-933-2542 [e] [email protected] [w] www.dickblick.com (hold down tape & many other products) Dickson Data 930 South Westwood Avenue Addison, IL 60101 [t] 800-757-3747 [f] 800-676-0493 (hygrothermographs, meters, etc.) Dryco USA (there is also a Canadian subsidiary) 1 West Lake Street, Unit B Northlake, IL 60164 [t] 866-379-2600 [f] 708-531-9906 [w] www.drycogroup.com [e] [email protected]

© Alan F. Lewis 2007

35

(emergency dehumidification & recovery services)

Eastman Kodak Company Kodak Information Center Rochester, NY [t] 1-800-242-2424 [w] www.kodak.com (film, accessories, information) Editorial Equipment Parts Co. (EEP Co.) 607 S. Glenwood Place Burbank, CA 91506 [t] 818-848-8301 or 8334 [f] 818-848-1041 [e] [email protected] [w] www.eepco.com (film handling equipment, parts, service) Elmo Manufacturing Company – no longer in business. See Eltek listing below. Eltek 189-14 Crocheron Ave. – Suite 309 Flushing, NY 11358 [t] 718-460-4471 [f] 718-670-9934 [e] [email protected] [e] www.eltekrepair.com (repairs & upgrades to Elmo TVR machines; projector repairs for 8mm and 16mm machines.) Entertainment Recycling [t] 323-464-6775 or 213-673-4016 Attn: Bill Hallmark (destruction and recycling of film and magnetic tape products & containers, electronic equipment) EPL Archives, Inc. Mail: PO Box 1253 Sterling, VA 20167 Ship: 45610 Terminal Dr.; Sterling, VA 20166 [t] 703-435-8780 [f] 703-435-1330 [e] [email protected] [w] www.eplarchives.com Attn: Cindy Bono (media storage) Filmbond Services, Inc. 907 Flower St. Glendale, CA 91201 [t] 818-246-3700 [f] 818-545-0935 [w] www.filmbond-ca.com Attn: Roger Casey (media storage)

Filmtools

© Alan F. Lewis 2007

36

1400 W. Burbank Blvd. Burbank, CA 91506 [t] 818-845-8066 & 888-807-1900 [f] 818-845-8138 [w] www.filmtools.com (film production and related supplies) Focal Press (Elsevier, Inc.) 30 Corporate Drive Burlington, MA 01803 [t] 800-545-2522 [w] www.focalpress.com [e] [email protected] (major source for professional books) FPC Inc. (A Kodak Company) 6677 Santa Monica Blvd. Los Angeles, CA 90038 [t] 800-814-1333 or 323-468-5794 (packaging, cores, gloves, A-D strips, molecular sieves, film leader, PT rollers, magnetic film, etc.) Free the Tapes [w] www.freethetapes.org (affinity group of persons concerned with the loss of history through the deterioration and obsolescence of analog videotapes) GA International Inc. [t] 800-518-0364 or 450-973-9420 [w] www.archivefreezing.com & http://ga-international.com (archival labels for long term and freezer environments) Galeton Gloves & Safety Supplies PO Box 289 Raynham, MA 02767-9900 [t] 800-221-0570 [f] 800-322-2003 [w] www.galeton.com [e] [email protected] (gloves, eye protection & other safety supplies) Garage ’A Records (also Garage-A-records) 131 Wildthorne Ct. Columbia City, IN46725 [t] 888-800-7597 [w] www.garage-a-records,com (phonograph parts and related products)

Gaylord Bros. Inc. Box 4901 Syracuse, NY 13221-4901 [t] 800-448-6160 [f] 800-272-3412 [w] www.gaylord.com

