UCLA Film & Television Archive Cataloging Procedure Manual--Voyager
Use the rules for physical description in AMIM with the following exceptions:
Do not follow AACR2 and AMIM practice of using the SMD 'film reel;' instead, continue to use 'reel;' the retrospective conversion would be time-consuming and expensive, and the added clarity for users would not be worth the cost.
Do not follow LC practice in counting 35 mm. reels in 1000' units. Instead count the actual number of reels in the Archives. For example, instead of LC's:
use:
Follow AMIM rules. Convert AB reel counts as follows:
For 1000 ft. reels:
For 2000 ft. reels:
If ambiguous, leave AB counts as is.
Do not follow this rule.
Include footage when known and playing time when known. Put in playing time when you are pretty sure it is accurate for that print or video copy, e.g., it was measured by the projection booth or at the time of tape transfer, or by preservation staff, or it is a television program in a series known to be in a particular format (e.g. 30 min. or 60 min.). For cataloging, if either footage or playing time is known to be accurate, the other can be calculated (see below).
For inventory records, it is sufficient to put in the one that is accurate; leave out the other.
If preservation gives you a footage count with decimals (e.g. 8264.14), the last two numbers are frame counts; give the footage in whole numbers; since there are 16 frames per foot, .01 to .07 can be rounded down and .08-.15 can be rounded up. The staff may also express frame counts in the following format: 8264' 14x. Give the exact footage, including the frame counts, in an 23.1.7, ADDITIONAL PHYSICAL DESCRIPTION: note.
Include both minutes and seconds, if both are known, in the following format:
If neither footage nor playing time is known, estimate footage by multiplying the number of reels times the size of the reels, and precede the result with 'ca.'; e.g., 8 1000 ft. reels becomes '(ca. 8000 ft.)'. If this is the way that footage has been estimated, do not convert it to playing time.
Do not add playing time for silent films if it has been measured at sound speed (24 fps). As of December, 2001, the Archive telecine can transfer silent films at the correct (silent) speed; prior to that time, playing time should not be added to any silent films transferred on the Archive telecine.
Do not add playing time to incomplete items; instead, give playing time as part of the condition note.
Conversion table: | ||||
---|---|---|---|---|
8 mm. | 200 ft. | silent | 15 min. | 12 ft. per min. |
16 mm. | 400 ft. | sd. | 11 min. | 36 ft. per min. |
16 mm. | 400 ft. | silent | 15 min. | 24 ft. per min. |
35 mm. | 1000 ft. | sd. | 11 min. | 90 ft. per min. |
35 mm. | 1000 ft. | silent | 15 min. | 60 ft. per min. |
A footage converter can be found on the Web at
Kodak film calculator. It can convert either feet or meters to minutes or vice versa.
The physical description field should describe the object of the record. If the record describes one of a number of items on a single reel or cassette, the physical description field should describe the part, not the whole.
EXAMPLE:
903-1 $a1 reel of 1 (ca. 5 min.) (ca. 180 ft.) : $bopt sd., b&w ; $c16 mm. safety print.
905-1 $d000 $e000
866 _ _ $zNOTES: Fifth on 1400 ft. reel with 11 other Kennedy presidential campaign political spots.
Use proprietary names for wide-screen processes if known. Otherwise, use one of the following terms:
Do not use 'letterbox' here, as AMIM recommends in 5C2.
Unless stated otherwise on the inventory form, assume all 35 mm. safety prints to be in the correct aspect ratio (the original release aspect ratio).
Per email from Bob Gitt, dated January 22, 2010: "Many of the early wide-screen films during the period 1953-1958 were shot using the same cameras that had been formerly used for 1.37:1 films, but the images were composed by the cameramen in the viewfinder for 1.66:1 projection in theaters (or, as the 1950's progressed, for 1.75:1 or even 1.85:1 projection). It is sometimes confusing to inspect prints of these 1950s films because they appear to be normal 1.37:1 movies, but if you look at the main title cards you can see that they are composed for wide screen projection."
Indicate the presence or absence of sound by the use of one or several of the following terms and abbreviations; [see SECTION 26.5, UCLA ARCHIVE ABBREVIATIONS LIST for definitions]. Note that brand names of sound processes may be used if known:
Do not guess. If the exact nature of the sound is not known, simply use 'sd.' A picture negative would have no sound characteristics specified here (but if the film is known to be a silent film, this should be stated in a 500 Nature or form note--see SECTION 5.7.1.1, NATURE OR FORM NOTE (500)). A print intended to have a sound track, but lacking it, would be described as 'si.' or 'MOS'. Make a condition note indicating it is lacking sound, if it is described as 'si.' (per AMIM). Use 'MOS' only when explicitly indicated.
If more than one term is needed, combine terms from the above list.
EXAMPLES:
opt sd., Dolby A, mono.
opt sd., mono.
mag sd., 4-track stereo.
mag sd., Dolby 4-track
DTS, SDDS, Dolby Digital [note: it is possible for one film to have all processes recorded.]
Do not follow AMIM 5C3 practice with regard to double edge sound track.
Indicate whether or not an item is in color by the use of one of the following terms or abbreviations. Include brand names of color processes, if known; e.g. 'Kodachrome' or 'IB Technicolor;' do not follow AMIM in putting these in the notes. However, put specific color stock types in the 866 field, $z subfield ADDITIONAL PHYSICAL DESCRIPTION: note; for example, for 'Kodak 5380,' describe it as 'EC (col.), low-fade' in the 866 $a/903 $a, and put 'Kodak 5380' in an 866 $z subfield ADDITIONAL PHYSICAL DESCRIPTION: note. If an item is or contains only a sound element of a motion picture or a videorecording, omit any color characteristics.
EXAMPLE:
866 _ _ $zADDITIONAL PHYSICAL DESCRIPTION: Recreated (flashed) peach tint on Eastmancolor low-fade print stock.]
If the print has been tinted using chemical synthetic color dyes (a process newly available to the Archive as of ca. 2000), or vegetable/fabric color dyes (a process newly available to the Archive as of ca. 2001) this should be made clear in the 866 $z subfield ADDITIONAL PHYSICAL DESCRIPTION as well.
EXAMPLE:
866 _ _ $zADDITIONAL PHYSICAL DESCRIPTION: Peach, amber and blue tints created by the Stanford Theatre Foundation Film Preservation Center using chemical synthetic color dyes; tints recreated based on colors written on the negative.
Use the following terms and abbreviations:
Give the film base before the generation. This should be the first element after the dimensions in the 903 $c subfield.
Use the following terms and abbreviations:
Use the following terms and abbreviations; when you do not have enough information to give a full generation description, just give what you have; for example, track neg, track pos, neg, pos, dupe neg, dupe pos, master pos and orig neg are all acceptable when information is lacking; abbreviations no longer used by AMIM include orig and track:
903 _ _ $a 12 reels of 12 (118 min.) (10620 ft.) : $b opt sd., b&w ; $c 35 mm. safety comp master pos.
866 _ _ $a 12 reels of 12 (118 min.) (10620 ft.) : opt sd., b&w ; 35 mm. safety comp master pos.
903 _ _ $a 2 reels of 10 (r1,8) (ca. 800 ft.) : $b opt sd., b&w ; $c 16 mm. safety comp dupe neg.
866 _ _ $a 2 reels of 10 (r1,8) (ca. 800 ft.) : opt sd., b&w ; 16 mm. safety comp dupe neg.
903 _ _ $a 1 reel of 1 (ca. 1000 ft.) ; $c 35-32 mm. safety track neg.
866 _ _ $a 1 reel of 1 (ca. 1000 ft.) ; 35-32 mm. safety track neg.
903 _ _ $a 5 reels of 5 (ca. 5000 ft.) : $b opt sd., Dolby-A ; $c 35 mm. polyester prsv up and down track master pos.
866 _ _ $a 5 reels of 5 (ca. 5000 ft.) : opt sd., Dolby-A ; 35 mm. polyester prsv up and down track master pos.
903 _ _ $a 10 reels of 10 : $b anamorphic, opt sd., Dolby stereo., EC (col.) ; $c 35 mm. safety print.
866 _ _ $a 10 reels of 10 : anamorphic, opt sd., Dolby stereo., EC (col.) ; 35 mm. safety print.
903 _ _ $a 10 reels of 10 : $b nonanamorphic wide-screen, opt sd., stereo., Dolby Digital, DTS and SDDS, EC (col.) ; $c 35 mm. safety print.
866 _ _ $a 10 reels of 10 : nonanamorphic wide-screen, opt sd., stereo., Dolby Digital, DTS and SDDS, EC (col.) ; 35 mm. safety print.
903 _ _ $a 1 reel of 1 : $b mag sd., b&w ; $c super 8 mm. safety print.
866 _ _ $a 1 reel of 1 : mag sd., b&w ; super 8 mm. safety print.
903 _ _ $a 1 reel of 1 (ca. 1000 ft.) : $b opt sd., Dolby Digital, col. ; $c 35 mm. safety comp dupe neg.
866 _ _ $a 1 reel of 1 (ca. 1000 ft.) : opt sd., Dolby Digital, col. ; 35 mm. safety comp dupe neg.
903 _ _ $a 10 reels of 10 (ca. 10000 ft.) ; $c 35 mm. polyester prsv internegative.
866 _ _ $a 10 reels of 10 (ca. 10000 ft.) ; 35 mm. polyester prsv internegative.
903 _ _ $a 1 reel of 1 (ca. 250 ft.) ; $c 35 mm. safety interpositive.
866 _ _ $a 1 reel of 1 (ca. 250 ft.) ; 35 mm. safety interpositive.
903 _ _ $a 1 reel of 1 (ca. 600 ft.) : $b opt sd. ; $c 35 mm. safety comp internegative.
866 _ _ $a 1 reel of 1 (ca. 600 ft.) : opt sd. ; 35 mm. safety comp internegative.
903 _ _ $a 1 reel of 1 (ca. 75 ft.) : $b mag sd. ; $c 35 mm. safety comp interpositive.
866 _ _ $a 1 reel of 1 (ca. 75 ft.) : mag sd. ; 35 mm. safety comp interpositive.
903 _ _ $a 1 roll of 1 (ca. 400 ft.) : $b mag sd., col. ; $c 16 mm. safety comp reversal original.
866 _ _ $a 1 roll of 1 (ca. 400 ft.) : mag sd., col. ; 16 mm. safety
comp reversal original.
[NOTE: All KTLA items were described as 'orig pos' rather than 'reversal original;' change as encountered.]
Follow the rules for physical description in AMIM with the following
exceptions:
Use a term from the following list:
Do not follow either option. Use the following parentheticals; PAL and SECAM can be added as needed to video format terms such as Betacam or VHS:
Note that all 3/4 in. videocassettes are assumed to be U-matic, so the term U-matic is not added to the physical description for a 3/4 in. videocasette.
Do not use these terms in the physical description for video, as AMIM recommends. Instead, quote whatever the item says about letterboxing in an $z ADDITIONAL PHYSICAL DESCRIPTION note in the 866 field. If a wide-screen image is known to have been panned and scanned for video (with image loss from the original wide-screen image), note this in the 852 $q condition note, e.g., "Panned and scanned copy of nonanamorphic wide-screen film." Note that many films were shot using the "open matte" filming technique, whereby the height of the image as filmed could be taller in full frame on video than when projected on wide-screen, with the sides of the image the same for both; in other words, image at the top and bottom is lost in wide-screen projection that is restored when the film is released in full-frame on video.
EXAMPLES:
903 _ _ $a1 videocassette of 1 (VHS) (121 min.) : $bsd., col. ; $c1/2 in.
866 _ _ $a1 videocassette of 1 (VHS) (121 min.) : sd., col. ; 1/2 in. $zADDITIONAL PHYSICAL DESCRIPTION: "Widescreen version"--DVD sleeve.
