Re: [Videolib] Preservation vs. prohibitions on duplication

[Pamela Bristah]

The Music Library Association's copyright page has a good summary of
copyright law governing pre-1972 sound recordings at
http://copyright.musiclibraryassoc.org/Resources/AudioPreservationAndAccess
, under the section titled "Discussion."  

The post below is correct; pre-1972 sound recordings are covered by state
law, effectively New York State law. 

The cutoff date is 1972, not 1976, as that's when Congress passed a law
including sound recordings under federal copyright, as per the footnote in
http://www.copyright.gov/circs/circ56.pdf
__
Pamela Bristah, Music Librarian, Wellesley College, 106 Central Street,
Wellesley MA 02481
phone 781-283-2076, fax 781-283-2869, pbris...@wellesley.edu


videolib@lists.berkeley.edu on Thursday, September 30, 2010 at 1:39 PM
-0400 wrote:
>It is not my area of expertise, but I believe it is by state law and the
>contracts that were originally signed. The music librarians are way up on
>this.�  I can ask a colleague from the OITP Copyright Advisory
>Subcommittee to respond, if you like (who knows this stuff). 
>
>� 
>
>mb
>
>� 
>
>Michael Brewer
>
>Team Leader for Instructional Services
>
>University of Arizona Libraries
>
>[ mailto:brew...@u.library.arizona.edu ]brew...@u.library.arizona.edu
>
>� 
>
>From: videolib-boun...@lists.berkeley.edu
>[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
>Sent: Thursday, September 30, 2010 10:26 AM
>To: videolib@lists.berkeley.edu
>Subject: Re: [Videolib] Preservation vs. prohibitions on duplication
>
>� 
>
>Is there somewhere I can read up on this? If they are not covered by US
>copyright law, what are they covered by ?
>
>
>
>
>On Thu, Sep 30, 2010 at 1:11 PM, Brewer, Michael <[
>mailto:brew...@u.library.arizona.edu ]brew...@u.library.arizona.edu>
>wrote:
>
>
>
>
>Pre 1976 musical recordings are not covered by US Copyright law, though,
>so 108 does not apply (and was not written for them).�  This is the
>problem.�  If it did apply, there would be no problem here, as libraries
>and archives could digitize the old stuff that is deteriorating under 108
>for preservation purposes. 
>
>� 
>
>Michael Brewer
>
>Team Leader for Instructional Services
>
>University of Arizona Libraries
>
>[ mailto:brew...@u.library.arizona.edu ]brew...@u.library.arizona.edu
>
>� 
>
>From: [ mailto:videolib-boun...@lists.berkeley.edu
>]videolib-boun...@lists.berkeley.edu [mailto:[
>mailto:videolib-boun...@lists.berkeley.edu
>]videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
>Sent: Thursday, September 30, 2010 10:02 AM
>To: [ mailto:videolib@lists.berkeley.edu ]video...@lists.berkeley.edu
>Subject: Re: [Videolib] Preservation vs. prohibitions on duplication
>
>
>
>
>� 
>
>I would have to read the report itself but copyright law does not in any
>way prevent the PRESERVATION of audio recordings. In fact the section of
>everyone keeps going to justify making a copy of deteriorating work was
>written for audio recordings. What the law does do is prevent the
>preserved work from being used by anyone save researchers who must go to
>archive/library which preserved it. Bottom line works can preserved for
>archival purposes, but they can not be sold or made available outside the
>archive. I see little likelihood of any change in copyright law that
>would allow preserved material still under copyright to be made available
>beyond the archive without permission of the rights holder.
>This is frustrating since many rights holders are hard to find, often
>ornery and may want a lot of money, but they are still the owners. There
>has of course been a movement to allow "orphan" works , particularly
>those in the last years of copyright to be copied, but again I just don't
>see major changes in copyright law because the big rights holders have
>too much at stake ( as well as the little ones).
>
>
>
>
>On Thu, Sep 30, 2010 at 12:47 PM, Shoaf,Judith P <[ mailto:jsh...@ufl.edu
>]jsh...@ufl.edu> wrote:
>
>I thought this was interesting, focusing on audio recordings and the
>preservation vs. copyright situation.
>
>[ http://news.yahoo.com/s/ap/us_endangered_digital_recordings
>]http://news.yahoo.com/s/ap/us_endangered_digital_recordings
>
>judy
>
>Judith P. Shoaf
>Director, Language Learning Center
>University of Florida
>PO 117300
>Gainesville, Florida 32611
>352-392-2112
>
>
>VIDEOLIB is intended to encourage the broad and lively discussion of
>issues relating to the selection, evaluation, acquisition,bibliographic
>control, preservation, and use of current and evolving video formats in
>libraries and related institutions. It is hoped that the list will serve
>as an effective working tool for video librarians, as well as a channel
>of communication between libraries,educational institutions, and video
>producers and distributors.
>
>
>
>
>� 
>
>
>
>
>
>VIDEOLIB is intended to encourage the broad and lively discussion of
>issues relating to the selection, evaluation, acquisition,bibliographic
>control, preservation, and use of c

[Videolib] Out of the office

[cdescalzo]

Hello, 

I am currently out of the office until September 5, 2010. If you need 
immediate assistance contact InJoy at (303) 447-2082 ext 2. 
Otherwise, I will  reply to your message as soon as I return.   

Thank you,

 

  Normal
  0

  false
  false
  false

  EN-US
  X-NONE
  X-NONE

  MicrosoftInternetExplorer4

  

Carlos Descalzo
CEO, InJoy Birth & Parenting Education
303-447-2082 ext. 115
7107 La Vista Place
Longmont CO, 80503
injoyvideos.com 
 P Please do not print this e-mail
unless necessary

 


VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Marketing list of librarians?

[Mike Tribby]

>I shouldn't be forced to opt out in order to control what flows into my 
>mailbox.  The connection between my recent ALA renewal and the barrage of 
>emails from video companies cannot be coincidental.  As far as i am concerned 
>this is reason enough to not renew my ALA membership next year.

Helen's situation would seem unlikely to be purely the result of coincidence, 
but when I renewed my ALA membership (for the 18th year in a row? Gad, I need a 
change), I noticed no increase in vendor emails either at work or at home. In 
the past when I have noticed a spike in unwanted email traffic from vendors, it 
has corresponded to times I've gone to conferences or expositions and signed in 
to or for something, or given my business card out. It's been so long now that 
I don't remember exactly how my ALA membership profile is set, but, at least in 
my experience, simply renewing my ALA membership has not had the results Helen 
mentions, so maybe changing one's profile works.

This is not to say that vendors don't traffic in contact lists, just that ALA 
isn't the only culprit involved in disseminating contact information for 
librarians.



Mike Tribby
Senior Cataloger
Quality Books Inc.
The Best of America's Independent Presses

mailto:mike.tri...@quality-books.com


-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Helen P. Mack
Sent: Friday, October 01, 2010 8:27 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Marketing list of librarians?