© Alan F. Lewis 2007

37

(library and archive products and equipment) Goldberg Brothers 8000 East 40th Avenue Denver, CO 80207 [t] 303-321-1099 [f] 303-388-0749 [w] www.goldbergbrothers.bizhosting.com (film and related media packaging) Gray Supply Company 4415 Indianapolis Ave. East Chicago, IL 46312-269 [t] 800-238-2244 [f] 219-398-0038 (lamps, bulbs) Gryphon Industries (six-wheel media carts-see Highsmith Co.) Hallett & Sons Expert Movers th 7535 West 59 St. Summit, IL 60501 [t] 800-645-6683 [f] 708-458-7116 (collections relocation) Hansen, Scott 1715 Stillwater St. White Bear Lake, MN 55110 [t] & [f] 651-429-4579 (custom-turned, wrist-friendly film rewinder handles) Highsmith Co., Inc. W5527 Highway 106 P.O. Box 800 Fort Atkinson, WI 53538-0800 [t]1-800-558-2110 [f] 800-835-2329 [w] www.highsmith.com [e] [email protected] Hollinger Corporation P.O. Box 8360 Fredericksburg, VA 22404 [t] 800-634-0491 [f] 800-947-8814 [w] www.hollingercorp.com [e] [email protected] (archival packaging)

Hollywood Film Co. (HFC) 9265 Borden Avenue Sun Valley, CA 91352 [t] 818-683-1130 [f] 818-683-1139 [w] hollywoodfilmco.com [e] sales @hollywoodfilmco.com

© Alan F. Lewis 2007

38

(film and video supplies and equipment) Hollywood Vaults 742 N. Seward St. Hollywood, CA 90038 [t] 323-461-6464 or 800-569-5336 [f] 323-461-6479 [w] www.hollywoodvaults.com Attn: David Wexler (AV media storage) Image Permanence Institute Rochester Institute of Technology 70 Lomb Memorial Drive Rochester, NY 14623-5604 [t] 585-475-5199 [f] 585-475-7230 Attn: James Reilly, Director [w] www.imagepermanenceinstitute.org (acidity testers, publications, consulting) Iron Mountain Film and Sound Archives 207 Moonachie Road Moonachie, NJ 07074 [t] 201-807-1075 ext. 510 & 201-727-4848 [f] 201-814-0073 Jeff Stone, General Manager [e] [email protected] [w] www.ironmountain.com (media storage and related services) Iron Mountain Records Storage (was National Underground Storage) PO Box 6, 1137 Branchton Road Boyers, PA 16020 [t] 800-NUS-STOR [t] 724-794-8474 [f] 724-794-2838 Attn: Tom Benjamin, Vital Records (media storage & related services) J&R Film Company 1135 N. Mansfield Ave. Hollywood, CA 90038 [t] 323-467-3107 [f] 323-466-2201 [w] www.moviola.com and 545 West 45th Street New York, NY 10036 [t] 212-247-0972 (film and video supplies and equipment)

JRF Magnetic Sciences 249 Kennedy Road (PO Box 309) Greendell, NJ 07839 [t] 973-579-5773 [f] 973-579-6021 [w] www.jrfmagnetics.com

© Alan F. Lewis 2007

(parts, service, rebuilding of all types of mag heads) Just Lamps [t] 866-99-LAMPS 334 Harris Hill Road Williamsville, NY 14221 [t] 866-995-2677 & 716-626-2240 [f] 716-626-2243 [w] www.justlamps.us.com [e] [email protected] (lamps of all types) KAB Electro-Acoustics P.O. Box 2922 Plainfield, NJ 07062 [t] 908-754-1479 [f] 908-222-3442 [w] www.kabusa.com [e] [email protected] (turntables, supplies, amplifiers, etc.) Kardex Systems, Inc. PO Box 171 Marietta, OH 45750 [t] 800-234-3654 [f] 740-374-9953 [w] www.kardex.com [e] [email protected] (compact shelving) KEM flatbed editing tables - see Atomic Film Co. KL Manufacturing & Servicing of Motion Picture Equipment P.O. Box 1155 Almonte, Ontario K0A IA0 CANADA Attn: Klaus Linnenbruegger [t] 613-256-3021 [f] 613-256-6760 [w] www.klarchivalfilmequipment.ca [e] [email protected] (shrinkage gauge, film equipment, custom printer gates, machining) Kloke Group 1855 Boulevard West Richmond, VA 23230 [t] 800-248-4148 & 804-353-0212