903 _ _ $a1 videocassette of 1 (VHS) (108 min.) : $bsd., col. ; $c1/2 in.
866 _ _ $a1 videocassette of 1 (VHS) (108 min.) : sd., col. ; 1/2 in. $zADDITIONAL PHYSICAL DESCRIPTION: Letterbox format to accommodate wide-screen on video.
For video, use the following terms for sound characteristics:
For video, use the following terms for color characteristics:
Do not record information about videocassette size, even for Digital Betacam (which comes in a small, 6 1/8" x 3 3/4" size, and a large, 9 15/16" x 5 5/8" size).
Do not follow the option of adding the generation term 'master' to video.
903 _ _ $a 1 videocassette of 1 (10 min.) : $b sd., col. ; $c 3/4 in.
866 _ _ $a 1 videocassette of 1 (10 min.) : sd., col. ; 3/4 in.
903 _ _ $a 2 videoreels of 2 : $b sd., b&w ; $c 1/2 in.
866 _ _ $a 2 videoreels of 2 : sd., b&w ; 1/2 in.
903 _ _ $a 1 videoreel of 1 : $b sd., col. ; $c 1 in.
866 _ _ $a 1 videoreel of 1 : sd., col. ; 1 in.
903 _ _ $a 1 videoreel of 1 (Type A) : $b sd., col. ; $c 1 in.
866 _ _ $a 1 videoreel of 1 (Type A) : sd., col. ; 1 in.
903 _ _ $a 1 videocassette of 2 (VHS) (c1) : $b sd., col. ; $c 1/2 in.
866 _ _ $a 1 videocassette of 2 (VHS) (c1) : sd., col. ; 1/2 in.
903 _ _ $a 1 videocassette of 1 (VHS) (71 min.) : $b sd., b&w ; $c 1/2 in.
866 _ _ $a 1 videocassette of 1 (VHS) (71 min.) : sd., b&w ; 1/2 in.
903 _ _ $a 1 videocassette of 1 (VHS, PAL) (60 min.) : $b sd., col. ; $c 1/2 in.
866 _ _ $a 1 videocassette of 1 (VHS, PAL) (60 min.) : sd., col. ; 1/2 in.
903 _ _ $a 1 videocassette of 1 (VHS, SECAM) (30 min.) : $b sd., b&w ; $c 1/2 in.
866 _ _ $a 1 videocassette of 1 (VHS, SECAM) (30 min.) : sd., b&w ; 1/2 in.
903 _ _ $a 1 videocassette of 1 (Betacam) : $b sd., col. ; $c 1/2 in.
866 _ _ $a 1 videocassette of 1 (Betacam) : sd., col. ; 1/2 in.
903 _ _ $a 1 videocassette of 1 (Beta) : $b sd., col. ; $c 1/2 in.
866 _ _ $a 1 videocassette of 1 (Beta) : sd., col. ; 1/2 in.
903 _ _ $a 1 videocassette of 1 (D2) (60 min.) : $b sd., col. ; $c 3/4 in.
866 _ _ $a 1 videocassette of 1 (D2) (60 min.) : sd., col. ; 3/4 in.
903 _ _ $a 1 videodisc of 1 (laser optical CAV) (120 min.) : $b sd., col., 1800 rpm ; $c 12 in.
866 _ _ $a 1 videodisc of 1 (laser optical CAV) (120 min.) : sd., col., 1800 rpm ; 12 in.
903 _ _ $a 1 videodisc of 1 (laser optical CLV) : $b sd., col. ; $c 12 in.
866 _ _ $a 1 videodisc of 1 (laser optical CLV) : sd., col. ; 12 in.
903 _ _ $a on disc 2 of 4 videodiscs (laser optical CAV) (8 min.) : $b sd., col. ; $c 12 in.
866 _ _ $a on disc 2 of 4 videodiscs (laser optical CAV) (8 min.) : sd., col. ; 12 in.
903 _ _ $a on side 2 of disc 1 of 3 videodiscs (laser optical CLV) (30 min.) : $b sd., b&w ; $c 12 in.
866 _ _ $a on side 2 of disc 1 of 3 videodiscs (laser optical CLV) (30 min.) : sd., b&w ; 12 in.
903 _ _ $a 2 DVDs of 2 (197 min.) : $b sd., Dolby Digital, col. ; $c 4 3/4 in. + $e The Chelsea girls.
866 _ _ $a 2 DVDs of 2 (197 min.) : sd., Dolby Digital, col. ; 4 3/4 in. + The Chelsea girls.
903 _ _ $a 1 DVD of 1 (95 min.) : $b sd., Dolby Digital mono., b&w ; $c 4 3/4 in. + $e 1 booklet (16 p.)
866 _ _ $a 1 DVD of 1 (95 min.) : sd., Dolby Digital mono., b&w ; 4 3/4 in. + 1 booklet (16 p.)
903 _ _ $a 1 DVD of 1 (130 min.) : $b sd., b&w ; $c 4 3/4 in.
866 _ _ $a 1 DVD of 1 (130 min.) : sd., b&w ; 4 3/4 in.
NOTE: Information about the original aspect ratio of a film copied onto video cannot be put into the video physical description; it must be put into an ADDITIONAL PHYSICAL DESCRIPTION NOTE: in 866 $z subfield.
EXAMPLE:
903 _ _ $a1 videocassette of 1 (VHS) (62 min.) : $bsd., b&w ; $c1/2 in.
866 _ _ $a1 videocassette of 1 (VHS) (62 min.) : $bsd., b&w ; $c1/2 in. $zADDITIONAL PHYSICAL DESCRIPTION: Print source was scanned copy of scope subject.
A videocassette can be a copy of a tinted print; describe this in both the physical description and in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note.
EXAMPLE:
903 _ _ $a1 videocassette of 1 (VHS) (98 min.) : $bsd., b&w (tinted) ; $c1/2 in.
866 _ _ $a1 videocassette of 1 (VHS) (98 min.) : sd., b&w (tinted) ; 1/2 in. $zADDITIONAL PHYSICAL DESCRIPTION: Tinted original copied onto color videotape.
Follow the rules for physical description in AACR2, Chapter 6 with the
following exceptions:
Use a term from the following list:
Include the number of items that make up a complete set in the statement of extent; for example, instead of '3 sound cassettes' (AACR2R), use '3 sound cassettes of 3.'
Add one of the following terms at the end of the $c subfield:
Convert footage counts on 1/4" sound tape reels as follows:
600 ft. | 5 in. |
1200 ft. | 7 in. |
2400 ft. | 10 1/2 in. |
2500 ft. | 10 1/2 in. |
5400 ft. | 12 in. |
Include the footage count in an ADDITIONAL PHYSICAL DESCRIPTION note in the $z subfield of the 866 field.
903 _ _ $a on side 2 of 2 sound discs of 2 (60 min.) : $b 33 1/3 rpm, mono. ; $c 16 in. aluminum acetate.
866 _ _ $a on side 1 of 2 sound discs of 2 (60 min.) : 33 1/3 rpm,
mono. ; 16 in. aluminum acetate.
903 _ _ $a 35 sound tape reels of 35 : $b analog, 7 1/2 ips, mono. ; $c 7 in.* (assume for television audiotapes that are not 16 track)
866 _ _ $a 35 sound tape reels of 35 : analog, 7 1/2 ips, mono. ;
7 in.
*008:
903 _ _ $a 1 sound tape reel of 1 : $b analog, 16-track ; $c 2 in. (assume for 16 track television audiotapes)
866 _ _ $a 1 sound tape reel of 1 : analog, 16-track ; 2 in.
903 _ _ $a 1 sound tape reel of 1 : $b analog, 15 ips ; $c 12 in., 2 in. tape.
866 _ _ $a 1 sound tape reel of 1 : analog, 15 ips ; 12 in., 2 in. tape.
903 _ _ $a ? sound tape reels of ? : $b analog, mono. ; $c ? in.
866 _ _ $a ? sound tape reels of ? : analog, mono. ; ? in.
903 _ _ $a 1 sound cassette of 1 (30 min.) : $b analog, mono.
866 _ _ $a 1 sound cassette of 1 (30 min.) : analog, mono.
DTS discs:
903 _ _ $a 1 CD of 1 : $b digital, 5.1-track ; $c 4 3/4 in.
866 _ _ $a 1 CD of 1 : digital, 5.1-track ; 4 3/4 in. $zADDITIONAL
PHYSICAL DESCRIPTION: DTS disc.
007:
CD-R discs:
903 _ _ $a 1 CD-R of 1 : $b digital, mono. ; $c 4 3/4 in.
866 _ _ $a 1 CD-R of 1 : digital, mono. ; 4 3/4 in.
007:
8 mm. cassettes (made on DA-98 machine):
903 _ _ $a 1 sound cassette of 1 (73 min.) : $b digital, 3-track, mono. ; $c 2 3/8 in. x 3 3/4 in., 3/10 in. tape.
866 _ _ $a 1 sound cassette of 1 (73 min.) : digital, 3-track, mono.
; 2 3/8 in. x 3 3/4 in., 3/10 in. tape. $z ADDITIONAL PHYSICAL DESCRIPTION:
8 mm. digital audiotape (made on DA-98 machine); sampling rate was 48kHz.
007:
DAT cassettes:
903 _ _ $a 1 sound cassette of 1 (73 min.) : $b digital, 3-track, mono. ; $c 2 1/16 in. x 2 7/8 in., 15/100 in. tape.
866 _ _ $a 1 sound cassette of 1 (73 min.) : digital, 3-track, mono.
; 2 1/16 in. x 2 7/8 in., 15/100 in. tape. $z ADDITIONAL PHYSICAL DESCRIPTION:
4 mm. digital audiotape ("DAT"); sampling rate was 48kHz.
007:
The following is a list of standard terms and abbreviations which should be used in the comments area of inventory cards, and in the physical description area of cataloging and inventory records in the computer.
The list concerns primarily physical description terms, but it does include a few abbreviations which should be used in the date area ('c' for copyright and 'ca.' for 'circa'), and a few, which are asterisked, which may be used in the title area. Otherwise, please do not use abbreviations in the title area, even in supplied titles.
The list is essentially one of abbreviations and terms authorized for use at the Archive, with cross references from terms and abbreviations not authorized for use. It does not pretend to include every term you are likely to use on an inventory record.
Look up terms and abbreviations in the left hand column. If the corresponding message in the right hand column says 'USE....', do not use the term of abbreviation on the left. Instead, follow the 'USE' instruction, and use the term or abbreviation on the right. If the corresponding message on the right consists of a definition (DEFINITION:), it is all right to use that abbreviation or term in the appropriate context, and with the definition (DEF) or meaning given.
The slash ('/') is a signal to the computer inputter that terms go into two separate areas of the record. For example, 'col./comp dupe neg' tells the inputter that 'col.' goes into one part of the record, and 'comp dupe neg' goes into the other.
The abbreviations on the list are meant to be combined with one another when necessary. Thus, for example, 'up and down dupe track neg' is not included on the list, but is perfectly legal.
'(AACR2)' after a definition indicates that the abbreviation is used in the national cataloging code used in libraries (and here at the Archive, with some modifications). '(LC)' after a definition indicates that the abbreviation is derived from the LC cataloging manual. Use of these abbreviations on inventory records will ensure that both our cataloging records and our inventory records describe the materials in the collection in the same way. The objective in having standard abbreviations is to allow us to save time and space in recording information, and at the same time make the information comprehensible to anyone who consults our records. Consistency in use of abbreviations should serve the latter aim. With this end in view, please do not use any abbreviation which is not on this list. (In other words, write out in full any term which does not have an abbreviation listed.) If you discover a useful abbreviation which is not on the list, please let the catalogers know, and perhaps we can add it to the list.
