And as non PC as it is, I don't believe in archival digitalimages anyway.
And as non PC as it is, I don't believe in archival digital images anyway. Just because we can capture huge images, should we? Digitize for Access, yes and mass distribution, but not for preservation, except as it reduces handling of the original. The right resolution for proper access depends on the material being scanned. Trudy, Where does this leave us with direct digital capture? Our digital files *are* our masters; and as the resolution of cameras is flexible (huge range of options) we still must face this question. If the digital asset cannot be the archival asset, then it must be captured at a resolution that may be greater than anticipated need, in order to write a usable piece of film, for instance, that will be of value in the archives (rescannable, if absolutely necessary!). That said, I think your advice about scanning resolution more or less applies to digital captures as well, though perhaps with a bit more emphasis on minimizing additional future access to the object by trying to meet even more of the anticipated usage (though, admittedly, in our experience the extraction of details is often not a justifiable cause to go overboard with resolution, as very often the detail, unless it's of flat art, needs to be re-shot anyway). Best, Roger Howard The Getty --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: And as non PC as it is, I don't believe in archival digitalimages anyway.
In terms of original digital capture, not surrogate conversion, I think we must look at it as we did (do) film; different formats ( slides, transparencies etc) for different purposes. What you need to define is: The access you want to achieve. The level of detail that your originals warrant. By access I mean the purpose with which people will be viewing your digital surrogate. Are people studying the fiber or the tapestry. Some research institutions are now uncovering fascinating information through digital study of manuscripts and paintings, but most are just showing the content. The same with detail. Do you learn more studying your originals, with a magnifying glass? Would what you learn be better captured with one detail shot for 30 objects? As I look at what I have written I see that I am now moving toward the California Digital Library's approach for resolution standards which is 600 ppi rather than Western Region's 3000 pixels on the long dimension which I support for surrogate conversion. I would, however, advocate that the PPI approach be set according to needs as described above. A newspaper and a tapestry potentially contain different quantities of information to be viewed. -- Trudy Levy Consultant for Digital Imaging Projects Image Integration 415 750 1274http://www.DIG-Mar.com Membership Chair, Visual Resources Association http://vraweb.org Images are information - Manage them On 10/13/04 8:38 AM, Roger Howard rhow...@getty.edu wrote: And as non PC as it is, I don't believe in archival digital images anyway. Just because we can capture huge images, should we? Digitize for Access, yes and mass distribution, but not for preservation, except as it reduces handling of the original. The right resolution for proper access depends on the material being scanned. Trudy, Where does this leave us with direct digital capture? Our digital files *are* our masters; and as the resolution of cameras is flexible (huge range of options) we still must face this question. If the digital asset cannot be the archival asset, then it must be captured at a resolution that may be greater than anticipated need, in order to write a usable piece of film, for instance, that will be of value in the archives (rescannable, if absolutely necessary!). That said, I think your advice about scanning resolution more or less applies to digital captures as well, though perhaps with a bit more emphasis on minimizing additional future access to the object by trying to meet even more of the anticipated usage (though, admittedly, in our experience the extraction of details is often not a justifiable cause to go overboard with resolution, as very often the detail, unless it's of flat art, needs to be re-shot anyway). Best, Roger Howard The Getty --- You are currently subscribed to mcn_mcn-l as: tr...@dig-mar.com To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Fwd: Museum Information Management Workshop/Course
