Re: [Videolib] 13th and Streaming Distribution w/o EducationalAvailability

[John Vallier]

The optimist in me hopes DuVernay’s advocacy for non-profit screenings, and 
Netflix’s apparent agreement to facilitate such use, will kick-start a new .edu 
friendly approach to provide access to restrictively licensed content. However, 
my more realistically grounded experience with trying to negotiate with 
Amazon.com, Universal Music Group, and Apple for .edu access to online-only 
music, gives me reason to doubt a new trend is in the works (e.g., see 
http://bit.ly/1k5QpEZ). I hope I’m wrong. 

I like the idea of working with ALA’s Digital Content & Libraries Working Group 
(DCWG), creators of the “ebook license scorecard.” While they focus on the 
e-book issue, their charge isn’t limited to print. That said, they probably 
won’t focus on audio/video unless we advocate. When ALA Mid-Winter was last in 
Seattle (2013), I went to the DCWG meeting and spoke up about the online-only 
media issue. Carrie Russell (Director, ALA Program on Public Access to 
Information) and Cliff Lynch (CNI) were there, and both (among many others) 
have been very supportive of raising awareness about the issue—-and seeking a 
range of solutions (e.g., not just paying increasingly unaffordable licensing 
costs). 

Erika Linke and Carolyn Anthony are now DCWG co-chairs.  

Do we need our own scorecard for streaming media providers, even if they 
already provide .edu access? 

I’m glad to see so many riled up about this issue. Advocacy leads to change!  

- John 

…………
John Vallier
Head, Distrib Media Svcs
Affl Asst Prof, Ethnomusicology
U of Washington Libraries, Media Lab+Arcade
http://guides.lib.uw.edu/research/vallier





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] hip-hop docs on dvd?

[John Vallier]

Not a syllabus for that course, but here’s a syllabus for a course on Hip Hop 
Archiving in the PNW that I co-taught last year that mixes regional Hip Hop 
history w/ “media librarianship” -  https://canvas.uw.edu/courses/1040930/

John 

> Message: 5
> Date: Wed, 16 Nov 2016 12:07:34 -0500
> From: Randal Baier 
> Subject: Re: [Videolib] hip-hop docs on dvd?
> To: brian boling ,   videolib
>   
> Message-ID:
>   

Re: [Videolib] Amazon Prime (+online-only media issue)

[John Vallier]

Thanks, CW, for your input on this issue. As Kevin Smith noted, when writing 
about the unfortunate AIME v UCLA case... 

"We routinely assume that “contracts trump copyright;” libraries are told that 
all the time regarding the databases they license, and they often pass the 
message on to users.  It is generally correct. In one of the most cited cases 
on this point, ProCD v. Zeidenberg, Judge Easterbrook of the 6th Circuit held 
that a contract creates rights only between the specific parties and thus those 
rights are not “exclusive” and so not preempted.  But the question remains 
somewhat unsettled, and UCLA is exploiting an apparent loophole in the general 
rule that we have mostly taken for granted."
http://blogs.library.duke.edu/scholcomm/2011/02/08/contract-preemption-an-issue-to-watch/

While the particulars of that case are different than what we are talking 
about, it's good to keep Smith's post in mind: contracts [such as the license 
we agree to when we stream from Amazon] may not always trump copyright. Maybe 
107 or 110 could work. Maybe not. 

It sounds like we need a test case. Volunteers?

- John  

Message: 3
Date: Mon, 17 Oct 2016 15:24:55 -0400
From: Andrew Horbal 
Subject: Re: [Videolib] Amazon Prime
To: videolib@lists.berkeley.edu
Message-ID:

Content-Type: text/plain; charset="utf-8"

Hi Bob,

I think this might bring us back to 110(1)! If it's not clear whether a
classroom screening is "personal" or "public," perhaps it could be either
depending on the circumstances? I strongly suspect that your professor who
invites the entire campus to a screening isn't complying with the
requirement in 110(1) that the screening must be "in the course of
face-to-face teaching activities," which would mean that even if this
license is written vaguely enough that such activity is allowable under the
terms of the contract, it would still constitute a copyright violation.

In summary: as numerous people have pointed out, if you sign a contract,
you must comply with the terms of that contract. In this case, the question
is whether or not the license we've been discussing excludes a behavior
(screening the film to a class) that otherwise would be allowed under
110(1). There's enough ambiguity here that I personally would feel
comfortable concluding that it doesn't. You have concluded otherwise, which
is fine: I don't see any reason why we can't agree to disagree!

