Dear Matt, As a non-profit organization, Newsreel feels our first commitment is get our films seen by as many people as possible, so we would prefer you to buy ten films at $30 dollars, than one at $300. But, at the same time, we think it's important to pay the producers of a film a royalty which reflects its use and value in education; in that way they can make more films, so you'll have more than "Twilight" to buy.
So, your post raises a few idle questions in my mind. 1. I trust "Twilight" is not widely used in the curriculum of the University of Virginia. Students traditionally have not read or seen what they wanted but what they were assigned. This may have changed and, if so, you should have no trouble finding appropriate instruction media for $19.95 a DVD. But it would seem unnecessary for the University to buy that title since it's been demonstrated those students will pay $10 to see it anyhow at commercial theatres or pay $19.95 for a DVD or $2.00 for an i-Tunes. 2. Filmmakers always ask us if students can afford to pay those amounts (to say nothing of $50 or $100 for a rock concert), why they, their parents or the taxpayers will only pay pennies for them to see a serious educational documentary. If over the life of a DVD or digital license 300 people saw a film at the University of Virginia, the effective price at $30 would be $.10. I suspect if a title were used at all widely in the curriculum that would be possible. Similarly, if five students use a $150 textbook (resold four times) the effective price is $30 or 300 time more. Aren't we really talking about an issue of values rather than economics? Entertainment vs. education; print vs. moving images? 3, If a title is bought for reference use, like a scholarly monograph, (in Gary's distinction, if it's in the collection "just in case" someone needs to consult it), I agree $30 would be a reasonable price. In that case, would you be willing to limits its use to 30 people, $1 per screening, less than an article from J-Stor? I find it hard to believe that in the digital age its use couldn't be metered. It seems fair to pay a low royalty to the producer of a film which is rarely used but unfair to pay the same royalty to a producer whose film is seen by hundreds of students or to ask that producer to subsidize your reference collection. 4. Broadly speaking you're asking distributors to give you a 90% discount on our products. What if we were to say, we would be delighted to do that the minute Elsevier or Sage or the University of Virginia Press matched our offer? Or when your telephone, internet or electricity provider does the same? Have you thought of going to them and saying you had a budget crunch so could they please give you a 90% cut in your telephone bill? Could you also promise them that if they did you would make ten times as many telephone calls? Perhaps in this case, we are really talking about companies with economic power vs. companies which can be pushed around? Newsreel admits that it can be pushed around and independent filmmakers can be pushed around as well. That's our crusts and margarine.. And if there's one thing the past few years have demonstrated, it's who wins in a contest between economics and ethics. Best Wishes Larry Lawrence Daressa California Newsreel 500 Third Street, #505 San Francisco, CA 94107 phone: 415.284.7800 x302 fax: 415.284.7801 [email protected] www.newsreel.org -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of [email protected] Sent: Friday, July 01, 2011 9:39 AM To: [email protected] Subject: videolib Digest, Vol 44, Issue 5 Send videolib mailing list submissions to [email protected] To subscribe or unsubscribe via the World Wide Web, visit https://calmail.berkeley.edu/manage/list/listinfo/[email protected] y.edu or, via email, send a message with subject or body 'help' to [email protected] You can reach the person managing the list at [email protected] When replying, please edit your Subject line so it is more specific than "Re: Contents of videolib digest..." Today's Topics: 1. Re: How do you know when you've become an artist?] Fair Pricing for Independent Documentaries (Elizabeth Stanley) 2. Re: How do you know when you?ve become an artist?] (Ball, James (jmb4aw)) ---------------------------------------------------------------------- Message: 1 Date: Fri, 1 Jul 2011 12:28:43 -0400 From: Elizabeth Stanley <[email protected]> Subject: Re: [Videolib] How do you know when you've become an artist?] Fair Pricing for Independent Documentaries To: "[email protected]" <[email protected]> Message-ID: <[email protected]> Content-Type: text/plain; charset="us-ascii" Hello, Matt, You've got my attention. Let's talk. Elizabeth Bullfrog Films 800-543-3764 ________________________________ From: [email protected] [mailto:[email protected]] On Behalf Of Ball, James (jmb4aw) Sent: Friday, July 01, 2011 10:13 AM To: <[email protected]> Subject: Re: [Videolib] How do you know when you've become an artist?] A lot of the collecting I do is based on faculty requests but they're requesting Glee and Twilight. An equally large chunk of the collecting I do, though, is based on what I think we *should* have to support broader curricular needs, and a lot of that comes from distributors like Bullfrog, Icarus, Women Make Movies, etc. But those titles are so expensive that I can only afford to buy a few per year. However, if independent documentary filmmakers sold their films for $30.00 each I would increase my total purchases from them times ten, probably more. I'm not kidding. Nothing would make me happier than flipping through catalogs with a shiny red marker circling all of the titles I would love to have. For me, I would be getting amazing content at a cost that aligns with a pricing model that's supportable under the constraints of my institution's collection development strategies and budget priorities. For the filmmakers and distributors it means that I would be buying more titles, possibly multiple copies, of videos that I wouldn't have even considered before, and if I'm willing to do that then I bet there are at least four other media librarians who'd do the same. There, the filmmakers are still making money (maybe more) and the visibility of their films has increased five-fold. Or is it four? Anyway, you see my point. Elizabeth, Meredith, Karen, are you interested? $30.00 per title, no PPR, and I promise to buy at least 10 times the number of titles I bought last year. Or perhaps there's another mutually beneficial pricing model out there... Matt ______________________________ Matt Ball Media and Collections Librarian University of Virginia [email protected]<mailto:[email protected]> 434-924-3812 On Jun 24, 2011, at 8:13 PM, "Jessica Rosner" <[email protected]<mailto:[email protected]>> wrote: As someone who works with independent documentary filmmakers, let me tell you they would be THRILLED to sell their films at $25 or $30 if they had a chance in hell of selling 5 times as many as they would at $250. The subject matter is generally geared towards the academic community or at least not to the popular topics that sell in the thousands and they have a lot of expenses to recoup and it is a bitch to distribute. These are simply not the same as the more popular $19.95 to $29.95 videos you will find at the retail level and keep in mind the distributor only gets back 60% or so on thing sold through third parties like Amazon. I assure you if 1500 institutions would actually buy a wonderful series of films on the post genocide justice system in Rwanda or even one on Gerrymandering ( to plug the ones I deal with) the directors would be over the moon to sell them for $25 knowing more people could see them. When good documentaries are carried by public libraries at a fraction of the rate of bad action movies then you will see a huge drop in prices, heck if just one in every 500 university libraries bought them you would see the same. On Fri, Jun 24, 2011 at 7:31 PM, <<mailto:[email protected]>[email protected]<mai lto:[email protected]>> wrote: ---------------------------- Original Message ---------------------------- Subject: Re: [Videonews] How do you know when you've become an artist? From: <mailto:[email protected]> [email protected]<mailto:[email protected]> Date: Fri, June 24, 2011 4:31 pm To: "Video Library News" <<mailto:[email protected]>[email protected]<mailt o:[email protected]>> ------------------------------------------------------------------------ -- Problem isn't solved if the expensive title they've taken out and lost is out of distribution. All depends on the mission of your collection (and whether preservation for long-haul to support teaching and research is part of it) Gary (who's cool in Berkeley) > At the University of Southern California we have in our collection > at least 750 documentary films costing $250 or more. And no effetism > here. All such films fully circulate. And if a student happens > to lose such an item then said student is fully obliged to reimburse the > costs of the film. Problem solved--and it is a policy that seems > very much to work for us. > > And greetings from ALA and New Orleans! > > Cheers! > Anthony > > ******************************* > Anthony E. Anderson > Social Studies and Arts & Humanities Librarian > Von KleinSmid Library > University of Southern California > Los Angeles, CA 90089-0182 > (213) 740-1190<tel:%28213%29%20740-1190> <mailto:[email protected]> [email protected]<mailto:[email protected]> > "Wind, regen, zon, of