[MCN-L] Embedding LCD screens in new walls?
Hi George, This company makes new 4:3 monitors. Not inexpensive but still available in larger sizes. Good luck! http://www.dotronix.com/ Thanks, MARK PARADIS CHIEF, MULTIMEDIA SERVICES-CHEF DE SERVICES MULTIM?DIA NATIONAL GALLERY OF CANADA, MUS?E DES BEAUX-ARTS DU CANADA 380 SUSSEX DRIVE, OTTAWA, ONTARIO K1N 9N4 PH. 613-990-1788, FAX. 613-991-2680, CELL?613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of George Scharoun Sent: September-17-13 4:24 PM To: mcn-l at mcn.edu Subject: Re: [MCN-L] Embedding LCD screens in new walls? Thank you all for your feedback! With all the different responses, it's encouraging to hear that you all share the same concerns, and would resist embedding a display in a wall with no easy way to remove it. So the issue of older video artworks mostly being 4:3 aspect ratio continues to give me trouble, as new 4:3 displays are not available. Cropping a widescreen display by burying it behind a diebond mask that's taped and painted over (curator's idea) is not at all best practice. So it looks like I'm going to need to resort to sourcing USED TVs or monitors for this show. If you have any you want to get rid of let me know. Thanks again for your advice everyone. ?? GEORGE SCHAROUN Technical Producer, Gallery Media Museum of Fine Arts, Boston gscharoun at mfa.org | 617-369-3512 http://www.mfa.org On 9/17/13 8:00 AM, "mcn-l-request at mcn.edu" wrote: >Re: Embedding LCD screens in new walls? ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://mcn.edu/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://mcn.edu/pipermail/mcn-l/
[MCN-L] In-house video kiosk
Hi Matthew, For a very small investment you can use media players with push button controls to activate video selections on demand. Visit www.technovision.com for solutions and call them with your needs and they'll configure what you need for much less than $1000 total. Truly reliable hardware and a great support team in Steve Dougall, the owner. Thanks, hope this is helpful. MARK PARADIS CHIEF, MULTIMEDIA SERVICES-CHEF DE SERVICES MULTIM?DIA NATIONAL GALLERY OF CANADA, MUS?E DES BEAUX-ARTS DU CANADA 380 SUSSEX DRIVE, OTTAWA, ONTARIO K1N 9N4 PH. 613-990-1788, FAX. 613-991-2680, CELL?613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Matthew Schuld Sent: June-26-13 4:19 PM To: mcn-l at mcn.edu Subject: [MCN-L] In-house video kiosk Hello all, We are developing a small budget exhibit, but we have some outstanding video we'd like to license and exhibit. The issue is, we want to avoid playing it in a continuous loop during all open hours (our attendance does not warrant it yet). Does anyone have experience building a simple TV kiosk that allows the visitor to play a video clip at the push of a button? We already have a flat screen TV, DVD player/laptop. Any ideas are appreciated? Thank you to you all. Matthew Schuld Museum Manager Elkhart County Historical Museum 304 West Vistula Street PO Box 434 Bristol, IN 46507 574-848-4322 (p) 574-848-5703 (f) http://www.elkhartcountyhistory.org/
[MCN-L] Color to Grayscale
Here's another approach; Open a copy of your original in full colour and simply de-saturate the colour values in hue and saturation controls. Works extremely well in not dropping all the grey subtleties. Good luck! MARK PARADIS CHIEF, MULTIMEDIA SERVICES-CHEF DE SERVICES MULTIM?DIA NATIONAL GALLERY OF CANADA, MUS?E DES BEAUX-ARTS DU CANADA 380 SUSSEX DRIVE, OTTAWA, ONTARIO K1N 9N4 PH. 613-990-1788, FAX. 613-991-2680, CELL?613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Frank E. Thomson Sent: April-30-13 3:23 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Color to Grayscale In PhotoShop you can convert to a gray scale in a manner that keeps maximum tonal range. After saving you cannot convert back to color so that information is lost. Frank Thomson Asheville Art Museum Mailing address: PO Box 1717, Asheville, NC 28802 Street address: 2 South Pack Square, Asheville, NC 28801 828.253.3227 t 828.257.4503 f fthomson at ashevilleart.org www.ashevilleart.org Our Vision: to transform lives through art -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Marianne Weldon Sent: Tuesday, April 30, 2013 7:42 AM To: mcn-l at mcn.edu Subject: [MCN-L] Color to Grayscale I've been led to believe that converting color images to grayscale digitally does not loose information, but have no actual 'proof' of this. Is anyone aware of any documentation or publications on this topic? Additionally, I know many people that choose to scan black and white images in color then convert to greyscale.again...any useful data or discussions on this out there? Thank you! Marianne Weldon Fellow, The American Institute for Conservation Collections Manager of Art and Artifacts 202 Canaday Bryn Mawr College 101 North Merion Avenue Bryn Mawr, PA 19010 office 610-526-5022 mweldon at brynmawr.edu See our collection online at: Triarte.brynmawr.edu and at emuseum.net ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://mcn.edu/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] scanner recommendations?