TERMINOLOGY AND ABBREVIATIONS | DEFINITIONS AND CROSS REFERENCES |
---|---|
" | USE in. |
2-col. IB | DEFINITION: 2-color imbibition process; use in the 903 $b subfield (prints only) |
2-col. Technicolor (1916-1919) | DEFINITION: additive color process; (007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code z); use in the 903 $b subfield; used and exhibited only in The gulf between. |
2-col. Technicolor (1922-1928) | DEFINITION: subtractive color process; (prints: 007 byte 13 (Refined categories of color), code b, 007 byte 14 (Kind of color stock or print), code z; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; prints can be identified by the fact that they are cemented together, with red on one side and green on the other. Negatives can be identified by the fact that the pairs of images are toe to toe. |
2-col. Technicolor (1928-1936) | DEFINITION: subtractive color process; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _; use in the 903 $b subfield; see also SEN; use in live action films ceased about 1934. |
2-col. Technicolor IB (1928-1936) | DEFINITION: subtractive color process; prints: 007 byte 13 (Refined categories of color), code b, 007 byte 14 (Kind of color stock or print), code a; use in the 903 $b subfield (prints only); use in live action films ceased about 1934. Identified by grey track; do not confuse with Kodachrome's grey track, which is black at the perfs. |
3-col. IB | DEFINITION: 3-color imbibition process; use in the 903 $b subfield (prints only) |
3-col. Technicolor (1932-1956, negatives) | DEFINITION: color process; negatives: 007 byte 13 (Categories of color), codes i, j, k, 007 byte 14 (Kind of color stock or print), code _; use in the 903 $b subfield. See also SEN. |
3-col. Technicolor IB (1932-1956, prints) | DEFINITION: color process; prints: 007 byte 13 (Refined categories of color), code e, 007 byte 14 (Kind of color stock or print), code a; use in the 903 $b subfield (prints only); usually identified by grey track. From late 40s to early 50s, on 16 mm. prints only, the track was blue. Do not confuse with Cinecolor's blue track, which is on duplitized stock, or with Kodachrome's grey track, which is black at the perfs. On 16 mm. prints, the reel, when held up to light, sometimes appears pinkish with flecks of color showing through. |
3-col. Technicolor IB (1956-1974) | DEFINITION: color process; (prints: 007 byte 13 (Refined categories of color), code e, 007 byte 14 (Kind of color stock or print), code a; negatives: 007 byte 13 (Refined categories of color), codes a, m, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield (IB applies to prints only); 3-color IB printing using Eastman color negative; 1956-1974 in U.S.; through 1974 in England; available in China only, ca. 1980-. Negatives for this period were on 3-layer stock, sometimes (for animated films) successively exposed. Prints for this period were 1 layer of gelatin with three dyes. Identified by grey track; do not confuse with Kodachrome's grey track, which is black at the perfs. On 16 mm. prints, the reel, when held up to light, sometimes appears pinkish with flecks of color showing through. Be aware that in the 1950s, Technicolor made and put its name on Eastman color prints, which would be coded 007 byte 13 (Refined categories of color), code a and 007 byte 14 (Kind of color stock or print), code b. Do not assume that the Technicolor name on a print from this period implies the dye-transfer process. |
4 mm. sound cassette | DEFINITION: audiotape in a cassette that is 4 mm. or 15/100 in. wide; AKA DAT; (007 byte 3 (Speed), code u, 007 byte 4 (Configuration of playback channels), code m [unless otherwise specified]; 007 byte 6 (Dimensions), code z, 007 byte 7 (Tape width), code z; 007 byte 8 (Tape configuration), code z; 007 byte 9 (Kind of disc/cylinder/tape), code OR bar; 007 byte 12 (Special playback characteristics), code OR bar; 007 byte 13 (Capture and storage technique), code d); in the 903 $a describe as a sound cassette; in the 903 $b describe as digital, 3 track, mono. [unless otherwise specified]; in the 903 $c describe as 2 1/16 in. x 2 7/8 in., 15/100 in. tape. |
8 mm. sound cassette | DEFINITION: audiotape in a cassette that is 8 mm. or 3/10 in. wide; AKA D-88; (007 byte 3 (Speed), code u, 007 byte 4 (Configuration of playback channels), code m [unless otherwise specified]; 007 byte 6 (Dimensions), code z, 007 byte 7 (Tape width), code z; 007 byte 8 (Tape configuration), code z; 007 byte 9 (Kind of disc/cylinder/tape), code OR bar; 007 byte 12 (Special playback characteristics), code OR bar; 007 byte 13 (Capture and storage technique), code d); in the 903 $a describe as a sound cassette; in the 903 $b describe as digital, 3 track, mono. [unless otherwise specified]; in the 903 $c describe as 2 3/8 in. x 3 3/4 in., 3/10 in. tape. |
A | USE aluminum |
A roll, B roll, C roll, D roll | DEFINITION: The rolls of film each containing alternate shots from the other that are used in A and B printing, a method of printing generally used on 16 mm. film that allows multiple images, fades, dissolves, and other effects without the necessity of costly optical processes and which avoids the using of splicing. The shots on one roll are staggered with relation to the shots on the other roll using black leader between shots such that the shots on the A roll correspond with black leader on the B roll and vice versa. The most common practice is to create A and B rolls only, but sometimes a C and even a D roll may be created. The Archive inventories A rolls separately from B rolls, with an 866 PART/ELEMENT: note identifying the A roll or the B roll, and an 852 $q condition note warning users that the two should be used together to be complete. NOTE: Differentiate this use from the use of B roll to refer to footage provided free of charge to broadcast news organizations for the purpose of getting free publicity. For the latter, do not use the term B roll, but instead describe it explicitly. |
A-wind, B-wind | DEFINITION: Terms referring to the position of the single row of perforations on 16 mm. film. A-wind: film unwinds clockwise with the emulsion facing in and the perforations close to the viewer (i.e. viewing equipment?). Numbers on the leader of A-wind will read correctly through the emulsion. B-wind: film unwinds clockwise the the emulsion facing in and the perforations away from the viewer (i.e. viewing equipment?). Numbers on the leader of B wind will read correctly through the cell. When a B-wind element (camera original in most cases) is sandwiched emulsion to emulsion (contact printed) to intermediate or print stock, the result will be an A-wind element. When an A-wind element is contact printed to intermediate or print stock, the result will be a B-wind element. Use in the 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
AA | USE aluminum acetate |
A7 | USE DEF. |
Academy aperture | DEFINITION: standard sound aperture; per Bob Gitt, 1.33:1 in the camera, and 1.37:1 on projection. See also Movietone aperture, Reduced aperture. |
Academy filter | DEFINITION: basic Academy filter for recording and reproduction of sound. When "standard Academy" is contrasted with other holdings that are "Dolby A," make an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note that reads "Non-Dolby with Academy filter." |
Agascope | DEFINITION: a form of Cinemascope from Sweden and Hungary; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Agfacolor | DEFINITION: three-layer (007 byte 13 (Refined categories of color), code a; 007 byte 14 (Kind of color stock or print), code b) color process. (Focal encyc. says first introduced for professional 35 mm. motion picture production in Germany about 1940); use in the 903 $b subfield |
Alexander Film | DEFINITION: subtractive two-color color process similar to Cinecolor used ca. 1938; (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
am | USE sd. (means 'ambient sound track version', as opposed to released sound track version, newsreels only); record in 562 field |
ambient sound | DEFINITION: background or ambient tracks of natural environmental noise, usually the stereo. tracks that cover a scene. |
Americolor | DEFINITION: extension of Brewster Color color process (subtractive two-color, utilizing a double-coated positive film) by imbibition to a 3-color duplitized subtractive product (print: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negative: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); used from ca. 1944-1947 on; no record of commercial use, except for some Ford commercials and MPA theater advertising films; use in the 903 $b subfield |
anaglyph 3-D | DEFINITION: "The earliest method of presenting theatrical 3-D, and the one most commonly associated with stereoscopy by the public at large. ... Though the earliest theatrical presentations were done with this system, most 3-D movies from the 50s and 80s were originally shown polarized. ... In an anaglyph, the two images are superimposed in an additive light setting through two filters, one red and one cyan. ... Glasses with colored filters in each eye separate the appropriate images by canceling the filter color out and rendering the complementary color black"--Wikipedia as viewed on February 16, 2012. Use in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
anamorphic | DEFINITION: Film: anamorphic wide-screen; wide-screen image compressed into non-wide-screen format; requires anamorphic lens for projection; 2.40:1 or 2.55:1 or 2.66:1 are common ratios; use in the 903 $b subfield. Per Bob Gitt, from 1953 through 1956, an aspect ratio of 2.35:1 can be assumed for anamorphic; starting in 1957, mag prints with no optical track could be 2.55:1. NOTE: Before October, 2000, the Archive used 'scope' instead of 'anamorphic.' Use in 903 $b subfield. |
anamorphic wide-screen | DEFINITION: DVD: "A videographic technique utilizing rectangular (wide) pixels to store a widescreen image to standard 4:3 aspect ratio. In its current definition as a video term, it originally was devised for widescreen 16:9 aspect ratio television sets. ... DVDs using anamorphic widescreen are analogous to anamorphic format film negatives (although technically, the two formats are very different), wherein the rectangular image is optically squeezed (horizontally) or stretched (vertically) to fit inside the available negative area of standard filmstock. Anamorphic widescreen DVDs use a similar horizontal-squeezing technique to different purpose. When viewed on standard 4:3 televisions, without adjustment, the anamorphic DVD image will look compressed, such that the actors look exceptionally thin and tall, and a circle will appear as a vertical oval. Changing the DVD player's menu to the "4:3 letterbox" setting will digitally-insert black bars to the top/bottom of the image, thus eliminating the distortion and allowing the movie to be viewed in letterbox format. Alternatively, the viewer can replace the 4:3 television with a widescreen 16:9 television. The DVD needn't be changed, because the image is anamorphically encoded. However, the wider 16:9 screen will eliminate visual distortion and reduce or eliminate letterboxing"--Wikipedia, as viewed on March 6, 2009. Use in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
animatic | DEFINITION: A simplified mock-up in animation and special effects work that follows the storyboarding stage and precedes the final animation. Treat animatics as versions or expressions; make a new record and describe the nature of the animatic in a 250 field. |
ans. print | USE answer print |
Anscocolor | DEFINITION: three-layer (integral tri-pack) (007 byte 13 (Refined categories of color), code a; 007 byte 14 (Kind of color stock or print), code b) color process, using reversal material for original photography used from 1953 on. (Focal encyc. says introduced in the U.S. in 1941 as 16 mm. and subsequently as 35 mm.; now obsolete); use in the 903 $b subfield |
answer print | DEFINITION: "The first print from the laboratory that includes synchronized image and sound in proper chronology and has been corrected for light and color. This print may be accepted but frequently further changes are required before release prints can be made"--Konigsberg, 1997. Use in 903 $c subfield. See also First trial print. |
AP | USE answer print |
Arriscope | DEFINITION: a form of CinemaScope from the Arriflex Camera Corp.; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
ArriVision | DEFINITION: 3-D; 2.35:1; 007 byte 4 (Motion picture presentation format), code c; use in the 903 $b subfield |
aspect ratio | DEFINITION: the ratio at which film is meant to be projected. If known, record it in the 903 $b subfield and code it in the 007/4 (Motion picture presentation format) fixed field. If the actual frame ratio on the film is not self-evident from the aspect ratio in the physical description, record it in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. On inventory records, give the aspect ratio at which the film is meant to be projected only when it is known. Many current prints that have standard sound aperture (Academy) frame ratio on the film itself are actually intended to be projected at one or more wide-screen aspect ratios created with the use of masks (often 1.85:1), and these items may not have the ratio(s) at which they are meant to be projected correctly identified in our records. Per Bob Gitt, from the middle of 1953 through 1954, an intended projection ratio of 1.66:1 can be assumed for nonanamorphic wide-screen, and from 1960 on, 1.85:1 (which was first used in 1956) became standard for nonanamorphic wide-screen. Also per Bob Gitt, from 1953 through 1956, an aspect ratio of 2.35:1 can be assumed for anamorphic wide-screen. In 1929-1930 (the transition between the silent and the sound era), it may not be possible to determine the intent concerning projection. After 1931 and before the advent of wide-screen processes in the early 1950s, it can be assumed that the intended projection ratio was Academy aperture unless some more specific aspect ratio for projection is specified. If it is known that there is more than one way to correctly project a particular print, list all correct aspect ratios in the 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
