Re: [Videolib] Is Streaming transformative?

[Shoaf,Judith P]

Thanks, Sheila. This clarifies things for me, especially what the issues are in 
Point 2.
Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Shelia D Owens 
(sowens)
Sent: Thursday, May 02, 2013 1:22 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Is Streaming transformative?

I participated in this webinar and feel I must  clarify what was presented by 
Linda Enghagen who is an attorney and Professor at the University of 
Massachuesetts at Amherst. Following are actual excerpts from the materials she 
provided as related to the points Farhad made:


1.   The judge ruled that the purchase of videos that included public 
performance rights was sufficient to permit UCLA to lawfully digitize, 
reformat and stream those videos via a secure system to students enrolled in 
specific courses. At the same time, the judge acknowledged that no court has 
ruled on whether this same practice is lawful under fair use. In other words, 
this case does not resolve that question.

2.   Because the case included allegations of violations of both federal 
(copyright infringement) and state law (breach of contract) laws, the judge had 
to determine whether the preemption doctrine applied. The judge concluded 
that it did. Therefore, the only claim considered was that based on copyright 
infringement. All the state based claims such as breach of contract were 
dismissed. While there is a degree to which this is a highly technical point in 
the case, it possesses the potential of being highly significant. It suggests 
the answer to an as of yet unresolved question of law which is: may a copyright 
owner put terms and conditions on the sale of copyright protected works that 
limit the rights of a user under fair use? This ruling suggests (but does not 
rule) that copyright owners cannot restrict fair use rights of lawful users by 
imposing overly restrictive terms and conditions on the sale.

3.   One of the rulings in the case against Georgia State University was 
that the 1976 agreement on guidelines for classroom copying are not legally 
binding and are not an appropriate standard for determining what does and does 
not qualify as a fair use.

4.   Also in the GSU case, the judge ruled that repeated use of the same 
work is permitted by copyright law and does not violate fair use. This case 
involved non-fiction books only and has no bearing on video works.


I did not feel as though  I was given permission after this presentation to 
digitize DVD's for streaming with obtaining the rights to do so. I could apply 
fair use principles and DMCA to digitize clips for educational purposes, but 
not the full DVD. The judge in the UCLA case felt they had purchased the rights 
with having bought public performance rights. In this case, they purchased 
rights, just not what Ambrose thought was the appropriate rights. I still ask 
for the digital rights.

Shelia D. Owens
Distance Education
200 Brister Hall
(901)678-2236 Office
(901) 678-5112 Fax
www.memphis.edu/ecampushttp://www.memphis.edu/ecampus

From: Moshiri, Farhad [mailto:mosh...@uiwtx.edu]
Sent: Wednesday, May 01, 2013 9:18 AM
To: videolib@lists.berkeley.edu
Subject: [Videolib] Is Streaming transformative?

Dear Colleagues,

Yesterday, I attended a webinar on recent copyright court cases in which the 
presenter stated several points that confused me a lot since they were 
completely the opposite of what I've learned up to this day. I need your help 
to clarify these issues.


1.   The presenter stated that in the case of UCLA vs. Ambrose, the judge 
ruled that  changing the format of DVDs purchased legally with PPR to streaming 
video at UCLA is considered Transformative and so it falls into Fair Use ! 
As far as I know, this case was dismissed due to legal technicalities based on 
UCLA being a state run public institution and the ruling did not address the 
change of format issue. In addition, I don't understand what PPR has to do with 
change of format? Am I wrong?


2.   The presenter stated that copyright law, since it is a federal law, 
prevails over contract law which is under state law. So, digitizing books or 
transferring DVDs into streaming is fair use even if the contract with the 
publisher accepted by the consumer states otherwise!



3.   The presenter stated that the court said the 1976 Copyright Guidelines 
are not legally binding for standards of fair use!



4.   The presenter stated that using the same material (journal article, 
book chapters, etc.) for several consecutive semesters on reserves is ok and 
falls into fair use!


I've learned that one cannot change the format of videos without the copyright 
holder permission. The only exception according to DMCA would be short excerpts 
not the whole programs. Also, I have learned that if I accept or sign a 
contract with the publisher, I have to abide to its contents.

Thanks,

Farhad Moshiri
Audiovisual 

Re: [Videolib] What is in a name?! an XLR by any other name sounds just as grounded

[Shoaf,Judith P]

There's a smallish teaching media library which grew out of the old Audiovisual 
dept. which maintained both projectors and films. It was the Film Library, and 
then the Media Library. Now it has come under the control of Film Studies and 
they renamed it FMR (that's what's on the door, with no explanation of what's 
inside--they would prefer to keep their resources to themselves).

I assume though that this stands for Film and Media Resources, a name which 
might be more inviting than just Media Resources. Media is lots of stuff, but 
Film includes all the DVD, streaming, and other options that people might be 
interested in.



Judy


From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] 
on behalf of Randal Baier [rba...@emich.edu]
Sent: Friday, May 10, 2013 12:28 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] What is in a name?! an XLR by any other name sounds 
just as grounded

And as for sexy, forward-thinking titles 

My reply got the best of me ... techno lust for techies ...

XLR Ninja http://bit.ly/11qablu




From: Mary Lou Neighbour mneig...@mc3.edu
Subject: [Videolib] What is in a name?!

[...] Could you please tell me what you are called, or if you have any ideas 
for sexy, forward-thinking titles?


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] Permission needed

[Shoaf,Judith P]

Re the Criterion collection (Janus): They stream via Hulu. and this may be why 
they don't offer a separate license. That could actually mean you can assign 
students to subscribe. The problem is that you probably can't control which 
films will be available during the term.



Judy

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] World Cat

[Shoaf,Judith P]

Title 17, section 109, of the US Code:

Notwithstanding the provisions of section 106 (3), the owner of a particular 
copy or phonorecord lawfully made under this title, or any person authorized by 
such owner, is entitled, without the authority of the copyright owner, to sell 
or otherwise dispose of the possession of that copy or phonorecord.

In other words, your right to control what happens to a particular copy of a 
DVD or book ends when you sell it (or give it away). The new owner can lend it, 
rent it, resell, it, give it away, or bequeath it in his or her will. The 
copyright proprietor's rights are said to be exhausted by the first sale.
 

Judy Shoaf
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] more on World Cat

[Shoaf,Judith P]

Nahum, 

I misspoke when I summarized the law.

When you sell a copy, your right to control how the buyer disposes of that 
particular copy is exhausted. However, other rights remain with you.

The buyer does *not* get the right to make copies of the DVD, show it in public 
or on TV, or adapt it in some way. You control those rights. 

If you licensed PPR with the DVD, that license should specify whether the 
license is transferable or not. If it is not transferable, it cannot be given 
away or resold etc.  It is a contract to which, presumably, the purchasing 
institution or individual agreed at the time of sale. 

The physical DVD can be given away or loaned.  You can slap all the labels you 
want on it that say for private home use only but it is still subject to 
first sale (including loans or even rentals) and fair use.

The buyer and any subsequent legal owner, have rights  of fair use. For 
example, they could quote a bit of dialogue in a written review, or refer to 
factual material contained in the film, citing the source. If the DVD is not 
copy-protected, they could rip an image or a brief segment for purposes of 
illustration.  Also, they could show the entire film to a class. 

I realize you are frustrated because you believe very deeply that you ought to 
have the right to charge more to an institution which will allow many people to 
borrow the DVD and watch it at home, or watch it in a group in a class. 
However, American law allows libraries to lend any legally made copy they 
acquire, and schools to show any legally made copy in the classroom. They do 
not need any kind of license to do these things, and the right to do them is 
not changed by your saying that you want them to pay more for them. 

The tiered pricing system does not have to do with a difference between books 
and DVDs; in fact, there is a tiered pricing system for scholarly journals, 
which charge libraries a lot more for a subscription. The difference is between 
media that can make a lot of money by selling lots of copies for a smaller 
profit, and media that has a small market and needs to make a good profit on 
each sale.  A Hollywood film may cost $200,000,000 to make, but when it becomes 
available on DVD the library can buy a copy for $25, just like everybody else. 
Your film may have cost much less to make but your budget model depends on 
being able to sell X number of copies for $250 each to libraries, so the 
libraries have to include that amount in their budgets if they want to buy your 
films. 

And of course the library would probably have your film than 10 Spiderman films 
at $25 each.