I'd have to support the Epson line too. We have a much older Linocolor Circon which is fabulous, running Silverfast. Epson is one of the few still seriously in the game for a manageable cost. If you spend the extra I think you'd be set for a long time to come. Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Perian Sully Sent: Friday, June 25, 2010 12:43 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] scanner recommendations? I second Denise's recommendation. The Epson 1XL series is fantastic. ~Perian On Fri, Jun 25, 2010 at 9:37 AM, Gose, Denise wrote: > We love our Epson 1XL scanners - but you'll pay close to $3000 for the > version with Silverfast software and transparency unit, which is what you'll > need. The price has dropped this year from over $4000, so it's a good deal. > > Not sure what else is out there for large format scanners. > > Denise Gos? > Head of Image Resources and Copyright Management > Center for Creative Photography, University of Arizona > 1030 N. Olive Road, Tucson, AZ 85719 > T: 520.307.2830 F: 520.621.9444 > gosed at ccp.library.arizona.edu > > ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] RE: Headphones in exhibits
Metaphorically Bullet Proof :-) (none broken yet) Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Amalyah Keshet [akes...@imj.org.il] Sent: Monday, January 04, 2010 12:59 PM To: Museum Computer Network Listserv Subject: [MCN-L] ??RE: Headphones in exhibits "I can concur with Adam that the Audio Technica's are bullet proof." Wow. What's going on at the National Gallery of Canada?! ?: ??mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] ??? MParadis at Gallery.ca [MParadis at Gallery.ca] ??: ? ??? 04 ? 2010 19:33 : mcn-l at mcn.edu ??: Re: [MCN-L] Headphones in exhibits Hello Jason; I can concur with Adam that the Audio Technica's are bullet proof. We use the ATH M30 because of price and the straight cable design. Four years now with no failures and not too expensive either. Thanks, Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Adam Carrier Sent: Tuesday, December 22, 2009 4:52 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Headphones in exhibits Hello Jason: We've found the Audio-Technica ATH-M50 headphones to be pretty rugged. We use them in our studios, and they're designed for professional monitoring and mixing. They might be worth trying in your exhibit. They are a bit expensive. http://www.audio-technica.com/cms/headphones/0edf909675b1be4d/index.html There are straight and coiled cable versions. Adam Carrier Audiovisual Technician II Digital Media & Exhibit Technology Department The Mariners' Museum 100 Museum Drive Newport News, Virginia 23606 Phone (757) 952-0431 Fax (757) 591-7335 acarrier at MarinersMuseum.org www.MarinersMuseum.org America's National Maritime Museum -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Jason Bondy Sent: Tuesday, December 22, 2009 4:34 PM To: 'Museum Computer Network Listserv' Subject: [MCN-L] Headphones in exhibits Hello, This is more of an AV question, but since we all multitask anyway. We have a music exhibit that has been up for a year and will be up another 14 months. Within the exhibit are five listening locations with headphones. With daily use (and abuse) we have gone through approximately 12 sets of headphones since the exhibit opened. I was wondering if anyone had some experience with decent quality headphones that are designed for heavy use. Since it is a Rock and Roll exhibit, we aren't really looking for "library study carrel" style, although they would probably last longer! They do need to be tough though, as we often have large (100+) groups of 4th through 12th graders wandering through the exhibit. Thanks in advance! Jason ___ Jason Bondy Exhibit AV/IT Systems Oklahoma History Center 2401 N. Laird Ave. Oklahoma City, OK 73105 405-522-0783 - Office 405-522-5402 - Fax www.okhistory.org ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/ ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/ ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/ ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatro
[MCN-L] Headphones in exhibits
