David Walsh received an MA in Chemistry at Oxford university in 1974. His fascination with film led him to joining the Imperial War Museum (IWM) in 1975, where he undertook a project to study the decomposition of cellulose nitrate film. From this starting point he became heavily involved in all aspects of the work of the IWM Film and Video Archive, becoming Head of Preservation in the 1990s. With IWM's growing reliance on digital technology, he found himself increasingly acting as the bridge between the technical and the curatorial, and was appointed Head of Digital Collections in 2012, working particularly on IWM's strategy for digitization and digital preservation, but still acting as the main repository of film preservation knowledge. Internationally he is known for his writings and presentations on many film archive matters, frequently examining the hard facts underpinning many common assumptions about film and digitization. He joined the Technical Commission of the International Federation of Film Archives (FIAF) in 2006 and served as its head from 2011 to 2016. Since 2016 he has divided his time between IWM, where he continues to drive the digital preservation strategy and acts as a mentor to staff learning the craft of film archiving, and FIAF, for whom he is the Training and Outreach Coordinator, taking a lead role in defining and implementing FIAF's training initiatives around the world. Having accumulated over 40 years of knowledge and experience in film archiving, he sees it as his mission to pass that knowledge on to current and future archivists, and takes delight in teaching new generations of enthusiasts.
Dave Rice works at the City University of New York as the Director of the Media Library and Archives at CUNY Television and is a graduate of the L. Jeffrey Selznick School of Film Preservation. Dave’s work focuses on the application of open source technology for audiovisual preservation as well as facilitating coordination and collaboration between communities that preserve media, develop software, and author standards. He has worked as an archivist or archival consultant at media organizations like CUNY, Democracy Now!, The United Nations, WITNESS, DCTV, and Bay Area Video Coalition. Dave also works on developing standards for file formats used in audiovisual preservation, such as Matroska and FFV1, via participation in the Internet Engineering Task Force’s working group on lossless audiovisual formats (cellar). Dave was the 2016 recipient of the National Digital Stewardship Alliance’s Innovation Award and also the 2016 recipient of the Association of Moving Image Archivists’ Alan Stark Award.
Kara Van Malssen
Kara Van Malssen is Partner and Senior Consultant at AVP, where she specializes in digital asset management, metadata modeling, digital repository planning, and disaster preparedness and recovery. Her work with disasters and audiovisual collections began in 2005 when, as a graduate student in NYU's Moving Image Archiving and Preservation program, Kara received a grant to do research and provide assistance to damaged audiovisual collections in New Orleans in the aftermath of Hurricane Katrina. In 2012, she has used her experience in disaster response to manage the recovery of 1500 media items at Eyebeam Art+Technology Center, which was flooded during Superstorm Sandy, overseeing 40+ volunteers in an intensive three-day effort to salvage and clean damaged video tapes and computer disks. She has taught disaster preparedness and recovery workshops worldwide for organizations including Metropolitan New York Library Council (METRO), NYU’s Moving Image Archiving and Preservation MA program, Tulane University, and the International Centre for the Preservation and Restoration of Cultural Property’s (ICCROM) Sound and Image Conservation program.
Paul Messier is the founder and Pritzker director of the Lens Media Lab at Yale's Institute for the Preservation of Cultural Heritage. Established in 2015, the focus of the LML is the creation, dissemination, and interpretation of large data sets derived from museum and reference collections of artist materials. Notable among these is the LML's collection of historic photographic papers which is the largest of its kind in the world and was assembled by Paul over the course of decades. The founder of three private companies dedicated to cultural heritage preservation, Paul has published widely, holds two patents covering innovative techniques for the characterization of cultural materials, served elected terms to the Board of Directors of the American Institute for Conservation, and recently completed a multiyear initiative to establish a department of photograph conservation at the State Hermitage Museum in Saint Petersburg, Russia funded by the Andrew W. Mellon foundation. He is the 2018 recipient of the Award for Distinction in Scholarship and Conservation jointly presented by the College Art-Association and the American Institute for Conservation.