39

[w] www.kloke.com [e] [email protected] (collections relocation)

[t] 305-573-7339 [f] 305-573-8101 [w] www.magna-tech.com [e] [email protected] (magnetic film sound equipment)

Kodak – see Eastman Kodak Company Laboratory Safety Supply, Inc. PO Box 1368 Janesville, WI 53547-1368 [t] 608-754-2345 Product Support: 800-356-2501 Order by telephone: 800-356-0783 Order by fax: 800-543-9910 [w] www.labsafety.com (lab equipment & supplies; also on-line library of safety and tech info on website.) Library Bureau, Inc. 172 Industrial Road Fitchburg, MA 01420 [t] 800-221-6638 [f] 978-345-0188 [e] [email protected] (library furnishings & equipment) Library Design Systems, Inc. (collections relocation) Light Impressions PO Box 787 Brea, CA 92822-0787 [t] 800-828-6216 [f] 800-828-5539 [w] www.lightimpressionsdirect.com (packaging, preservation supplies) Lipsner-Smith (part of RTI Group) 4700 Chase Avenue Lincolnwood, IL 60712-1689 [t] 800-323-7520 or 847-677-3000 [f] 800-784-6733 or 847-677-1311 [w] www.lipsner.com [e] [email protected] (film cleaning machines, etc.) Lyon Workspace Products P.O. Box 671 Aurora, IL 60507 [t] 800-433-8488 or 630-892-8941 [f] 630-892-8966 [w] www.lyonworkspace.com (wide range of shelving, cabinets, and other industrial products) Magna-Tech Electronic Co. 5600 NW 32nd Avenue Miami, FL 33142

© Alan F. Lewis 2007

Maxima Magnetics, Inc. 435 Jacksonville Road Hatboro, PA 19040 [t] 1-800-362-9462 or 215-443-0700 [f] 215-443-0761 [w] maximamagnetics.com [e] [email protected] (tape media, restoration, recycling) Media Distributors (PRC/Plastic Reel Corp. product line) 10960 Ventura Blvd. Studio City, CA 91604 [t] 818-980-9916 or 888-889-3130 [w] www.mediadistributors.com Attn: Lori Hirsch, Account Executive [e] [email protected] (AV media containers & supplies) Merlin Engineering Technologies 1888 Embarcadero Way Palo Alto, CA 94304-3308 [t] 800-227-1980 or 650-856-0900 [f] 650-858-2302 (video products, mag head refurbishing) Metal Edge, Inc. 6340 Bandini Blvd. Commerce CA 90040 [t] 800-862-2228 or 323-721-7800 [f] 888-822-6937 [e] [email protected] [w] www.metaledgeinc.com Attn: Larry Gates (Pres.) or Bob Henderson (V.P.) (archival supplies, packaging) Metric Splicer, Inc. 3930 Miraloma #C Anaheim CA 92806 [t] 714-630-2999 [f] 714-630-2268 [w] www.metricsplicer.com (splicers for polyester cine film & microfilm)

.

Metropolitan Business Systems, Inc. 225 West 34th St. - Suite 1708 New York, NY 10122 [t] 212-760-1600 [f] 212-714-2084 [w] www.mbsi-ny.com

40

(compact shelving systems & related storage products)

[t] 417-863-1925 [w] www.nationalaudiocompany.com

Modern Office Systems 989 Avenue of the Americans New York, NY 10018 [t] 212-290-0440 [w] www.modernofficesystems.com (compact shelving systems & related storage products) Montel, Inc. th 225 4 Avenue, P.O. Box 130 Montmagny, QC G5V 3S5 CANADA [t] 877-935-0236 [w] www.montel.com [e] [email protected] (compact shelving systems & related products)

National Audio-Visual Supply Route 121 East P.O. Box 116 Grafton, VT 05146-0116 [t] 800-686-0109 [f] 800-628-1329 [w] www.nationalav supply.com [e] [email protected] (AV and presentation equipment)