Hello Jason; I can concur with Adam that the Audio Technica's are bullet proof. We use the ATH M30 because of price and the straight cable design. Four years now with no failures and not too expensive either. Thanks, Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Adam Carrier Sent: Tuesday, December 22, 2009 4:52 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Headphones in exhibits Hello Jason: We've found the Audio-Technica ATH-M50 headphones to be pretty rugged. We use them in our studios, and they're designed for professional monitoring and mixing. They might be worth trying in your exhibit. They are a bit expensive. http://www.audio-technica.com/cms/headphones/0edf909675b1be4d/index.html There are straight and coiled cable versions. Adam Carrier Audiovisual Technician II Digital Media & Exhibit Technology Department The Mariners' Museum 100 Museum Drive Newport News, Virginia 23606 Phone (757) 952-0431 Fax (757) 591-7335 acarrier at MarinersMuseum.org www.MarinersMuseum.org America's National Maritime Museum -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Jason Bondy Sent: Tuesday, December 22, 2009 4:34 PM To: 'Museum Computer Network Listserv' Subject: [MCN-L] Headphones in exhibits Hello, This is more of an AV question, but since we all multitask anyway. We have a music exhibit that has been up for a year and will be up another 14 months. Within the exhibit are five listening locations with headphones. With daily use (and abuse) we have gone through approximately 12 sets of headphones since the exhibit opened. I was wondering if anyone had some experience with decent quality headphones that are designed for heavy use. Since it is a Rock and Roll exhibit, we aren't really looking for "library study carrel" style, although they would probably last longer! They do need to be tough though, as we often have large (100+) groups of 4th through 12th graders wandering through the exhibit. Thanks in advance! Jason ___ Jason Bondy Exhibit AV/IT Systems Oklahoma History Center 2401 N. Laird Ave. Oklahoma City, OK 73105 405-522-0783 - Office 405-522-5402 - Fax www.okhistory.org ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/ ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] image sizes
Hi Danielle, Our database is MimsyXG and we supply it a 180x180 tombstone image and a 1024x768 full screen view for research. We keep 4000x4000 pixel images in our photo archive but do not mount these to the network to avoid congestion or accidental distribution to external clients without copyright clearance in place first. Thanks, Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Images Sent: Friday, May 01, 2009 2:58 PM To: Museum Computer Network Listserv Subject: [MCN-L] image sizes I'm wondering what size(s) of images people are using in their internal databases? 1024 pixels on the long side plus a thumbnail view? What size do you use for online purposes? Many thanks! Danielle ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] Re looking for a desktop application
Hi Robin, Although I have not used this application, it seems to capture the flavour of what you're trying to accomplish. Check it out and see. http://www.apreso.com/classroom/images/apreso_classroom_info.pdf Thanks, Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Robin White Sent: Friday, March 20, 2009 3:13 PM To: mcn-l at mcn.edu Subject: [MCN-L] Re looking for a desktop application Sure, here's what we're trying to do for a state park visitor center: build an application to reside on a laptop computer that will allow park visitors to -take a picture of themselves, -record an audio statement or write a statement about their visit to the park and save these files to in such a way that they can be uploaded to a database as one record. The part that has us stumped is finding one desktop program that will capture the sound. The rest is easy. Flash will do this but we'd have to buy a media player license (out of budget) and AIR doesn't seem to have an audio recording component. Any advice greatly appreciated. Thank you, Robin Robin White Owen Web 2.0 Strategy & Implementation M: 917/407-7641 T: 646/472-5145 E: robin at mediacombo.net www.mediacombo.net ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] Gallery video projector reccomendations?