kou, > Albert Cuyp ik hou van jou." > ********************************* > > ----- Original Message ----- > From: jwoo <<mailto:[email protected]>[email protected]<mailto:[email protected]>> > Date: Friday, June 24, 2011 12:33 pm > Subject: Re: [Videonews] How do you know when you've become an artist? > To: Video Library News <<mailto:[email protected]>[email protected]<mailt o:[email protected]>> > >> I like this video a lot, but because the institutional price is >> $250, it's in the "rare book" section of my library and students >> never bother to page it for in-library viewing. If the library >> were able to purchase a home-use copy for $30, the video could be >> placed in the circulating section, and I'm sure many more students >> would enjoy and benefit from the production. IMHO, this is how >> filmmakers shoot themselves in the foot. Very few people are going >> to see their work if it's priced for effetes only. >> >> >> On Jun 23, 2011, at 1:54 PM, Working Title Info wrote: >> >> >WORKING TITLE: Career, Identity and the American Artist >> > >> >WORKING TITLE offers insight and inspiration to students of all >> ages who aspire to follow the courageous path to professional >> careers in the arts. By offering a rare and honest glimpse into the >> daily lives of five diverse visual and performing artists, the film >> asks important questions, from the practical (how do you support >> yourself as a professional artist?), to the personal (how might >> this career choice affect your personal relationships and other >> life choices?) to the philosophical (how do you know you are an >> artist, and how do you make peace with that knowledge and come to >> embrace it as central to your identity?). This film is a "must- >> have" for arts educators, and it gave the undergraduate students at >> my university new-found confidence to nurture and celebrate their >> artistic aspirations. ~ Paula Birnbaum, Ph.D., Assistant Professor, >> Department of Art + Architecture, University of San Francisco. >> > >> > > VIDEONEWS is an electronic clearinghouse for information about new > services, products, resources, and programs of interest to video > librarians and archivists, educators, and others involved in the > selection, acquisition, programming, and preservation of video materials > in non-profit settings. The list is open to all interest individuals and > list submissions are unmediated. However the list owner reserves the right > to revoke subscriptions to the list in cases where the intent of the list > is routinely violated or where general listserv etiquette and protocol are > infringed. > Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566<tel:510-643-8566> <mailto:[email protected]>[email protected]<mail to:[email protected]> <http://www.lib.berkeley.edu/MRC>http://www.lib.berkeley.edu/MRC "I have always preferred the reflection of life to life itself." --Francois Truffaut Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566<tel:510-643-8566> <mailto:[email protected]>[email protected]<mail to:[email protected]> <http://www.lib.berkeley.edu/MRC>http://www.lib.berkeley.edu/MRC "I have always preferred the reflection of life to life itself." --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897 (cell) 212-627-1785 (land line) <mailto:[email protected]>[email protected]<mailto:jessica [email protected]> 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. -------------- next part -------------- An HTML attachment scrubbed and removed. HTML attachments are only available in MIME digests. ------------------------------ Message: 2 Date: Fri, 1 Jul 2011 16:38:36 +0000 From: "Ball, James (jmb4aw)" <[email protected]> Subject: Re: [Videolib] How do you know when you?ve become an artist?] To: "<[email protected]>" <[email protected]> Message-ID: <[email protected]> Content-Type: text/plain; charset="windows-1252" Just got my first offer from a distributor who wants to work on flexible pricing. Who else is interested? Matt ______________________________ Matt Ball Media and Collections Librarian University of Virginia [email protected]<mailto:[email protected]> 434-924-3812 On Jul 1, 2011, at 12:36 PM, "Ball, James (jmb4aw)" <[email protected]<mailto:[email protected]>> wrote: "If the library community wants to figure out a way to assure distributors they will literally sell 10 times the number of copies if they sell titles at $30 a pop, I guarantee you distributors would jump at the chance." It's not up to the library community to make assurances for the distributors, but together we can figure out a pricing model that's mutually beneficial. It is interesting that you mention Kino because they are one of the few distributors I know of that do follow my suggested pricing