ATSC | DEFINITION: Advanced Television Systems Committee. "A digital television format that will replace the analog NTSC television system on June 12, 2009 in the United States, August 31, 2011 in Canada and December 31, 2021 in Mexico. It was developed by the Advanced Television Systems Committee. The high definition television standards defined by the ATSC produce wide screen 16:9 images up to 1920×1080 pixels in size, more than six times the display resolution of the earlier standard. However, many different image sizes are also supported, so that up to six standard-definition 'subchannels' can be broadcast on a single 6 MHz TV channel. ATSC also boasts 'theater quality' audio because it uses the Dolby Digital AC-3 format to provide 5.1-channel surround sound. Numerous auxiliary datacasting services can also be provided"--Wikipedia, as viewed on March 2, 2009. Use in the 903 $a subfield. |
Autochrome | DEFINITION: "Three-color additive photographic plates made by Lumiere. The plates carry an irregular mosaic screen of red, green, and blue-violet starch grains with a panchromatic emulsion over-coating; used ca. 1907"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
B | USE bakelite or blue |
B roll | SEE A roll |
b&w | DEFINITION: black and white (AACR2) |
background (picture) | DEFINITION: the spatial area to the rear of the image, behind the foreground, where the action takes place; may refer to artificial background using a painted backdrop or a back-lit photo transparency. Put in an 866 $z PART/ELEMENT: note. |
background (sound) | USE ambient sound. |
BDPN | USE blue/dupe pic neg |
Bell and Howell sprocket | USE BH holes |
Beta | DEFINITION: Betamax, a 1/2 inch analog home videocassette format introduced by Sony in 1975; no longer produced; use in the 866/903 subfield a in parentheses. Do not confuse with professional Betacam formats which most people now refer to as Beta but which must be called Betacam, Betacam SP, etc. in the 866/903 subfield a in parentheses. |
Betacam | DEFINITION: DEF: 1/2 in. analog professional videocassette format (oxide) introduced by Sony in 1982. AKA 1/2 in. Type L. Do not confuse with the earlier Beta (Betamax), or the later Betacam SP or Digital Betacam formats. |
Betacam SP | DEFINITION: 1/2 in. analog professional videocassette format (metal particle) introduced by Sony in 1986. Uses component coding; higher grade than "regular Betacam." There are two analog video tracks plus two FM (CD quality) audio tracks (according to MARC 21 format). Cannot be played on regular Betacam deck; can be played on digital Betacam machine. However, do not make 852 $q SP deck and metal cassette condition notes; also do not make 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note SP deck and metal cassette notes; users can be counted on to know about backward compatibility of such formats. |
Betacam SX | DEFINITION: 1/2 in. compressed digital professional videocassette format (metal particle) introduced by Sony in 1996 as a successor to Betacam SP. Uses component coding. Cannot be played back in machines other than Betacam SX machines. However, do not make 852 $q SP deck and metal cassette condition notes; also do not make 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note SP deck and metal cassette notes; users can be counted on to know about backward compatibility of such formats. |
BG | USE background or ambient (sound) |
BH | DEFINITION: Bell and Howell sprocket holes; used on master positives |
bkgd | USE background |
black and white | USE: b&w |
blue | DEFINITION: color separation record of red light which prints as blue-green; if two colors are involved, blue record=red printer; red record=blue printer; if three colors are involved (blue, red, green), use yellow, cyan and magenta: blue record=yellow printer; red record=cyan printer; green record=magenta printer. Use in the 903 $b subfield. |
BPN | USE blue/pic neg; may be orig, if dupe not specified |
BPNeg | USE blue/pic neg; may be orig, if dupe not specified |
Brewster Color | DEFINITION: subtractive two-color color process, utilizing a double-coated film; negatives printed on double-coated positive film and final silver images bleached and dyed (from ca. 1914-1915 on) (007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code d) (Trimble). (Focal encyc. says Percy D. Brewster had patents for bipack color systems in 1915 and 1917, and in 1935 introduced a camera using a rotating mirror system to produce three separation negatives simultaneously, used to make three-color subtractive prints with cyan and magenta images on the opposite sides of double-coated film and a yellow image produced by imbibition printing in register); use in the 903 $b subfield |
Busch | DEFINITION: color process used ca. 1928. "Additive two-color. The negative is produced by running 35 mm. film horizontally through the camera. Twin lenses form a pair of images upon a single frame area; image pairs are superimposed when projected"--Trimble. (007 byte 13 (Refined categories of color), code c); use in the 903 $b subfield |
c | DEFINITION: 1) copyright (AACR2); 2) abbreviation for cassette, as in c1 of 2 (c2) |
C | USE comp or cyan |
ca. | DEFINITION: circa (AACR2) |
CAV | DEFINITION: Constant Angular Velocity laser videodisc containing a motion picture or television program that can be stopped for a freeze frame or moved image by image; capacity is 30 min. of picture and audio on each side--less than on CLV; AKA full feature format |
CDNeg | USE comp dupe neg |
cellulose diacetate | USE diacetate |
cellulose nitrate | USE nitrate |
cellulose triacetate | USE triacetate |
centimeter(s) | USE cm. |
CFGMP | USE comp master pos in the 903 field, and make a $z ADDITIONAL PHYSICAL DESCRIPTION: note in the 866 field for "Fine grain." |
ch. | USE channel |
channels (sound) | DEFINITION: Refers to the number of different streams of sound that are distributed around a room or theater on playback. For example, mono. consists of a single stream of sound, and stereo. consists of two different streams of sound coming from different sides of the room or theater. Distinguish from tracks; mono. can be recorded on three different tracks on a single tape. As another example, the Dolby process allows 4 channels to be derived from 2 tracks. |
check print | USE answer print |
Cinecolor | DEFINITION: subtractive two-color color process used from ca. 1932-1933 on; prints can be identified by a blue track on duplitized stock; negatives made with Bi-Pack; double-coated film used for the red (dye tone) and blue (iron tone) images (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
Cinecolorgraph | USE Colorgraph |
Cinemacolor | DEFINITION: color process used from 1934 on; use in the 903 $b subfield |
CinemaScope | DEFINITION: 2.35:1 aspect ratio; some early titles were 2.66:1 and 2.55:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Introduced in 1953 by Twentieth Century-Fox. Process used a special lens on the camera that squeezed the width of the image photographed to half its size on the film, and another lens on the projector to "unsqueeze" the image. The image was first projected at 2.55:1 and later at 2.35:1 to allow for an optical sound track. |
CinemaScope 55 | DEFINITION: a form of CinemaScope film using 55 mm. film; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Used briefly in 1956; image was anamorphically photographed on 55 mm. film; then the image was reduced to 35 mm. squeezed prints. |
CinemaScope sprocket holes | USE CS |
Cinepanoramic | DEFINITION: a form of CinemaScope from France; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Cinerama | DEFINITION: ranges from 2.6:1 to 2.8:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code e; use in the 903 $b subfield |
Cinescope | DEFINITION: a form of CinemaScope from Italy; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
CIP | USE col./interpositive |
circa | USE ca. |
close-up | DEFINITION: head fills screen, or head and shoulders, or small object fills the screen |
closed-captioned | DEFINITION: Titles for the hearing impaired superimposed onto the bottom of a video screen and made visible by a decoder; the decoder must be present in the playback mechanism (e.g. television set or VCR or DVD drive) and must be turned on (often using the remote) for the titles to appear. Use in an 866 $z NOTES: note. |
CLV | DEFINITION: Constant Linear Velocity laser videodisc on which is stored a motion picture or television program without the capacity for freeze-framing or moving the images forward one at a time; capacity is 60 min. of picture and audio each side--more than on CAV; AKA extended play |
cm. | DEFINITION: centimeter(s) (AACR2) |
CMP | USE comp master pos |
CMPos | USE comp master pos |
CNeg | USE comp orig neg |
col. | DEFINITION: color (AACR2) |
col. CDNeg | USE col./comp dupe neg |
col. DPNeg | USE col./dupe pic neg |
col. IP | USE col./interpositive |
col. RI | USE col./internegative or color reversal intermediate |
color | USE col. |
2-color imbibition process | USE 2-col. IB |
3-color imbibition process | USE 3-col. IB |
color composite dupe negative | USE col./comp dupe neg |
Color Film Process | DEFINITION: 2-color process used from 1927 on (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
color dupe picture negative | USE col./dupe pic neg |
color internegative | USE internegative |
color interpositive | USE interpositive |
color reversal intermediate | DEFINITION: System for duplicating color positives to make dupe negs, introduced first in 1968 and discontinued in 1993; used Eastman Reversal Intermediate film 5249; code 007 byte 3 (Color) as c for color, 007 byte 5 (Sound on medium or separate) as b for sound separate, 007 byte 10 (Positive/negative aspect) as b for negative, 007 byte 11 (Generation) as d for dupe, 007 byte 13 (Refined categories of color) as a for three layer, and 007 byte 14 (Kind of color stock or print) as b for three layer.; use in the 903 $c subfield |
color reversal internegative | USE col./internegative |
Coloratura | DEFINITION: 2-color process used from ca. 1930 on (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
colorburst | DEFINITION: A blue or brown tone in a b&w image transferred on color equipment. |
Colorcraft | DEFINITION: color process "Two-color subtractive system. The negative is made by a beam splitter or by a bi-pack method; the positive is on single-coated film. Print images are dye-toned with the aid of an iodide mordant; used ca. 1929"--Trimble. (prints: 007 byte 13 (Refined categories of color), code q; negatives: 007 byte 13 (Refined categories of color), code c; note in the 903 $b subfield |
Colorgraph | DEFINITION: color process; no record of commercial use; use in the 903 $b subfield |
Colorscope | DEFINITION: various aspect ratios were used under this name; use in the 903 $b subfield |
Colorvision | DEFINITION: color process used from 1951 to 1961; developed for television. No record of commercial use? For final release printing, a 35 mm. superimposed master positive could be made on Eastman Color Intermediate Film or a set of three matrices could be made for Technicolor release; use in the 903 $b subfield |
comp | DEFINITION: composite |
comp dupe neg | DEFINITION: composite duplicate negative |
comp master pos | DEFINITION: composite master positive (could be on fine grain stock, lavender stock, or, in the case of newsreel track, print stock) |
comp orig neg | DEFINITION: composite original negative (mainly used for news film and newsreels) |
composite | USE comp |
composite dupe negative | USE comp dupe neg |
composite master positive | USE comp master pos |
composite negative | USE comp dupe neg or comp orig neg |
contact printing | USE continuous contact printing or step contact printing |
continuous contact printing | DEFINITION: A method of printing continuously with the raw stock and the film being duplicated sandwiched emulsion to emulsion (contact printed). |
copyright | USE c |
Cosmocolor (2-color additive, 1935-1939) | DEFINITION: color process (007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
Cosmocolor (2-color subtractive, 1939-) | DEFINITION: color process (prints: 007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; Isle of destiny is the only recorded use for a commercial film |
CP | USE answer print (stands for check print) |
CRI | USE color reversal intermediate |
Cromoscope | DEFINITION: a form of Techniscope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
CS | DEFINITION: Cinemascope sprocket holes |
CU | USE close-up |
cutting copy | USE work print |
cyan | DEFINITION: Color separation record of red light which prints as cyan |
D | USE dupe |
D1 | DEFINITION: a type of digital videotape; 1 in.; 007 byte 4 (Videorecording format), code z, 007 byte 7 (Dimensions), code p |
D2 | DEFINITION: a type of digital videotape; 19 mm. (close to 3/4 in.); 007 byte 4 (Videorecording format), code o, 007 byte 7 (Dimensions), code r |