Robert Byrne is film restorer specializing in early cinema and films of the silent era. He holds a MA in Preservation of the Moving Image from the University of Amsterdam, is a graduate of the FIAF Film Restoration Summer School, and was the 2011 recipient of the Haghefilm Foundation Fellowship. To date, Rob has led restorations of more than twenty silent era feature films from as well as numerous short subjects. In 2018 the publication of his restored BEHIND THE DOOR (1919) was recognized as a 2018 Best Single DVD Release at the II Cinema Ritrovato DVD Awards. Rob has also regularly published articles in the FIAF Journal of Film Preservation and AMIA's The Moving Image, and countless film festival catalogs. Rob is also President of the Board of Directors for the San Francisco Silent Film Festival. The San Francisco Silent Film Festival is a nonprofit organization dedicated to educating the public about silent film as an art form and as a culturally valuable historical record. Now in its 24th year, SFSFF produces events that showcase important titles from the silent era, often in restored or preserved prints, with live musical accompaniment by some of the world's finest practitioners of the art of putting music to film.
Ken Weissman worked in film post-production and preservation for over 40 years. His career with the Library of Congress began in 1981, when he was hired as a film preservation specialist to work at the Library’s new Motion Picture Preservation Laboratory. He eventually became a Timer, then was named the Lab Supervisor in 1990. In 1995 he was named Head of the Library’s newly formed Motion Picture Conservation Center. He restored many titles in his years at the LoC.
Ken was a key member of the team that planned, designed, and implemented the Library’s National Audio-Visual Conservation Center. A joint effort between the Library and the Packard Humanities Institute, that resulted in the new state of the art facility located near Culpeper, Virginia.
For the past 22 years, Ken has been an active member of the Association of Moving Image Archivists. He was both co-developer and an instructor for the Association’s “Intermediate Preservation Training Workshop”. He has served AMIA as a Director of the Board, and is a past Chair of the AMIA Preservation Committee. He was AMIA’s representative to the Joint Technical Symposium – 2004 Conference Committee, a technical conference organized every 3 to 4 years, which gathers archive representatives from all over the world to discuss technical issues of mutual concern. Ken was the AMIA 2018 Silverlight Award winner for lifetime achievement in the field.
Johan Oomen is head of the Netherlands Institute for Sound and Vision’s research and development department and researcher at the Web and Media group of the VU Amsterdam. John and his group are working on research projects that focus on digital heritage in all its facets. He has worked for the British Universities Film and Video Council and commercial broadcaster RTL Nederlands. He is a board member of the Europeana Association, the EUscreen Foundation, and the PublicSpaces Foundation. He is also an advisor to the Amsterdam Fund for the Arts and the Dutch National Research Council for Cultural Heritage, and is co-chair of The Netherlands Heritage Network.
Indiana University Experts
Rachael Stoeltje is the Director of the Indiana University Libraries Moving Image Archive (IULMIA), International Federation of Film Archives (FIAF) Executive Committee Member and Chair of the Coordinating Council of Audiovisual Archives Associations (CCAAA) for 2018- 2019. For two decades, she has worked on preserving, archiving and providing access to vast and varied film, photography, media and individual personal collections. In 2010, she formally established the IU Libraries’ moving archive collections into the IULMIA archive. In addition to managing the moving image archive, her other work includes research on educational film collections and the Teaching Film Custodians corporation in particular; projects involving current and future use of motion picture film stock; teaching and educational outreach programs and the planning and development for film and video digitization and access for the IU campus wide Media Digitization and Preservation Initiative.
Andy Uhrich is a film archivist at the Indiana University Libraries Moving Image Archive. He is also a PhD candidate at IU where he is writing a dissertation on film collectors and non-institutional practices of media preservation. Andy has taught a number of classes and workshops on media preservation. He's worked on restoration projects for IU, Chicago Film Archives and Anthology Film Archives including three films that have been added to the National Film Registry. He's published articles on restoring a 1904 film and magic lantern performance, the challenges of maintaining early computer art, and the intersection of political documentary and TV advertising. Currently a co-chair of the Association of Moving Image Archivists' Education Committee, he has previously served on the executive board of the Center for Home Movies.