That's terrible.  They're like vultures!

I just wrote an angry message to ALA Member Services, detailing the fact that I 
had just changed my profile to eliminate all communications except for official 
ALA ones (ballots, renewals, etc.).  It's a shame that it has come to this, but 
I don't want to be put on any mailing list unless I opt in.  I shouldn't be 
forced to opt out in order to control what flows into my mailbox.  The 
connection between my recent ALA renewal and the barrage of emails from video 
companies cannot be coincidental.  As far as i am concerned this is reason 
enough to not renew my ALA membership next year.


VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Marketing list of librarians?

[Jessica Rosner]

Just out curiosity Mike, do you know if ALA has different categories of
membership. Would you be "sold" on a list as a librarian?

On Fri, Oct 1, 2010 at 9:55 AM, Mike Tribby
wrote:

> >I shouldn't be forced to opt out in order to control what flows into my
> mailbox.  The connection between my recent ALA renewal and the barrage of
> emails from video companies cannot be coincidental.  As far as i am
> concerned this is reason enough to not renew my ALA membership next year.
>
> Helen's situation would seem unlikely to be purely the result of
> coincidence, but when I renewed my ALA membership (for the 18th year in a
> row? Gad, I need a change), I noticed no increase in vendor emails either at
> work or at home. In the past when I have noticed a spike in unwanted email
> traffic from vendors, it has corresponded to times I've gone to conferences
> or expositions and signed in to or for something, or given my business card
> out. It's been so long now that I don't remember exactly how my ALA
> membership profile is set, but, at least in my experience, simply renewing
> my ALA membership has not had the results Helen mentions, so maybe changing
> one's profile works.
>
> This is not to say that vendors don't traffic in contact lists, just that
> ALA isn't the only culprit involved in disseminating contact information for
> librarians.
>
>
>
> Mike Tribby
> Senior Cataloger
> Quality Books Inc.
> The Best of America's Independent Presses
>
> mailto:mike.tri...@quality-books.com
>
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu [mailto:
> videolib-boun...@lists.berkeley.edu] On Behalf Of Helen P. Mack
> Sent: Friday, October 01, 2010 8:27 AM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Marketing list of librarians?
>
> That's terrible.  They're like vultures!
>
> I just wrote an angry message to ALA Member Services, detailing the fact
> that I had just changed my profile to eliminate all communications except
> for official ALA ones (ballots, renewals, etc.).  It's a shame that it has
> come to this, but I don't want to be put on any mailing list unless I opt
> in.  I shouldn't be forced to opt out in order to control what flows into my
> mailbox.  The connection between my recent ALA renewal and the barrage of
> emails from video companies cannot be coincidental.  As far as i am
> concerned this is reason enough to not renew my ALA membership next year.
>
>
> VIDEOLIB is intended to encourage the broad and lively discussion of issues
> relating to the selection, evaluation, acquisition,bibliographic control,
> preservation, and use of current and evolving video formats in libraries and
> related institutions. It is hoped that the list will serve as an effective
> working tool for video librarians, as well as a channel of communication
> between libraries,educational institutions, and video producers and
> distributors.
>
VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Marketing list of librarians?

[Mike Tribby]

I don't think the basic ALA membership has non-librarian vs. librarian 
categories, but, since I am a librarian (even though I've been told I don't 
look or act like one...) I may not be the best authority on this. As I recall 
when our head of IT was briefly a member of LITA, she had an ALA membership 
card that looked just like mine, and she was definitely not a librarian. As far 
as I know the only different level of membership is for students (reduced rate) 
and there was some talk a while ago about having an emeritus level, which would 
also carry a reduced membership charge.

Who's the VRT liaison at ALA these days?


Mike Tribby
Senior Cataloger
Quality Books Inc.
The Best of America's Independent Presses

mailto:mike.tri...@quality-books.com


-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
Sent: Friday, October 01, 2010 9:11 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Marketing list of librarians?

Just out curiosity Mike, do you know if ALA has different categories of 
membership. Would you be "sold" on a list as a librarian?


On Fri, Oct 1, 2010 at 9:55 AM, Mike Tribby  
wrote:


>I shouldn't be forced to opt out in order to control what flows into 
my mailbox.  The connection between my recent ALA renewal and the barrage of 
emails from video companies cannot be coincidental.  As far as i am concerned 
this is reason enough to not renew my ALA membership next year.


Helen's situation would seem unlikely to be purely the result of 
coincidence, but when I renewed my ALA membership (for the 18th year in a row? 
Gad, I need a change), I noticed no increase in vendor emails either at work or 
at home. In the past when I have noticed a spike in unwanted email traffic from 
vendors, it has corresponded to times I've gone to conferences or expositions 
and signed in to or for something, or given my business card out. It's been so 
long now that I don't remember exactly how my ALA membership profile is set, 
but, at least in my experience, simply renewing my ALA membership has not had 
the results Helen mentions, so maybe changing one's profile works.

This is not to say that vendors don't traffic in contact lists, just 
that ALA isn't the only culprit involved in disseminating contact information 
for librarians.



Mike Tribby
Senior Cataloger
Quality Books Inc.
The Best of America's Independent Presses

mailto:mike.tri...@quality-books.com



-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Helen P. Mack
Sent: Friday, October 01, 2010 8:27 AM
To: videolib@lists.berkeley.edu

Subject: Re: [Videolib] Marketing list of librarians?


That's terrible.  They're like vultures!

I just wrote an angry message to ALA Member Services, detailing the 
fact that I had just changed my profile to eliminate all communications except 
for official ALA ones (ballots, renewals, etc.).  It's a shame that it has come 
to this, but I don't want to be put on any mailing list unless I opt in.  I 
shouldn't be forced to opt out in order to control what flows into my mailbox.  
The connection between my recent ALA renewal and the barrage of emails from 
video companies cannot be coincidental.  As far as i am concerned this is 
reason enough to not renew my ALA membership next year.



VIDEOLIB is intended to encourage the broad and lively discussion of 
issues relating to the selection, evaluation, acquisition,bibliographic 
control, preservation, and use of current and evolving video formats in 
libraries and related institutions. It is hoped that the list will serve as an 
effective working tool for video librarians, as well as a channel of 
communication between libraries,educational institutions, and video producers 
and distributors.




No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 8.5.445 / Virus Database: 271.1.1/3170 - Release Date: 10/01/10 
06:34:00

VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Marketing list of librarians?

[Meghann Matwichuk]

I think Mike is on to something -- I am an ALA member, as is the other 
media librarian in my department.  When I register for conferences I 
always make sure to check the opt-out box on the registration form so 
that I don't get deluged with advertisements / invitations / etc. from 
distributors, most of which do not have anything to do with my area of 
specialty.  My colleague doesn't.  The deluge he gets is pretty phenomenal.


We both get postcards / catalogs / etc. from media vendors, who I always 
supposed built their own lists based on web searches, past purchase 
records, listserv participation, etc.  These are much more useful, for 
the most part.