D3 | DEFINITION: a type of digital videotape; 1/2 in.; 007 byte 4 (Videorecording format), code z, 007 byte 7 (Dimensions), code o |
D5 | DEFINITION: a type of digital videotape introduced by Panasonic in 1994; 1/2 in.; 007 byte 4 (Videorecording format), code z, 007 byte 7 (Dimensions), code o |
D5 HD | USE HD D5 |
D-88 | USE 8 mm. sound cassette |
DA-88 | USE 8 mm. sound cassette |
Daiescope | DEFINITION: a form of CinemaScope from Japan; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
DAT | USE 4 mm. sound cassette |
dB | USE decibel |
DEF | DEFINITION: The A7 area used to be a location in which defective or incomplete material suitable only for preparing presentations about preservation were kept. The area no longer exists, but A7 notes do exist on inventory forms for preservation materials in the backlog. When 'A7' or 'DEF' appears on an inventory form, add the following staff only note (866 $x subfield): Defective or incomplete material suitable only for preparing presentations about preservation. AVAILABILITY: note (845 and 866) should read: Preservation Department use only. Also add 'DEF' to the 916 field so that staff can pull up all of these materials at once in order to review them when working on presentations. |
den. | USE density |
dbl edge | USE up and down |
DF | USE drop frame |
diacetate | DEFINITION: a type of safety film. Kodak safety film from 1922 to 1937 was diacetate. Diacetate film has a distinctive smell similar to that of mothballs. Use for the Preston Sturges 16 mm. prints from the 1940s. Use for home movies and educational films on film base likely to date from prior to 1950. Describe as 'safety-diacetate' in 903 $c subfield, and code 007 byte 12 (Base of film), code d. According to Alan Lewis' handout at the Basic Training Workshop at AMIA, in use from 1901 to 1931 (?). AKA cellulose diacetate. |
Digital Betacam | DEFINITION: 1/2 in. compressed digital professional videocassette format (metal particle) introduced by Sony in 1993. Uses component coding. Do not make 852 $q Digital Betacam deck and metal cassette condition notes; also do not make 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note Digital Betacam deck and metal cassette notes; users can be counted on to know about backward compatibility of such formats. Per Dan (in 2000/2001) this is the current industry standard. |
Dimension 150 | DEFINITION: 2.2:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Dolby | DEFINITION: Trade name for a number of sound systems developed by Ray Dolby and his Dolby Laboratories. The Dolby sound recording system developed in the 1970s improved fidelity for analog optical and magnetic sound tracks on film by reducing background noise using sound range compression during recording with decoding by expansion during playback. Dolby is also used to describe a 35 mm. film stereo. system using two optical channels that create four sound tracks. Use in the 903 $b subfield; often coded stereo. (code s) in the 007 byte 8 (Configuration of playback channels), but distinguish Dolby noise reduction from the Dolby stereo. process, and beware of Archive preservation prints that are mono. but have had Dolby A noise reduction applied. SEE ALSO Dolby-A, Dolby SR, and Dolby Digital. |
Dolby 5.1 | USE Dolby Digital |
Dolby-A | DEFINITION: The Dolby sound recording system developed in the 1970s which improved fidelity for analog optical and magnetic sound tracks on film by reducing background noise using sound range compression during recording with decoding by expansion during playback; also used to describe a 35 mm. film stereo. system using two optical channels that create four sound tracks. Per Bob Gitt, "Dolby stereo." as used in advertising in the 1970s and 1980s referred to Dolby A. Use in the 903 $b subfield; often coded stereo. (code s) in the 007 byte 8 (Configuration of playback channels), but distinguish Dolby noise reduction from the Dolby stereo. process, and beware of Archive preservation prints that are mono. but have had Dolby A noise reduction applied. Per Bob Gitt, Dolby B and C were less powerful forms of Dolby used only on home sound recording; normally we would not acquire Dolby B or C materials. SEE ALSO Dolby SR, and Dolby Digital. |
Dolby Digital | DEFINITION: Spectral digital recording (Dolby). Introduced in 1992. Improves fidelity for digital optical sound tracks on film by reducing background noise using sound range compression during recording with decoding by expansion during playback; also used to describe a film stereo. system using 5.1 channels (left, center, right, sub-woofer and surround); placed between the perforations on one side of the film; has a grey, speckled appearance. Used only on prints (not on preprint). Use in the 903 $b subfield; often coded stereo. (code s) in the 007 byte 8 (Configuration of playback channels), but distinguish Dolby noise reduction from the Dolby stereo. process. Also, Ross points out that a print with Dolby SR-D may be played back as any one of the following: mono., 2 channel stereo., 6 channel stereo. or 8 channel stereo. On DVDs, code as quadraphonic (code q) in the 007 byte 8 (see OLAC newsletter 26:2, p. 27-29). AKA Dolby Digital SEE ALSO Dolby, Dolby-A and Dolby SR. |
Dolby SR | DEFINITION: A 1986 improvement on the Dolby sound recording system which improved fidelity for analog optical and magnetic sound tracks on film by reducing background noise using sound range compression during recording with decoding by expansion during playback; also used to describe a 35 mm. film stereo. system using two optical channels that create four sound tracks. SR used a more radical encoding and decoding system than did Dolby A. Use in the 903 $b subfield; often coded stereo. (code s) in the 007 byte 8 (Configuration of playback channels), but distinguish Dolby noise reduction from the Dolby stereo. process. SEE ALSO Dolby-A, and Dolby Digital. |
Dolby SR-D | USE Dolby Digital |
Dolby stereo. | USE Dolby A |
Dolby Surround | DEFINITION: "Dolby Surround was the earliest consumer version of Dolby's multichannel analog film sound decoding format Dolby Stereo introduced to the public in 1982 during the time home video recording formats (such as Betamax and VHS) were earlier introducing Stereo and HiFi capability.The term Dolby Surround is used as not to confuse theater stereo which is at least four channels of audio with home stereo which is two. Dolby Surround is the earliest domestic version of theatrical Dolby Stereo.The term also applies to the encoding of material in this sound format. When a Dolby Stereo / Dolby Surround soundtrack is produced, four channels of audio information — left, center, right, and mono surround — are matrix-encoded onto two audio tracks. The stereo information is then carried on stereo sources such as videotapes, laserdiscs and television broadcasts from which the surround information can be decoded by a processor to recreate the original four-channel surround sound. Without the decoder, the information still plays in standard stereo or monaural"--Wikipedia, as viewed on March 2, 2009. Use in the 903 $b subfield; code as quadrophonic (code q) in the 007 byte 8 (Configuration of playback channels). |
double edge | USE up and down |
double rank | USE up and down |
double standard 8 mm. | DEFINITION: 18 mm. film (with perfs)/16 mm. film (without perfs) on which two strips of 8 mm. film have been fitted; meant to be split |
double system | DEFINITION: exhibition prints which consist of two separate pieces of film, one for picture and one for track, which must be projected simultaneously in order for picture and sound to be presented to an audience. Do not use for Vitaphone titles (for which the sound is on a sound recording disk, not on a piece of film) or for modern prints accompanied by a CD (DTS disc) (for which sound is usually also on the film itself using sound systems other than DTS). Per Ross, compare with the term 'single system' which is used to describe not the projection but the shooting of film and refers to capturing both sound and image on a single piece of film in the camera. |
double track | USE up and down track master pos, up and down track neg or up and down track pos |
Douglass color | DEFINITION: color process used from 1916 on (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code _; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; also produced stereoscopic effects. 1919 patent application described method of producing dye-toned prints from the separation negatives, eliminating the need for special equipment for color effect |
down shot | USE high-angle shot |
DPN | USE dupe pic neg |
DPNeg | USE dupe pic neg |
drop frame | DEFINITION: time code system that keeps the time of a videotape accurate by dropping two numbers every minute to make up for the small error that results from assuming that video runs exactly 30 frames per second (video actually runs 29.97 frames per second); see also Non-drop-frame. Put in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
DTN | USE dupe track neg |
DTNeg | USE dupe track neg |
DTS | DEFINITION: Digital Theater Sound (Universal); sound on digital optical disc designed to be run on a special DTS disc player similar to a CD-ROM player; 5.1 track configuration (center, left, right, left surround and right surround; the .1 refers to the subwoofer for extra bass); using a timecode printed on the film, controls the operation of a CD-ROM player and plays the correct sound for each frame of film projected; DTS prints usually have a conventional stereo. optical track as well as the DTS timecode; launched June 11, 1993; 5.1-track; use in the 903 $b subfield |
dual track | USE up and down track master pos, up and down track neg or up and down track pos |
Dufaycolor | DEFINITION: "Regular mosaic screen-plate for three-color additive cinematography; used ca. 1931"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
Dunning Color (2-color, 1935-1937) | DEFINITION: color process (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield. "Duplitized subtractive film utilizing metallic tones and dyes. Negative source from Dunning Beam Splitter Camera"--Trimble. |
Dunning Color (3-color, 1937-) | DEFINITION: color process (prints: 007 byte 13 (Refined categories of color), code e, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes i, j, k, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield. "Duplitized subtractive film utilizing metallic tones and dyes. Negative source from Dunning Beam Splitter Camera"--Trimble. |
Duo-vision | DEFINITION: 2.35:1 aspect ratio in split-screen; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Dupack | DEFINITION: color process "Combination of a green sensitive and panchromatic film sold by DuPont for making two-color motion picture negatives. The green sensitive film bears a red filter layer upon its emulsion surface. The two films are run through the camera with their emulsion sides in contact. Exposure is made through the base of the green sensitive film; ca. 1931 (prints: 007 byte 13 (Refined categories of color), code f; negatives: 007 byte 13 (Refined categories of color), codes g, h); use in the 903 $b subfield |
dupe | DEFINITION: "A duplicate, that is usually negative and referred to as a dupe neg, and is a reproduction of the original picture or sound track. A duplicate negative is made from a master positive, which in turn was made from an earlier negative. A duplicate is at least three generations from the original. Duplicate negatives may be prepared either to obtain characteristics not present in the original image, as in special effects work, or to protect and extend the production availability of the assembled original negative as when duplicate negatives are prepared for release printing simultaneously at different labs"--MARC 21 Bibliographic, 007 - Motion Picture, p. 9. Normally this term would be used in combination with words denoting element and positive/negative aspect. When used on its own, the term 'dupe' may have different meanings, including a) a substandard print made from another print, or b) an illegal copy made by a collector. |
dupe mag track | DEF: duplicate magnetic track |
dupe pic neg | DEFINITION: duplicate picture negative; used for b&w and for color other than 3 layer color; see also internegative, used for 3 layer color dupe negs; see also reversal internegative. |
dupe picture negative | USE dupe pic neg |
dupe track negative | USE dupe track neg |
dupe track neg | DEF: duplicate track negative |
dupe track pos | DEFINITION: duplicate track positive |
Duplex Color-plates | DEFINITION: color process. "Similar to Paget; a screen separate from a panchromatic plate; sensitive emulsions are on separate plates; used ca. 1927"--Trimble; use in the 903 $b subfield. |
duplicate | USE dupe |
duplicate magnetic track | USE dupe mag track |
duplicate track positive | USE dupe track pos |
DuPont Color | DEFINITION: color process. "A multilayer three color subtractive print stock. Developed color images--see Trucolor"--Trimble. (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield |
DVCAM | DEFINITION: "Sony's DVCAM is a professional variant of the DV [digital video] standard that uses the same cassettes as DV and MiniDV, but transports the tape 50% faster. This leads to a higher track width of 15 micrometres. This variant uses the same codec as regular DV. However, the greater track width lowers the chances of dropout errors. The LP mode of consumer DV is not supported. All DVCAM recorders and cameras can play back DV material, but DVCPRO support was only recently added to some models. DVCAM tapes (or DV tapes recorded in DVCAM mode) have their recording time reduced by one third"--Wikipedia, as viewed on February 21, 2007. Introduced by Sony in 1996. Tape is 1/4 in. wide. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code z; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code m) |