The Cultural Resource Management Program at the University of Victoria is offering an intensive six-day course on the complex task of managing information in museum settings with Scott Sayre from November 15 - 20 -- please visit our website at http://www.uvcs.uvic.ca/crmp/courses/ha488n.cfm to view the recently updated course outline and to learn more about the course, the instructor and the registration process. And thanks for circulating this among colleagues... Lisa Mort-Putland, Program Coordinator Cultural Resource Management Programs Division of Continuing Studies, University of Victoria E-mail: lmort-putl...@uvcs.uvic.ca Tel: (250) 721-6119 For more information on upcoming courses please visit our web site www.uvcs.uvic.ca/crmp --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
IP SIG -- Fwd: 2004 TEACH Act Online Workshop-reminder 10/12/04
Status: U X-Accept-Language: en-us X-Scanned: Clean Date: Wed, 13 Oct 2004 12:20:07 -0400 Reply-To: Visual Resources Association vr...@listserv.uark.edu Sender: Visual Resources Association vr...@listserv.uark.edu From: Marlene Gordon mgor...@umich.edu Organization: University of Michigan - Dearborn Subject: 2004 TEACH Act Online Workshop-reminder 10/12/04 To: vr...@listserv.uark.edu X-ELNK-AV: 0 REMINDER AND INVITATION *October 19, 2004!* is the Early Registration Deadline for the first 2004 Intellectual Property in Academia Online Workshop: TACKLING THE TEACH Act http://www.umuc.edu/cip/ipa Due to the popularity of the first run of this online workshop, it has been updated and will be re-offered as the first workshop in this year's online series. TACKLING THE TEACH Act, will be moderated by Dr. Kenneth Crews, associate dean and director of Indiana University-Purdue University Indianapolis (IUPUI) Copyright Management Center. It will run from November 2, 2004 to November 16, 2004. Participants will receive daily response and feedback from workshop moderators. In addition, each workshop in the series will include live chats with the workshop moderators and invited guests. This is an online, asynchronous seminar in which participants are active at times convenient to them. Join us! For additional information call 240-582-2734 or 1-800-283-6832, extension 2734 or visit our web site at http://www.umuc.edu/cip/ipa/ Secure Online Registration- https://nighthawk.umuc.edu/CIPReg.nsf/Application?OpenForm -Olga Francois Center for Intellectual Property University of Maryland University College http://www.umuc.edu/cip/ [Please excuse the inevitable duplication of this notice.] -- Marlene E. Gordon Visual Resources and Music Collections University of Michigan-Dearborn 313-593-5463 313-593-1902 (fax) mgor...@umich.edu VRA-IPR Committee, Chair www.vraweb.org --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
IP SIG -- Fwd: Digital Copyright-In the News 12/11/04 10:34 am
Status: U X-Accept-Language: en-us X-Scanned: Clean Date: Wed, 13 Oct 2004 12:27:50 -0400 Reply-To: Visual Resources Association vr...@listserv.uark.edu Sender: Visual Resources Association vr...@listserv.uark.edu From: Marlene Gordon mgor...@umich.edu Organization: University of Michigan - Dearborn Subject: Digital Copyright-In the News 12/11/04 10:34 am To: vr...@listserv.uark.edu X-ELNK-AV: 0 Digital Copyright - In The News 11 Oct 2004 10:34 Movement Seeks Copyright Alternatives By Associated Press, Forbes.com, 10.10.2004 http://www.forbes.com/business/feeds/ap/2004/10/10/ap1584258.html Getting rights OK'd can be frustrating for artists, be they authors seeking to quote an essay or documentary filmmakers who've got snippets of pop songs playing in the background of key scenes. Artists and scholars who believe the current copyright system unduly stifles creativity are pushing a less restrictive alternative that they call the Creative Commons. - Entertainment Giants Push Supreme Court to Rewrite Copyright Law by: ByteEnable, LinuxElectrons, October 09 2004 http://www.linuxelectrons.com/article.php/2004100914452354 A group of 25 entertainment companies filed a petition for certiorari with the Supreme Court today, asking the Court to rewrite copyright law principles that establish when high-tech companies can be held liable for the copyright infringements of their customers. -- Copyright Shenanigans Not Over in Congress - Piracy Education Act Dangerous Posted by Ernest Miller, Cotrante.com, October 08, 2004 http://www.corante.com/importance/archives/026477.php Public Knowledge reports on a bill that includes a number of different copyright provisions thrown together, HR 4077 the Piracy Deterrence in Education bill. It combine several different significant changes to copyright law that haven't gotten nearly the attention they should, thanks to the INDUCE Act. Could it be that INDUCE was merely meant to be a distraction? [Stop being conspiratorial - Ed.]