Alicia Hickman is an Assistant Film Archivist at the Indiana University Libraries Moving Image Archive. The Moving Image Archive is home to one of the largest collections of education films, many of which are currently being digitized through the Media Digitization Preservation Initiative (MDPI) . At the Moving Image Archive, Alicia manages day-to-day logistics to ensure best practices relating to of the physical care, handling, and conservation of films for digitized through MDPI. Prior to this, she worked as a student helping to manage the preparation of video and disc formats for MDPI. She received her Masters of Library Science in 2017 from Indiana University and holds a Masters of Theological Studies from Vanderbilt University.
Jon works with his team and many collaborators to present unique, relevant, transformative, quality cinematic experiences in the form of film screenings, retrospectives, premieres, filmmaker visits, special events, and guest lectures. He is also involved in many of the film and media initiatives on the Bloomington campus and in the region through his participation in collaborative projects, on boards, and on festival juries. As founding director, he has been responsible for setting the vision and path for IU Cinema’s growing national reputation as an innovative, collaborative, ambitious, and sustainable film program. He previously served as managing director of the DeBartolo Performing Arts Center at the University of Notre Dame, home to Indiana’s first THX® Certified Cinema, as well as four live performance spaces. In the early 1990s, he also opened the Vickers Theatre with his wife, Jennifer; the venue is an independent, single-screen arthouse in Three Oaks, Michigan, that still thrives today.
Jon W. Dunn is Assistant Dean for Library Technologies in the Indiana University Bloomington Libraries, where he oversees IT development and operations, including technical support, systems administration, software development, digital preservation, and digital collections services. He has been involved in the development of digital library systems for audio and video for over twenty years and currently serves as co-project director for the Avalon Media System, an open source digital repository software system for audio and video access supported in part by the Andrew W. Mellon Foundation and Institute of Museum and Library Services, and principal investigator for the Mellon-funded Audiovisual Metadata Platform (AMP) project. He serves on the steering committee for Indiana University’s Media Digitization and Preservation Initiative and on the steering group for the Samvera open source digital repository community. He also co-chairs the International Image Interoperability Framework (IIIF) Consortium’s Audio/Video Technical Specification Group.
Barbara Elena Grassia
Barbara Grassia, in her position as Technical Director, is responsible for all technical aspects of IU Cinema presentations, including the training and supervision of our graduate assistant projectionists. With over 30 years of film experience in the United States and abroad, she has served as Presentation Director for Telluride Film Festival, Turner Classic Movies and Traverse City Film Festival as well as the Festival de Cine Global Dominicano in the DR. A principal managing director of it’s over 120-print preparation, Barbara also served as Presentation Supervisor in the Hollywood and So. California cinemas for The Hateful Eight 70mm Roadshow.
Jamie Michelle Thomas is the Head Projectionist and Screening Room Coordinator at the Indiana University Libraries Moving Image Archive. She has more than 18 years of film projection experience at commercial, independent and university cinema venues. Jamie completed the L. Jeffrey Selznick School of Film Preservation in 2015, earned a Film/TV Editing Certificate from NYU in 2011, and earned a B.A. from the Pennsylvania State University in 2003.
Carmel Curtis is a moving image archivist committed to increasing access to film and video by supporting viewing of diverse media to diverse audiences. Carmel currently works in the Moving Image Archive of Indiana University; is a board member of the non-profit Screen Slate, a daily resource for independent, repertory, and gallery screenings in New York City; and is a is a proud member of XFR Collective (pronounced transfer collective), a volunteer run group that works to increase community access to at-risk audiovisual media. Previously, Carmel has worked with a range of institutions and individuals including the Leslie-Lohman Museum of Gay and Lesbian Art, the United Nations, Brooklyn Academy of Music, Dirty Looks, Lincoln Center Archive, NYU, Planned Parenthood, Human Rights Watch, and Deluxe. She holds a masters in Moving Image Archiving and Preservation from NYU.
Brett Scheuermann is the Film Subject Matter Expert for Memnon Archiving Services. He oversees the operation of the film digitization studio and its staff. He is a 2016 graduate of the L. Jeffrey Selznick School of Film Preservation, where he focused on digitization of archival films.