Motion Picture Enterprises, Inc. (MPE) 432 West 45th Street New York, NY 10036 [t] 212-245-0969 [f] 212-245-0974 [w] www.mpeny.com (media packaging, equipment, supplies) Munters Dehumidification Dehumidification Division [Cargocaire] 79 Monroe Street Amesbury, MA 01913 [t] 800-843-5360 or 978-241-1100 [f] 978-241-1214 [w] www.munters.us [e] [email protected] (dehumidification equipment, also VOC abatement, emergency services) MV Art, Archival & Conservation Supplies [t] 212-929-3036 [w] www.mvarchivalsupplies.com [e] [email protected] Attn: Cornelia van der Linde or Jim Megargee (discount supplies) Nakamichi Tape Machine Servicing Electronics Service Labs 1807 Berlin Turnpike Wethersfield CT 06109 [t] 860/529-3700 [w] www.eslabs.com National Audio Company, Inc. PO Box 7100 Springfield, MO 65801

© Alan F. Lewis 2007

National Film Preservation Products Inc. 3236 Union Street PO Box 337 North Chili, NY 14514 [t] 585-594-1026 [f] 585-594-4804 [w] www.nfppi.com (motion picture film cans) National Fire Protection Association 1 Batterymarch Park Quincy, MA 02169-7471 [t] 617-770-3000 [f] 617-770-0700 (Fulfillment Center: 11 Tracy Drive Avon, MA 02322-9908 [t] 800-344-3555 (fire protection standards) National Library Relocations, Inc. 70 Bridge Road Islandia, NY 11749 [t] 800-486-6837 [f] 631-232-2236 [w] www.nlrbookmovers.com [e] [email protected] (collections relocation) Nauck's Vintage Records (Kurt & Diane) 22004 Sherrod Lane Spring, TX 77389 [t] 281-288-7826 [f] 425-930-6862 [e] [email protected] [w] www.78rpm.com (archival audio playback equipment & supplies) Neumade Products 30-40 Pecks Lane Newtown, CT 06470-2361 [t] 203-270-1100, 800-526-0722 [f] 203-270-7778 [w] www.neumade.com (film handling, projection & storage products) New Haven Moving Equipment 6295 Edsall Road Alexandria, VA 22312 [t] 800-788-7237 & 703-823-5516 [f] 703-823-5519

41

(also various locations in the U.S) [w] www.newhaven-usa.com (collections moving equipment) Northeast Document Conservation Center 100 Brickstone Square Andover, MA 01810-1494 [t] 978-470-1010 [f] 978-475-6021 [e] [email protected] [w] www.nedcc.org Attn: Ann Russell, Director (preservation services, training, information) Office Movers- Library Services Division 6810 Deerpath Road, Suite 100 Elkridge, MD 21075 [t] 410-636-5200 [f] 410-636-8010 [w] www.officemoers.com Attn: Steve Gilbert (collections relocation) Otari USA Sales, Inc. 21110 Nordhoff Street, Suite G/H Chatsworth, CA 91311 [t] 818-734-1785 ext. 109 [f] 818-734-1786 [w] www.otari.com Attn: Tim Murray, Sales Mgr [e] [email protected] also: Bridge Media Solutions Nashville, TN Attn: John Spencer or John Sarappo [t] 615-385-1251 (analog ¼” tape machines, etc.) Pacific Title Archives 10717 Vanowen St. North Hollywood, CA 91605 [t] 800-968-9111& 818-760-4223 [w] www.pacifictitlearchives.com (media storage services)

Attn: Jeff Burget, Marketing Manager (compact shelving systems) Pohlig Bros. Inc. / Century Archival Products 8001 Greenpine Road Richmond, VA 23237 [t] 804-275-9000 & 888-876-4544 [f] 804-275-9900 (archival storage containers)