. Oh, yeah, and it designates the Oak as the national tree: * Piracy Bill's Language Protects DVD Movie Filters By Mike Musgrove, Washington Post , October 9, 2004; Page E01 http://www.washingtonpost.com/wp-dyn/articles/A18697-2004Oct8.html?sub=AR It's acceptable for consumers to use software that edits out nudity or bad language from a DVD movie -- but they had better leave the commercials and promotional announcements in, according to legislation adopted by the House of Representatives this week. -- Controversial copyright bill dies in Senate: Induce' measure gone, but related bills still advancing By Associated Press, MSNBC.com, Oct. 8, 2004 http://msnbc.msn.com/id/6208947/ WASHINGTON - A bill that would make it easier to sue online file-trading networks like Kazaa appeared Friday to have died a quiet death, but other copyright bills sought by the entertainment industry continued to advance. -- First Look: RemoteTV Offers Slick Media Streaming: Belkin's latest product lets you effortlessly share digital content within the house, but is it lawful? By Tom Spring, PC World, October 08, 2004 http://www.pcworld.com/news/article/0,aid,118118,00.asp Wirelessly piping high-quality video and audio throughout your home can be a convoluted technical feat that often leads to fuzzy results. Belkin's $500 PureAV RemoteTV changes that by offering high-quality multimedia streaming that's a breeze to set up. The catch: Belkin's technology just may be breaking some copyright laws. - Commentary: Are The Copyright Wars Chilling Innovation? By Heather Green, BusinessWeek , OCTOBER 11, 2004 http://www.washingtonpost.com/wp-dyn/articles/A18697-2004Oct8.html?sub=AR Scientists like to probe the unknown and pioneer useful technologies. But in the spring of 2001, Edward W. Felten discovered that such efforts aren't always welcome. A computer scientist at Princeton University, Felten took part in a contest sponsored by the Recording Industry Association of America to test technology for guarding music against piracy. Copyright and the Mouse: How Disney's Mickey Mouse Changed the World By Jack Kapica, DigitalJournal.com , October 6, 2004 http://www.digitaljournal.com/news/?articleID=4031 It all started with the Mouse. A few years ago, the Walt Disney Company noticed that its star, Mickey Mouse, was aging. At the turn of the century, he would be almost 75 - venerable for a mouse, and more so for one in the entertainment field. And that meant the little black rodent would end up in corporate hell. -- Globe and Mail loses copyright case By CBC Arts News, 07 Oct 2004 http://www.cbc.ca/story/arts/national/2004/10/07/Arts/globe041007.html (Contributed by Stephen Davies) TORONTO - The Ontario Court of Appeal has ruled that the Globe and Mail violated copyright law when it republished articles by a freelancer in its
museumphotographers.org
Re: museumphotographers.org
Re: Standards for Digital Masters
Thank you to all who responded to my query. Your questions and responses have in turn challenged my thinking about the original problem. While the functional master will need to be quite large to meet many potential uses, I wonder if we need an archival master of a surrogate of a surrogate of a object? A file created through direct digital capture of an object, however, will need to replicate and hopefully exceed the detail and quality of the first generation surrogate transparency. Thanks again, Amy Stidwill Visual Resources Manager Hillwood Museum Gardens 4155 Linnean Avenue, NW Washington, D.C. 20008 (202) 243-3910 phone (202) 966-7846 fax astidw...@hillwoodmuseum.org tr...@dig-mar.com 10/12/04 05:23PM Amy - If your master is to create derivatives, then I advise creating a master that meets your needs for 90% of your possible uses. I find that on the occasion that you need to make that unique use, it is better to rescan for that specific purpose, this might be a large wall mounted displays for exhibits. Since you have transparencies, I assume you have been using them for printed material - posters, postcards, catalogs, promotional material and possible some electronic presentations. The future of digital imaging will improve the image we can display electronically, but I don't think it will change the resolution of the printed image. You, however, may want to print a small detail at a larger scale. This being considered, I would scan at a resolution to be able to print a quarter of your image at your 90% commonly printed size and dpi. And as non PC as it is, I don't believe in archival digital images anyway. Just because we can capture huge images, should we? Digitize for Access, yes and mass distribution, but not for preservation, except as it reduces handling of the original. The right resolution for proper access depends on the material being scanned. -- Trudy Levy Consultant for Digital Imaging Projects Image Integration 415 750 1274http://www.DIG-Mar.com Membership Chair, Visual Resources Association http://vraweb.org Images are information - Manage them On 10/12/04 1:53 PM, Amy Stidwill astidw...