But you can't blame a librarian for being delighted to have some expensive 
documentaries donated to the library.

As Jessica pointed out, if you keep track of the copies you send for previews, 
and arrange to have them returned, you will know those copies are not being 
used in ways you don't intend. 

Judy Shoaf 


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] license question

[Shoaf,Judith P]

Criterion Pictures, which handles tons of rights for various theatrical films,
http://media2.criterionpic.com/ 
is not the same as  the Criterion Collection
http://www.criterion.com/library
--the latter is the one which is working with Hulu.

Judy

-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jo Ann Reynolds
Sent: Monday, July 22, 2013 10:59 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] license question

Who have some of their stuff up on Hulu but I did not see this title in full, 
only trailers.


Jo Ann Reynolds
Reserve Services Coordinator
University of Connecticut Libraries
369 Fairfield Road, Unit 1005RR
Storrs, CT  06269-1005
jo_ann.reyno...@lib.uconn.edu
860-486-1406
860-486-5636 (fax)
http://classguides.lib.uconn.edu/mediaresources 




-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jeffrey Pearson
Sent: Monday, July 22, 2013 9:31 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] license question

Hi Linda. The rights for Failure to Launch are  held by Criterion Pictures USA.
http://media2.criterionpic.com/htbin/wwform/014?TEXT=R4221331-4225063-/CA/WWI770.HTM

The rep I've been communicating with is below. So far, they do not license 
their films for academic streaming.

Brian Block
br...@criterionpicusa.com
Criterion Pictures USA
6300 Oakton St.
Morton Grove, IL 60053
PH:(847)470-8164 x 223
FX:(847)470-8194
www.criterionpicusa.com


-Jeff
UMich


On Sun, Jul 21, 2013 at 5:41 PM, Frederiksen, Linda J 
lfrederik...@vancouver.wsu.edu wrote:
 It's true swank does license for Ed use but not for this title (failure to 
 launch). How would I find something similar to swank for this specific title?

 Sent from my iPhone

 On Jul 21, 2013, at 2:36 PM, Deg Farrelly deg.farre...@asu.edu wrote:

 Swank does license for educational use thru the Swank Digital Campus 
 streaming service

 -deg

 deg farrelly, Media Librarian
 Arizona State University Libraries
 Hayden Library C1H1
 P.O. Box 871006
 Tempe, Arizona  85287-1006
 Phone:  602.332.3103





 ---

 http://tinyurl.com/AboutNMM
 To market, to market, to find some fresh filmŠ I'm attending the 2013 
 National Media Market, November 3-7 In Charleston, South Carolina.
 See you there?





 On 7/21/13 12:55 PM, videolib-requ...@lists.berkeley.edu
 videolib-requ...@lists.berkeley.edu wrote:

 You may know better than I do, but my understanding is that studios 
 often license through large umbrella licensing organizations like 
 the Motion Picture Licensing Corp (a yearly umbrella fee paid by 
 them covers all their products), while Swank licenses specifically 
 for large, on-campus events.
 Neither provides educational licenses, only available through 
 individual filmmakers or educational distributors.

 Judith Dancoff
 NewFilmMarketing.com
 Breakthrough Strategies for DIY Distribution Los Angeles, CA  90065
 323-225-5633


 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 
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, 

Re: [Videolib] captured news video on vhs: worth transferring to dvd?

[Shoaf,Judith P]

Guidelines for schools making and keeping off-air recordings (Kastenmeier 
guidelines) were pretty limited and limiting, though.  I would say the best 
argument for keeping them is fair use: the purpose is research/scholarly; they 
are news programs and so mostly factual  rather than creative; they cannot be 
replaced by commercial versions (because none exist) so does not affect the 
market. If there are commercial versions available you might be better off 
buying those, for the sake of quality. Obviously the “amount” factor is not in 
your favor…. But 3 out of 4 ain’t bad.

Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Windsor, Matthew
Sent: Thursday, July 25, 2013 2:22 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] captured news video on vhs: worth transferring to dvd?

The Sony time shift ruling might cover the works as long as they were not 
digitized or publicly shown.  The court ruling did state the videos could be 
shared for personal use as covered by fair use. (As long as the collection was 
not a systematic, deliberate attempt to archive a series of copyright events as 
a whole)...a lot of variables on this.

Matthew

Matthew Windsor
Systems and Media Services Librarian
Hendrix College

Sent from my iPhone

On Jul 25, 2013, at 12:57 PM, Jeanne Little 
jeanne.lit...@uni.edumailto:jeanne.lit...@uni.edu wrote:
I would question the legality and possible copyright infringement on 
maintaining videos recorded off of television, even if they were kept in-house 
and not circulated outside of the Library. I know from dealing with PBS in the 
past, that they have a time-limit on the length of time you may retain a 
recorded program from their station for educational use, unless they held all 
of the copyright for the program. I would suspect that stations such as NBC, 
CBS, etc. would not be amendable to these titles being taped and retained for 
public consumption.

Just my two cents...

Jeanne Little

Rod Library
University of Northern Iowa

On Thu, Jul 25, 2013 at 10:50 AM, Maureen Tripp 
maureen_tr...@emerson.edumailto:maureen_tr...@emerson.edu wrote:
From about 1981 to 2001 my media department routinely recorded news off-air—not 
regular broadcasts, but coverage of events like inaugurations, presidential 
debates, Democratic and Republican national conventions, state of the union 
addresses, as well as special events we considered newsworthy, like Saddam 
Hussein and Dan Rather, and Nixon on Meet the Press.
These recordings are on VHS.  A lot of this material, like coverage of 9/11, is 
on youtube.  I wonder, though, if it is worth transferring our vhs material to 
dvd?  Might stuff on youtube go away at some point?
I also wonder about the ethics of doing this.  We would keep these DVDs for 
inhouse viewing only.
I’d really appreciate your thoughts—


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.



--
Rod Library - Room 250
Collection Management  Special Services
University of Northern Iowa
Cedar Falls, IA  50613-3675
319-273-7255
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] Afro-Brazilian films

[Shoaf,Judith P]

Does anyone know if it's possible to get hold of the following films?

 
Something in the Air (Uma Onda No Ar, 2002) dir. Helvecio Ratton

De Passagem (Passing By, 2003), dir. Ricardo Elias.

Judy Shoaf

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] PAL and SECAMq

[Shoaf,Judith P]

The original request had to do with VHS cassettes, not DVDs.
I think that any computer DVD player will play a PAL DVD. VLC is special 
because it plays any region.

Judy


From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] 
on behalf of Deg Farrelly [deg.farre...@asu.edu]
Sent: Monday, September 23, 2013 5:34 PM
To: videolib@lists.berkeley.edu
Subject: [Videolib] PAL and SECAMq

Um, load the free software that plays PAL and SECAM on a computerŠ.

VLC Media Player  http://www.videolan.org/vlc/index.html

deg farrelly, Media Librarian
Arizona State University Libraries
Hayden Library C1H1
P.O. Box 871006
Tempe, Arizona  85287-1006
Phone:  602.332.3103

---

http://tinyurl.com/AboutNMM
To market, to market, to find some fresh filmŠ
I'm attending the 2013 National Media Market, November 3-7
In Charleston, South Carolina.  See you there?







On 9/23/13 12:34 PM, videolib-requ...@lists.berkeley.edu
videolib-requ...@lists.berkeley.edu wrote:


Um get a multi system player? Honestly it is a must for any college.



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] NTSC or PAL

[Shoaf,Judith P]

I should add to this that I have never heard of a computer DVD drive locking on 
a system (PAL/NTSC) the way they lock on regions after a few switches. The 
ability to play the signal correctly is built is, I thought. Has anyone else 
heard of this? --Judy

-Original Message-

I just want to add my experience with this problem I'm distributing a French 
film Murder of a Hatmaker 
I received from the director DVDs with notice that they are  Multi-zone, I sold 
some in USA to university libraries, I got complaints that the NTSC players 
can't read the DVD, I got our studio to transform to NTSC and I resent those 
copies to the university libraries.
I know there was no problem to play the DVD on a computer, as the EMRO reviewer 
wrote the review after viewing the original multi-zone DVD on the comp, cheers 
Nahum Laufer http://onedayafterpeace.com/index.php
http://docsforeducation.com/
Sales
Docs for Education
Erez Laufer Films
Holland st 10
Afulla 18371
Israel


 
Message: 2
Date: Tue, 24 Sep 2013 21:20:30 +
From: Deg Farrelly deg.farre...@asu.edu
Subject: Re: [Videolib] PAL and SECAM
To: videolib@lists.berkeley.edu videolib@lists.berkeley.edu
Message-ID:

dac3018aad33dc41b8dca4808569d8fb243ff...@exmbt06.asurite.ad.asu.edu
Content-Type: text/plain; charset=us-ascii

Thanx, Judy

I guess I missed the part of the conversation about the video being in VHS.
Completely off my radar now.