I was head of Membership for VRT several years back, and I am still 
getting junk mail from my days in that role -- I think because I was the 
contact point when VRT rented a booth and booth materials, and had my 
information in the ALA Membership directory.  But otherwise, it's been 
minimal.


Happy Friday,

*
Meghann Matwichuk, M.S.
Associate Librarian
Instructional Media Collection Department
Morris Library, University of Delaware
181 S. College Ave.
Newark, DE 19717
(302) 831-1475
http://www.lib.udel.edu/ud/instructionalmedia/

On 10/1/2010 9:55 AM, Mike Tribby wrote:

I shouldn't be forced to opt out in order to control what flows into my 
mailbox.  The connection between my recent ALA renewal and the barrage of 
emails from video companies cannot be coincidental.  As far as i am concerned 
this is reason enough to not renew my ALA membership next year.
 

Helen's situation would seem unlikely to be purely the result of coincidence, 
but when I renewed my ALA membership (for the 18th year in a row? Gad, I need a 
change), I noticed no increase in vendor emails either at work or at home. In 
the past when I have noticed a spike in unwanted email traffic from vendors, it 
has corresponded to times I've gone to conferences or expositions and signed in 
to or for something, or given my business card out. It's been so long now that 
I don't remember exactly how my ALA membership profile is set, but, at least in 
my experience, simply renewing my ALA membership has not had the results Helen 
mentions, so maybe changing one's profile works.

This is not to say that vendors don't traffic in contact lists, just that ALA 
isn't the only culprit involved in disseminating contact information for 
librarians.



Mike Tribby
Senior Cataloger
Quality Books Inc.
The Best of America's Independent Presses

mailto:mike.tri...@quality-books.com


-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Helen P. Mack
Sent: Friday, October 01, 2010 8:27 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Marketing list of librarians?

That's terrible.  They're like vultures!

I just wrote an angry message to ALA Member Services, detailing the fact that I 
had just changed my profile to eliminate all communications except for official 
ALA ones (ballots, renewals, etc.).  It's a shame that it has come to this, but 
I don't want to be put on any mailing list unless I opt in.  I shouldn't be 
forced to opt out in order to control what flows into my mailbox.  The 
connection between my recent ALA renewal and the barrage of emails from video 
companies cannot be coincidental.  As far as i am concerned this is reason 
enough to not renew my ALA membership next year.


VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.
   
VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Marketing list of librarians?

[Jessica Rosner]

This is interesting because the last time I tried to buy an ALA list which
was some years ago, they did NOT have list specific to media librarians.

On Fri, Oct 1, 2010 at 11:22 AM, Meghann Matwichuk  wrote:

>  I think Mike is on to something -- I am an ALA member, as is the other
> media librarian in my department.  When I register for conferences I always
> make sure to check the opt-out box on the registration form so that I don't
> get deluged with advertisements / invitations / etc. from distributors, most
> of which do not have anything to do with my area of specialty.  My colleague
> doesn't.  The deluge he gets is pretty phenomenal.
>
> We both get postcards / catalogs / etc. from media vendors, who I always
> supposed built their own lists based on web searches, past purchase records,
> listserv participation, etc.  These are much more useful, for the most part.
>
> I was head of Membership for VRT several years back, and I am still getting
> junk mail from my days in that role -- I think because I was the contact
> point when VRT rented a booth and booth materials, and had my information in
> the ALA Membership directory.  But otherwise, it's been minimal.
>
> Happy Friday,
>
>
> *
> Meghann Matwichuk, M.S.
> Associate Librarian
> Instructional Media Collection Department
> Morris Library, University of Delaware
> 181 S. College Ave.
> Newark, DE 19717
> (302) 831-1475
> http://www.lib.udel.edu/ud/instructionalmedia/
>
> On 10/1/2010 9:55 AM, Mike Tribby wrote:
>
>  I shouldn't be forced to opt out in order to control what flows into my 
> mailbox.  The connection between my recent ALA renewal and the barrage of 
> emails from video companies cannot be coincidental.  As far as i am concerned 
> this is reason enough to not renew my ALA membership next year.
>
>
>  Helen's situation would seem unlikely to be purely the result of 
> coincidence, but when I renewed my ALA membership (for the 18th year in a 
> row? Gad, I need a change), I noticed no increase in vendor emails either at 
> work or at home. In the past when I have noticed a spike in unwanted email 
> traffic from vendors, it has corresponded to times I've gone to conferences 
> or expositions and signed in to or for something, or given my business card 
> out. It's been so long now that I don't remember exactly how my ALA 
> membership profile is set, but, at least in my experience, simply renewing my 
> ALA membership has not had the results Helen mentions, so maybe changing 
> one's profile works.
>
> This is not to say that vendors don't traffic in contact lists, just that ALA 
> isn't the only culprit involved in disseminating contact information for 
> librarians.
>
>
>
> Mike Tribby
> Senior Cataloger
> Quality Books Inc.
> The Best of America's Independent Presses
> mailto:mike.tri...@quality-books.com 
>
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu 
> [mailto:videolib-boun...@lists.berkeley.edu 
> ] On Behalf Of Helen P. Mack
> Sent: Friday, October 01, 2010 8:27 AM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Marketing list of librarians?
>
> That's terrible.  They're like vultures!
>
> I just wrote an angry message to ALA Member Services, detailing the fact that 
> I had just changed my profile to eliminate all communications except for 
> official ALA ones (ballots, renewals, etc.).  It's a shame that it has come 
> to this, but I don't want to be put on any mailing list unless I opt in.  I 
> shouldn't be forced to opt out in order to control what flows into my 
> mailbox.  The connection between my recent ALA renewal and the barrage of 
> emails from video companies cannot be coincidental.  As far as i am concerned 
> this is reason enough to not renew my ALA membership next year.
>
>
> VIDEOLIB is intended to encourage the broad and lively discussion of issues 
> relating to the selection, evaluation, acquisition,bibliographic control, 
> preservation, and use of current and evolving video formats in libraries and 
> related institutions. It is hoped that the list will serve as an effective 
> working tool for video librarians, as well as a channel of communication 
> between libraries,educational institutions, and video producers and 
> distributors.
>
>
>
> VIDEOLIB is intended to encourage the broad and lively discussion of issues
> relating to the selection, evaluation, acquisition,bibliographic control,
> preservation, and use of current and evolving video formats in libraries and
> related institutions. It is hoped that the list will serve as an effective
> working tool for video librarians, as well as a channel of communication
> between libraries,educational institutions, and video producers and
> distributors.
>
>
VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
rela

Re: [Videolib] Swank Digital Campus

[Jo Ann Reynolds]

Hi Kim,

I guess I disagree with Gary. Short term access to resources for classes
is something we've provided for forever in Reserve Services here at the
University of Connecticut. Historically that was books but now we've
grown to journal articles, full text links to journals and ebooks,
personal copies, and now streaming video and audio.