Nazareth “Naz” Pantaloni is currently Head of the Copyright Program at Indiana University Libraries. He was previously the Assistant Director for Copyright and Administration at the Jacobs School of Music’s William and Gayle Cook Music Library. Naz holds a Master of Science degree from the College of Information Studies at Drexel University, a Juris Doctor from the Beasley School of Law at Temple University, and a Ph.D. from Villanova University. He is an affiliated faculty member with Indiana University Maurer School of Law’s Center for Intellectual Property Research. In addition, he teaches courses on copyright law, music copyright and licensing, and legal issues in the arts in the IU Jacobs School of Music, the IU Department of Information and Library Science, and the IU School of Public and Environmental Affairs Graduate Program in Arts Administration.
Mike Shallcross is the Digital Preservation Librarian at the Indiana University Libraries. Working closely with librarians and professional staff, he plays a lead role in developing and implementing policies, workflows, and procedures to ensure the long-term viability of university digital assets regardless of format. From 2010-2018, Mike worked at the University of Michigan’s Bentley Historical Library, where he most recently served as Assistant Director for Curation (2015-2018), overseeing the library’s archival processing, digital curation, and large-scale digitization efforts. He received an MSI from the University of Michigan School of Information (2010) and holds degrees in English Literature from Ohio University (A.B., 1998) and the University of Arizona (M.A., 2001).
Amber Bertin is an Assistant Film Archivist, working for the Indiana University Moving Image Archive on the Mass Digitization and Preservation Initiative (MDPI). Before joining the staff of Indiana University, she received a Bachelor’s degree from Colgate University, a Master’s Degree from the University of Rochester, and a Film Preservation Certificate from the L. Jeffrey Selznick School of Preservation at the George Eastman Museum. As the Archival Processing Technician at Northeast Historic Film, she logged countless hours inspecting, repairing, and scanning small-gauge film materials. In addition to her experience as an archivist, Amber also has numerous years of experience as an archival film projectionist, projecting at many venues, including the Dryden Theatre in Rochester, New York. Amber’s interests include home movies, small-gauge film history, and community archiving activities.
Charles Mathew Allen
Charles Allen is a Quality Control Specialist for the film phase of the Media Digitization and Preservation Initiative (MDPI) at Indiana University, a position he has held since the fall of 2017. He moved to Indiana from Tanzania where he had been working for the United Nations Mechanism for International Criminal Tribunals (UNMICT) and the United Nations International Criminal Tribunal for Rwanda (UNICTR) as an archivist. Before moving to Tanzania, in 2010, Charles was the Chief Projectionist at the George Eastman Museum (GEM) in Rochester, NY. Charles is a graduate of the L. Jeffrey Selznick School of Film Preservation and became an instructor of archival film projection in addition to carrying out his functions as Chief Projectionist at the GEM. Charles received his Bachelor of Arts in Film and Video Production from Hunter College in 2003.
Dan Figurelli is an Audio Preservation Engineer at Indiana University. He works extensively with wax cylinders, lacquer and aluminum discs, and analog tape. He has preserved such notable collections as the "Edward S. Curtis Collection", "The Orson Welles Materials," and the "George Herzog Standing Rock Collection", which was added to the 2017 National Recording Registry. Dan has done extensive work in live sound and recording studios across the country before joining MDPI in 2015. He will be teaching a workshop on tape and disc preservation.
Darrell Shane Myers
Darrell Myers is the Post Production and Quality Control Specialist for MDPI at Indiana University, a position he has held since the beginning of the film phase in the fall of 2017. He served as liaison during the early days of setup, implementation, testing and training using VidiCert software. In addition to his management of the film QC process and team, he also performs editing and restoration work on select titles for collections using the Diamant Film Restoration Suite and other digital tools. In the first year of the project, titles have been screened nationally and internationally at the Edinburgh International Film Festival, Film Forum, and on the Indiana University campus. Prior to IU, he was at Amazon where he served as QC Specialist, Photographer, and a member of the Video Team, producing, editing and retouching product videos for Amazon.com and affiliates worldwide. Other experiences include: Interactive Media Instructor, live event production, broadcast television, independent and feature film. He is a 1998 Graduate of Indiana University.