Even if a computer DVD drive will play a PAL DVD, I have heard that after X 
number of uses the drive will lock onto the non-NTSC standard and will 
thereafter play ONLY that standard.

Of so I have heard.

-deg





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] Help on licensing contract for streaming rights

[Shoaf,Judith P]

I don't know if this helps but passwords at University of Florida involve a 
unique, secure identifier . If a video was being streamed remotely through the 
library or another service, the student would sign in with the same 
authentication used when, for example, viewing courses and grades, collecting 
university email, etc., or accessing online course materials (so if the video 
was linked through a course they might  have to sign in twice).  Other security 
measures may be required; for example, my cell phone has to be locked with a 
password if I want to read my university email on it.

Users  would not be likely to share this type of authentication information 
with others except in an extreme situation (helpless in the hospital, e.g.). 
Also, the passwords themselves have to be changed periodically (mine is every 6 
months, but students I think get a year). I believe that students who have 
graduated still have access to the system for a while after graduation, but not 
more than 6 months or so.

Study abroad. Some courses taught abroad make use of video and the teachers 
might want their students to be able to access a particular video (though I 
suspect they would want to have a hard copy if they were going to show it in 
class rather than depend on a stream). Also, if the material is relevant to the 
visit (i.e. they are in London and it's a significant documentary about London) 
students might want to view it on their own. But the likelihood that actual 
Londoners would see it because UF students in London were watching it streamed 
from the US is pretty small.

I am guessing that most higher ed schools have strong authentication procedures 
like this because of the relatively recent laws protecting student data.

Judy Shoaf

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
Sent: Thursday, October 03, 2013 3:16 PM
To: videolib@lists.berkeley.edu
Subject: [Videolib] Help on licensing contract for streaming rights

I am growing a little concerned about the exact wording in the licensing 
agreements I use for streaming rights. I have two new docs where I am working 
with directors so they own all rights in perpetuity. The standard  language I 
have used for selling lifetime streaming rights says it is to be on password 
protected system available to students, faculty and staff. One thing I want to 
add is the word current to make it clear that this not for access by alumni, 
retired professors or staff, but the other concern is trickier. It is 
understood that schools have distance learning that they want to use these 
films for but I am wondering how far that distance can be. I have no issue 
with a school that teaches courses in their immediate area but I am worried 
about say a school in CA, streaming it to a student in New York. My bigger 
concern is schools with programs in other countries.
The two films in question ( and I am not mentioning them to avoid shilling) 
would have major interest abroad. Most of you know I am not much of a techie so 
exactly how far is the reach for some of you and how are the passwords doled 
out? Is there a single password for everyone for a particular semester or 
passwords for particular courses? Again the directors own worldwide rights and 
if there is a safe way to limit LONG DISTANCE use to just a small group for 
specific classes they would likely be OK but having folks in London or 3,000 
miles away with a password to access there film might freak them out. I should 
add that I have little faith in students not to share passwords and zero in 
faculty.

Sorry for the length and you can respond on or off list.

Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) 
jessicapros...@gmail.commailto:jessicapros...@gmail.com

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] Help on licensing contract for streaming rights

[Shoaf,Judith P]

These very large courses are called MOOCs, i.e. massively open online 
courses. The open means that anyone at all can sign up.  They are not the 
kind of regularly scheduled courses for credit that students enrolled at a 
university take. Now, they are going to evolve, but they do pose a really 
interesting potential exception to/stretching of the definition of classroom 
use even for things like video clips or short reading excerpts.



Judy






From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] 
on behalf of Jessica Rosner [maddux2...@gmail.com]
Sent: Friday, October 04, 2013 8:26 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Help on licensing contract for streaming rights

Susan  all
I probably should have been clearer. I fully understand students can be 
anywhere but there are two related concerns for me. One is if they are outside 
the country of the licensing institution, that brings up a lot rights and 
contract issues, the second related and bigger concern is the growing trend for 
some institutions to set up courses all over the country and the world either 
to make money or enhance reputation. I can easily see trends where schools want 
to stream to thousands if not tens of thousands of students who are all over 
the country and the world. Obviously this effects both rights and rates. I have 
worked really hard to convince directors that they need to be willing to accept 
one time sale for streaming right for institutions that want/need this and that 
these are lifetime rights to they should not expect another sale if 
betadigiredrayhd becomes the rage unless the institution requires new files. I 
don't want them coming back and saying we sold the right to our film for $500 
to Univ. of Lake Wobegone and now they have 100,000 students with access to it 
and it killed my sales. I don't think this as far fetched as it sounds. When 
DVD came in and now streaming it played havoc with contracts and major 
arguments with filmmakers, rights holders and  distributors over what was in 
the contracts. Again I think it is to the advantage of the institution and 
filmmaker for there to be a one time sale for films they would like to use in 
classes and I would like to make the license as simple as possible and as least 
restrictive as possible but I have to balance that with making sure the 
filmmakers are protected.

I am a bit paranoid because I have seen some bad things that have been done and 
to be totally honest I think librarians are under a lot of pressure and are 
often overruled by administration about what they can and can not do with 
media. I want a license that everyone can feel comfortable with.



On Fri, Oct 4, 2013 at 7:34 PM, Susan Weber 
swe...@langara.bc.camailto:swe...@langara.bc.ca wrote:
Jessica:
I'm sure our institution is no different from any other one. Only
current and registered students have access to the network files. We
have to have this restriction, or there would be tens of thousands of
active users, which would go against every license agreement, print or
digital, we've ever signed.
For us, once a student has left the institution, they are no longer
registered, they lose access to password-protected sites. Print or
media. This is very fundamental.
Same with staff and faculty.

The second issue you seem to want clarification on, is distance
students.  A student who is registered is a student, for all legal
purposes.  It doesn't matter where they put their head to rest at night.
This would be 1:1 viewing, by a registered student, who gets
authenticated by the password-protected nature of logons.
You seem to be misunderstanding a student doing their coursework. It
doesn't matter where they live. They are a legitimate student, they have
access to the servers and files of their educational institution, the
same as a student who is on campus.

Susan


Susan Weber

Media Librarian
Library
T  604.323.5533tel:604.323.5533
F  604.323.5512tel:604.323.5512
swe...@langara.bc.camailto:swe...@langara.bc.ca mailto:Susanmailto:Susan 
Weber swe...@langara.bc.camailto:swe...@langara.bc.ca

Langara. http://www.langara.bc.ca

100 West 49th Avenue, Vancouver, BC, V5Y 2Z6

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On 03/10/2013 12:16 PM, Jessica Rosner wrote:
 I am growing a little concerned about the exact wording in the licensing
 agreements I use for streaming rights. I have two new docs where I am
 working with directors so they own all rights in perpetuity. The
 standard  language I have used for selling lifetime streaming rights
 says it is to be on password protected system available to students,
 faculty and staff. One thing I want to add is the word current to make
 it clear that this not for access by alumni, 

Re: [Videolib] If a filmmaker had copyright concerns with his/her film asked you to remove it, would you?

[Shoaf,Judith P]

This is quite an old situation, from the 90s I think. It doesn't fit your 
problem very well as this was a college teaching library, not a university 
research library, and all the interactions were personal.

A sociology prof made a film about a local transgender person who was earning 
money for medical treatments as, I think, a stripper. After she had made her 
transition to being a woman and established herself in another profession (but 
keeping the same name), she asked that the film be removed from the catalogue. 
At the time I was in charge of the catalogue and I thought it was appropriate 
to do so. So anyone who knew the film (16mm ) existed could view it (for 
example, the sociologist and his students) but it would not be available to 
casual searches, even legitimate academic ones.

Judy Shoaf



From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Cathy Michael
Sent: Tuesday, January 14, 2014 12:22 PM
To: videolib@lists.berkeley.edu
Subject: [Videolib] If a filmmaker had copyright concerns with his/her film  
asked you to remove it, would you?