Polygenex International, Inc. PO Box 4468 Cary, NC 27519-4468 [t] 919-380-8100 & 800-380-0071 [f] 800-380-8115 [e] www.polygenex.com [e] [email protected] (“All-Day” nylon lab gloves; other gloves) Polyline Corporation 845 N. Church Ct. Elmhurst, IL 60126 [t]800-701-5865 [f] 800-816-3330 [w] www.p;olylinecorp.com (media packaging supplies) Porter’s Camera Store PO Box 628 Cedar Falls, IA 50613-0628 [t] 319-268-0104 & 800-553-2001 [w] www.porters.com [e] [email protected] (still photo equipment & supplies but some relevant to machine-based AV media )

Penco Products, Inc. 99 Brower Avenue (PO Box 378) Oaks, PA 19456-0378 [t] 800-562-1000 [f] 610-666-7561 [w] www.pencoproducts.com) (steel shelving and cabinets)

Preferred Media 6343 Gross Point Road Niles, IL 60714-355 [t] 847-647-2355 [f] 847-647-7622 [w] www.preferredmedia.com (media storage; facilities also in LA and NYC)

Pipp Mobile Shelving Company 2862 Clydon, SW Grand Rapids, MI 49509 [t] 800-234-7477 or 616-530-8828 [f] 616-530-8400 [e] [email protected] [w] www.pippmobile.com

Perpetual Storage, Inc. 6279 E. Little Cottonwood Canyon Road Sandy, UT 84092 [t] 801-942-1950 & 800-753-2200 [f] 801-942-1952 [w] www.prepetualstorage.com

© Alan F. Lewis 2007

42

(underground records storage)

(lamps, bulbs, lighting equipment, video)

Plastic Reel Corp. / PRC of America See Media Distributors

Remstar [t] 800-639-5805 [f] 207-854-1610 multiple locations in the U.S. [w] www.remstar.com [e] [email protected] (compact shelving, etc.)

Professional Label 3415 Olandwood Court Olney, MD 20832 [t] 301-570-0774 [f] 301-570-0776 [w] www.professionallabel.com (labels in sizes for most machine-based AV media.)

Professional Products, Inc. 9116 Gaither Road Gaithersburg, MD 20877-1422 [t] 240-864-4000 & 800-638-8071 [w] www.professionalproducts.com (electronic equipment and supplies) Pro-Tek Media Preservation Vault & Film Inspection Services 3110 N. San Fernando Blvd. Burbank, CA 91504 [t] 323-468-4450 [f] 323-468-4486 Attn: Rick Utley, V.P. Preservation Services (media storage and inspection services) Rangertone Research, Inc. 40 Entin Rd. Clifton, NJ 07014 [t] 973-594-8722 & 800-221-1823 [f] 973-594-8724 (magnetic film sound equipment and repairs) Regional Alliance for Preservation (RAP) [w] www.rap-arcc.org (nationwide coop of 14 regional conservation/preservation organizations that provide services, training, publications, etc.) R&R Lighting 813 Silver Spring Ave. Silver Spring, MD 20910 [t] 301-589-4997 & 800-783-7255 [f] 301-565-5156 Attn: Mike Robertson [w] www.rrlighting.com

© Alan F. Lewis 2007

RS & Associates 3301 172nd Avenue, NE Belleview, WA 98008 [t] 425-497-9215 [f] 425-861-9743 [w] www.videoused.com (used video equipment)

RTI Group (was Research Technology Int’l Co.) (Lipsner-Smith, BHP, 3M Novec, etc.) 4700 Chase Avenue Lincolnwood, IL 60712-1689 [t] 847-677-3000 & 800-323-7520 [f] 847-677-1311 & 800-784-6733 [w] www.rtico.com [e] [email protected] (film cleaning machines & chemicals; magnetic tape evaluators, film printers, etc.) Russ-Bassett 8189 Byron Road Whittier, CA 90606 [t] 800-539-2445 or 562-945-2445 [f] 562-698-8972 [w] www.russbassett.com [e] [email protected] (cabinets, compact shelving systems) Safety Storage, Inc. 2301 Bert Drive Hollister, CA 95023 [t] 831-637-5955 & 800-344-6539 [f] 831-637-7405 [w] www.safetystorage.com [e] [email protected] (hazardous materials cabinets & storage structures) Samma Systems 450 West 31st Street-4th Floor New York, NY 10001