Doug Sanders currently works as Paper Conservator for Indiana University Libraries, Bloomington, where he oversees the care and conservation of documents and manuscripts within campus collections. Prior to coming to IU in 2007, he worked at a number of non-profit and educational institutions such as the Indiana Historical Society, Carnegie-Mellon University, The National Trust of England and Durham University, England. Mr. Sanders received his BFA from Tufts University and the School of the Museum of Fine Arts, Boston and his MA in Conservation of Fine Art on Paper from the University of Northumbria, England.
Forrest Greenwood is a Quality Control Specialist for the film phase of the Media Digitization and Preservation Initiative (MDPI) at Indiana University, a position he has held since the fall of 2017. He is also a PhD Candidate in the Department of Communication and Culture (CMCL) at IU, and has taught classes for CMCL, the College of Arts and Sciences, and the Media School. Before coming to IU in 2013, Forrest worked as a floor director and motion-graphics operator for WDIO 10/13, an ABC affiliate in Duluth, MN. He received a Master of Arts in Critical Studies from the University of Southern California School of Cinematic Arts in 2009, and a Bachelor of Arts in Communication and Film Studies from the College of St. Scholastica in Duluth, MN in 2007. His research focuses on Japanese popular media, fan culture, video games, and media preservation; articles based on this research have appeared in the journals Mechademia and Spectator.
Jonathan Richardson has been the Audio Video Specialist at Indiana University’s Media Digitization and Preservation Initiative since October, 2015. Jonathan is a lifelong music lover and collector of recorded media especially vinyl records, wax cylinders, 78s, and oddball popular culture artifacts. He enjoys sharing his music with others by DJing, and has provided music at special events for Indiana University, Yelp, and the City of Bloomington. Jonathan has a BA in Art History from Arizona State University, and has completed graduate work in Library Science at Indiana University.
Joshua Adam Brewer
Josh Brewer is a Quality Control Specialist for the film phase of the Media Digitization and Preservation Initiative (MDPI) at Indiana University, a position he has held since the spring of 2018. He is a lifelong Hoosier and has held a variety of positions, including at the Media School, Community Access Television Services, and most recently at IU’s Archives of Traditional Music. Before his time at ATM, Josh worked in public radio as an associate producer and editor of Profiles, a weekly interview program on NPR member station WFIU. He is also a founding member of a pop-up cinema arts program, Cicada Cinema, that brings otherwise unseen films to the Bloomington area. Josh received his Bachelors of Art in History from Indiana University in 2013.
Melissa Widzinski has been an Audio Preservation Engineer at the Media Preservation and Digitization Initiative at Indiana University since 2015. She specializes in digitizing deteriorating analog audio recordings on wax cylinder, aluminum disc, lacquer disc, and magnetic tape. During this program, she will be leading workshops on the digital preservation of analog audio; specifically disc and tape formats. Melissa holds a B.S. in Sound Recording Technology and a B.M. in saxophone performance from SUNY Fredonia.
Mike Casey is the Director of Technical Operations for audio and video for Indiana University’s Media Digitization and Preservation Initiative, which has digitally preserved more than 310,000 audio and video recordings to date. He is the co-author of Sound Directions: Best Practices for Audio Preservation, a contributing author to the second edition of the best practices publication Guidelines on the Production and Preservation of Digital Audio Objects (known as IASA-TC 04), a contributing author to IASA-TC 05 Handling and Storage of Audio and Video Carriers, the creator of FACET: The Field Audio Collection Evaluation Tool and the co-creator of the media prioritization software applications MediaSCORE and MediaRIVERS. He also authored the Indiana University Media Preservation Survey report and is principal author for the follow-up publication Meeting the Challenge of Media Preservation: Strategies and Solutions. His article entitled Why Media Preservation Can’t Wait: The Gathering Storm that explores media degradation and obsolescence was published in the IASA Journal in January 2015. Mike is currently adjunct faculty in the Department of Library and Information Science, School of Informatics and Computing, where he teaches a class in audio preservation.
Rachel Behnke is a Moving Image Cataloger at Indiana University Libraries Moving Image Archive. Before coming to Bloomington, she worked at the Library of Congress National Audiovisual Conservation Center, the Academy Film Archive, and the Wisconsin Center for Film and Theater Research. She earned a Master of Library and Information Studies from University of Wisconsin - Madison in 2016 and a certificate in Film and Media Preservation from the L. Jeffrey Selznick School of Film Preservation at the George Eastman Museum in 2017.