Greetings, Colleagues:

Has a filmmaker ever asked your library to remove his/her film from the library 
due to copyright concerns with the film (meaning, in the making of the film -- 
the filmmaker realized s/he did not clear something properly)?  If so, how did 
you handle it?

I once sat in on an ethics discussion on what to due with books that were 
accused of plagiarism -- but never encountered the above situation.

Thanks for your thoughts.

Sincerely,

Cathy

Catherine H. Michael
Communications  Legal Studies Librarian
Ithaca College Library
953 Danby Road, Ithaca, NY  14850

Phone: 607-274-1293
Blog: http://comlaw.wordpress.com/
Twitter: https://twitter.com/ICComLib
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] La hora de los hornos

[Shoaf,Judith P]

Does anyone know where I can buy this DVD with English subtitles?  I see this 
on amazon but I'm not sure it's the right one with the subtitles:  
http://www.amazon.com/Hour-Furnaces-hora-hornos-neocolonialismo/dp/B002J5EA3C

We have a copy that looks like this one, anyway, except that there is extra 
script on the cover explaining that it is a special 2 disc collector's set. 

English, French, and Spanish subtitles. 

We probably got it here:
http://dvdmuseum.com.ar/


Judy Shoaf

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] Paramount ceases releasing movies on film

[Shoaf,Judith P]

I know our local “art house” just this past Christmas switched to digital. They 
had to do a Kickstarter to fund it.

Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Chris Lewis
Sent: Thursday, January 30, 2014 2:01 PM
To: Videolib
Subject: Re: [Videolib] Paramount ceases releasing movies on film

Perhaps someone can educate me on how digital projection works. Didn't most 
theaters switch over to digital projectors several years ago? I had assumed 
that they didn't project 35mm film.

On Mon, Jan 27, 2014 at 7:38 PM, Deg Farrelly 
deg.farre...@asu.edumailto:deg.farre...@asu.edu wrote:
I missed this news last week.  Figure others may have missed it too.

Anchorman 2 is the last Paramount movie to be released on 35mm film.   Wolf of 
Wall Street first to be distributed digitally.

http://usaherald.com/33066/paramount-goes-digital-first-studio-stop-releasing-movies-film/

deg farrelly, ShareStream Administrator/Media Librarian
Arizona State University Libraries
Hayden Library C1H1
P.O. Box 871006
Tempe, Arizona  85287-1006
Phone:  602.332.3103tel:602.332.3103

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.



--
Chris Lewis
American University Library
202.885.3257


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] MOOCs

[Shoaf,Judith P]

Nahum is worried about 
Universities that have online courses for people that just take a one time 
course (MOOC) and in fact not registered students learning for a degree.

It seems to me that these Massively Open Online Courses, which are available to 
anyone at all, do in fact pose a huge problem for educators. They don't fit the 
definition of classroom use at all. It seems to me that some kinds of classes 
simply can't be taught that way because they require extensive copyright 
infringements (e.g. film history!). Moreover, using  a recent documentary to 
teach a subject amounts pretty much to streaming that documentary to the 
public. 

Is anyone worrying about this or is the whole thing too new/possibly ephemeral?

Judy Shoaf


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] Textbooks Copyright

[Shoaf,Judith P]

Re. the DVD that comes with the textbook and workbook for a language course-I 
can speak to that specific case because I run a language lab, aka language 
learning center, foreign language media resource, etc.

I think it is reasonable and even important to make available to the students 
on campus copies of the a/v media which accompany textbooks. This is a 
different case from just making the textbooks available, and quite different 
from workbooks.

20 years ago, language labs helped textbook  publishers ensure that students 
had access to ancillaries-the audio and video they needed to do their 
workbooks. The textbook publishers  gave them to us free (almost always) with 
permission to duplicate and/or display them as needed so that the students 
could  do their work. Publishers made their money (a lot of it) on the 
textbooks themselves and especially on the workbooks, which were printed on 
cheap paper and meant to be used up by the purchaser (no secondary market). I 
think there was some effort to ensure that, unlike say a Pimsleur course, these 
ancillaries were fairly meaningless without the purchase of a textbook and 
workbook.

They had a term for the audio/video and even software  drills, which meant not 
expected to be sold for profit.

Typically now the publishers  put the audio and video online themselves as part 
of an Online Activities Manual which may replace the old workbook. They control 
access to it-sometimes it is free, sometimes it requires the student to pay 
extra for a password good only for 1 year. Alternatively, they may package the 
textbook with CDs or DVDs; this can be problematic though because the media 
items can be damaged or go astray, particularly in the secondhand market. So it 
is indeed very handy to have copies available.

Judy Shoaf
Language Learning Center
University of Florida



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] Textbooks Copyright

[Shoaf,Judith P]

Farhad, as others have noted, the First Sale doctrine allows you to lend a book 
or DVD you have purchased, regardless of the effect on the market. This is not 
subject to the four Fair Use factors, so long as you are not trying to copy or 
stream the DVD.without permission.



I just wanted to point out that in language teaching, there were at one time 
university centers devoted to making sure the students got to see the videos 
without having to purchase them.



Judy Shoaf






Thanks Judith. The specific DVD our faculty is asking is sold separately by the 
publisher to accompany a set of audio CDs, a workbook, and the textbook in 
print format. Each one has a separate price. My question is if I purchase the 
DVDs doesn't it effect the market? Students will buy the textbook, but will use 
the library DVDs instead of buying them. So isn't the library breaking the 
copyright law?

Farhad Moshiri, MLS
Audiovisual Librarian
University of the Incarnate Word
4301 Broadway - CPO 297
San Antonio, TX 78209
210-829-3842


From: videolib-boun...@lists.berkeley.edu [videolib-boun...@lists.berkeley.edu] 
On Behalf Of Shoaf,Judith P [jsh...@ufl.edu]
Sent: Monday, February 24, 2014 11:16 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Textbooks  Copyright

Re. the DVD that comes with the textbook and workbook for a language course—I 
can speak to that specific case because I run a language lab, aka language 
learning center, foreign language media resource, etc.

I think it is reasonable and even important to make available to the students 
on campus copies of the a/v media which accompany textbooks. This is a 
different case from just making the textbooks available, and quite different 
from workbooks.

20 years ago, language labs helped textbook  publishers ensure that students 
had access to “ancillaries”—the audio and video they needed to do their 
workbooks. The textbook publishers  gave them to us free (almost always) with 
permission to duplicate and/or display them as needed so that the students 
could  do their work. Publishers made their money (a lot of it) on the 
textbooks themselves and especially on the workbooks, which were printed on 
cheap paper and meant to be used up by the purchaser (no secondary market). I 
think there was some effort to ensure that, unlike say a Pimsleur course, these 
ancillaries were fairly meaningless without the purchase of a textbook and 
workbook.

They had a term for the audio/video and even software  drills, which meant “not 
expected to be sold for profit.”

Typically now the publishers  put the audio and video online themselves as part 
of an Online Activities Manual which may replace the old workbook. They control 
access to it—sometimes it is free, sometimes it requires the student to pay 
extra for a password good only for 1 year. Alternatively, they may package the 
textbook with CDs or DVDs; this can be problematic though because the media 
items can be damaged or go astray, particularly in the secondhand market. So it 
is indeed very handy to have copies available.

Judy Shoaf
Language Learning Center
University of Florida





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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] Libraries that stream their own titles

[Shoaf,Judith P]

I took that MOOC and really enjoyed it a LOT. It sharpened my sense re. a lot 
of the legal problems, and clarified that one does indeed have to consider 
situations on a case by case basis.

However. At one point I was discussing in the MOOC, with another student,  a 
Particular Situation (I forget just what) the way they taught it, and reasoning 
through it along those lines.  The next day I ran into the exact same situation 
in my job, and I discovered that I could not follow through—there were clearly 
restrictions which prevented fair use, or defined unfair use, regarding  an 
item we wanted to copy or distribute.

Judy Shoaf

From:  Bogage, Alan

Here’s a post from Duke faculty/lawyer who presented recent MOOC on copyright 
which seems to support limited and reasonable portion, not the whole film.

http://blogs.library.duke.edu/scholcomm/2006/12/26/digital-video-in-a-blackboard-course-site/

However – note: 
http://arstechnica.com/tech-policy/2011/10/judge-suggests-dmca-allows-dvd-ripping-if-you-own-the-dvd/

So, we wish there was a definitive ruling on this but still seems to be 
case-by-case.