@hillwoodmuseum.org wrote: Peter, Yes to your second description of an image that can be used to make derivatives for a variety of purposes. Thanks, Amy Amy Stidwill Visual Resources Manager Hillwood Museum Gardens 4155 Linnean Avenue, NW Washington, D.C. 20008 (202) 243-3910 phone (202) 966-7846 fax astidw...@hillwoodmuseum.org p...@digitaltransitions.com 10/12/04 04:12PM Hi Amy When you say master, are considering this an Archive type image (a file that can replace the original film if destroyed), or an image that can be multi-purposed for offset press, web, analysis, research etc.? On Oct 12, 2004, at 3:31 PM, Amy Stidwill wrote: I am in the process of reviewing and updating our standards for master digital files as we switch to a new collections management system. We have not entered the realm of direct digital capture and are scanning primarily from 4 x 5 transparencies. If this sounds like your museum, please let me know what resolution and/or pixel length you are scanning at and why you chose those numbers. All replies are greatly appreciated. Many thanks, Amy Stidwill Visual Resources Manager Hillwood Museum Gardens 4155 Linnean Avenue, NW Washington, D.C. 20008 (202) 243-3910 phone (202) 966-7846 fax astidw...@hillwoodmuseum.org --- You are currently subscribed to mcn_mcn-l as: p...@digitaltransitions.com To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com Peter Siegel Division of Cultural Heritage Digital Transitions tel. 212-529-6825 xt. 228 fax. 212-504-2713 p...@digitaltransitions.com --- You are currently subscribed to mcn_mcn-l as: astidw...@hillwoodmuseum.org To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: tr...@dig-mar.com To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: astidw...@hillwoodmuseum.org To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: Standards for Digital Masters
You may also want to look at this site : http://www.scantips.com/ It details all the theory behind scanning, not only what can be done - but what a scanner cannot do. You may also want to look into software that gives you the flexibility to do what you need. We use a program called VueScan (http://www.hamrick.com/) which so far has done a stellar job, better than the software that comes with scanners. The one point that I can give - as outlined at scantips.com is that all scanning depends on the original. With prints (not negatives) scanning at anything higher than 300-600 dpi you get no more detail (simply because the detail is just not there). DPI higher than this is just scanning for size (i.e. to blow up the image). Once you really start getting into the theory and science behind scanning it gets complicated and you really need to know it all to get the best results. The times where you put the image on the scanner bed and hit scan should be over, it takes a lot of work to get a good digital representation of an analog work. Andrew Macdonald New Media Officer / Agent des nouveaux médias Canada Aviation Museum / Musée de l'aviation du Canada Phone / Téléphone : (613) 998-5689 Fax / Télécopie : (613) 990-3655 Website: www.aviation.technomuses.ca Email: amacdon...@technomuses.ca Amy Stidwill astidw...@hillwoodmuseum.org 10/13/2004 09:18 AM Please respond to mcn-l To:mcn-l@mcn.edu cc: Subject:Re: Standards for Digital Masters Thank you to all who responded to my query. Your questions and responses have in turn challenged my thinking about the original problem. While the functional master will need to be quite large to meet many potential uses, I wonder if we need an archival master of a surrogate of a surrogate of a object? A file created through direct digital capture of an object, however, will need to replicate and hopefully exceed the detail and quality of the first generation surrogate transparency. Thanks again, Amy Stidwill Visual Resources Manager Hillwood Museum Gardens 4155 Linnean Avenue, NW Washington, D.C. 20008 (202) 243-3910 phone (202) 966-7846 fax astidw...@hillwoodmuseum.org tr...@dig-mar.com 10/12/04 05:23PM Amy - If your master is to create derivatives, then I advise creating a master that meets your needs for 90% of your possible uses. I find that on the occasion that you need to make that unique use, it is better to rescan for that specific purpose, this might be a large wall mounted displays for exhibits. Since you have transparencies, I assume you have been using them for printed material - posters, postcards, catalogs, promotional material and possible some electronic presentations. The future of digital imaging will improve the image we can display electronically, but I don't think it will change the resolution of the printed image. You, however, may want to print a small detail at a larger scale. This being considered, I would scan at a resolution to be able to print a quarter of your image at your 90% commonly printed size and dpi. And as non PC as it is, I don't believe in archival digital images anyway. Just because we can capture huge images, should we? Digitize for Access, yes and mass distribution, but not for preservation, except as it reduces handling of the original. The right resolution for proper access depends on the material being scanned. -- Trudy Levy Consultant for Digital Imaging Projects Image Integration 415 750 1274 http://www.DIG-Mar.com Membership Chair, Visual Resources Association http://vraweb.org Images are information - Manage them On 10/12/04 1:53 PM, Amy Stidwill astidw...