Hi Jason, Here at the NGC we have used projections extensively since the beginning of this medium. My first recommendation is to avoid LCD like the plague. DLP and LCOS have been the only suitable systems robust enough to stand the rigours of museum life. There are many brands and options to chose from, including the emerging sector of TrueHD (1080p) projectors. We have many lower resolution projectors of all descriptions but are finding this year that the new flavour is HD. Of course HD comes in flavours too! There's 720p resolution and 1080p resolution (Blu-Ray for example). Price points are mixed as well. There's very affordable TrueHD units available under 2000 lumens in brightness. Most presentations are well served at this power output and can therefore create a good base unit to build an inventory upon. Makes such as Optoma TX1080 provide both power and resolution for this purpose. Most 1080p machines at a good price don't yet offer the high horsepower for large scale works at this time but like all technology, this will change. If you look to 720p resolution the market is much wider but you'll likely be asked for the full 1080p in the very near future so it's not the best option to build an inventory on. As far as reliability we've been extremely pleased with NEC, Panasonic, some Sanyo models, and on occasion Dell (5100MP model). To date NEC has been our workhorse for both performance and automation of installations where no network is available. I have NEC projectors pushing 40,000 without failure other than bulb replacements. Brands we have avoided due to past performance are Elmo, Sony, BenQ and certain Sanyo LCD (older inventory). Just a cautionary note on warranties. If you buy industrial units you're likely to have a replacement warranty available. If you buy "Home Theatre" TrueHD units check the warranty carefully as they seldom offer consumer units with a replacement warranty. This could leave an installation down during a service period verses an industrial unit which has replacement warranties. Hope this intor to projection helps. Thanks, Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Jason Herrington Sent: Wednesday, January 21, 2009 5:01 PM To: mcn-l at mcn.edu Subject: [MCN-L] Gallery video projector reccomendations? Hi all, In the next two years my museum will be hosting exhibitions that incorporate still images and video. Part of the artistic vision for the exhibitions is to use ceiling mounted projectors, rather than video monitors, to display the images and video. This is the first time we will have attempted something like this, and I'd like to make sure we get the proper equipment. There are so many projectors on the market, and I'm curious if the list as a preference toward a particular brand or vendor. DLP, CRT or LCD? Is there an HD option that we should invest in? Thanks! -- Jason Herrington Master's Candidate Department of Museology University of Washington ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] FW: photography, digitization, and a color/grey card?
Hi Eve, It's never too late to catch up... We have found this approach to be very effective for all our publications staff and the printers they work with. Initially we were asked for key prints when the printers were uninitiated to our concept. The dilemma was that a key print was another interpretation of colour which deviates from the pure digital rendering. Hence weaknesses in the key print were then translated to press. We visited a number of printers with a colour temp meter and measured their inspection environments and light boxes. The range of colour temperatures was astounding, varying up to 1500?K from one station to another. It was clear that we/they needed a measurable source as a starting point. Our solution and guidance to the printers helped establish a new workflow for first proofs. After a few growing pains the adaptation of this new approach made life much simpler for all concerned. Our catalogues certainly reflect an increase in quality and accuracy since the inception of this approach. If you'd like a digital copy of our gray scale I'd be pleased to share it with you for your applications. Try it out and see if it can help. Sincerely, Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Eve Sinaiko Sent: Tuesday, November 25, 2008 7:01 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] FW: photography, digitization, and a color/grey card? Catching up very late: >From Mark Paradis: > My objection to color bars when included at the capture/scanning > stage is that any global changes made in image editing software will also extend to > the color reference as well. Send the file to printing and the printers will correct the > scale back to its know color and your original will share this bias. This is a very good point. The designer or whomever corrects a digital file should provide the printer with either a match print or a set of notes about the corrections that have been made. > First, calibration, calibration, calibration of all devices used in the reproduction > process. This is now an old mantra to most image creators today but it cannot be > stressed enough. We have a weekly regimen of systematic calibration of cameras > and monitors to ensure consistency on these variables. I think this is an excellent rule for museums. Of course, images of artworks come from a million sources. Where calibration has been careful, notes to that effect attached to (embedded in?) the digital file would certainly be more useful than a grayscale or color bar. Many museums (not to mention other image sources) do not have best-quality tools or skills. Absent those, a guide to the printer is needed. > Third step, create your own unbiased reference scale. Yup, I said it, a homemade > solution. Our approach was to create a digitally perfect reference grey scale in > Photoshop. We created a 21 step, digitally created grey scale in Photoshop in .15 > step increments just like the Kodak ones are supposed to be. Beginning at values > of 0,0,0 for purest digital black on up to 255,255,255 for maximum white. With this > technique each step of the scale is measurable and digitally accurate for today and > evermore. Once an image capture is completed by the photographer (in their > calibrated work environment), the digital scale is then added post-capture thus > anchoring the original look to a perfect scale. This is brilliant. Have you gotten feedback from printers? Are they finding it useful? Are you seeing better quality in printed materials? I'd love to hear how it's working. Regards, Eve Sinaiko Director of Publications College Art Association ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l The MCN-L archives can be found at: http://toronto.mediatrope.com/pipermail/mcn-l/
[MCN-L] HD video in the galleries?