License writers take heed: perhaps you should consider wording more exact
than "personal uses only" when telling people what they are and are not
permitted to do!

Andy


VIDEOLIB is intended to encourage the broad and lively discussion of issues 
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between libraries,educational institutions, and video producers and 
distributors.

[Videolib] 13th and online-only issue

[John Vallier]

Collective Wisdom, 

I’m trying to purchase a physical copy of, or institutional streaming rights 
for, 13th , Ava DuVernay’s new documentary: 
https://en.wikipedia.org/wiki/13th_(film)
It’s a Netlfix distributed film, which makes me cringe as I have my doubts that 
it will be released on DVD or distributed to .edus. I’m hoping you can tell me 
I am wrong. 

This issue — online only media that is unavailable to .edu institutions — is 
one I’m encountering with greater frequency. I’m imagining some of you are, 
too, so I thought I would send an update on an IMLS funded project that 
colleagues and I had over the past few years. It focussed on the proliferation 
of online-only music (i.e., streaming or download only, no physical format 
availability) and libraries' inability to purchase such content b/c of 
licensing agreements that allow individual use and, on the flip-side, forbid 
institutional use. Same as the Netflix streaming only releases. This article 
highlights our project:
Tsou, J. & Vallier, J. "Ether Today, Gone Tomorrow: 21st Century Sound 
Recording Collection in Crisis." Notes 72.3 (2016): 461-483. Project MUSE. Web. 
20 Sep. 2016. <https://muse.jhu.edu/article/608905>

Unfortunately, we failed to find a solution, but I’m hoping some of you have 
ideas on how to address this challenge as it relates to video in particular. 

Thanks, 

John 
——————————
JOHN VALLIER
Head, Distributed Media Services
Affiliate Assistant Prof, Ethnomusicology 
University of Washington, Seattle, WA 98195-2900
—
206-616-1210 vall...@uw.edu
http://faculty.washington.edu/vallier










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] 16mm stuff (PNW version)

[John Vallier]

Hello Maureen,

>From time to time we host 16mm screenings where we simultaneously digitize 
>unique or rare titles. Here's an AMIA poster on the topic: 
http://www.academia.edu/2276549/Films_From_the_Vaults_UWs_16mm_Films_1920s-70s_poster_
We have since updated the tech side of capture and are now creating ffv1/mkv 
files. 

Here's more about our .edu 16mm film collection: 
http://guides.lib.uw.edu/research/16mm_film

Good luck with your project and pls send updates! 

All best, 

John
____
JOHN VALLIER
Head, Distributed Media
Affiliate Asst Prof, Ethnomusicology
University of Washington, Seattle, WA 98195-2900


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] Online-Only Media and Libraries

[John Vallier]

Thank you all for your responses to this. It's definitely not at crisis level 
with video, but we are encountering it more and more w/music recordings, even 
those distributed by big labels such as UMG. And I do see Dennis' point about 
preserving our 16mm and analog video heritage, something we are *trying* to do 
here. Speaking of which, is anyone using Internet Archive post their vintage or 
born-digital media online? We have a few online here: 
https://archive.org/details/uwlibraries

- John 
_
John Vallier
head, distributed media
University of Washington Libraries, Seattle
http://guides.lib.washington.edu/imls2014
http://guides.lib.washington.edu/vallier

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] Online-Only Media and Libraries

[John Vallier]

Hi Everyone, 

I have a grant this year to help propose solutions to the online-only music 
issue facing libraries (that is, music that can't be purchased on a tangible 
format and can't be purchased as a download by libraries b/c of restrictive 
terms of use, e.g., Amazon, iTunes, Google). More about the project is here: 
http://guides.lib.washington.edu/imls2014

This issue extends beyond sound recordings, of course, and into the world of 
video. For example, I was just asked to purchase and download a video that's 
only available on Vimeo. When asked if we could purchase and download the video 
for our library, Vimeo wrote: The license issued to you when you rent or buy 
VOD work is for personal viewing only. It does not allow you to redistribute 
the work or show it publicly.

Are any of you encountering this issue, i.e., where you can't buy a title b/c 
it's licensed for personal use only and there is no DVD or other tangible 
alternative? If so, could you let me know what the titles are (off-list is 
probably best, then I can share w/ the group). Having a list on hand may help 
convince creators, distributors and policy makers that a library-friendly 
solution is needed. 

Thanks, 

John 
_
John Vallier
head, distributed media
University of Washington Libraries, Seattle
http://guides.lib.washington.edu/vallier



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] Suggestions for an introductory video for comparative politics?