@hillwoodmuseum.org wrote: Peter, Yes to your second description of an image that can be used to make derivatives for a variety of purposes. Thanks, Amy Amy Stidwill Visual Resources Manager Hillwood Museum Gardens 4155 Linnean Avenue, NW Washington, D.C. 20008 (202) 243-3910 phone (202) 966-7846 fax astidw...@hillwoodmuseum.org p...@digitaltransitions.com 10/12/04 04:12PM Hi Amy When you say master, are considering this an Archive type image (a file that can replace the original film if destroyed), or an image that can be multi-purposed for offset press, web, analysis, research etc.? On Oct 12, 2004, at 3:31 PM, Amy Stidwill wrote: I am in the process of reviewing and updating our standards for master digital files as we switch to a new collections management system. We have not entered the realm of direct digital capture and are scanning primarily from 4 x 5 transparencies. If this sounds like your museum, please let me know what resolution and/or pixel length you are scanning at and why you chose those numbers. All replies are greatly appreciated. Many thanks, Amy Stidwill Visual Resources Manager Hillwood Museum Gardens 4155 Linnean Avenue, NW Washington, D.C. 20008 (202) 243-3910 phone (202) 966-7846 fax astidw...@hillwoodmuseum.org
Re: Standards for Digital Masters
The bigger the file size (70MB - 250MB is not uncommon) the better. In other words, the bigger the file the more information on the object is captured. Also, focus on one master format, i.e. TIFF is a very common format in this regard (do not compress the files) and if you apply color corrections on surrogates of the original scan, place the adjustments on layers (yes, TIFF now supports layers), rather than flattening the image to save file space. Tom, I would recommend against this; I assume you're referring to the layered TIFF that Photoshop (since v7) will output? These are virtually (if not completely) unsupported outside of Photoshop in some forms - they do keep a flattened version of the entire document for apps that don't support layers, but then you lose the main benefit (the layers)... but in my experience, the main benefit of layered TIFF from PSD is for using ZIP compression, which can really reduce the size of a complex layered document, and ZIP compression is also not well supported. In general, I wouldn't recommend keeping these as your masters, but they can be handy. PSD may be significantly larger for an equivalent layered file, but it's also much better supported, and understood - many folks still don't get that TIFF allows much more than a simple flat image. - R --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: Standards for Digital Masters
As I said, surrogates, not masters. Masters are un-cropped, first acquired digital images. Any corrections to the original digital image makes it a surrogate. Color corrections are necessary once you start making reproductions of the masters for print or online display. Those copies of the masters should contain any adjustment layers, because you do not want to go back to the digital master to do adjustments every time you get a request for a reprint, etc. In any case, the archiving of digital anything is a never ending process. Be ready to keep on top of the digital imaging arena for the foreseeable future. Formats change, new ones get adopted, support for outdated formats seizes, etc. Technology advances do not rest. Hope this clarifies the situation. Tom Arnautovic Collection Database/Imaging Specialist Crocker Art Museum 916-264-1176 rhow...@getty.edu 10/13/04 08:56AM The bigger the file size (70MB - 250MB is not uncommon) the better. In other words, the bigger the file the more information on the object is captured. Also, focus on one master format, i.e. TIFF is a very common format in this regard (do not compress the files) and if you apply color corrections on surrogates of the original scan, place the adjustments on layers (yes, TIFF now supports layers), rather than flattening the image to save file space. Tom, I would recommend against this; I assume you're referring to the layered TIFF that Photoshop (since v7) will output? These are virtually (if not completely) unsupported outside of Photoshop in some forms - they do keep a flattened version of the entire document for apps that don't support layers, but then you lose the main benefit (the layers)... but in my experience, the main benefit of layered TIFF from PSD is for using ZIP compression, which can really reduce the size of a complex layered document, and ZIP compression is also not well supported. In general, I wouldn't recommend keeping these as your masters, but they can be handy. PSD may be significantly larger for an equivalent layered file, but it's also much better supported, and understood - many folks still don't get that TIFF allows much more than a simple flat image. - R --- You are currently subscribed to mcn_mcn-l as: tarnauto...