DVCPRO | DEFINITION: "A variation of DV developed by Panasonic and introduced in 1995 for use in electronic news gathering equipments"--Wikipedia, as viewed on February 16, 2012. Tape is 1/4 in. wide. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code z; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code m) |
DVD | DEFINITION: digital versatile disc; a high storage digital computer disc format based upon a high storage format developed by Toshiba and a storage process developed by both Sony and Philips. Introduced in March 1997. (007 byte 1 (Specific material designation), code d; 007 byte 4 (Videorecording format), code v; byte 6 (Medium for sound), code i; 007 byte 7 (Dimensions), code z) |
DVD-9 | DEFINITION: a dual-layer DVD; some older DVD players and many computers will not play these. (007 byte 1 (Specific material designation), code d; 007 byte 4 (Videorecording format), code v; byte 6 (Medium for sound), code i; 007 byte 7 (Dimensions), code z) |
Dyaliscope | DEFINITION: a form of CinemaScope from France; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
dye transfer | USE IB; if possible, use 2-col. IB or 3-col. IB |
E | USE CLV (videodisc) |
early sound aperture | DEFINITION: aspect ratio between ca. 1.15:1 and 1.21:1, but with lots of variation; the SMPTE recommendation for how to project early sound aperture film is at an aspect ratio of 1.17:1; the booth at James Bridges Theater projects it at 1.18:1. If known, give the aspect ratio at which early sound aperture film was meant to be projected in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. If not known, give the aspect ratio on the film as early sound aperture in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
Eastman Color (1950-1982) | USE EC (col.) in the 903 $b subfield |
Eastman Color, low-fade | USE EC (col.), low-fade in the 903 $b subfield |
Eastman Multilayer Stripping Film | DEFINITION: color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code a); use in the 903 $b subfield; first and only use in feature was in Stranger wore a gun. |
EC (col.) | DEFINITION: Eastman color; used 1950-1982; can sometimes be identified by a purplish sound track. (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield |
EC (col.), low-fade (1981-1983) | DEFINITION: color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code c); use in the 903 $b subfield; prints may be identified by the designation 5379 or 7379 (the latter for 16 mm.) printed on the film's edge, or by a purplish track. |
EC (col.), low-fade (ca. 1983-) | DEFINITION: color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code c); use in the 903 $b subfield; earlier prints may be identified by designations 1.p.p., 5380 or 5384 printed on the film's edge or by a purplish track. Use for prints only, i.e. not for pre-print. Per Ross: "The term 'low-fade' refers only to positive stock and was introduced by Kodak in the early 1980's to distinguish it from other positive stocks of the era which had worse dye stability. A few years later all positive stocks were switched to the 'low-fade' configuration and the 'low-fade' or 'LF' designation was dropped. EC negative stocks were more or less 'low-fade' already (although of course they do fade nonetheless), and never had the 'low-fade' or 'LF' designation assigned to them"--E-mail dated December 12, 2000. |
ECO | USE EC (col.) |
ECU | USE extreme close-up |
ee master | USE electronically edited master |
effects | DEFINITION: artificial elements added by some technical procedure rather than directly photographed. Use in 866 $z PART/ELEMENT: note. |
EFX | USE effects |
EIAJ | DEFINITION: EIAJ was the format that Japanese firms marketing 1/2" VTRs agreed on as a standard format in 1969. The system was named for the Japanese standards group (Electronics Industries Association of Japan). The EIAJ-1 (type 1) low-band specifications (monochrome and color) simplified the exchange of tapes and standardized all the machines. EIAJ machines remained in place pretty much until the demise of open reel-to-reel tape. The format is also referred to as 1/2" AV (Audio Visual). Use in 866 $a/903 $a subfields. |
EK | USE EC (col.), low-fade |
Ektacolor | DEFINITION: three-layer color process. "A customer processed multilayer subtractive three-color negative-positive material"--Trimble. (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield |
Ektachrome | DEFINITION: three-layer color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield; used from 1958 on. "A customer processed multilayer subtractive three-color reversal material"--Trimble. |
ELS | USE extreme long shot |
Enhanced for 16 x 9 TVs | USE anamorphic wide-screen |
Estar | DEFINITION: Kodak's brand of polyester. (007 byte 12 (Base of film), code p); use 'polyester' in the 903 $c subfield and put 'Estar' into an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
E.T. | USE end titles |
Euroscope | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
extreme close-up | DEFINITION: a very tight close-up, greatly magnifying a tiny object, or showing just a portion of a face |
extreme long shot | DEFINITION: subject at a great distance, taking in a wide view of the location |
FA | USE full aperture |
fading color | DEFINITION: Kodak Eastman Color positive (including print) stock has the following layers (from the top down): magenta, cyan, yellow. The cyan tends to fade the most, the yellow a lot, and the magenta not much; therefore a faded print looks first pale and then pink. Kodak Eastman Color negative stock has the following layers (from the top down): yellow, magenta, cyan. The yellow tends to fade the most, the magenta next, and the cyan the least; according to Bob Gitt, it is hard to tell with the naked eye if a negative is faded. |
feet | USE ft. |
Ferrania Color | DEFINITION: three-layer color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield; used from 1952 on |
FG | USE comp master pos, pic master pos, or track master pos in the 903 field; make a $z ADDITIONAL PHYSICAL DESCRIPTION: note in the 866 field for "Fine grain." The following Eastman film stocks are fine grain: acetate 5234, 5366 and 5302; estar SO-239, SO-379, SO-399 (gray) and SO-434. Assume fine grain stock for all UCLA prsv b&w pic positive preprint; for track master pos produced by UCLA, use film stock numbers to identify fine grain; occasionally newsreel track master pos is on print stock, but those should have a note to that effect on the inventory record. For newsreel material for which it is not known whether the positive was made from the original camera negative or not, use comp pos, pic pos or track pos. |
FGM | USE comp master pos, pic master pos, or track master pos in the 903 field; make a $z ADDITIONAL PHYSICAL DESCRIPTION: note in the 866 field for "Fine grain." Assume fine grain stock for all UCLA prsv b&w positive preprint, except for the occasional newsreel track master pos that is on print stock (the latter of which should have a note to that effect on the inventory record). For newsreel material for which it is not known whether the positive was made from the original camera negative or not, use comp pos, pic pos or track pos. |
fine grain | USE comp master pos, pic master pos, or track master pos in the 903 field; make a $z ADDITIONAL PHYSICAL DESCRIPTION: note in the 866 field for "Fine grain." Assume fine grain stock for all UCLA prsv b&w positive preprint, except for the occasional newsreel track master pos that is on print stock (the latter of which should have a note to that effect on the inventory record). The more fine grained a film stock is, the higher will be its resolution. For newsreel material for which it is not known whether the positive was made from the original camera negative or not, use comp pos, pic pos or track pos. |
Finlay | DEFINITION: color process. "Mosaic screen-plate utilizing either a screen separate from a panchromatic plate (1929) or coated upon the same plate. The latter type is known under the trade marked name Finlaychrome (1931)"--Trimble; use in the 903 $b subfield. |
first trial print | DEFINITION: a type of answer print; use in the 866 $z PART/ELEMENT: note. |
flash title | DEFINITION: an intertitle which consists of so few frames that it is not legible at normal projection or playing speed. USE the following condition note in the 852 $q: Some intertitles are too short to read at normal playing [or projection] speed. |
flat | DEFINITION: (audiotape) no filtering. DO NOT USE FOR FILM OR VIDEO. Has several meanings: 1) Everything that is not 3-D 2) Everything that is not anamorphic wide-screen 3) An originally anamorphic film converted to a format not requiring an anamorphic lens; USE scanned for this meaning. |
FMP | USE comp master pos, pic master pos, or track master pos; make a $z ADDITIONAL PHYSICAL DESCRIPTION note in the 866 field for "Fine grain." Assume fine grain stock for all UCLA prsv b&w positive preprint, except for the occasional newsreel track master pos that is on print stock (the latter of which should have a note to that effect on the inventory record). For newsreel material for which it is not known whether the positive was made from the original camera negative or not, use comp pos, pic pos or track pos. |
foot | USE ft. |
foreign version | DEFINITION: Per Jere Guldin, April, 2008: version prepared for foreign markets, possibly made from alternate takes, second-camera takes, and dupes, usually with flash titles in English. For silent films, prints were made overseas from the foreign neg, and titles were slugged in based on the English, or made from whole cloth, by the country of use in its language of choice. No foreign titles/subtitles were prepared domestically by the distributor in those days. |
Fox Grandeur | USE Grandeur. |
Fox Nature Color | DEFINITION: same as early 2-color Kodachrome (prints: 007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
foxhole sprockets | DEFINITION: a smaller perforation found on mag stripe film; according to Konigsberg, it is specific to CinemaScope prints with four mag tracks, and is so-called because of the name of CinemaScope's sponsor, Twentieth Century-Fox; use in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
fps | DEFINITION: frames per second (AACR2). In the silent era, films were photographed at 16-18 fps and then shown at 20 fps, in order to get more playing time for less footage; by 1926, many theaters were showing titles at close to 24 fps; 24 fps later became standard sound speed. 16-18 fps is standard for amateur film. "16 [fps] was standard in 1914, ... but it was changing as early as 1915. The speed was rendered obsolete by the habit of 'racing,' projectionists speeding up the film so they could get home early. ... As a result, cameramen were obliged to increase their speed of cranking, and by 1920 many films were cranked at 20 fps. By the mid-Twenties, the average speed for American films was 22 fps, and they tended to be projected slightly faster. Western Electric engineers, checking the average speed of Broadway theaters, discovered that they were running between 22-26 fps, and this was one reason 24 fps became the standard for sound. I admit that the pioneer cameramen I interviewed insisted that they cranked at 16 fps throughout the silent era. But having had to speed-correct scores of silent features for television, I can confidently state that most of them, apart from D.W. Griffith's early features, were photographed significantly faster than 16 fps"--Kevin Brownlow letter to American Cinematographer, January, 2004, p. 12. |
fr. | DEFINITION: frame(s) (AACR2) |
frame(s) | USE fr. |
frames per second | USE fps |
Franscope | DEFINITION: a form of CinemaScope from France; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
FS | USE full shot |
FSA | USE full aperture |
ft. | DEFINITION: foot, feet (AACR2) |
Fujicolor | DEFINITION: three-layer color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield; used from 1955 on |
full aperture | DEFINITION: The original aperture of camera and projector lens for 35 mm. film before sound, which allowed the largest possible area of the film to be used for a frame with an aspect ratio of 4:3. Use in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
full silent aperture | USE full aperture |
full coat mag track | DEFINITION: preprint magnetic sound track with the iron oxide coating running across the entire width of the film, or the width between the perforations, as opposed to running just along the film's side; use in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. cf. single stripe mag track, mag striped. |
full figure shot | USE full shot |
full shot | DEFINITION: long shot that takes in the entire figure, head near top of frame, feet near bottom |
full track | USE 1-track |
Fullcolor | DEFINITION: two- or three-strip color process (prints: 007 byte 13 (Refined categories of color), code f or e, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h or i, j, k, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; used from 1942 on; either two- or three-color prints could be made depending on the system used for the original photography. "Subtractive three-color duplitized film utilizing a cyan (iron tone) image and two dye tone images (1941-1948)"--Trimble. |