We've used Swank for a couple of semesters now. They are expensive but
we apply the same criteria to obtaining Swank streams as we do for other
streams.
e.g. when one or more of the following conditions arise: used for more
than one class in more than one semester, used at a regional campus
where students are non-resident, and to support distance learning and
blended classes.

Although nowhere near half of our streams come from Swank, our data
shows that about half of what's put on Reserve are feature films.

In answer to your original questions.
The Library is responsible for the transaction and our name is on the
invoice. We also pay for the stream.
And, no, once explained to them, faculty understand the short term
duration of the access.

There are other departments who help faculty develop online courses but
since our library has so much valuable content which already license and
can be used for online courses (e.g. ejournals, ebooks, newspapers,
images, etc.), the provision of moving image streams is a very natural
addition to content provision.

I might add that it is not just online courses which benefit from
e-whatever. Blended courses and even traditional courses also benefit.

Jo Ann

Jo Ann Reynolds
Reserve Services Coordinator
University of Connecticut
Homer Babbidge Library
Storrs,  CT
860-486-1406
jo_ann.reyno...@uconn.edu

Question Reality


-Original Message-
From: videolib-boun...@lists.berkeley.edu
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
ghand...@library.berkeley.edu
Sent: Thursday, September 30, 2010 4:17 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Swank Digital Campus

Hey Kim

As you know, this is one of the many things that gets me seeing crimson.

I am categorically NOT one of those librarian types that refuses to let
go
of traditional function or to embrace new...but:  I can see no
justification whatsoever for libraries getting into the business of
picking up the tab for short term/ephemeral access...it simply doesn't
make sense to me--certainly not from a budgetary standpoint.  Libraries
acquire, organize, catalog...physical or not, the stuff we acquire has
always been inventoriable...and that's the way it should be, in my book.

Support of short-term, course-specific access belongs elsewhere, unless
campus is willing to beef up your budget sufficiently...

If this were to develop on my campus, I'd most definitely foist it off
on
our Sakai wonks (Educational Technology Services)--the folks who
develop,
manage, and maintain classroom technologies and resources.  That's where
it belongs.

Gary Handman







> Hi all,
>
> I think we're about to license our first streaming film through Swank
> Digital Campus.  The usage scenario is so different from what I
normally
> deal with.  Typically, my library licenses individual films from
> distributers for use by all current student & faculty, for a term
ranging
> from 3 years to perpetuity and we stream the content from a
library-run
> server and management system. The Swank content would be license for 1
> semester,  would only be accessible to a specific class and would be
> hosted off-site.
>
> I'm trying to figure out what my library's role should be in the Swank
> scenario.  If you've used Swank Digital Campus at your institution (or
> deal with other short term/ course specific digital rights), could you
> tell me how this was handled.
>
>
> * Who is responsible for the transaction  - i.e  whose name is
on
> the contract/ invoice? The Library, the academic department,  the
faculty
> member, another campus group?
>
>
>
> * Who directly pays for the content?
>
>
>
> * If both of the above were handled by the library, was there
any
> resistance to this sort of short term, limited access being the
library's
> responsibility?
>
>
>
> * Is there another department on your campus that more
directly
> supports development and resources for online courses?   What was
their
> involvement?
>
>
>
> Thanks!
>
> Kim Stanton
> Head, Media Library
> University of North Texas
> kim.stan...@unt.edu
> P: (940) 565-4832
> F: (940) 369-7396
>
> VIDEOLIB is intended to encourage the broad and lively discussion of
> issues relating to the selection, evaluation,
acquisition,bibliographic
> control, preservation, and use of current and evolving video formats
in
> libraries and related institutions. It is hoped that the list will
serve
> as an effective working tool for video librarians, as well as a
channel of
> communication between libraries,educational institutions, and video
> producers and distributors.
>


Gary Handman
Director
Media Resources C

Re: [Videolib] Swank Digital Campus

[Jessica Rosner]

I am not sure if we are talking about the same kind of film, but fiction
feature films are nearly always licensed from large companies or sales
agents that represent them  and you definitely may not license them to
anyone beyond the term of your contract without their agreement. I imagine
if you work directly with a filmmaker things are different, but contracts
for standard feature films limit the distributor's rights to the term of the
contract. In general rights not explicitly granted in a contract belong to
owner. There was a lot of nasty arguments when DVD came in and companies
realized that most old contracts did not cover the format. It would hardly
make sense for a company to license  a film to distributor for say 7 years
and yet allow the distributor to license it in perpetuity. What for instance
would prevent a distributor from making all TV sales and Netflix deals in
perpetuity?  They would also have "fire sales" when rights were expiring and
just start selling rights to anyone they could get any money from . The
 reason rights are so damn complicated with foreign and independent films is
that they change and expire so often. Streaming rights are a contract, not a
physical item like a print or DVD which can be sold for life of format and a
company whose rights are limited to  a certain period can't sell them to
someone else for a longer period.

I am currently involved in sales & marketing for a number of films. With one
group I work with the director so these films can be licensed for a month or
in perpetuity as she owns all the rights. The others I work with are under
contract with several very large European companies and under no
circumstances could I legally license them in perpetuity. If the issue came
up, I could ask them if they would agree, but unless a LOT of money is
involved I would not hold my breath. They would certainly take legal action
if they found out I was claiming rights to license their films beyond the
terms in the contract.

Again films where are working directly with a filmmaker may have more
flexibility because of the relationship, but I am referring to fiction
feature films many of which are under contract from large and often
litigious rights holders. Every contract I have ever seen or been involved
with on those would not allow a distributor to sell any rights extending
beyond their own contract.

If anyone else who deals with fiction feature titles want to comment I would
be most interested.




On Thu, Sep 30, 2010 at 5:38 PM, Elizabeth Sheldon  wrote:

> For clarity, unless a contract between a filmmaker and a distributor
> specifies that the distributor may not grant licenses that extend
> beyond the original Term of the contract, a distributor may license a
> film for any given period of time during the original license period.
> For example, if a contract was signed in 2005 for a seven year term, a
> distributor could grant licenses that extend ten years beyond, or
> even, in perpetuity. The right to grant licenses expires in 2012, not
> the licenses granted to the end user.
>
> For example, a PPR license is for the life of the DVD. Even if the
> distributor only has seven years to grant PPR licenses to customers,
> the customer's license does not end when the distributor's contract
> ends. Likewise with digital site licenses, it is for the term of the
> digital site license agreed to between the institution and the
> distributor. Unless there are underlying rights issues and/or a clause
> that limits the term of a license to a certain period beyond the end
> of the original contract, there is no reason for a distributor not to
> offer a digital site license in perpetuity.
>
>  From a legal point of view.
>
> Best,
>
> Elizabeth
>
> Elizabeth Sheldon
> Vice President
> Kino Lorber, Inc.
> 333 W. 39th St., Suite 503
> New York, NY 10018
> (212) 629-6880
>
> www.kinolorberedu.com
> On Sep 30, 2010, at 5:08 PM, Jessica Rosner wrote:
>
> > As a practical matter Swank really can't license for more than one
> > academic year. This is what I have been trying to explain re studio
> > product. I think is is very unlikely they will ever allow Swank,
> > Criterion Pictures ( Fox films) or even themselves to license for
> > more than a year. Anything is possible but I would not hold my
> > breath. Similarly most independent and foreign films are likely to
> > be able to license for say 1-7 years because 7 years is the standard
> > contract term though some go up to 10 or more, however the clock
> > starts ticking when the contract is signed so a film released in
> > 2005 is likely only to have 2 years of licensing life left. In many
> > cases these films are renewed, but in many cases they are not and a
> > whole lot of companies go out of business these days leaving a lot
> > of films in limbo.
> >
> > The Swank scenario may be more restrictive in terms of use than
> > some, but for fiction feature films, most are going to be time
> > limited and few available in perpetuit