model, around $30.00 with no PPR, and I can tell you that I bought a lot more from them last year than I did from the other distributors. As for the 10 times guarantee, I just made that very promise. And I'm even flexible on the price. How about $60.00 with no PPR? Erika's offer looks pretty interesting too. Anybody want to take a test drive? Matt ______________________________ Matt Ball Media and Collections Librarian University of Virginia <mailto:[email protected]>[email protected]<mailto:mattball@virg inia.edu> 434-924-3812 On Jul 1, 2011, at 11:33 AM, "Jessica Rosner" <<mailto:[email protected]>[email protected]<mailto:jessic [email protected]>> wrote: Trust me, educational distributors would be thrilled if they could sell copies at $30 and basically make the same sum at selling it at $300, but it will never happen. I don't doubt you and James will buy a copy of films you would not otherwise, but many educational titles deal with very specialized subjects and they are not going to sell 2.000 copies. Keep in mind that it would also require a lot more time & money from a company and the real kicker is they would still have to only do direct sales, nearly all to institutions. In order for a film to be really retail they would have to sell 20 times as many copies since wholesalers would take up to 50% of the price. Years ago I did a little experiment at Kino to see if there could be a middle ground. I curated a 3 title collection of silent films directed by women. I believe it was something $50 for institutions and $25 for individuals per title with a discount for the set. Sold about 200 at $50 each( or less as a set) did come close to covering the costs and a few dozen to individuals. Luckily there had been a TV sale which allowed me to fund the project. I thought $50 and $125 seemed like a nice middle ground but in truth had I sold them two or three times that, they would have made more money. Most of the institutions would still have purchased them and more than made up for some that would not have. If the library community wants to figure out a way to assure distributors they will literally sell 10 times the number of copies if they sell titles at $30 a pop, I guarantee you distributors would jump at the chance. Filmmakers would be especially happy because there films would be seen by more people. Sadly it is just not realistic for the vast majority of educational films and small distributors are not going to cherry pick one mildly popular title try to sell it for a lot less. On Fri, Jul 1, 2011 at 10:36 AM, Peterson, Erika Day - petersed <<mailto:[email protected]><mailto:[email protected]>[email protected]<mail to:[email protected]>> wrote: Hear, Hear. Jessica is correct in saying that there's a limited market for the films independent distributor's deal with. We, the librarians, know that better than anyone because there's limited viewership for those titles once they're in our collection. It's impossible for me to justify purchasing a film for my collection that costs $200, $300, $400 or more just because *I* think it looks like a worthy title. It has to be for a direct and immediate academic need. Then there's the added temptation once we do have it, to lock-it up like it's the Hope Diamond, because we paid a small fortune for it. Thus, even further reducing the film's exposure to a broader audience. If I could purchase films for $30, no PPR, I would buy a lot more titles and be marketing them to my academic community much more aggressively. In fact I'm willing to pinky swear that I will spend the same amount of money OR MORE this fiscal year as my average over the last five years with any distributor that will make this deal. Erika * * * * * * Erika Peterson Director of Media Resources Carrier Library, James Madison University (540) 568-6770<tel:%28540%29%20568-6770> <http://www.lib.jmu.edu/media><http://www.lib.jmu.edu/media>http://www.l ib.jmu.edu/media From: James Ball <<mailto:[email protected]><mailto:[email protected] .edu>[email protected]<mailto:[email protected]> > Reply-To: <<mailto:[email protected]><mailto:[email protected] >[email protected]<mailto:[email protected]>> Date: Fri, 1 Jul 2011 14:13:23 +0000 To: "<<mailto:[email protected]><mailto:[email protected] u>[email protected]<mailto:[email protected]>>" <<mailto:[email protected]><mailto:[email protected] >[email protected]<mailto:[email protected]>> Subject: Re: [Videolib] How do you know when you?ve become an artist?] A lot of the collecting I do is based on faculty requests but they're requesting Glee and Twilight. An equally large chunk of the collecting I do, though, is based on what I think we *should* have to support broader curricular needs, and a lot of that comes from distributors like