FX | USE effects |
G | USE glass |
gamma values | DEFINITION: a measure of contrast in a motion picture image. Record as an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. See also TV gamma. |
Gaspar Color | DEFINITION: method of making release prints, so any of several different systems could be used to obtain the original photography; some 2-layer, some 3-layer. Used for George Pal's early Puppetoons. No record of use for feature production in the U.S. "Two and three color duplitized multilayer subtractive reversal print stock. Emulsions dye loaded in manufacture and dye bleached with bleaching of developed silver image"--Trimble; use in the 903 $b subfield. |
Gaumont Tri-color | DEFINITION: color process. "Triple lens system both in camera and projector. The frames are of standard (silent) width and three-fourths the standard height (1912)"--Trimble; use in the 903 $b subfield. |
Gevacolor | DEFINITION: three-layer color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield; used from 1947 on; introduced in U.S., 1965 |
Gilmore Color | DEFINITION: color process used from 1918 on; no record of commercial use; use in the 903 $b subfield |
Grandeur | DEFINITION: An early wide-screen process used by Fox on The big trail in 1930; developed by John D. Elms and William E. Waddell; 65 mm. wide; included a sound track double the size of a normal sound track, giving the sound a much higher dynamic range; required special cameras and Simplex custom-built projectors; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. (Source of information: "Trail blazing" by Ronald Haver published in American film, May 1986.) Per Chris Horak, used by Fox in 1929-1930 utilizing 70 mm. film with four perforations per frame and a frame size of 48 mm. x 22.5 mm., giving a 2.13:1 aspect ratio, leaving 10 mm. for the sound track. |
Grandscope | DEFINITION: a form of CinemaScope from Japan; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
green | DEFINITION: the color separation record of magenta-red light which prints as green; if two colors are involved, green record=red printer, red record=green printer; if three colors involved (blue, red and green), use yellow, cyan and magenta: green record=magenta printer; red record=cyan printer; blue record=yellow printer. Use in the 903 $b subfield |
half track | USE 2-track |
Hammerscope | DEFINITION: a form of CinemaScope from England; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Handschiegel | DEFINITION: color process. "Applied color to local areas of black and white prints by imbibition, using one or more dyed matrices"--Trimble. (007 byte 14 (Kind of color stock or print), code a); use in the 903 $b subfield |
hard matte to 1:1.66 | For film, USE nonanamorphic wide-screen in the 903, and quote the 'hard matte' statement in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. For video, just quote the 'hard matte' statement in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note, and add a note about letterboxing |
Harriscolor | DEFINITION: two-strip color process (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code _; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; used from 1929 on. "Two-color subtractive system. Prints from color separation negatives are made on single coated film printed first through the back, processed, and blue-toned with iron. The residual emulsion on the front is subsequently printed, processed, and red toned (1929)"--Trimble |
HB | USE high band |
HCC | DEFINITION: denotes color stock footage material from the Hearst newsreel collection (Hearst Color Cans). Followed by can and roll no., e.g. HCCc227r6 |
HCO | DEFINITION: denotes outtakes from the Hearst newsreel collection (Hearst Cuts and Outs). Followed by a can and roll number, e.g., HCOc2108r4 |
HD D5 | DEFINITION: high definition digital 1/2 in. videotape introduced in 1996. "Uses standard D5 video tape cassettes to record HD material, using an intra-frame compression with a 4:1 ratio. HD D5 supports the 1080 and the 1035 interlaced line standards at both 60 Hz and 59.94 Hz field rates, all 720 progressive line standards and the 1080 progressive line standard at 24, 25 and 30 frame rates. Four 48khz 20 bit PCM audio channels, or eight 48kHz 24 bit channels, are also supported. D5 runs at different data rates for different formats"--Wikipedia, as viewed February 21, 2007. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code z; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code o) |
HDCAM | DEFINITION: high definition digital 1/2 in. videotape introduced in 1997. "Compressed digital HDTV format that employs both subsampling and compression to reduce data bandwidth. The latest models can deal with 1080-line signals either interlaced or progressive at a variety of frame rates (not exceeding 30 frames per second). Some models of HDCAM can also play Betacam, Betacam SP, Betacam SX, Digital Betacam, and MPEG IMX tapes"--Vidipax web site, as viewed February 21, 2007. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code z; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code o) |
HDCAM SR | DEFINITION: high definition digital 1/2 in. videotape introduced in 2003. "Uses a higher particle density tape than HDCAM and is capable of recording in 10 bits 4:4:4 RGB with a bitrate of 440 Mbit/s"--Wikipedia, as viewed February 21, 2007. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code z; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code o) |
Herault Tricome | DEFINITION: color process. "Additive three-color. Three color prints consisting of successive red, green, and blue dye-tinted frames are projected 24 frames per second in non-intermittent projector (about 1929)"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
HGST | DEFINITION: denotes the Heast series title General sports time. Followed by a volume and issue no., e.g. HGSTv2n27 |
Hi-8 | DEFINITION: High-band video 8, introduced by Sony in 1989; 8 mm. (.315 in.) width. "To counter the introduction of the Super-VHS format, Sony introduced Video Hi8 (short for high-band Video8). Like SVHS, Hi8 used improved recorder electronics and media-formulation to increase picture detail. In both systems, a higher-grade videotape and recording-heads allowed the placement of the luminance-carrier at a higher frequency, thereby increasing luminance bandwidth. Both Hi8 and SVHS were officially rated at a (luminance) resolution of "400 horizontal TV/lines," a vast improvement from their respective base-formats of 240 lines. Chroma resolution for both remained unchanged, well below 100 TV/lines. All Hi8 equipment supported recording and playback of both Hi8 and legacy Video8 recordings. Video8 equipment cannot play Hi8 recordings"--Wikipedia, as viewed on February 21, 2007. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code q; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code a) |
high-angle shot | USE high shot |
high long shot | DEFINITION: long shot taken from above the subject |
high-magenta | Probably a type of sound track. Use in the 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
high shot | DEFINITION: shot taken from above the subject |
HIN | DEFINITION: denotes the Hearst newsreel series title International news (Vol. 1, issue 1 through Vol. 10, issue 78) or International newsreel (Vol. 10, issue 79 through Vol. 11, issue 60). Followed by a volume and issue no., e.g., HINv4n62. |
HLS | USE high long shot |
HMGM | USE MGM |
HNR | DEFINITION: denotes the Hearst newsreel series title Hearst Metrotone news (Vol. 1, no. 200 through Vol. 8, no. 215) or News of the day (Vol. 8, no. 216 through Vol. 39, no. 233). Followed by a volume and issue no., e.g. HNRv1n210. |
Horst | DEFINITION: color process. "Additive three color. The three images are exposed and later printed within one standard frame (about 1929)"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
hour(s) | USE hr. |
hr. | DEFINITION: hour(s) (AACR2) |
HS | USE high shot |
HSN | DEFINITION: an accession number prefix assigned by Newsreel Preservation to silent newsreel item compilation reels created by them (Hearst Silent Newsreel), e.g., HSN42. |
HTD | DEFINITION: denotes the Hearst news series title Telenews. Followed by volume and issue no. (e.g. HTDv7n134) or volume and roll number (e.g., HTDv7r1479). |
HTS | DEFINITION: denotes the Hearst series title This week in sports. Followed by a volume and issue no., e.g., HTSv6n49. |
HVM | DEFINITION: denotes stock footage material (usually b&w)from the Hearst newsreel collection (Hearst Vault Material) or a Hearst Corporation-produced safety dupe of anything in the Hearst newsreel collection. Followed by a can and roll no., e.g., HVMc2560r4. |
HVT | USE high band |
IB | DEFINITION: imbibition process (probably derived from the name of a company: IB Machinery company); if possible, use 2-col. IB, 3-col. IB; use in the 903 $b subfield |
in. | DEFINITION: inch(es) (AACR2) |
inc. | USE incomplete |
inches per second | USE ips |
insurance print | USE master pos |
INT | DEFINITION: an accession number prefix assigned to each silent newsreel roll in the Hearst newsreel collection, e.g., INT1234. |
intermediate | When referring to color film, USE EITHER interpositive (although note that intermediate stock can be used to make either a col. interpositive or a b&w master pos) OR color reversal intermediate. When referring to sound track, use as a condition note in 852 $q subfield, as it refers to sound track that is not ready yet. |
internegative | DEFINITION: The term used instead of "dupe neg" for 3 layer color materials. Code 007 byte 3 (Color) as c for color, 007 byte 5 (Sound on medium or separate) as b for sound separate, 007 byte 10 (Positive/negative aspect) as b for negative, 007 byte 11 (Generation) as d for dupe, 007 byte 13 (Refined categories of color) as a for three layer, and 007 byte 14 (Kind of color stock or print) as b for three layer. Add an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note if the item has been taken from a reversal original. See also dupe pic neg. See also Color reversal intermediate. |
interpositive | DEFINITION: a 3 layer color picture master positive; AKA intermediate. Code 007 byte 3 (Color) as c for color, 007 byte 5 (Sound on medium or separate) as b for sound separate, 007 byte 10 (Positive/negative aspect) as a for positive, 007 byte 11 (Generation) as e for master, 007 byte 13 (Refined categories of color) as a for three layer, and 007 byte 14 (Kind of color stock or print) as b for three layer. |
IP | USE interpositive |
ips | DEFINITION: inches per second (AACR2) |
J-D-C Scope | DEFINITION: 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Joly Color Screen | DEFINITION: color process. "Regular mosaic screen consisting of ruled lines (1894)"--Trimble; use in the 903 $b subfield. |
Kammatograph disks | DEFINITION: Emulsion coated glass disks used ca. 1890 to ca. 1910 to capture images which spiraled from the outside to the inside of the disk. Disks tended to be negative, but there were also positives. The disk was both photographed and projected by the same mechanism. |
Keller-Dorian color | DEFINITION: color process; used from 1928 on; used for some color kinescopes from 1956; used until 1936 (b&w films only, for use with filters in projector?), then revived in 1951, and again in 1956. "Three color additive. A banded tricolor filter is associated with the camera lens. The film support which faces the lens is embossed with small lens elements. Each lenticular element images the filter bands upon the emulsion. A filter of similar form is associated with the projection lens (1925)"--Trimble; use in the 903 $b subfield. |
Kelley Color | DEFINITION: two-strip color process (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code _; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; used from 1926 on |
Kesda Color | DEFINITION: two-strip color process with duplitized prints (007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code d); use in the 903 $b subfield; used from 1918 on |
Kinemacolor (1906-1915) | DEFINITION: color projection process; b&w prints (007 byte 13 (Refined categories of color), code n, 007 byte 14 (Kind of color stock or print), code n) requiring special projection equipment to obtain color effect; use in the 903 $b subfield. "Two color additive system involving use of a rotary disc of color filters before the lenses of both camera and projector (1906)"--Trimble. |
Kinemacolor (1916-) | DEFINITION: toned color process (007 byte 13 (Refined categories of color), code q, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; prints struck from b&w negatives were toned to eliminate the need for special projection equipment |
Kinescope | DEFINITION: A film copy made by using a motion picture camera to photograph from a television monitor. Newer techniques allow an electron beam to record directly on film emulsion. Originally used to record television programs and to support delayed transmission. AKA Kine, Telerecording, Teletranscription. (From Slide, Konigsberg) |
Kislyn Color | DEFINITION: color process used from 1930 to 1931; not used commercially in the U.S.; use in the 903 $b subfield |
Kodachrome (early 2-color, 1913-) | DEFINITION: color process with duplitized prints (007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code d); use in the 903 $b subfield. "(1) Two color subtractive system devised by Eastman Kodak Co. Prints are made upon double-coated film; the positive is bleached with a tanning bleach and dyed with dyes which penetrate soft gelatine preferentially (1915)"--Trimble |