[John Vallier]

Hi deg - 

I haven't seen this video, but it sounds like it could fulfill at least part of 
your prof's needs: 
http://www.worldcat.org/oclc/61120061
Perhaps this one, too 
http://www.worldcat.org/oclc/824608378 (especially the exchange between Chomsky 
and Foucault). 

John 
_
John Vallier
Head, Distributed Media
Univ. of Washington Libraries
http://guides.lib.washington.edu/vallier

 In my Introduction to Comparative Politics class, I begin the course with a 
 discussion of what is comparative politics and then turn to a discussion of 
 situated knowledge as one form of knowledge production as opposed to liberal 
 universalistic approaches to knowledge production.  Then I turn to approaches 
 to comparative politics--rational choice theory and political ethnography--to 
 show how these approaches are tied to different forms of knowledge.







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] ALA Seattle: Visit UW?

[John Vallier]

Hello, Video Librarians: 

Planning to attend ALA Mid-Winter in Seattle this week? If so and you want to 
visit our Media Center, let me know off-list: vall...@uw.edu. I'm thinking 
Friday afternoon sometime between 2 and 4PM. It's an easy 30 min trip on the 43 
bus from downtown: 
http://tripplanner.kingcounty.gov/

Safe Travels, 

John 
_
John Vallier
Head, Distributed Media
Univ. of Washington Libraries
http://faculty.washington.edu/vallier
http://www.lib.washington.edu/media




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] Snapshot of highest used videos

[John Vallier]

Agreed, Gary. Illogic seems to be the common thread with this list. The 2 
documentary bookends are thanks to an often re-occuring class given by a UCB 
PhD grad!

I would like to dig through more lists for our top 20 docs, but that will have 
to wait.

- John

  ghand...@library.berkeley.edu 8/18/2011 8:09 PM 
 And if there's a logical or common thread in that list, John, I'll be
 damned! (not excepting the two forlorn documentaries in the group)
 
 gary
 
 
  And here's UW Seattle's top 20 circs, multiple copies not combined.
 
  THE STORY OF VINH - CHKOUT = 581
  SLEEPLESS IN SEATTLE - CHKOUT = 487
  BIG LEBOWSKI - CHKOUT = 459
  MULAN - CHKOUT = 445
  RUSHMORE - CHKOUT = 419
  CASABLANCA - CHKOUT = 408
  HIGH FIDELITY - CHKOUT = 406
  ERIN BROCKOVICH - CHKOUT = 401
  TWELVE MONKEYS - CHKOUT = 400
  TOY STORY 2 - CHKOUT = 393
  THE MATRIX - CHKOUT = 381
  MOULIN ROUGE - CHKOUT = 380
  LIFE IS BEAUTIFUL - CHKOUT = 378
  EMMA - CHKOUT = 376
  ANY GIVEN SUNDAY - CHKOUT = 369
  SEX AND THE CITY, SEASON 1. - CHKOUT = 364
  COMO AGUA PARA CHOCOLATE - CHKOUT = 364
  THE DEER HUNTER - CHKOUT = 358
  SLEEPY HOLLOW - CHKOUT = 355
  THE FALL OF THE I HOTEL - CHKOUT = 349
 
  - John


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 
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distributors.

Re: [Videolib] Ideal Media Center

[John Vallier]

Hi Lori,

What a timely question. The library we are located in will be going through a 
$16 million renovation over the next 2 years, so I've been thinking a bit about 
this. In addition to Gary's excellent pre-coffee (!) free-form, I've been 
thinking in terms of taking our media center and remolding into a media 
commons, a space that situates collections next to various media players 
(turntables, VCRs, etc.) and editing stations (Final Cut, Avid, ProTools) 
coupled with lots of online storage. Copyright information and consultation 
would be available, as would ideas for where and how to remix/publish content. 
This space would also incorporate a dedicated theater that is meant for 
screening and teaching cinema, music, and other topics presented via 
audio/video/film. This space would allow for criticism of media to take place 
and would also be outfitted with recording gear so that students could record 
their performances/presentations. These recordings, in turn, could be fed back 
into the archive. There would also be staff space for media preservation and 
production, something that could generate a modest income. Support for av 
related digital humanities and e-science scholarship would also be a core part 
of the mission.

Here's a bit of a workflow representation of what I'm trying to say:
http://faculty.washington.edu/vallier/uw_mediacommons.jpg

Scott Spicer was nice enough to share some of his ideas about such a space with 
me. If anyone else has feedback and/or can lend advise on making something like 
this happen, please let me know!