Re: [Videolib] Swank Digital Campus

[ghandman]

Reserve books are inventoriable...they presumably get cataloged and become
part of the library's collection, no?

gary



> Hi Kim,
>
> I guess I disagree with Gary. Short term access to resources for classes
> is something we've provided for forever in Reserve Services here at the
> University of Connecticut. Historically that was books but now we've
> grown to journal articles, full text links to journals and ebooks,
> personal copies, and now streaming video and audio.
>
> We've used Swank for a couple of semesters now. They are expensive but
> we apply the same criteria to obtaining Swank streams as we do for other
> streams.
> e.g. when one or more of the following conditions arise: used for more
> than one class in more than one semester, used at a regional campus
> where students are non-resident, and to support distance learning and
> blended classes.
>
> Although nowhere near half of our streams come from Swank, our data
> shows that about half of what's put on Reserve are feature films.
>
> In answer to your original questions.
> The Library is responsible for the transaction and our name is on the
> invoice. We also pay for the stream.
> And, no, once explained to them, faculty understand the short term
> duration of the access.
>
> There are other departments who help faculty develop online courses but
> since our library has so much valuable content which already license and
> can be used for online courses (e.g. ejournals, ebooks, newspapers,
> images, etc.), the provision of moving image streams is a very natural
> addition to content provision.
>
> I might add that it is not just online courses which benefit from
> e-whatever. Blended courses and even traditional courses also benefit.
>
> Jo Ann
>
> Jo Ann Reynolds
> Reserve Services Coordinator
> University of Connecticut
> Homer Babbidge Library
> Storrs,  CT
> 860-486-1406
> jo_ann.reyno...@uconn.edu
>
> Question Reality
>
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu
> [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
> ghand...@library.berkeley.edu
> Sent: Thursday, September 30, 2010 4:17 PM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Swank Digital Campus
>
> Hey Kim
>
> As you know, this is one of the many things that gets me seeing crimson.
>
> I am categorically NOT one of those librarian types that refuses to let
> go
> of traditional function or to embrace new...but:  I can see no
> justification whatsoever for libraries getting into the business of
> picking up the tab for short term/ephemeral access...it simply doesn't
> make sense to me--certainly not from a budgetary standpoint.  Libraries
> acquire, organize, catalog...physical or not, the stuff we acquire has
> always been inventoriable...and that's the way it should be, in my book.
>
> Support of short-term, course-specific access belongs elsewhere, unless
> campus is willing to beef up your budget sufficiently...
>
> If this were to develop on my campus, I'd most definitely foist it off
> on
> our Sakai wonks (Educational Technology Services)--the folks who
> develop,
> manage, and maintain classroom technologies and resources.  That's where
> it belongs.
>
> Gary Handman
>
>
>
>
>
>
>
>> Hi all,
>>
>> I think we're about to license our first streaming film through Swank
>> Digital Campus.  The usage scenario is so different from what I
> normally
>> deal with.  Typically, my library licenses individual films from
>> distributers for use by all current student & faculty, for a term
> ranging
>> from 3 years to perpetuity and we stream the content from a
> library-run
>> server and management system. The Swank content would be license for 1
>> semester,  would only be accessible to a specific class and would be
>> hosted off-site.
>>
>> I'm trying to figure out what my library's role should be in the Swank
>> scenario.  If you've used Swank Digital Campus at your institution (or
>> deal with other short term/ course specific digital rights), could you
>> tell me how this was handled.
>>
>>
>> * Who is responsible for the transaction  - i.e  whose name is
> on
>> the contract/ invoice? The Library, the academic department,  the
> faculty
>> member, another campus group?
>>
>>
>>
>> * Who directly pays for the content?
>>
>>
>>
>> * If both of the above were handled by the library, was there
> any
>> resistance to this sort of short term, limited access being the
> library's
>> responsibility?
>>
>>
>>
>> * Is there another department on your campus that more
> directly
>> supports development and resources for online courses?   What was
> their
>> involvement?
>>
>>
>>
>> Thanks!
>>
>> Kim Stanton
>> Head, Media Library
>> University of North Texas
>> kim.stan...@unt.edu
>> P: (940) 565-4832
>> F: (940) 369-7396
>>
>> VIDEOLIB is intended to encourage the broad and lively discussion of
>> issues relating to the selection, evaluation,
> acquisition,bibliographic
>> control, preservation, and

[Videolib] Best Practices for Managing Video Collections

[Benjamin Turner]

Dear Colleagues,

 

Can anybody tell me where I can find a "Best Practices" for managing
video collections? 

 

Thanks to everybody for answering my previous questions. The information
you've provided has been very helpful.

 

Benjamin Turner

Assistant Professor, Instructional Services

St. John's University Libraries

turn...@stjohns.edu

718.990.5562

 

 
VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Best Practices for Managing Video Collections

[ghandman]

There is no such thing.

At risk of shamelessly flacking my work, my Greenwood book has stuff in it
that still holds true: http://www.greenwood.com/catalog/GR1658.aspx

There are a handful of Guidelines out there

Kris Brancolini's Audiovisual policies in ARL libraries is looking a bit
shaggy these days, but you could check it out.
http://books.google.com/books?id=Cu3gMAAJ&pg=PA144&lpg=PA144&dq=guidelines+Brancolini&source=bl&ots=eBcTNwEGCF&sig=sS9tJpxuaV_Wp74m_Eor4mWIg8E&hl=en&ei=Uh6mTLfDMYHGsAP4rJz-Dg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBIQ6AEwAA#v=onepage&q&f=false

Guidelines for Media Resources in Academic Libraries (2006) (spearheaded
by Kris B and others)
http://www.ala.org/ala/mgrps/divs/acrl/standards/mediaresources.cfm
is still useful



> Dear Colleagues,
>
>
>
> Can anybody tell me where I can find a "Best Practices" for managing
> video collections?
>
>
>
> Thanks to everybody for answering my previous questions. The information
> you've provided has been very helpful.
>
>
>
> Benjamin Turner
>
> Assistant Professor, Instructional Services
>
> St. John's University Libraries
>
> turn...@stjohns.edu
>
> 718.990.5562
>
>
>
>
> VIDEOLIB is intended to encourage the broad and lively discussion of
> issues relating to the selection, evaluation, acquisition,bibliographic
> control, preservation, and use of current and evolving video formats in
> libraries and related institutions. It is hoped that the list will serve
> as an effective working tool for video librarians, as well as a channel of
> communication between libraries,educational institutions, and video
> producers and distributors.
>


Gary Handman
Director
Media Resources Center
Moffitt Library
UC Berkeley

510-643-8566
ghand...@library.berkeley.edu
http://www.lib.berkeley.edu/MRC

"I have always preferred the reflection of life to life itself."
--Francois Truffaut


VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.