43

[t] 212-738-9417 [f] 917-591-9862 [w] www.SAMMAsystems.com (automated video transfer equipment) Scarecrow Press 4501 Forbes Blvd. – Suite 200 Lanham, MD 20706 [t] 301-459-3366 [f] 301-429-5748 (professional books) Screen Works, The 2201 West Fulton St. Chicago, IL 60612 [t] 312-243-8265 & 800-294-8111 [f] 312-243-8290 [w] www.thescreenworks.com [e] [email protected]

Site Vault GE SeaCO America LLC 7200 NW 19th Street – Suite 500 Miami, FL 33126 [t] 305-597-2120 [f] 305-591-7214 [w] www.geseaco.com [e] [email protected] (modular, transportable, environmentally controlled containers) Skyline Broadcast 30 Skyline Drive Lake Mary, FL 32746 [t] 866-804-1184 [f] 866-804-1179 [w] www.skylinebroadcast.com (new & refurbished audio & video equipment) Society of American Archivists (SAA) 527 South Wells St. – 5th Floor Chicago, IL 60607 [t] 312-922-0140 [f] 312-347-1452 [w] www.archivists.org (professional association) Society of Motion Picture and Television Engineers (SMPTE) 3 Barker Avenue White Plains, NY 10601 [t] 914-761-1100 [f] 914-761-3115 [w] www.smpte.org (professional organization, publisher of standards and recommended practices, etc.)

© Alan F. Lewis 2007

SOLINET (Southeastern Library Network) 1438 West Peachtree St., N.W. – Suite 200 Atlanta, GA 30309-2955 [t] 404-892-0943 & 800-999-8558 [f] 404-892-7879 (services and training organization) Sony Electronics, Inc. [t] 877-865-7669 [w] www.sony.com (electronic equipment) Spacesaver Corporation 1450 Janesville Ave. Fort Atkinson, WI 53538-2798 [t] 920-563-6362 & 800-492-3434 [f] 920-563-2702 [w] www.spacesaver.com (compact shelving)

Specs Bros P.O. Box 195 Lodi, NJ 07644 [t] 973-777-5055 or 800-852-7732 [f] 973-777-5065 [w] www.specsbros.com Attn: Peter Brothers (magnetic media disaster recovery, remastering) Steenbeck Flatbed Editing Tables (see listings for Boston Connection and Christy’s Editorial Supply) STiL Design 76, Saint-Paul – Suite 301 Quebec City, QC, G1K 3V9 CANADA [t] 888-414-0449 or 418-694-0449 [f] 418-694-1621 [e] [email protected] [w] www.stildesign.com Attn: Frédéric Lapointe, President (film storage containers) Strauss Photo-Technical Services 1240 Mt. Olive Road, N.E. Washington, DC 20002 [t] 202-529-3200 [f] 202-526-6465 [w] www.spts.com (photo & electronic imaging & optical equipment repairs)

44

(media cores, reels, containers) Talas 20 West 20th Street New York, NY 10011 [t] 212-219-0770 [f] 212-219-0735 [w] www.talasonline.com (archival products) Tape Center (New York area) [t] 718-773-4774 & 800-405-9063 [f] 718-493-5555 & 800-406-2425 [w] tapecenter.com (audio & video stock, supplies, cassette repairs) Tape Company, The (multiple locations in the U.S.) [t] 800-851-3113 [w] www.thetapecompany.com (magnetic media)