Thanks,

- John
___
http://www.lib.washington.edu/media



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] Snapshot of highest used videos

[John Vallier]

And here's UW Seattle's top 20 circs, multiple copies not combined.

THE STORY OF VINH - CHKOUT = 581
SLEEPLESS IN SEATTLE - CHKOUT = 487
BIG LEBOWSKI - CHKOUT = 459
MULAN - CHKOUT = 445
RUSHMORE - CHKOUT = 419
CASABLANCA - CHKOUT = 408
HIGH FIDELITY - CHKOUT = 406
ERIN BROCKOVICH - CHKOUT = 401
TWELVE MONKEYS - CHKOUT = 400
TOY STORY 2 - CHKOUT = 393
THE MATRIX - CHKOUT = 381
MOULIN ROUGE - CHKOUT = 380
LIFE IS BEAUTIFUL - CHKOUT = 378
EMMA - CHKOUT = 376
ANY GIVEN SUNDAY - CHKOUT = 369
SEX AND THE CITY, SEASON 1. - CHKOUT = 364
COMO AGUA PARA CHOCOLATE - CHKOUT = 364
THE DEER HUNTER - CHKOUT = 358
SLEEPY HOLLOW - CHKOUT = 355
THE FALL OF THE I HOTEL - CHKOUT = 349

- John
___
http://www.lib.washington.edu/media

On Thu, 18 Aug 2011, Pearson, Jeffrey wrote:


OK, here is our top 20. Multiple copies not combined, which accounts for Amelie 
at both 4 and 14 (total 531 circs). Forrest Gump came in at position 265, with 
a still respectable 166 circs...

The prestige
Requiem for a dream
The Royal Tenenbaums
Le fabuleux destin d'Amélie Poulain
The lion king
Memento
American psycho
Good Will Hunting
Aladdin
The Shawshank redemption
The usual suspects
Rushmore
Wedding crashers
Le fabuleux destin d'Amélie Poulain
Anchorman
The departed
The wire. Season one, disc 1
City of God
Mulholland Dr.

- Jeff P.
U of Michigan
VIDEOLIB is intended to encourage the broad and lively discussion of issues 
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working tool for video librarians, as well as a channel of communication 
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distributors.

Re: [Videolib] In 5 years everything will be streaming.

[John Vallier]

Hi Mike,

Thanks for bringing this up. I deal with this false notion quite a bit, 
sometimes emanating from the mouths of librarians.

Beyond murky copyright issues preventing the mass digitization and online distribution of 
OP VHS, there's another reason why these (and rare 16mm film and even obscure DVDs) will 
never make it to Netflix or an equivalent in 5 or 50 years: there's little or no 
commercial gain in it for the for-profit sector. As you point out, there is a crucial 
difference between the missions of libraries and commercial sector institutions. We can't 
rely on the latter to preserve and provide access to our cultural legacy. Before MOMA, 
Library of Congress, and UCLA began collecting and preserving moving image media, we 
relied on the studios. What happened? 90 percent of all American silent films and 
50 percent of American sound films made before 1950 appear to have vanished 
forever. http://nyti.ms/mOT7GT Same thing goes for sound recordings, too.

But, to play Devil's Advocate, let's imagine that somehow all sound recordings and moving image media were magically digitized and made available online forever (forget for moment about Google Video's demise). All copyright issues vanished. Problem solved, right? We can throw away our collections, right? Wrong. If these titles were made available as streaming or downloadable files through Amazon, Netflix, or iTunes their Terms of Use dictate that only individuals (not libraries) may access the material. For those who could afford the costs associated with access (i.e., ever rising subscription costs, internet service, playback devices), no problem. For those that couldn't afford access, that growing class of Have Nots, they wouldn't be able to turn to a library for access. They would be (are) out of luck. So much for equal access to information. There are other ideals that would most likely 
be forsaken in such a privatized model, such as intellectual freedom and an educated citizenry...


We are slowly digitizing OP 16mm films and VHS here @ the Univ. of Washington. 
There are thousands still to go. These are titles that, true, there isn't a lot 
of popular interest or commercial potential in, but they have teaching and 
research value, a kind of value that is lost on many. I suppose we will 
continue to do this for at least 5 more years.