Re: [Videolib] Swank Digital Campus

[Susan Weber]

Thank you, Elizabeth for this clarity. 
I had been told the same thing from Criterion, in Canada.

However, many of the distributors who have digital rights do not uphold
this belief.
They tell us that they cannot license beyond their agreement with the
rights' holder.
I've often brought up the DVD sold with perpetual use as the parallel
with
digital or streaming rights. If they can sell the DVD for its physical
life,
they should be able to sell the streaming rights with the same
condition.
Alas, they don't seem to accept it.
Or, do you think I'm being sold a bill of goods on that?

I know Dennis has mentioned that a digital file can be converted to
other streaming
standards. to clarify, we cannot convert an MPEG 4 file to whatever the
next
standard is, can we? Would that not be a new version, and therefore
require new
permission, and perhaps a payment?

Susan


Elizabeth Sheldon wrote:

  For clarity, unless a contract between a filmmaker and a distributor  
specifies that the distributor may not grant licenses that extend  
beyond the original Term of the contract, a distributor may license a  
film for any given period of time during the original license period.  
For example, if a contract was signed in 2005 for a seven year term, a  
distributor could grant licenses that extend ten years beyond, or  
even, in perpetuity. The right to grant licenses expires in 2012, not  
the licenses granted to the end user.

For example, a PPR license is for the life of the DVD. Even if the  
distributor only has seven years to grant PPR licenses to customers,  
the customer's license does not end when the distributor's contract  
ends. Likewise with digital site licenses, it is for the term of the  
digital site license agreed to between the institution and the  
distributor. Unless there are underlying rights issues and/or a clause  
that limits the term of a license to a certain period beyond the end  
of the original contract, there is no reason for a distributor not to  
offer a digital site license in perpetuity.

 From a legal point of view.

Best,

Elizabeth

Elizabeth Sheldon
Vice President
Kino Lorber, Inc.
333 W. 39th St., Suite 503
New York, NY 10018
(212) 629-6880

www.kinolorberedu.com
On Sep 30, 2010, at 5:08 PM, Jessica Rosner wrote:

  
  
As a practical matter Swank really can't license for more than one  
academic year. This is what I have been trying to explain re studio  
product. I think is is very unlikely they will ever allow Swank,  
Criterion Pictures ( Fox films) or even themselves to license for  
more than a year. Anything is possible but I would not hold my  
breath. Similarly most independent and foreign films are likely to  
be able to license for say 1-7 years because 7 years is the standard  
contract term though some go up to 10 or more, however the clock  
starts ticking when the contract is signed so a film released in  
2005 is likely only to have 2 years of licensing life left. In many  
cases these films are renewed, but in many cases they are not and a  
whole lot of companies go out of business these days leaving a lot  
of films in limbo.

The Swank scenario may be more restrictive in terms of use than  
some, but for fiction feature films, most are going to be time  
limited and few available in perpetuity unless it is put into new  
contracts from now on and again I would not hold my breath for that.

Jessica



On Thu, Sep 30, 2010 at 3:40 PM, Stanton, Kim   
wrote:
Hi all,


I think we’re about to license our first streaming film through  
Swank Digital Campus.  The usage scenario is so different from what  
I normally deal with.  Typically, my library licenses individual  
films from distributers for use by all current student & faculty,  
for a term ranging from 3 years to perpetuity and we stream the  
content from a library-run server and management system. The Swank  
content would be license for 1 semester,  would only be accessible  
to a specific class and would be hosted off-site.


I’m trying to figure out what my library’s role should be in the  
Swank scenario.  If you’ve used Swank Digital Campus at your  
institution (or deal with other short term/ course specific digital  
rights), could you tell me how this was handled.


· Who is responsible for the transaction  – i.e  whose name  
is on the contract/ invoice? The Library, the academic department,   
the faculty member, another campus group?


· Who directly pays for the content?


· If both of the above were handled by the library, was  
there any resistance to this sort of short term, limited access  
being the library’s responsibility?


· Is there another department on your campus that more  
directly supports development and resources for online courses?
What was their involvement?



Thanks!


Kim Stanton

Head, Media Library

University of North Texas

kim.stan...@unt.edu

P: (940) 565-4832

F: (940) 369-7396



VIDEOLIB is intended to encourage the broa

Re: [Videolib] Swank Digital Campus

[Jo Ann Reynolds]

So, Gary, is your point that only things that can be catalogued should
be handled by libraries? Undoubtedly cataloguing adds value for a
variety of reasons. Perhaps we need a new type of record for ephemeral
formats complete with expiration date and better yet tied in to the
acquisition system But, the fact that something is difficult to
catalogue or is ephemeral by book standards does not mean libraries
should not have their hand it.

Part of an academic library's mission is to support the academic
endeavors of their institution. Research notwithstanding, what is more
central to an academic library's mission than providing content support
for classes? It is the faculty and how they are choosing to, or finding
it necessary to, teach these days which drives what and how we support
them within course reserves and it's my job to facilitate that. It's
about facilitating access to information. Based on the data I collect
about number and type/format we put on reserve at all our campuses,
libraries they are a changin' and we'll probably look like more like a
hybrid bookstore/Amazon someday than what we look like now. I just
catalogued an iPad so I can circulate an ebook that's only available on
Kindle to a class this semester. If I could get an institutional
textbook subscription I'd do it.

What titles are in vogue change every few years so temporary access to a
resource is okay by me. Now, if you are a big film library supporting a
prestigious academic program you probably have a very different take on
this. Point is, both viewpoints are valid, it just depends on your
mission.

I'm all for facilitating access to resources in whatever format them
come in and the easier it is to change formats, the better, because
that's what my clientele are doing.

Vendors, take note, you'll probably sell more if it comes with metadata
that can be sucked into a catalog.