Hi Jason, We too at the National Gallery have ventured into HD program delivery and have adopted the following solution. We use MVix media players (MX780HD) with built-in hard drives. We have 1 terabyte drives which gives us nearly infinite quantities of HD video playback, localized to the plasma screen. The units are small enough to be mounted behind a plasma screen. They deliver full 1080p playback when using HDMI interfaces. They can also deliver audio content as well as web radio. They can be streamed wirelessly (although it's not the best solution) or can be mounted on a network for uploading and refreshing content. We've been running for 6 months with little issue and of course the image is outstanding. If your plasmas only take component then you'll be limited to 720p HD rather than full 1080p. The units can have an assigned playlist with repeat function for continuous play. http://www.mvixusa.com/#products_main/ht/0 There are many players in this field with similar solutions, but it's certainly worth a look. Thanks, and good hunting. Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Jason Bondy Sent: Friday, November 07, 2008 3:59 PM To: mcn-l at mcn.edu Subject: [MCN-L] HD video in the galleries? Hello all, We have recently begun moving toward High-Definition video for all of our interviews, documentaries and other footage to be used in exhibits. We are using internally produced video as well as video shot by outside producers. However, we are running into some obstacles determining the best solution for playback in the galleries. We will be playing the HD video files from Windows-based computers connected to plasma monitors. Currently we are trying it with H.264 encoded QuickTime files, but they are very "jumpy" on video clips with a lot of motion. We have upgraded the RAM and video cards in the computers, but with very little improvement. Also, we using Cat5 DVI/HDMI extenders as there is quite a bit of distance from the computer to the monitor. Who else out there is using HD video in your exhibits? How are you doing it? We would welcome any suggestions or input you may have. Thank you so much, Jason ___ Jason Bondy Exhibit AV/IT Systems Oklahoma History Center 2401 N. Laird Ave. Oklahoma City, OK 73105 405-522-0783 - Office 405-522-5402 - Fax www.okhistory.org ___ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l
[MCN-L] FW: photography, digitization, and a color/grey card?
Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of mpara...@gallery.ca Sent: Monday, October 20, 2008 6:22 PM To: mcn-l at mcn.edu Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Hi All, This is my first posting since joining many years ago, but I'm an avid reader of the MCN. To that end I'd like to add my two cents worth to the discussion. Color bars and grey scales have been discussed since their invention. They have been a standard for so very long but do pose a few concerns for me. First point I do agree on is that the Greytag color checker is far superior to the Kodak medium. The non reflective nature of the Greytag checker helps eliminate flare thus providing more consistent results if you feel that color checkers are the solution for your operation. My objection to color bars when included at the capture/scanning stage is that any global changes made in image editing software will also extend to the color reference as well. Send the file to printing and the printers will correct the scale back to its know color and your original will share this bias. Knowing that the subject matter we all tend to deal with requires some degree of alteration at the capture phase we found we had to develop a new way of adding visual reference material that would be independent of the final edited image. Here's our thinking and solution which has been extremely successful for our collection of over 29,000 captures to date; First, calibration, calibration, calibration of all devices used in the reproduction process. This is now an old mantra to most image creators today but it cannot be stressed enough. We have a weekly regimen of systematic calibration of cameras and monitors to ensure consistency on these variables. Secondly, viewing conditions of originals. We undertook the conversion of our studio spaces to 5000K lighting in our fluorescent fixtures. We confirm these conditions with a color temperature meter monthly. This gives the photographer a reference environment to confirm color and contrast at the time of capture to the results visible on the calibrated monitor. This tends to be the one and only time this comparison can be made by a trained visual professional and is therefore critical to the final outcome. Once the image has been fined tuned by the photographer to best reflect the original we move on to the final piece of the reference puzzle. Third step, create your own unbiased reference scale. Yup, I said it, a homemade solution. Our approach was to create a digitally perfect reference grey scale in Photoshop. We created a 21 step, digitally created grey scale in Photoshop in .15 step increments just like the Kodak ones are supposed to be. Beginning at values of 0,0,0 for purest digital black on up to 255,255,255 for maximum white. With this technique each step of the scale is measurable and digitally accurate for today and evermore. Once an image capture is completed by the photographer (in their calibrated work environment), the digital scale is then added post-capture thus anchoring