Bullfrog, Icarus, Women Make Movies, etc. But those titles are so expensive that I can only afford to buy a few per year. However, if independent documentary filmmakers sold their films for $30.00 each I would increase my total purchases from them times ten, probably more. I'm not kidding. Nothing would make me happier than flipping through catalogs with a shiny red marker circling all of the titles I would love to have. For me, I would be getting amazing content at a cost that aligns with a pricing model that's supportable under the constraints of my institution's collection development strategies and budget priorities. For the filmmakers and distributors it means that I would be buying more titles, possibly multiple copies, of videos that I wouldn't have even considered before, and if I'm willing to do that then I bet there are at least four other media librarians who'd do the same. There, the filmmakers are still making money (maybe more) and the visibility of their films has increased five-fold. Or is it four? Anyway, you see my point. Elizabeth, Meredith, Karen, are you interested? $30.00 per title, no PPR, and I promise to buy at least 10 times the number of titles I bought last year. Or perhaps there's another mutually beneficial pricing model out there... Matt ______________________________ Matt Ball Media and Collections Librarian University of Virginia <mailto:[email protected]><mailto:[email protected]>mattball@vir ginia.edu<mailto:[email protected]> 434-924-3812<tel:434-924-3812> On Jun 24, 2011, at 8:13 PM, "Jessica Rosner" <<mailto:[email protected]><mailto:[email protected]>jessi [email protected]<mailto:[email protected]>> wrote: As someone who works with independent documentary filmmakers, let me tell you they would be THRILLED to sell their films at $25 or $30 if they had a chance in hell of selling 5 times as many as they would at $250. The subject matter is generally geared towards the academic community or at least not to the popular topics that sell in the thousands and they have a lot of expenses to recoup and it is a bitch to distribute. These are simply not the same as the more popular $19.95 to $29.95 videos you will find at the retail level and keep in mind the distributor only gets back 60% or so on thing sold through third parties like Amazon. I assure you if 1500 institutions would actually buy a wonderful series of films on the post genocide justice system in Rwanda or even one on Gerrymandering ( to plug the ones I deal with) the directors would be over the moon to sell them for $25 knowing more people could see them. When good documentaries are carried by public libraries at a fraction of the rate of bad action movies then you will see a huge drop in prices, heck if just one in every 500 university libraries bought them you would see the same. On Fri, Jun 24, 2011 at 7:31 PM, <<mailto:[email protected]><mailto:[email protected] .edu><mailto:[email protected]>[email protected] <mailto:[email protected]>> wrote: ---------------------------- Original Message ---------------------------- Subject: Re: [Videonews] How do you know when you?ve become an artist? From: <mailto:[email protected]> <mailto:[email protected]> <mailto:[email protected]> [email protected]<mailto:[email protected]> Date: Fri, June 24, 2011 4:31 pm To: "Video Library News" <<mailto:[email protected]><mailto:[email protected] du><mailto:[email protected]>[email protected]<mai lto:[email protected]>> ------------------------------------------------------------------------ -- Problem isn't solved if the expensive title they've taken out and lost is out of distribution. All depends on the mission of your collection (and whether preservation for long-haul to support teaching and research is part of it) Gary (who's cool in Berkeley) > At the University of Southern California we have in our collection > at least 750 documentary films costing $250 or more. And no effetism > here. All such films fully circulate. And if a student happens > to lose such an item then said student is fully obliged to reimburse the > costs of the film. Problem solved--and it is a policy that seems > very much to work for us. > > And greetings from ALA and New Orleans! > > Cheers! > Anthony > > ******************************* > Anthony E. Anderson > Social Studies and Arts & Humanities Librarian > Von KleinSmid Library > University of Southern California > Los Angeles, CA 90089-0182 > (213) 740-1190<tel:%28213%29%20740-1190> <mailto:[email protected]> <mailto:[email protected]> <mailto:[email protected]> [email protected]<mailto:[email protected]> > "Wind, regen, zon, of kou, > Albert Cuyp ik hou van jou." > ********************************* > > ----- Original Message ----- > From: jwoo <<mailto:[email