- John
http://www.lib.washington.edu/media
http://faculty.washington.edu/vallier

On Fri, 5 Aug 2011, Ball, James (jmb4aw) wrote:



Hi All,

 

A couple of months ago we were talking to an equipment vendor about redoing a 
couple of our classrooms (upgrading from Extron,
or something like that) and we were telling him that we’d still need to be able 
to play VHS and laser discs, to which he
replied, “No you won’t, in 5 years everything will be streaming.”  All eyes 
turned to me, probably just to see how red I would
get.  Not understanding the needs and mission of your client is one thing, but 
contradicting them in another.  “Just how do
you suppose we’ll get our 16,000 VHS tapes streaming?”  “Why do you even have 
them anymore?  Can’t you just digitize them?”  I
started to tell him about how the mission of libraries is different from the 
commercial sector, and how there are copyright
restrictions, and besides it would take 15 years etc… but then I realized that 
we weren’t going to buy anything from this man
so why waste my time.

VIDEOLIB is intended to encourage the broad and lively discussion of issues 
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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 
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Re: [Videolib] FW: New 108 spinner

[John Vallier]

I'm writing to thank Michael for his ongoing clarification of 108 and work on 
making the spinner available. I know some on this list may find it hard to 
believe that (legally speaking) financial interests don't always preclude 
ethical ones (e.g., preserving our cultural heritage), but these folks 
shouldn't be too concerned about the imagined deleterious effects of 108. In a 
few instances when we @ UW Seattle preserved rare and orphaned films, we have 
had distributors re-use portions of these titles for new for-profit works (and 
these distributors did their own extensive search for rights holders to be sure 
they were being compensated). However--and this may upset some of the  anti-108 
and anti-fair use contingent on this list--in some cases our preservation 
efforts (again made possible by 108) led to new *non-profit* works such as this 
student's documentary: 
http://www.youtube.com/watch?v=Z7Px39IXGwE 
She may not have made any money for distributors making this work, but she 
ended up placing first for National History Day in the Senior Individual 
Documentary category. If it wasn't for 108, we wouldn't have been able to 
provide footage.

This next year we are going to ramp up our efforts to preserve/make accessible 
more of our rare films and videos. While digitizing, we are also going to 
screen and broadcast the films on the internet (more about this project is 
available here http://bit.ly/kepuLM).

John
http://lib.washington.edu/media
http://faculty.washington.edu/vallier




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] Off air record question

[John Vallier]

Hi Kim,

I'll be the outlier and suggest that it wouldn't be death defying to record 10 
minutes out of a 2 hour long news program and put a copy in your collection, 
especially if it was treated as an archival, in-library-use item. Vanderbilt 
(http://tvnews.vanderbilt.edu/) has been recording TV news since 1968 and they 
still exist, despite a failed lawsuit by CBS.

In the Library of Congress' A Report on the Current State of American 
Television and Video Preservation (http://www.loc.gov/film/tvstudy.html), 
there's the following: in view of the unconscionable practice of recycling 
news tapes, local archives should be encouraged to set up off-air taping 
programs of news programs as permitted under the Copyright Act of 1976. Since 
late 2010 we have been recording evening news programming from Seattle's major 
network affiliates and making the recordings--commercials, warts and 
all--available to researchers within our library only. I know that some may 
suggest that nightly news programming is hard news, and that the news show 
you are interested in may be soft news, but after watching some of our local 
news I'm wondering if there's much of distinction anymore.

On the topic of recording copyrighted material, I would be interested to hear 
feedback from videolibers on this site: http://criticalcommons.org

John 
_
John Vallier
Head, Distributed Media
UW Libraries Media Center
vall...@uw.edu 206-616-1210
http://lib.washington.edu/media
http://faculty.washington.edu/vallier




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] ILL of Video: Was Hannah Arendt

[John Vallier]

For about a year UW Seattle has been loaning videos to libraries in the US and 
Canada with the following restrictions: the item must be accessed in the 
borrowing library only and for no more than 3 days. When a request comes 
through for a title that is unique or rare (out of distribution and owned by 
fewer than 5 WCL), we make a backup copy before lending. When the item is 
returned we delete the back up copy, usually.

Before we started lending we were concerned about damage and loss, but so far 
we have had only one item damaged.

I look forward to having more academic libraries lend their videos via ILL!

- John
_
John Vallier
Head, Distributed Media
UW Libraries Media Center
http://lib.washington.edu/media


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] 1957, THE D.I. with Jack Webb

[John Vallier]

Hi Norma,

Not sure why our copy didn't show up in WorldCat, but we have that fine film on 
vintage VHS:
http://uwashington.worldcat.org/oclc/2830018773606
And we lend video via ILL.