Alan Bogage
Senior Director of Library, Media, and Distance Learning
Carroll Community College
1601 Washington Rd.
Westminster, MD 21157
410-386-8339
www.carrollcc.eduhttp://www.carrollcc.edu/

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] another summary of Georgia State appeal

[Shoaf,Judith P]

I was reading your analysis and feeling very confused until I remembered that 
this is a list for VIDEO.

For academic books (which the Georgia State case addresses), your comment is 
just not true: So doesn't it stand to reason that when considering fair use 
for a work sold primarily to the education market, the economic impact should 
be weighted more? That is what made the work available in the first place.

What makes academic books available is not the system of publishers and 
presses, but rather the fact that writing such books is (a) subsidized by 
universities and grants made to the writers, and (b) rewarded when the writers 
get promotion for having published. So in fact the license to allow students to 
read the work in question is the THIRD time the academic system has paid for 
it. Professors almost never see any money from academic books of the kind in 
question (unless it is actually a textbook which students can be asked to buy). 
The publishing institutions make money, yes, but the work of creating and often 
of editing is done for them for free by people who are supported by their 
academic institutions because they do this kind of work. (My husband has just 
finished editing, typesetting, indexing, and proofreading a book he wrote, 
which will be published by a press whose sole contribution will be to tell him 
how to format it and to advertise it, primarily by supplying copies to 
reviewers who will write up discussions of it without of course being paid. And 
of course the press will sell copies of it, and keep any profit. My husband did 
however get a merit raise this year.)

I think the question may be whether the publishing industry is needed as a 
means of routing academic work from academe to academe; since it depends for 
its fodder 100% on the personnel of academic institutions, it needs to be 
circumspect in challenging the need of the institutions to use its products.

I gather that the situation is different for educational video, where the 
filmmakers apparently actually get some royalties from their products, and may 
be working independently of the academy.

Judy Shoaf


From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Bob Norris
Sent: Tuesday, October 21, 2014 9:45 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] another summary of Georgia State appeal

Thanks Jo Anne. Ms Sims summary is really quite thorough and interesting how it 
is organized, especially in light of the fact it was written on a Friday night 
for a blog.

There is one short statement that stood out from my standpoint as a producer 
and distributor of material primarily, and often exclusively, sold to 
education. It is an opinion that worries me more and more as the technology 
becomes common place that allows for the easy and inexpensive dissemination of 
educational material not just to the traditional four walled classroom but to 
the proverbial global classroom. As curators of programs from many distributors 
similar to Film Ideas I'm wondering how you videolibbers feel about the 
following. (I've bolded statements from the court's opinion to try and make 
these excerpts of Nancy's opinion, mine and the courts clearer.)

Nancy states:  The idea that creator remuneration is -secondary- to the actual 
purpose of copyright law is often left out of a lot of related public 
discourse. But this opinion affirms again that [p]romoting the creation and 
dissemination of ideas has been the goal

This ignores the statement in the court's opinion that: As the Supreme Court 
has explained, the economic philosophy behind the clause empowering Congress 
to grant copyrights is the conviction that encouragement of individual effort 
by personal gain is the best way to advance public welfare [by promoting the 
creation and dissemination of ideas] through the talents of authors. . . . So 
remuneration is not secondary, it is integral. The opinion goes on to state 
that you cannot treat the 4 factors of fair use with equal weighting. You have 
to consider a case by case basis. So doesn't is stand to reason that when 
considering fair use for a work sold primarily to the education market, the 
economic impact should be weighted more? That is what made the work available 
in the first place.

Perhaps more importantly the opinion states:  Nevertheless, it is sensible 
that a particular unauthorized use should be considered 'more fair' when there 
is no ready market or means to pay for the use, while such an unauthorized use 
should be considered 'less fair' when there is a ready market or means to pay 
for the use. The vice of circular reasoning arises only if the availability of 
payment is conclusive against fair use. Id.at 931. Put simply, absent evidence 
to the contrary, if a copyright holder has not made a license available to use 
a particular workin a particular manner, the inference is that the author or 
publisher did not think that there would be 

Re: [Videolib] videolib Digest, Vol 83, Issue 32

[Shoaf,Judith P]

Bob, I would be interested in the video production perspective.
What is the model for funding an educational film? Does someone way A film on 
this topic would be valuable for classes at x level and contact possible 
producer/director teams? Or does someone say A movie on this topic needs to be 
made, because people need to know about it, spend whatever he/she and his/her 
friends  family can spare to film and edit the story on spec, and then offer 
it to possible vendors? Are there committees and consultants or advisors, and 
if so where do they come from?

I'm really curious.

Judy Shoaf

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Bob Norris
Sent: Wednesday, October 22, 2014 10:17 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] videolib Digest, Vol 83, Issue 32

Thanks Judy,

Good to get the book publisher perspective. I was applying the GA ruling to the 
impact on video distributors as we share the same market as the plaintiffs. But 
as you point out the economic model and how the works are made available are 
different. To date, 100% of our titles received no subsidies or monetary 
rewards.

Does anyone want to weigh in from a video perspective?

Regards,
Bob

On Oct 22, 2014, at 8:41 AM, 
videolib-requ...@lists.berkeley.edumailto:videolib-requ...@lists.berkeley.edu 
wrote:

  2. Re: another summary of Georgia State appeal (Shoaf,Judith P)
From: Shoaf,Judith P jsh...@ufl.edumailto:jsh...@ufl.edu
Date: October 22, 2014 8:40:52 AM CDT
To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu 
videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu
Subject: Re: [Videolib] another summary of Georgia State appeal
Reply-To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu



I was reading your analysis and feeling very confused until I remembered that 
this is a list for VIDEO.

For academic books (which the Georgia State case addresses), your comment is 
just not true: So doesn't it stand to reason that when considering fair use 
for a work sold primarily to the education market, the economic impact should 
be weighted more? That is what made the work available in the first place.

What makes academic books available is not the system of publishers and 
presses, but rather the fact that writing such books is (a) subsidized by 
universities and grants made to the writers, and (b) rewarded when the writers 
get promotion for having published. So in fact the license to allow students to 
read the work in question is the THIRD time the academic system has paid for 
it. Professors almost never see any money from academic books of the kind in 
question (unless it is actually a textbook which students can be asked to buy). 
The publishing institutions make money, yes, but the work of creating and often 
of editing is done for them for free by people who are supported by their 
academic institutions because they do this kind of work. (My husband has just 
finished editing, typesetting, indexing, and proofreading a book he wrote, 
which will be published by a press whose sole contribution will be to tell him 
how to format it and to advertise it, primarily by supplying copies to 
reviewers who will write up discussions of it without of course being paid. And 
of course the press will sell copies of it, and keep any profit. My husband did 
however get a merit raise this year.)

I think the question may be whether the publishing industry is needed as a 
means of routing academic work from academe to academe; since it depends for 
its fodder 100% on the personnel of academic institutions, it needs to be 
circumspect in challenging the need of the institutions to use its products.

I gather that the situation is different for educational video, where the 
filmmakers apparently actually get some royalties from their products, and may 
be working independently of the academy.

Judy Shoaf


From: 
videolib-boun...@lists.berkeley.edumailto:videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Bob Norris
Sent: Tuesday, October 21, 2014 9:45 AM
To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu
Subject: Re: [Videolib] another summary of Georgia State appeal

Thanks Jo Anne. Ms Sims summary is really quite thorough and interesting how it 
is organized, especially in light of the fact it was written on a Friday night 
for a blog.

There is one short statement that stood out from my standpoint as a producer 
and distributor of material primarily, and often exclusively, sold to 
education. It is an opinion that worries me more and more as the technology 
becomes common place that allows for the easy and inexpensive dissemination of 
educational material not just to the traditional four walled classroom but to 
the proverbial global classroom. As curators of programs from many distributors 
similar to Film Ideas I'm wondering how you videolibbers feel about the 
following. (I've

Re: [Videolib] Video Production Funding

[Shoaf,Judith P]

Thanks! Very interesting.
Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Bob Norris
Sent: Wednesday, October 22, 2014 4:24 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Video Production Funding

You hit on two frequent funding scenarios Judy.

When Film Ideas produces its own titles we often look to the curriculum 
standards and fit within the classroom, especially if K-12 is the primary 
market. Costs vary significantly depending on the type of production, existence 
of stock footage, travel, etc. We then compare estimated costs against sales 
potential and decide if we want to take the gamble that we can recoup costs and 
hopefully make a decent profit.