Jo Ann

Jo Ann Reynolds
Reserve Services Coordinator
University of Connecticut
Homer Babbidge Library
Storrs,  CT
860-486-1406
jo_ann.reyno...@uconn.edu

Question Reality


-Original Message-
From: videolib-boun...@lists.berkeley.edu
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
ghand...@library.berkeley.edu
Sent: Friday, October 01, 2010 1:14 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Swank Digital Campus

Reserve books are inventoriable...they presumably get cataloged and
become
part of the library's collection, no?

gary



> Hi Kim,
>
> I guess I disagree with Gary. Short term access to resources for
classes
> is something we've provided for forever in Reserve Services here at
the
> University of Connecticut. Historically that was books but now we've
> grown to journal articles, full text links to journals and ebooks,
> personal copies, and now streaming video and audio.
>
> We've used Swank for a couple of semesters now. They are expensive but
> we apply the same criteria to obtaining Swank streams as we do for
other
> streams.
> e.g. when one or more of the following conditions arise: used for more
> than one class in more than one semester, used at a regional campus
> where students are non-resident, and to support distance learning and
> blended classes.
>
> Although nowhere near half of our streams come from Swank, our data
> shows that about half of what's put on Reserve are feature films.
>
> In answer to your original questions.
> The Library is responsible for the transaction and our name is on the
> invoice. We also pay for the stream.
> And, no, once explained to them, faculty understand the short term
> duration of the access.
>
> There are other departments who help faculty develop online courses
but
> since our library has so much valuable content which already license
and
> can be used for online courses (e.g. ejournals, ebooks, newspapers,
> images, etc.), the provision of moving image streams is a very natural
> addition to content provision.
>
> I might add that it is not just online courses which benefit from
> e-whatever. Blended courses and even traditional courses also benefit.
>
> Jo Ann
>
> Jo Ann Reynolds
> Reserve Services Coordinator
> University of Connecticut
> Homer Babbidge Library
> Storrs,  CT
> 860-486-1406
> jo_ann.reyno...@uconn.edu
>
> Question Reality
>
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu
> [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
> ghand...@library.berkeley.edu
> Sent: Thursday, September 30, 2010 4:17 PM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Swank Digital Campus
>
> Hey Kim
>
> As you know, this is one of the many things that gets me seeing
crimson.
>
> I am categorically NOT one of those librarian types that refuses to
let
> go
> of traditional function or to embrace new...but:  I can see no
> justification whatsoever for libraries getting into the business of
> picking up the tab for short term/ephemeral access...it simply doesn't
> make sense to me--certainly not from a budgetary standpoint.
Libraries

Re: [Videolib] Swank Digital Campus

[Jessica Rosner]

Criterion most definitely could not license most of their titles in
perpetuity because I believe most of their collection is under contract from
major studios who would simply never agree to it. Most studio licenses are
shorter than those for foreign films, they can actually be year to year.
A streaming license is very different from selling a DVD or before that a
print with PPR rights. A DVD is a  physical item. With streaming you are
selling rights not a physical item and companies can't sell rights for a
term longer than their contract. I did in fact check around with a number of
companies who distribute foreign and independent films and none sells rights
in perpetuity or even longer than the term of their contract except in
unusual cases where they actually have rights in  perpetuity. There were
some odd contracts particularly with foreign films were owners either
naively or because they needed money fast did sell rights forever, but it is
fairly rare. I was told that most contracts are now closer to 10-15 years
than the old 7, but they are still limited in time frame.

If the companies/producers  from which distributors license films from found
out they were licensing beyond the terms of the contract, they would be in
serious trouble. There would be little point in selling a film for
distribution for say 7 years if the company you sold it to then resold to
customers for 20 years. Trust me distributors are as frustrated as you. We
would love to buy rights forever and not have to worry about renewing them,
or the next format that might come along. With the rapid technology changes
the rights issues have gotten even more complicated and rights holders shall
we say a bit more ornery?

Jessica

On Fri, Oct 1, 2010 at 1:49 PM, Susan Weber  wrote:

>  Thank you, Elizabeth for this clarity.
> I had been told the same thing from Criterion, in Canada.
>
> However, many of the distributors who have digital rights do not uphold
> this belief.
> They tell us that they cannot license beyond their agreement with the
> rights' holder.
> I've often brought up the DVD sold with perpetual use as the parallel with
> digital or streaming rights. If they can sell the DVD for its physical
> life,
> they should be able to sell the streaming rights with the same condition.
> Alas, they don't seem to accept it.
> Or, do you think I'm being sold a bill of goods on that?
>
> I know Dennis has mentioned that a digital file can be converted to other
> streaming
> standards. to clarify, we cannot convert an MPEG 4 file to whatever the
> next
> standard is, can we? Would that not be a new version, and therefore require
> new
> permission, and perhaps a payment?
>
> Susan
>
>
>
> Elizabeth Sheldon wrote:
>
> For clarity, unless a contract between a filmmaker and a distributor
> specifies that the distributor may not grant licenses that extend
> beyond the original Term of the contract, a distributor may license a
> film for any given period of time during the original license period.
> For example, if a contract was signed in 2005 for a seven year term, a
> distributor could grant licenses that extend ten years beyond, or
> even, in perpetuity. The right to grant licenses expires in 2012, not
> the licenses granted to the end user.
>
> For example, a PPR license is for the life of the DVD. Even if the
> distributor only has seven years to grant PPR licenses to customers,
> the customer's license does not end when the distributor's contract
> ends. Likewise with digital site licenses, it is for the term of the
> digital site license agreed to between the institution and the
> distributor. Unless there are underlying rights issues and/or a clause
> that limits the term of a license to a certain period beyond the end
> of the original contract, there is no reason for a distributor not to
> offer a digital site license in perpetuity.
>
>  From a legal point of view.
>
> Best,
>
> Elizabeth
>
> Elizabeth Sheldon
> Vice President
> Kino Lorber, Inc.
> 333 W. 39th St., Suite 503
> New York, NY 10018
> (212) 629-6880
> www.kinolorberedu.com
> On Sep 30, 2010, at 5:08 PM, Jessica Rosner wrote:
>
>
>
>  As a practical matter Swank really can't license for more than one
> academic year. This is what I have been trying to explain re studio
> product. I think is is very unlikely they will ever allow Swank,
> Criterion Pictures ( Fox films) or even themselves to license for
> more than a year. Anything is possible but I would not hold my
> breath. Similarly most independent and foreign films are likely to
> be able to license for say 1-7 years because 7 years is the standard
> contract term though some go up to 10 or more, however the clock
> starts ticking when the contract is signed so a film released in
> 2005 is likely only to have 2 years of licensing life left. In many
> cases these films are renewed, but in many cases they are not and a
> whole lot of companies go out of business these days leaving a lot
> of films in limbo.
>
> The Swank s

Re: [Videolib] Swank Digital Campus

[ghandman]

Part of the Student Store's mission is to support the academic endeavor,
too (they buy and sell textbooks, don't they?)

At the risk of sounding hopeless fusty and Old School:  I've always
thought of libraries as places that made decisions about collecting
materials based on both short- and long-term needs; cataloged and provided
bibliographic access to those materials; and preserved this stuff for the
long-haul (along with educating users how to use it all in the most
effective and creative ways possible).  Creation of content and adding
value to existing content is also part of this mix.