@cityofsacramento.org To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: Standards for Digital Masters
I second this. Don't get in the habit of keeping layered Tiffs around beyond the image processing / pre press stage. Jeff Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 On Oct 13, 2004, at 11:56 AM, Roger Howard wrote: The bigger the file size (70MB - 250MB is not uncommon) the better. In other words, the bigger the file the more information on the object is captured. Also, focus on one master format, i.e. TIFF is a very common format in this regard (do not compress the files) and if you apply color corrections on surrogates of the original scan, place the adjustments on layers (yes, TIFF now supports layers), rather than flattening the image to save file space. Tom, I would recommend against this; I assume you're referring to the layered TIFF that Photoshop (since v7) will output? These are virtually (if not completely) unsupported outside of Photoshop in some forms - they do keep a flattened version of the entire document for apps that don't support layers, but then you lose the main benefit (the layers)... but in my experience, the main benefit of layered TIFF from PSD is for using ZIP compression, which can really reduce the size of a complex layered document, and ZIP compression is also not well supported. In general, I wouldn't recommend keeping these as your masters, but they can be handy. PSD may be significantly larger for an equivalent layered file, but it's also much better supported, and understood - many folks still don't get that TIFF allows much more than a simple flat image. - R --- You are currently subscribed to mcn_mcn-l as: jfev...@princeton.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: Standards for Digital Masters
At 23:04 12/10/2004, Tom Arnautovic wrote: Get the highest possible digital capture and go from there. If your scanner maxes out @4000DPI, why bother scanning it at a lower resolution, or targeting a specific file size? Simple. Memory and budgetary limitations. Amalyah Keshet Head of Image Resources Copyright Management The Israel Museum, Jerusalem Tel +972-2-670-8874 Fax +972-2-670-8064 --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: Standards for Digital Masters
You might also want to make sure that your camera / scanner can deliver 4000 DPI; otherwise your making a lot of pixels. There are some benchmarking techniques available to ensure your device can produce the resolution you expect. -Peter On Oct 13, 2004, at 2:03 PM, amalyah keshet wrote: At 23:04 12/10/2004, Tom Arnautovic wrote: Get the highest possible digital capture and go from there. If your scanner maxes out @4000DPI, why bother scanning it at a lower resolution, or targeting a specific file size? Simple. Memory and budgetary limitations. Amalyah Keshet Head of Image Resources Copyright Management The Israel Museum, Jerusalem Tel +972-2-670-8874 Fax +972-2-670-8064 --- You are currently subscribed to mcn_mcn-l as: p...@digitaltransitions.com To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com Peter Siegel Division of Cultural Heritage Digital Transitions tel. 212-529-6825 xt. 228 fax. 212-504-2713 p...@digitaltransitions.com --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
Re: Standards for Digital Masters
Budgetary concerns were never mentioned in the original inquiry of the poster. akes...@netvision.net.il 10/13/04 11:03AM At 23:04 12/10/2004, Tom Arnautovic wrote: Get the highest possible digital capture and go from there. If your scanner maxes out @4000DPI, why bother scanning it at a lower resolution, or targeting a specific file size? Simple. Memory and budgetary limitations. Amalyah Keshet Head of Image Resources Copyright Management The Israel Museum, Jerusalem Tel +972-2-670-8874 Fax +972-2-670-8064 --- You are currently subscribed to mcn_mcn-l as: tarnauto...@cityofsacramento.org To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com --- You are currently subscribed to mcn_mcn-l as: rlancefi...@mail.wesleyan.edu To unsubscribe send a blank email to leave-mcn_mcn-l-12800...@listserver.americaneagle.com