Rob Mobley has been the Video Preservation Engineer at the Media Digitization and Preservation Initiative at Indiana University since 2015. He has been hands-on with physical moving image assets and playback technology for over thirty years in video post-production facilities, working for organizations such as the Walt Disney Company, The Post Group, Bonnier Corporation, Marriott International, and Mississippi Public Broadcasting. He has filled a variety of technical quality control, creative, and asset management roles including videotape operator, assistant editor, editor, supervisor of laser disc recording, and associate producer while working with broadcast, commercials, corporate, and episodic television materials. Immediately prior to joining MDPI, Rob was part of an NBC-Universal team migrating the videotape library of the Golf Channel to digital files utilizing SAMMA robot technology. Rob holds a B.S. in Radio, Television and Film Production from the University of Southern Mississippi and is a member of the Association of Moving Image Archivists and the Quad Videotape Group.
Susanne K Schwibs
Susanne Schwibs is an award-winning filmmaker whose favorite subjects are the arts, music, history and the American landscape. Her programs can be seen nationwide through PBS, APT and Netflix and include Cuba: The Forgotten Revolution, Harp Dreams: Inside the USA International Harp Competition, Wilderness Plots: Songs and Stories of the Prairie, American Horizons: The Photographs of Art Sinsabaugh, Beaux Arts at 50, Spanning Time: America’s Covered Bridges, Sugarplum Dreams: Staging the Nutcracker Ballet, and No Compromise: Lessons in Feminist Art with Judy Chicago. Schwibs teaches courses in 16mm and super-8 production, experimental and documentary film making for the Media School at Indiana University. She also is a founding member of Double Exposure a collaborative project, in which student filmmaker and composer teams create short films that are screened with live music at the Indiana University Cinema.
Tim Wagner is a seasoned film archivist and projectionist, working at Indiana University Libraries Moving Image Archive on the media digitization and preservation initiative (MDPI). Previously serving as film technician, projection manager, and archival projectionist at George Eastman Museum, Tim prepared film prints for archival screenings worldwide, addressed film equipment maintenance and repair, maintained and operated two archival screening venues, and taught film inspection and archival projection to students in the L. Jeffery Selznik School of Film Preservation. He participated in archival staff exchanges with the National Library of Norway and the National Film and Sound Archive of Australia. A graduate of SUNY Buffalo and the Selznik School, Tim's career includes work in film and video production and post production, broadcast television, corporate communications, distance learning, and theatrical film projection. A small gauge filmmaker, Tim's passion includes photography, amusement parks, roller coasters, band organs, vintage movie theaters, theater pipe organs, and automatic musical instruments.
Brian Wheeler designed and implemented the post-digitization processing system for the MDPI project. Since MDPI started production in 2015, the system has verified, processed, and stored more than 315,000 audio, video and film objects -- nearly 10 petabytes of content -- with nearly zero downtime. When Brian isn't working on MDPI he's researching ways to make the IU Library processing systems better and putting out technical fires.
Corinne Vorster is a moving image cataloger at the Indiana University Libraries Moving Image Archive. She is currently cataloging films being digitized as part of the Media Digitization and Preservation Initiative. After graduating with an MLIS from Simmons College in 2013, she ventured to Doha, Qatar where she worked as an Institutional Repository Archivist at Qatar University until 2017. She received a BA in English at the University of Portland.
Brittany D. Friesner
Brittany is a double IU alumna with a bachelor's in journalism and a master's in arts administration. She researches and develops film programming, leads IU Cinema's Creative collaborations program, and manages the Cinema's marketing and engagement efforts, including donor cultivation and stewardship initiatives.
She has worked in programming, marketing and theater operations for the Sundance Film Festival, Tribeca Film Festival, CMJ Music Marathon and Film Festival, Bloomington Pride Film Festival , and Seattle and Indianapolis International Film Festivals.She has served on Heartland International Film Festival's Narrative Short Film and Documentary Features juries and on the Grand Jury for the Indy Film Fest.