Tape Resources Co. 1220 Baker Rd. – Suite B Virginia Beach, VA 23455 [t] 757-460-4111 & 800-827-3462 [f] 757-464-4112 [w] www.taperesources.com [e] [email protected] (recording media & supplies) Target Distribution 19560 Amaranth Drive Germantown, MD 20874 [t] 301-296-9400 & 800-873-5528 [f] 301-296-9494 [w] www.targetdist.com [e] [email protected] (magnetic recording tape, equipment, etc.) TASCAM America/TEAC America, Inc. 7733 Telegraph Road. Montebello, CA 90640 [t] 323-726-0303 (audio equipment, including ¼-inch open reel machines) Tayloreel Co. P.O. Box 476 Oakwood, GA 30566 [t] 770-503-1612 [f] 770-503-9614 [w] www.tailoreeel.com [e] [email protected]

© Alan F. Lewis 2007

Tek Media Supply Co. (see RTI Group) Tennsco Corp. 201 Tennsco Drive or PO Box 1888 Dickson, TN 37056-1888 [t] 615-446-8000 & 800-251-8184 [f] 800-722-0134 [w] www.tennsco.com (compact shelving & related products) 3M Company NOVEC Engineered Fluid (film cleaning chemical to replace trichlor & perchlor) Thomson Foundation for Film & TV Heritage 46, quai A. Le Gallo 92648 Boulogne Cedex – France [t] +33 (0)1 41 86 68 24 [w] http://foundation.thomson.net Attn: Severine Wemaere [e] [email protected] (consulting, technical services, equipment donations, promotion, grant making) Tobin Cinema Systems, Inc. 17128 East Baldwin Avenue Spokane Valley, WA 99016-9506 [t&f] 509-922-7841 [w] http://www.TobinCinemaSystems.com (film to video (telecine) transfer device) Tuscan Corporation 7115 Virginia Road – Suite 111-6 Crystal Lake, IL 60014 [t] 847-458-7280 & 888-457-5811 [f] 847-458-7281 [w] www.tuscancorp.com [e] [email protected] (media packaging, film cores) TV Pro Gear 1630 Flower Street Glendale, CA 91201 [t] 818-788-4700 [f] 818-246-1945 [w] tvprogear.com (used video equipment) Underground Vaults & Storage 906 N. Halstead, PO Box 1723 Hutchinson, KS 67504 [t] 800-873-0906 ext. 203 & 620-662-6769 [f] 620-662-8871

45

[w] www.undergroundvaults.com Attn: Kerry Sue Underwood (media storage) University Products, Inc. PO Box 101, 517 Main St. Holyoke, MA 01041-0101 [t] 800-628-1912 [f] 800-532-9281 [w] universityproducts.com [e][email protected] m (library and archive supplies, etc.) Urbanski Film PO Box 438 Orland Park, IL 60462 [t] 708-460-9082 [f] 708-460-9099 [w] www.urbanskifilm.com (film & video media, equipment and supplies) U.S. Art (corporate headquarters) 66 Pacella Park Dr. Randolph, MA 02368 [t] 781-986-6500 or 800-872-7826 [f] 781-986-5595 [w] usart.com Attn: Alexandra Guild, Marketing & Sales [e] [email protected] (fine art movers) US Recording [t] 866-231-8273 & 610-317-9484 [w] www.usrecordingmedia.com [e] [email protected]

© Alan F. Lewis 2007

(audio & videotape supplies and equipment, media transfers) Videomagnetics, Inc. 3970 Clearview Frontage Rd. Colorado Springs, CO 80911 [t] 719-390-1313 & 800-432-3887 [f] 719-390-1316 [w] www.videomagnetics.com (video head rebuilders, used equipment) Washington Professional Systems 11242 Grandview Avenue Wheaton, MD 20902-4632 [t] 301-942-6800 [f] 301-946-3241 [w] www.wpsworld.com [e] [email protected] (electronic equipment & supplies) William B. Mayer, Inc. 255 Long Beach Blvd. Stratford, CT 06615 [t] 203-345-5801 [w] www.williambmeyer.com (collections relocation) Winstead Corporation 10901 Hampshire Avenue South Minneapolis, MN 55438 [t] 1-800-447-2257 [f] 952-944-1546 [w] www/winstead.com (shelving, consoles, media furniture) (File:

supplyav)

46