Individuals do produce docs to get the word out or to get a production under 
their belt not knowing if they can make any money. However, they certainly 
would like to. Satisfaction does not pay the bills.

Another market can pay for or partially pay for the cost of a production. For 
us that is often educational television. For others it may be a theatrical 
release. Typically the profit is made on the backend though.

There are consultants but we do not work with any. Typically they come from 
some aspect of the industry and are looking to capitalize on their expertise. 
Because of our name we are contacted regularly to grace us with their film 
ideas. 99.9% of the time we politely decline.

There are plenty of other scenarios I'm sure but time does not permit.

Regards,
Bob

On Oct 22, 2014, at 11:18 AM, 
videolib-requ...@lists.berkeley.edumailto:videolib-requ...@lists.berkeley.edu 
wrote:

  3. Re: videolib Digest, Vol 83, Issue 32 (Shoaf,Judith P)
From: Shoaf,Judith P jsh...@ufl.edumailto:jsh...@ufl.edu
Date: October 22, 2014 11:18:37 AM CDT
To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu 
videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu
Subject: Re: [Videolib] videolib Digest, Vol 83, Issue 32
Reply-To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu



Bob, I would be interested in the video production perspective.
What is the model for funding an educational film? Does someone way A film on 
this topic would be valuable for classes at x level and contact possible 
producer/director teams? Or does someone say A movie on this topic needs to be 
made, because people need to know about it, spend whatever he/she and his/her 
friends  family can spare to film and edit the story on spec, and then offer 
it to possible vendors? Are there committees and consultants or advisors, and 
if so where do they come from?

I'm really curious.

Judy Shoaf

From: 
videolib-boun...@lists.berkeley.edumailto:videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Bob Norris
Sent: Wednesday, October 22, 2014 10:17 AM
To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu
Subject: Re: [Videolib] videolib Digest, Vol 83, Issue 32

Thanks Judy,

Good to get the book publisher perspective. I was applying the GA ruling to the 
impact on video distributors as we share the same market as the plaintiffs. But 
as you point out the economic model and how the works are made available are 
different. To date, 100% of our titles received no subsidies or monetary 
rewards.

Does anyone want to weigh in from a video perspective?

Regards,
Bob

On Oct 22, 2014, at 8:41 AM, 
videolib-requ...@lists.berkeley.edumailto:videolib-requ...@lists.berkeley.edu 
wrote:

  2. Re: another summary of Georgia State appeal (Shoaf,Judith P)
From: Shoaf,Judith P jsh...@ufl.edumailto:jsh...@ufl.edu
Date: October 22, 2014 8:40:52 AM CDT
To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu 
videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu
Subject: Re: [Videolib] another summary of Georgia State appeal
Reply-To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu




I was reading your analysis and feeling very confused until I remembered that 
this is a list for VIDEO.

For academic books (which the Georgia State case addresses), your comment is 
just not true: So doesn't it stand to reason that when considering fair use 
for a work sold primarily to the education market, the economic impact should 
be weighted more? That is what made the work available in the first place.

What makes academic books available is not the system of publishers and 
presses, but rather the fact that writing such books is (a) subsidized by 
universities and grants made to the writers, and (b) rewarded when the writers 
get promotion for having published. So in fact the license to allow students to 
read the work in question is the THIRD time the academic system has paid for 
it. Professors almost never see any money from academic books of the kind in 
question (unless it is actually a textbook which students can be asked to buy). 
The publishing institutions make money, yes, but the work of creating and often 
of editing

Re: [Videolib] National Theatre Live productions

[Shoaf,Judith P]

Unfortunately these DVDs from the National Theatre do not include the 
performances from National Theater Live. My impression is that they are 
insisting that these be seen only in a theatrical setting. One hopes that at 
some point they will release them. I would love to see Helen Mirren as Phedre 
and I very much doubt it will be coming to a theater near me.

Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Wochna, Lorraine
Sent: Tuesday, March 17, 2015 12:41 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] National Theatre Live productions

Hi all,
The DVD’s are for sale from their website, don’t think streaming is an option 
(yet).
http://shop.nationaltheatre.org.uk/shopdisplayproducts.asp?id=36cat=DVDs

There is also a database, Digital Theater Plus, which is slowly but surely 
uploading all the performances from the Globe, and I believe they will be 
online: https://www.digitaltheatreplus.com/

Best,
lorraine


From: 
videolib-boun...@lists.berkeley.edumailto:videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
Sent: Tuesday, March 17, 2015 11:09 AM
To: videolib@lists.berkeley.edumailto:videolib@lists.berkeley.edu
Subject: Re: [Videolib] National Theatre Live productions

I sincerely doubt it. I don't see most of the event content on DVD. I could get 
you the contact for the folks who do it in the theaters but I doubt they can 
help.

I am sure that there would be far more rights issues clearing it for DVD or  
streaming than a special theatrical event and that probably reduces the 
likleyhood.

On Tue, Mar 17, 2015 at 7:32 AM, Matt Ball 
mb...@paceacademy.orgmailto:mb...@paceacademy.org wrote:
Hi All,

Does anyone know if the National Theatre Live productions are available on DVD 
or streaming?  I'm especially interested in The Curious Incident of the Dog in 
the Night-time.

Cheers,

Matt

___
Matt Ball
Director, Woodruff Library
Pace Academy
966 W. Paces Ferry Rd.
Atlanta, GA  30327
mb...@paceacademy.orgmailto:mb...@paceacademy.org


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] obsolete formats

[Shoaf,Judith P]

Right, Jessica.  I was just commenting on your observation that cassette 
players are easily available. I think they are available because people still 
need them. But the link someone else sent regarding new material issued on 
tapes is relevant, too.
Re. obsolete formats, though, my point that most commercially valuable material 
issued on audiocassette is probably available in a better-quality recording in 
another format is very relevant.

Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
Sent: Tuesday, June 09, 2015 11:36 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] obsolete formats

I do not disagree but preservation is a seperate issue from what is legal 
defination of obsolete under the copyright law. For commercially produced and 
distributed (and I kind of assumed that what was being asked) which includes 
educational material sold on  cassette is not an obsolete format. If you have 
personal interviews, research etc on cassette  that is a different kettle of 
fish.

On Tue, Jun 9, 2015 at 11:30 AM, Shoaf,Judith P 
jsh...@ufl.edumailto:jsh...@ufl.edu wrote:
I just checked on Amazon and oddly there are tons of brand new cassette players 
available in a variety of types.
Jessica
*

I think it depends on what was on the tapes. For example, 8-tracks were mostly 
for commercial material which, if it was preserved, migrated to other formats. 
Nobody needs to be able to play them back. Laserdisks are the same—only used 
for commercial, theatrical films which were later issued as  DVD or digital. 
This is not quite true (I have a precious laserdisc of a Chinese film which is 
not available in other formats, at least with English subs, and a player to 
play it on!), but mostly true.

But huge amounts of personal, historical, etc. recordings were made on cassette 
tape. It was easy, portable, affordable. Even though individuals may not want 
to play the old tapes back, a lot of them have unique value (until they are 
digitized…). Yesterday’s high-quality bootleg cassette might be the basis of 
today’s CD box set.

Judy

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] obsolete formats

[Shoaf,Judith P]

I just checked on Amazon and oddly there are tons of brand new cassette players 
available in a variety of types.
Jessica
*

I think it depends on what was on the tapes. For example, 8-tracks were mostly 
for commercial material which, if it was preserved, migrated to other formats. 
Nobody needs to be able to play them back. Laserdisks are the same—only used 
for commercial, theatrical films which were later issued as  DVD or digital. 
This is not quite true (I have a precious laserdisc of a Chinese film which is 
not available in other formats, at least with English subs, and a player to 
play it on!), but mostly true.

But huge amounts of personal, historical, etc. recordings were made on cassette 
tape. It was easy, portable, affordable. Even though individuals may not want 
to play the old tapes back, a lot of them have unique value (until they are 
digitized…). Yesterday’s high-quality bootleg cassette might be the basis of 
today’s CD box set.

Judy
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] what is a good word for obsolete media?