the original look to a perfect scale. Now when the printers make a neutral scale they are actually not affecting the final outcome of the photographer's rendition of the subject. We encourage them to use the scale without reservation for first run proofs. This system will also allow some insight into the ability of your printer in delivering a linear tone scale. If they can't deal with a neutral balance in the scale then a final publication will be a hit and miss project at the best of times. When scale proofs are measured from a linear reference it can be a beneficial tool in addressing the printers' possible areas of inconsistency either at the time of CMYK conversion or at the press. Because this technique has known values it puts to bed any debate of the scale's robustness or variability. The scale never changes! I hope this offers you another approach to this long standing issue. When the museum of color scales opens and the catalogue of scales is published, I'll go back to shooting them as subject and put away my computer. Until that time, the art rules! Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Genevieve De mahy Sent: Wednesday, October 15, 2008 9:48 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] pho
[MCN-L] photography, digitization, and a color/grey card?
Hi All, This is my first posting since joining many years ago, but I'm an avid reader of the MCN. To that end I'd like to add my two cents worth to the discussion. Color bars and grey scales have been discussed since their invention. They have been a standard for so very long but do pose a few concerns for me. First point I do agree on is that the Greytag color checker is far superior to the Kodak medium. The non reflective nature of the Greytag checker helps eliminate flare thus providing more consistent results if you feel that color checkers are the solution for your operation. My objection to color bars when included at the capture/scanning stage is that any global changes made in image editing software will also extend to the color reference as well. Send the file to printing and the printers will correct the scale back to its know color and your original will share this bias. Knowing that the subject matter we all tend to deal with requires some degree of alteration at the capture phase we found we had to develop a new way of adding visual reference material that would be independent of the final edited image. Here's our thinking and solution which has been extremely successful for our collection of over 29,000 captures to date; First, calibration, calibration, calibration of all devices used in the reproduction process. This is now an old mantra to most image creators today but it cannot be stressed enough. We have a weekly regimen of systematic calibration of cameras and monitors to ensure consistency on these variables. Secondly, viewing conditions of originals. We undertook the conversion of our studio spaces to 5000K lighting in our fluorescent fixtures. We confirm these conditions with a color temperature meter monthly. This gives the photographer a reference environment to confirm color and contrast at the time of capture to the results visible on the calibrated monitor. This tends to be the one and only time this comparison can be made by a trained visual professional and is therefore critical to the final outcome. Once the image has been fined tuned by the photographer to best reflect the original we move on to the final piece of the reference puzzle. Third step, create your own unbiased reference scale. Yup, I said it, a homemade solution. Our approach was to create a digitally perfect reference grey scale in Photoshop. We created a 21 step, digitally created grey scale in Photoshop in .15 step increments just like the Kodak ones are supposed to be. Beginning at values of 0,0,0 for purest digital black on up to 255,255,255 for maximum white. With this technique each step of the scale is measurable and digitally accurate for today and evermore. Once an image capture is completed by the photographer (in their calibrated work environment), the digital scale is then added post-capture thus anchoring the original look to a perfect scale. Now when the printers make a neutral scale they are actually not affecting the final outcome of the photographer's rendition of the subject. We encourage them to use the scale without reservation for first run proofs. This system will also allow some insight into the ability of your printer in delivering a linear tone scale. If they can't deal with a neutral balance in the scale then a final publication will be a hit and miss project at the best of times. When scale proofs are measured from a linear reference it can be a beneficial tool in addressing the printers' possible areas of inconsistency either at the time of CMYK conversion or at the press. Because this technique has known values it puts to bed any debate of the scale's robustness or variability. The scale never changes! I hope this offers you another approach to this long standing issue. When the museum of color scales opens and the catalogue of scales is published, I'll go back to shooting them as subject and put away my computer. Until that time, the art rules! Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -Original Message- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Genevieve De mahy Sent: Wednesday, October 15, 2008 9:48 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color