Trafficking in the here-today-gone-tomorrow should be someone else's
undertaking and budget problem.

gary

(I DO think that different institutions may have different marching
orders.  I'm speaking from the viewpoint of a large, grad degree granting
university.  I have no doubt things are different elsewhere)



> So, Gary, is your point that only things that can be catalogued should
> be handled by libraries? Undoubtedly cataloguing adds value for a
> variety of reasons. Perhaps we need a new type of record for ephemeral
> formats complete with expiration date and better yet tied in to the
> acquisition system But, the fact that something is difficult to
> catalogue or is ephemeral by book standards does not mean libraries
> should not have their hand it.
>
> Part of an academic library's mission is to support the academic
> endeavors of their institution. Research notwithstanding, what is more
> central to an academic library's mission than providing content support
> for classes? It is the faculty and how they are choosing to, or finding
> it necessary to, teach these days which drives what and how we support
> them within course reserves and it's my job to facilitate that. It's
> about facilitating access to information. Based on the data I collect
> about number and type/format we put on reserve at all our campuses,
> libraries they are a changin' and we'll probably look like more like a
> hybrid bookstore/Amazon someday than what we look like now. I just
> catalogued an iPad so I can circulate an ebook that's only available on
> Kindle to a class this semester. If I could get an institutional
> textbook subscription I'd do it.
>
> What titles are in vogue change every few years so temporary access to a
> resource is okay by me. Now, if you are a big film library supporting a
> prestigious academic program you probably have a very different take on
> this. Point is, both viewpoints are valid, it just depends on your
> mission.
>
> I'm all for facilitating access to resources in whatever format them
> come in and the easier it is to change formats, the better, because
> that's what my clientele are doing.
>
> Vendors, take note, you'll probably sell more if it comes with metadata
> that can be sucked into a catalog.
>
> Jo Ann
>
> Jo Ann Reynolds
> Reserve Services Coordinator
> University of Connecticut
> Homer Babbidge Library
> Storrs,  CT
> 860-486-1406
> jo_ann.reyno...@uconn.edu
>
> Question Reality
>
>
> -Original Message-
> From: videolib-boun...@lists.berkeley.edu
> [mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of
> ghand...@library.berkeley.edu
> Sent: Friday, October 01, 2010 1:14 PM
> To: videolib@lists.berkeley.edu
> Subject: Re: [Videolib] Swank Digital Campus
>
> Reserve books are inventoriable...they presumably get cataloged and
> become
> part of the library's collection, no?
>
> gary
>
>
>
>> Hi Kim,
>>
>> I guess I disagree with Gary. Short term access to resources for
> classes
>> is something we've provided for forever in Reserve Services here at
> the
>> University of Connecticut. Historically that was books but now we've
>> grown to journal articles, full text links to journals and ebooks,
>> personal copies, and now streaming video and audio.
>>
>> We've used Swank for a couple of semesters now. They are expensive but
>> we apply the same criteria to obtaining Swank streams as we do for
> other
>> streams.
>> e.g. when one or more of the following conditions arise: used for more
>> than one class in more than one semester, used at a regional campus
>> where students are non-resident, and to support distance learning and
>> blended classes.
>>
>> Although nowhere near half of our streams come from Swank, our data
>> shows that about half of what's put on Reserve are feature films.
>>
>> In answer to your original questions.
>> The Library is responsible for the transaction and our name is on the
>> invoice. We also pay for the stream.
>> And, no, once explained to them, faculty understand the short term
>> duration of the access.
>>
>> There are other departments who help faculty develop online courses
> but
>> since our library has so much valuable content which already license
> and
>> can be used for online courses (e.g. ejournals, ebooks, newspapers,
>> images, etc.), the provision of moving image streams is a very natural
>> addition to content provision.
>>
>> I might ad

Re: [Videolib] Foreign Film rights

[Jackson, Sandra F.]

Glad I could help!

Sandra F. Jackson
Film Program Coordinator
Lumina Theater & Sharky's Box Office
Department of Campus Life
The University of North Carolina Wilmington
Phone 910.962.7971  Fax: 910-962-7438
jackso...@uncw.edu
http://www.uncw.edu/lumina
NOTICE: Emails sent and received in the course of university business are 
subject to the North Carolina Public Records Act (N.C.G.S. §132-1 et seq.) and 
may be released to the public unless an exception applies.


From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jeanne Little
Sent: Thursday, September 30, 2010 9:23 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Foreign Film rights

Sandra,

That person would have been me.

Thanks for posting on the list, and for the information.

Jeanne Little

Rod Library
University of Northern Iowa
Cedar Falls, Iowa

On 9/29/2010 4:36 PM, Jackson, Sandra F. wrote:
Hi, everyone.

Someone from the list contacted me a while ago regarding companies UNCW has 
used to provide PPR for international films.  Unfortunately, we had a power 
outage that impacted my e-mail.  I was never able to retrieve the message, nor 
could I remember who sent it.  I decided to answer the question here, in hopes 
that the right person might find it.
Naturally, we have used many US distributors who handle foreign films:  Swank, 
Criterion, IFC, Sony Pictures Classic, Palm Pictures, First Run Features, Music 
Box Films, Zeitgeist and Film Movement come to mind most readily, though I'm 
leaving a great number out, I'm sure.  I'm also planning to use Strand 
Releasing, as soon as they are ready to distribute Uncle Boonmee Who Can Recall 
His Past Lives.  I have used a few companies that have since gone out of 
business.
For Bollywood films, we have used Yash Raj.  I have just contacted UTV about 
the film Udaan and was quoted a very reasonable price.
We have a French instructor who has secured PPR for a few French films through 
the French Embassy.  We have a  Portuguese instructor who secured films from 
Raccord Produções and PRODUÇÕES CINEMATOGRÁFICAS LC BARRETO.  She also used 
Ondamax Films (Latin American Cinema Distribution) and City Lights Media Group.

I hope this list is helpful, though it is not complete by any means.

Thanks,
Sandra






Sandra F. Jackson
Film Program Coordinator
Lumina Theater & Sharky's Box Office
Department of Campus Life
The University of North Carolina Wilmington
Phone 910.962.7971  Fax: 910-962-7438
jackso...@uncw.edu
http://www.uncw.edu/lumina
NOTICE: Emails sent and received in the course of university business are 
subject to the North Carolina Public Records Act (N.C.G.S. §132-1 et seq.) and 
may be released to the public unless an exception applies.







VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.


VIDEOLIB is intended to encourage the broad and lively discussion of issues 
relating to the selection, evaluation, acquisition,bibliographic control, 
preservation, and use of current and evolving video formats in libraries and 
related institutions. It is hoped that the list will serve as an effective 
working tool for video librarians, as well as a channel of communication 
between libraries,educational institutions, and video producers and 
distributors.