[Shoaf,Judith P]

To me, legacy and heritage are good words because they imply media for 
which we ought to maintain playback equipment.
The other day someone was trying to explain to me about a documentary 
film-maker who made films-real films, on, you know, film, not video. 
Conversely, someone corrected an online friend touting a video from 1904 which 
has just been discovered-obviously what was on the net was a video made from a 
FILM for 1904 which had just been recovered. We need a vocabulary as the 
formats multiply, but precision is hard to come by.

Judy Shoaf

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Meghann Matwichuk
Sent: Tuesday, June 09, 2015 8:20 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] what is a good word for obsolete media?

I also use the world legacy when referring to 16mm, laserdisc, etc.  I don't 
quite do that with VHS yet.

--
Meghann Matwichuk, M.S.
Associate Librarian
Film and Video Collection
Morris Library, University of Delaware
181 S. College Ave.
Newark, DE 19717
(302) 831-1475
http://www.lib.udel.edu/filmandvideo

On 6/8/2015 12:07 PM, Nell J Chenault wrote:
Legacy


On Mon, Jun 8, 2015 at 11:59 AM, Maureen Tripp 
maureen_tr...@emerson.edumailto:maureen_tr...@emerson.edu wrote:
and I know they are not really obsolete.  But formats for which playback 
equipment isn't always available?  Like 16mm film, vhs tapes, etc.?
I've been calling them heritage media, but wondered if there are other, more 
widely used, terms?
thanks--
M.T.

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 
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] looking for Land and Freedom

[Shoaf,Judith P]

There are legal R2 copies on ebay (released by Artificial Eye)



Judy Shoaf
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] mashup/copyright Q

[Shoaf,Judith P]

Jessica is right; there are only guidelines, not bright lines. I think that 
makes sense, from a more userly point of view. Even in the GSU case the 10% was 
not proposed by the judge as an absolute, just a number she would balance with 
the other factors as being probably safe. But as Jessica says if that 10% is 
the heart of the work, it requires permission.

It should not be hard  to avoid “the heart of the work” in the Alice mashup. 
What is the heart of that book? I suppose that to a modern sensibility it might 
be the conversation with the caterpillar, but that probably varies from one 
film to another.

Judy

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Jessica Rosner
Sent: Thursday, October 01, 2015 1:10 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] mashup/copyright Q

Much as I wish that WAS the law it is not. There is no percentage whatsoever in 
the actual copyright law. The recent GSU case used 10% as an absolute amount 
and this was in fact opposed by both sides. There are instances were 10% can be 
too much ( in the GSU case several works were deemed to use too much because it 
was at the heart of the work even if they used LESS than 10% a point ironically 
almost never mentioned by those claiming it could somehow justify streaming an 
ENTIRE work) by the same token there could be a case where one could use more 
than 10% ( though I have not seen it I get the impression that this is the case 
with some clips used in LA PLAYS ITSELF).
This is kind of why "fair use" drives everyone nuts.

On Thu, Oct 1, 2015 at 12:55 PM, Moshiri, Farhad 
> wrote:

4.2.1 Motion Media

Up to 10% or 3 minutes, whichever is less, in the aggregate of a copyrighted 
motion media work may be reproduced or otherwise incorporated as part of a 
multimedia project created under Section 2 of these guidelines.



http://copyright.lib.utexas.edu/ccmcguid.html


Farhad Moshiri, MLS
Post-Masters Advanced Study Certificate
Audiovisual  Librarian
Subject areas: Music, Dance, Copyright issues,
Middle Eastern Studies
University of the Incarnate Word
J.E. & L.E. Mabee Library
4301 Broadway – CPO 297
San Antonio, TX 78209
(210) 829-3842

From: 
videolib-boun...@lists.berkeley.edu 
>
 on behalf of Jessica Rosner 
>
Sent: Thursday, October 1, 2015 11:40 AM

To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] mashup/copyright Q

No there is NO  3 minute rule. Fair Use has always been deliberately vague. You 
are supposed to use the minimum amount that will achieve your goal without 
compromising the heart of the work or the value to the rights holder. In this 
case I would say 99.9% you are fine but two potential issues.
Is this going to be an event that charges admission? This does not in anyway 
rule out "fair use" but it can raise the bar. The other issue is I think less 
legal than practical, I am going to assume you have a Disney version in the 
mix? They are notoriously litigious and often just best to avoid the trouble. I 
would also be careful to credit each version you use material from.
In general the type of thing you describe is what "fair use" was meant for, 
using portions of works to create a new work without harming the original works.
Good luck
Jessica

On Thu, Oct 1, 2015 at 12:20 PM, Moshiri, Farhad 
> wrote:

As far as I understand the copyright law and fair use, you can do this but 
you're limited to up to 3 minutes of each film and you should not select the 
"heart of the work" in this 3 minutes limit for each film.


Farhad Moshiri, MLS
Post-Masters Advanced Study Certificate
Audiovisual  Librarian
Subject areas: Music, Dance, Copyright issues,
Middle Eastern Studies
University of the Incarnate Word
J.E. & L.E. Mabee Library
4301 Broadway – CPO 297
San Antonio, TX 78209
(210) 829-3842

From: 
videolib-boun...@lists.berkeley.edu 
>
 on behalf of Sarah E. McCleskey 
>
Sent: Thursday, October 1, 2015 11:07 AM
To: 'videolib@lists.berkeley.edu'
Subject: Re: [Videolib] mashup/copyright Q

Hi Lorraine,

I would do it. Sounds like fair use to me. Also, I perceive your risk in this 
situation as extremely low. You’re not charging admission for the film, right? 
Not a money making venture?

BTW sounds like a cool program! This summer I saw the Czech film “Alice” at a 
big outdoor screening. Such an amazing 

Re: [Videolib] mashup/copyright Q

[Shoaf,Judith P]

Jessica noted:

"not that it really matters here but pretty sure the judge in the GSU did 
propose 10% as some absolute max which had the amusing result of upsetting both 
sides."

What she said was that the 10%/1 chapter of a book with more than 10 chapters 
is a "decidedly small" amount, not a maximum:


"Excerpts which fall within these limits are decidedly small, and allowable as 
such under factor three."



At one point she noted

"the Court finds that copying two full chapters out of an eight chapter book, 
exceeding 20% of the protected material, is not a decidedly small amount. 
Indeed, it is a large amount."



--though not "decidely large!!!" She also stressed that the 1976 Classroom 
Guidelines do not give a maximum fair amount:



"the purpose of the Guidelines was to state the minimum and not the maximum 
standards of educational fair use."



She came back several times to the idea that guidelines give a minimum, 
completely safe amount, not a maximum fair amount.



Judy
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] American Sign Language culture DVD

[Shoaf,Judith P]

There's an older film (1996) which was made for TV broadcast, 51 minutes, about 
a particular Deaf community. It was called The Ragin' Cajun: Usher Syndrome.

It was originally part of a series: Oliver Sacks, The Mind Traveler, which 
looked at a number of different neurological abnormalities.



Re. Usher Syndrome. The main figure in the story is a lively young man, a cook 
in Seattle, but Sacks went to talk to his family (the main character needs, I 
think, an interpreter to express himself to his parents) and look at the 
community he came from in Louisiana, where hereditary deafness from birth is 
not uncommon but is tragic since it is linked, in Usher Syndrome, with the 
eventual loss of vision. You see the main figure and his friends trying to 
support each other through this prospective loss of access to conversation, how 
the signing is affected by the loss of vision, etc.



As I say, it is dated but it touches on a lot of classic issues. Nothing about 
implants or gene therapy.



Judy Shoaf










From: videolib-boun...@lists.berkeley.edu  
on behalf of Katherine Pourshariati 
Sent: Tuesday, September 22, 2015 1:54 PM
To: 'videolib@lists.berkeley.edu'
Subject: [Videolib] American Sign Language culture DVD

Hello esteemed list.
Can anyone suggest please a great documentary about the deaf culture and 
American Sign Language? The best one that I have seen so far is called In the 
land of the deaf, which is French.  I very much hope to find one much like 
that, character driven, perhaps more recent and shorter, but all suggestions 
are welcomed.

Thanks
Kate


Kate Pourshariati
Audiovisual cataloger/AV librarian




Montgomery County Community College is proud to be designated as an Achieving 
the Dream Leader College for its commitment to student access and success.
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] Fair Use Citation Question

[Shoaf,Judith P]

I will add to what others have said that versions of this idea were kicking 
around in the videocassette era.  It was hard to find multi-standard VCRs and 
even though the image degraded if you made the copy across standards, some 
folks said that you could make the copy if you destroyed the originals (!). I 
remember at one point insisting that we keep the PAL originals (and erase the 
copies that had been made of them) even if it was harder to play them, because 
the NTSC copies were such poor quality.