protected]><mailto:[email protected]><mailto:[email protected]>jwoo@cca .edu<mailto:[email protected]>> > Date: Friday, June 24, 2011 12:33 pm > Subject: Re: [Videonews] How do you know when you?ve become an artist? > To: Video Library News <<mailto:[email protected]><mailto:[email protected] du><mailto:[email protected]>[email protected]<mai lto:[email protected]>> > >> I like this video a lot, but because the institutional price is >> $250, it's in the "rare book" section of my library and students >> never bother to page it for in-library viewing. If the library >> were able to purchase a home-use copy for $30, the video could be >> placed in the circulating section, and I'm sure many more students >> would enjoy and benefit from the production. IMHO, this is how >> filmmakers shoot themselves in the foot. Very few people are going >> to see their work if it's priced for effetes only. >> >> >> On Jun 23, 2011, at 1:54 PM, Working Title Info wrote: >> >> >WORKING TITLE: Career, Identity and the American Artist >> > >> >WORKING TITLE offers insight and inspiration to students of all >> ages who aspire to follow the courageous path to professional >> careers in the arts. By offering a rare and honest glimpse into the >> daily lives of five diverse visual and performing artists, the film >> asks important questions, from the practical (how do you support >> yourself as a professional artist?), to the personal (how might >> this career choice affect your personal relationships and other >> life choices?) to the philosophical (how do you know you are an >> artist, and how do you make peace with that knowledge and come to >> embrace it as central to your identity?). This film is a "must- >> have" for arts educators, and it gave the undergraduate students at >> my university new-found confidence to nurture and celebrate their >> artistic aspirations. ~ Paula Birnbaum, Ph.D., Assistant Professor, >> Department of Art + Architecture, University of San Francisco. >> > >> > > VIDEONEWS is an electronic clearinghouse for information about new > services, products, resources, and programs of interest to video > librarians and archivists, educators, and others involved in the > selection, acquisition, programming, and preservation of video materials > in non-profit settings. The list is open to all interest individuals and > list submissions are unmediated. However the list owner reserves the right > to revoke subscriptions to the list in cases where the intent of the list > is routinely violated or where general listserv etiquette and protocol are > infringed. > Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566<tel:510-643-8566> <mailto:[email protected]><mailto:[email protected]. edu><mailto:[email protected]>[email protected]< mailto:[email protected]> <http://www.lib.berkeley.edu/MRC><http://www.lib.berkeley.edu/MRC><http: //www.lib.berkeley.edu/MRC>http://www.lib.berkeley.edu/MRC "I have always preferred the reflection of life to life itself." --Francois Truffaut Gary Handman Director Media Resources Center Moffitt Library UC Berkeley 510-643-8566<tel:510-643-8566> <mailto:[email protected]><mailto:[email protected]. edu><mailto:[email protected]>[email protected]< mailto:[email protected]> <http://www.lib.berkeley.edu/MRC><http://www.lib.berkeley.edu/MRC><http: //www.lib.berkeley.edu/MRC>http://www.lib.berkeley.edu/MRC "I have always preferred the reflection of life to life itself." --Francois Truffaut VIDEOLIB is intended to encourage the broad and lively discussion of issues relating to the selection, evaluation, acquisition,bibliographic control, preservation, and use of current and evolving video formats in libraries and related institutions. It is hoped that the list will serve as an effective working tool for video librarians, as well as a channel of communication between libraries,educational institutions, and video producers and distributors. -- Jessica Rosner Media Consultant 224-545-3897<tel:224-545-3897> (cell) 212-627-1785<tel:212-627-1785> (land line) <mailto:[email protected]><mailto:[email protected]><mailt o:[email protected]>[email protected]<mailto:jessicaprosne [email protected]> 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. -- Jessica Rosner Media Consultant 224-545-3897<tel:224-545-3897> (cell) 212-627-1785<tel:212-627-1785> (land line) <mailto:[email protected]><mailto:[email protected]>jessic [email protected]<mailto:[email protected]> 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. -------------- next part -------------- An HTML attachment scrubbed and removed. HTML attachments are only available in MIME digests. End of videolib Digest, Vol 44, Issue 5 *************************************** 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.