Stanford appears to be your closest WCL that has it on DVD.

- John
http://lib.washington.edu/media

On Sat, 9 Apr 2011, Norma Leistiko wrote:

 Our library would like to borrow this film from another library for one of 
 our patrons: The D.I. with Jack Webb, 1957
 
 It is not in the World Catalog where I usually borrow from.
 
 Norma Leistiko
 
 Reference Librarian
 
 Hillsboro Public Library, Oregon


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] Netflix vs. availablility in the marketplace

[John Vallier]

Hi Kim, Thanks for pointing this out. I noticed a similar issue with The 
Visit (w/Bergman  Quinn). We tried to purchase a DVD copy but only found a 
pirated version. However, Amazon.com offers it online for individual use: 
http://www.amazon.com/The-Visit/dp/B001V6F1YM

 Is this another sign of an impending physical media apocalypse?
I think so, and it's also happening rapidly w/audio. More and more audio 
content is only being offered as an iTunes or Amazon download: no CD available. 
And trying to negotiate an institutional license for this content can be both 
time consuming and expensive. I tried with a few iTunes only tracks from the LA 
Phil. After being bounced around through music industry email, I ended up at 
UMG. They said it would be possible to create an institutional, in-library use 
license for maybe 1/4 of a symphony, but that it would cost $250 for processing 
+ more for licensing. It would also be a temporary license, lasting maybe one 
or two years. We declined, and so go library collections. 

John
_
John Vallier
Head, Distributed Media
UW Libraries Media Center
vall...@uw.edu 206-616-1210
http://lib.washington.edu/media
http://faculty.washington.edu/vallier


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] Zediva - from the AMIA list

[John Vallier]

Apologies for duplication, but those of you not on the AMIA list may find 
Zediva's approach provocative (especially AIME members?). 
http://nyti.ms/fhuBpQ
http://www.wired.com/epicenter/2011/03/zediva  
_
John Vallier
Head, Distributed Media
UW Libraries Media Center
vall...@uw.edu 206-616-1210
http://lib.washington.edu/media
http://faculty.washington.edu/vallier


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] music reserves

[John Vallier]

Hi Barbara,

You can find the Music Library Association's Statement on the Digital 
Transmission of Audio Reserves @
http://copyright.musiclibraryassoc.org/Resources/DigitalReserves
In short, MLA supports the creation and transmission of digital audio file 
copies of copyrighted recordings of musical works for course reserves 
purposes. They look to Section 107 of the copyright law [which] states that 
'the fair use of a copyrighted work...[for] teaching (including multiple copies 
for classroom use), scholarship, or research, is not an infringement of 
copyright.' The Music Library Association takes the position that the making of 
digital copies of entire works, in order to provide digital delivery of course 
reserves, is a fair use under this statute and is analogous to established 
practices.

- John 
_
John Vallier
Univ. of Washington Libraries, Seattle 
http://www.lib.washington.edu/media


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] Videos shelved separate or integrated into the stacks?

[John Vallier]

Hi Jared,

We have about 3,000 (or 20%) of our DVDs in locked cases in an open browsing 
collection. It's located in our Media Center, so it's easy to help people find 
items if they can't locate them on their own. These titles--Criterion, Warner, 
20th Century Fox, Dreamworks, etc.,--fly off the shelves. We are planning to 
move more out there, partially due to lack of space in our closed collection. 
Theft has not been an issue: missing rate for these titles is equal to or less 
than our closed collection. We do circulate our media for 7 days to UW 
faculty/students/staff, our NW Summit partners, and via ILL.

A note about circulating vs. non-circulating: as it's our primary mission to 
support research and teaching at UW, we strongly encourage faculty to turn in 
reserve lists early and schedule their film screenings as soon as they can. 
Usually it takes one instance of their film being checked out for them to get 
it. We also have a pretty aggressive overdue fines regime, so that helps 
persuade everyone to get things turned in on time or renew (if not on hold for 
someone else).

I do think some films should be kept in closed stacks: e.g, expensive docs, 
rare and unique items, films with restrictive licensing issues. Some of our 
unpublished materials--for example 
http://lib.washington.edu/media/cdc.html--are on permanent reserve/library use 
only.

All in all, the solution one comes up with needs to be customized to fit the 
particulars of the collection, the mission of the institution, and the needs of 
the community.

Good luck!

John
__
John Vallier 
Head, Distributed Media 
UW Libraries Media Center
http://www.lib.washington.edu/media
http://faculty.washington.edu/vallier



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.