With the advent of DVD, it is much easier to play more than one standard. 
Computers play both without any trouble at all (by way of contrast with the 
Region coding, which can be switched less easily).



Judy Shoaf

___
Happy Monday,

I am trying to locate the actual code from the Copyright Office for a citation 
so I can figure out if this statement is true or false, or somewhere in 
between. Since this statement didn't have a source, I'm trying with no success 
tracking down the relevant code to verify the accuracy of this.

SCENARIO: An instructor requests a copy of a library-owned video in a format 
that will play on University classroom equipment in Europe or Asia, such as PAL 
format.

GUIDELINE: This would be a fair use if a copy in the needed format cannot be 
purchased at a reasonable market price.  The library may make one copy of the 
media and place the original in storage until the copy is returned and 
destroyed.
Thanks!

Jodie



Jodie Borgerding, MLS
Instruction and Liaison Librarian
Missouri Library Association President-Elect
Webster University Library
470 E. Lockwood
St. Louis, MO  63119
(314) 246-7819
jborgerdin...@webster.edu
http://library.webster.edu
http://molib.org

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] Argentine Film Noir

[Shoaf,Judith P]

There used to be a good website for Argentinean films, dvdmuseum.
It looks like they have migrated to Facebook. You or the professor could 
correspond with them.
https://www.facebook.com/dvdmuseum/
Unfortunately the facebook site seems mostly to feature American blockbusters 
in translation.

Also, many older films have been uploaded to Youtube, e.g.
https://www.youtube.com/watch?v=6EhPxtoPw1A
https://www.youtube.com/watch?v=qVsgTGWsIbA
https://www.youtube.com/watch?v=x1uJVT0h7L8
https://www.youtube.com/watch?v=Lnw1GdIji38

--these may be pretty awful (uploads of taped-off-TV stuff), both legally and 
aesthetically, but could be useful for study. Even just looking at the titles 
these fans uploaded might be of interest.

Judy Shoaf

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Karsten, Eileen
Sent: Wednesday, May 18, 2016 7:21 AM
To: Videolib 
Subject: [Videolib] Argentine Film Noir


Does anyone know a distributor for Argentine film noir?  I have a professor who 
would like to obtain copies of the following films:



  *   Apenas un delincuente (Hardly a Criminal) 
http://www.imdb.com/title/tt0143110/
  *   Sangre Negra (Black Blood) 
http://www.worldcat.org/title/sangre-negra-native-son/oclc/39788447
  *   Los tallos amargos (The Bitter Stems) http://www.imdb.com/title/tt0143920/
  *   No abras nunca esa puerta (Never Open that Door) dir. Carlos Hugo 
Christensen http://www.imdb.com/title/tt0184782/
  *   Si muero antes de despertar (If I Die Before I Wake) dir. Carlos Hugo 
Christensen http://www.imdb.com/title/tt0184901/
  *   El vampiro negro (The Black Vampire) http://www.imdb.com/title/tt0202054/

  1.  Deshonra (1952) directed by Daniel Tinayre
  2.  Más allá del olvido (1956) Hugo del Carril
  3.  Culpable (1960) Hugo del Carril
  4.  La bestia debe morir (1952) Román Viñoly Barreto
Thank you for any information.



Eileen Karsten

Lake Forest College

kars...@lakeforest.edu
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] Gary Handman's Bibliotoons

[Shoaf,Judith P]

?Um, I don't think that would qualify under Section 108. There are a number of 
copies available on Abebooks.

Judy



From: videolib-boun...@lists.berkeley.edu  
on behalf of Randal 
Sent: Friday, August 5, 2016 12:27 AM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Gary Handman's Bibliotoons

Maybe you should just digitize it and send. Is it very many pages?

Sent from my iPhone

On Aug 3, 2016, at 3:46 AM, Threatt, Monique Louise 
> wrote:

Drats!  Missed it by a racoon's tail!  Enjoy, Rick! hahaha

From: 
videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Rick Provine
Sent: Tuesday, August 2, 2016 3:29 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Gary Handman's Bibliotoons

Me me!

On Tue, Aug 2, 2016 at 3:19 PM, Bergman, Barbara J 
> wrote:
Cleaning out from books from staff area and found this book of comics:

Bibliotoons: a mischievous meander through the stacks & beyond by Gary Handman
Published 1990.

First person to send their mailing address can have it. (Tip: Reply directly to 
barbara.berg...@mnsu.edu )

Barb Bergman | Media Services & Interlibrary Loan Librarian | Minnesota State 
University, Mankato | (507) 389-5945 | 
barbara.berg...@mnsu.edu


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.



--
___
Rick Provine
Dean of Libraries
DePauw University
11 East Larrabee Street
Greencastle, IN  46135
prov...@depauw.edu
office 765-658-4435
mobile 765-301-0262
fax 765-658-4445

[https://docs.google.com/uc?export=download=0B7GoHFcE79puQllIb2ZtU2dKZEE=0B7GoHFcE79puZE5lNERWbnJnNEtkVWI5S1lpSjlBNUloK3pBPQ]
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] DVD Region Problems

[Shoaf,Judith P]

VLC player will play all regions on a computer without switching regions. There 
was one blip once where this was not true for a month or so, but they fixed it. 
Using a computer is the best solution because it also skips over the format 
question (PAL vs. NTSC).

Judy, who has a pile of region-free but also non-converting DVD players in the 
closet.

Judy Shoaf

-Original Message-
From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Chadwell, Amy
Sent: Tuesday, August 30, 2016 2:49 PM
To: videolib@lists.berkeley.edu
Subject: [Videolib] DVD Region Problems

Hi All,

How do you handle situations when a professor wants a foreign language film 
that is only available in a non-US region format?
Do you purchase the item and warn the professor of how the item will likely not 
play on standard players, but that it would be possible to play on a computer 
after switching regions?
Would it be illegal to make one copy of the film that is region-free or region 
1 for ease of student use and destroy or lock away the original? If you have 
done this, how did you do it?

You can reply off list if you like to achad...@highpoint.edu

Thank you for any insight you may have.

Amy Chadwell

[cid:11C81220-3EA6-496F-818C-15A5B3561BCA]

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] Veterinary Surgery videos

[Shoaf,Judith P]

Not instructional videos, but there are currently a lot of veterinary "reality" 
TV shows, on National Geographic channels and Animal Planet. They show 
veterinarians doing surgery,  setting bones, getting tar off eagles, castrating 
yaks, etc. (My husband has become fascinated with them, esp. the Yukon Vet, I 
think.)

You may need a subscription to watch online, and the descriptions of episodes 
are vague ("...and a grey wolf goes under the knife") but possibly there are 
blogs or discussion lists where the contents are more carefully analyzed.

Judy Shoaf

From: videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Evans, Kathryn Marie 
Henke
Sent: Thursday, October 20, 2016 1:07 PM
To: videolib@lists.berkeley.edu
Subject: Re: [Videolib] Veterinary Surgery videos

I  searched Worldcat and video with KW: veterinary + surgery and DVD video with 
73 results

The firm Video Vet has a profile on Worldcat Identities:
http://www.worldcat.org/identities/nc-video%20vet%20firm/. There are 34 videos 
from that firm listed on Worldcat.

Kathy Evans
Purdue University

From: 
videolib-boun...@lists.berkeley.edu 
[mailto:videolib-boun...@lists.berkeley.edu] On Behalf Of Michael E. Matthews
Sent: Thursday, October 20, 2016 12:51 PM
To: videolib@lists.berkeley.edu
Subject: [Videolib] Veterinary Surgery videos

Hi there:

Does anyone have a suggestion on how to find instructional videos (either DVD 
or streaming) on veterinary medicine practices, specifically surgery? I have 
already searched the archives for VIDEOLIB (at least back to 2010), and I 
cannot find any postings referring to veterinary medicine at all.

Any help would be deeply appreciated. Please post to the list because others 
may want to have this mystery solved as well.

Thank you,
Mike Matthews

_
Michael Matthews
Head of Serials & Media/
Associate Professor of Library Science
Northwestern State University Libraries
Natchitoches, Louisiana 71497
matthe...@nsula.edu
318-357-4419

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.