Kodachrome (3-color, 1935-) | DEFINITION: three-layer color process (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code b); use in the 903 $b subfield; identified by gold or brownish track, or by grey track that is black at perfs. "(2) A Kodak processed multilayer subtractive three color reversal material (1935). (3) Three color multilayer subtractive reversal film improved from (2) through simplified processing avoiding differential penetration (1945)"--Trimble |
Kodacolor | DEFINITION: additive lenticular color process used only in amateur 16 mm. cinematography; used from 1928 to 1935. Used special film, a special tricolor filter in both camera and projector, and a special lens in both camera and projector that was a cylindrical lens parallel to the length of the film. B&w reversal film contained lenticles embossed in vertical stripes. The film looks like b&w film, but when viewed at an angle to the light, vertical lines will appear; it is marked on the edge with 'Kodacolor.' The film was exposed through the base, so it is an A-wind film in its original state. Use in the 903 $b subfield. "(1) A 16 mm. adapt[at?]ion of Keller-Doran Process (1928)"--Trimble. Term was also used for an Eastman Color still photography process. See also Lenticular color |
Kodak SP | DEFINITION: film stock needing 'special processing'; "low-fade? but not really..." per Bob Gitt; a precursor to low-fade? Put in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
Kodak standard sprocket | USE KS holes |
Kodascope | DEFINITION: 16 mm. prints produced by Eastman Kodak for home use in the 20's by means of reduction from original 35 mm. camera negatives. Note in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
Kromocolor | DEFINITION: "A cartoon production organization, prints by Cinecolor"--Trimble. |
Kromogram | DEFINITION: color process. "Three transparent stereoscopic pairs of images which appear as a single color picture when viewed with a special viewing device called the Kromskop (1894)"--Trimble; use in the 903 $b subfield. |
KS | DEFINITION: Kodak standard sprocket holes; used on prints |
Lav. | USE lavender; put in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
Lavender | DEFINITION: a particular kind of stock used to make master positives. |
LB | USE low band |
LC | USE EC (col.), low-fade in 903; add LC to 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note |
left total | DEFINITION: ?; found on sound track records; use in the 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note |
lenticular col. | DEFINITION: "an early additive system for color photography that employed tiny lenses in the base of black-and-white film. When light passed through a filter on the camera's lens with a band for each of the primary colors, a separate record was made in each of the film's lenticles for the three colors. After the film was developed in a reversal process, the image was projected through alens with the same filter so that a picture with the original colors appeared on the screen"--Konigsberg. (prints and negatives: 007 byte 13 (Refined categories of color), code d, 007 byte 14 (Kind of color stock or print), code OR bar; use in the 903 $b subfield. Eastman Kodak introduced lenticular 16 mm. film in 1928 which it called Kodacolor. |
Lignose | DEFINITION: color process. "Irregular mosaic three color, applied to roll film and film pack (1927)"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
Lippman | DEFINITION: color process. "Direct color photography based upon interference of light. An exceedingly fine-grained panchromatic emulsion is exposed in intimate contact with a metallic (mercury) mirror. A standing wave-pattern is produced throughout the depth of the emulsion layer, the silver being reduced in the anti-nodal planes, thus forming a system of reflecting laminae. The plates are viewed by reflected light (1891)"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
long shot | DEFINITION: shot showing the figure at a distance with some of location visible; or broad view of objects or action of principal interest |
low-fade | USE EC (col.), low-fade |
LP | USE EC (col.), low-fade in 903 $b subfield; add LP to 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note; should be applied to prints only, i.e. not to preprint |
LPP | USE EC (col.), low-fade in 903; add LPP to 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note; should be applied to prints only, i.e. not to preprint |
LS | USE long shot |
LT | USE low band or left total |
LVT | USE low band |
M | USE master or magenta |
M&E titles | USE main and end titles |
M+E | USE music and effects |
M&E track | USE music and effects orig track neg or music and effects dupe track neg (or specify, if not track negative) |
mag | DEFINITION: magnetic (LC) |
mag opt | DEFINITION: magnetic and optical sound |
mag striped | DEFINITION: a print with a magnetic sound track with the iron oxide coating running just along the film's side. 16 mm. reversal mag striping is common on news footage; the striping was usually done after the film was shot, but you could buy pre-striped film for news or amateur photography; not usually used to refer to prints with mag track. Use in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. cf. full coat mag track, single stripe mag track. |
mag T | USE mag track |
mag TM | USE mag track |
mag TPos | USE mag track pos |
mag track | DEFINITION: magnetic track (LC). See also full coat mag track, single stripe mag track, and mag striped. Note: Until 2000, the Archive used the term 'mag track master.' In September of 2000 it was decided not to use this term any longer, as there was confusion on the staff concerning whether it referred to generation (the original) or quality (the best). It was decided that instead of using this term, it would be preferable to record explicit information about generation and quality in reproduction and condition notes. |
mag track master | USE mag track. Note: Until 2000, the Archive used the term 'mag track master.' In September of 2000 it was decided not to use this term any longer, as there was confusion on the staff concerning whether it referred to generation (the original) or quality (the best). It was decided that instead of using this term, it would be preferable to record explicit information about generation and quality in reproduction and condition notes. |
mag track pos | DEFINITION: magnetic track positive (TV) |
magenta | DEFINITION: color separation record of green light which prints as magenta; use in the 903 $b subfield |
Magnachrome | DEFINITION: color process; no record of commercial use. "Two color additive. Half the normal picture height is used for each of the pairs of pictures"--Trimble; use in the 903 $b subfield. |
Magnacolor | DEFINITION: two-strip color process with duplitized prints (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; new name for Prizma Color after sale of process to Consolidated Film Industries. First use was for Paramount shorts; first use for features was in Republic westerns. "Two color subtractive. Bi-pack negative and double coated positive films are used (1930)"--Trimble. |
Magnafilm | DEFINITION: An early 56 mm. wide-screen process developed by Paramount after Fox developed the Grandeur wide-screen process for The big trail in 1930; no special lenses were used, although special cameras and projectors had to be developed for the new film; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. (Source of information: "Trail blazing" by Ronald Haver published in American film, May 1986.) |
Magnascope | DEFINITION: An early wide-screen process developed by Paramount in the 1920s which enlarged the image 4 times by means of a special magnifying lens on the projector; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. (Source of information: Konigsberg, 2nd ed.) |
magnetic | USE mag |
magnetic and optical | USE mag opt sound |
magnetic sound track master | USE mag track |
magnetic track | USE mag track |
magnetic track master synchronized to picture | USE sync mag track |
magnetic track positive (TV) | USE mag track pos |
magnetic track synchronized to picture | USE sync mag track |
magneto-optical disc | DEFINITION: a kind of optical disc written by a magneto-optical drive; the technology was introduced at the end of the 80s; although optical, they appear as hard disk drives to the operating system and do not require a special filesystem (they can be formatted as FAT, HPFS, NTFS, etc.). Magneto optical drives are common in some countries such as Japan, but have fallen into disuse in the United States; put in the $a subfield of the 866/903 field as an SMD. |
main and end titles | DEFINITION: the titles on the film containing the title of the film and the credits; put in the $z subfield of the 866 field as a 'PART/ELEMENT:' note |
MAPAP | DEFINITION: abbreviation used locally by preservation staff to designate a print of a preserved film made by funds from a special grant known for short as MAPAP (Media Archives Public Access Program?); put the following note in a staff-only $x subfield of the 866 field: Print made with NEA funding intended to improve public access to preserved films. |
master pos | DEFINITION: master positive; always b&w. A print made on special film from a negative. For black and white film, the print is on low contrast fine-grain stock. For color film, interpositive film stock is used (cf interpositive--also low contrast). A master positive is designed to be used in the preparation of duplicate negatives rather than for projection. |
medium long shot | DEFINITION: use for a shot of terrain somewhere between a medium shot and a long shot; for human figure, use full shot |
medium shot | DEFINITION: knees or waist up, or full figure, seated; may show several figures in a frame with some of the setting |
Megascope | DEFINITION: a form of CinemaScope from England; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Metroscope | DEFINITION: 1.66:1 to 2:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
MGM | DEFINITION: denotes the Hearst newsreel series title MGM news (Vol. 1, issue 1 through Vol. 2, issue 100) or MGM International newsreel (Vol 2, issue 101 through Vol. 3, issue 79). Followed by a volume and issue no., e.g. MGMv1n57. |
MGM Camera 65 | USE Ultra Panavision. |
MHS | USE medium high-angle shot |
millimeter(s) | USE mm. |
min. | DEFINITION: minute(s) (AACR2) |
MiniDV | DEFINITION: A variation of DV intended for amateur use. Tape is 1/4 in. wide. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code z; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code m) |
minute(s) | USE min. |
misc. | DEFINITION: miscellaneous (AACR2) |
miscellaneous | USE misc. |
MLS | USE medium long shot |
mm. | DEFINITION: millimeter(s) (AACR2) |
monaural | USE mono. |
mono. | DEFINITION: all playback sound tracks are the same; normally consists of a single channel on a single track, but if there is more than one track, but the same sounds are recorded on each track, consider the item to be mono. One or more channels on playback or directional playback are possible and the item can still be mono. (disc, film or tape) |
monopack | USE EC (col.) |
Morgana | DEFINITION: color process used from 1933 on for 16 mm. only. "Two color additive (for 16 mm. reversal pictures) in the projector; the film is moved in succession, two frames forward, then one backward. Effective camera and projection speed is 24 frames per second, although the special projector movement produces 72 alternations per second (1932)"--Trimble; use in the 903 $b subfield. |
MOS | DEFINITION: shot without sound. Intended to have sound effects/music added in finished form. |
Movietone aperture | USE early sound aperture (866 $z ADDITIONAL PHYSICAL DESCRIPTION: note) if this term has been used by an Archive staff member; the rest of the world uses Movietone aperture as a synonym for Academy aperture (standard sound aperture) |
MP | USE comp master pos |
MS | USE medium shot |
M.T. | USE main titles |
M.T. & E.T. | USE main and end titles |
Multicolor | DEFINITION: two-strip color process with duplitized prints (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; used from 1928 on; used almost exclusively for shorts and cartoons, with the exception of a few b&w features with color sequences; never used for a full feature. "Two color subtractive 35 mm. The negative is made with a bi-pack. The color print is made on a double-coated film. (1929)"--Trimble. |
music and effects | DEFINITION: the part of the sound track that contains the music and the sound effects; put in the $z subfield of the 866 field as a 'PART/ELEMENT:' note |
N | USE nitrate or neg |
Natural Vision (1929-1930) | DEFINITION: 2:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. Per Chris Horak, a wide-screen process used by R.K.O. in 1929-1930, utilizing 63 mm. film with six perforations per frame. |
Natural Vision (1952) | DEFINITION: 3-D; 007 byte 4 (Motion picture presentation format), code c; use in the 903 $b subfield. Per Chris Horak, the first commercial 3-D process; used 529 35 mm. films and projectors which were run simultaneously for the green and red portions of the color spectrum. The first feature released using this process was United Artist's Bwana Devil (1952). |
Naturama | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Per Chris Horak, a 3-D process (007 byte 4 (Motion picture presentation format), code c), a single film system for cinemascope (2.33:1) which copied both images (from two negatives, shot side by side in a special camera) over each other. |
NDF | USE non-drop-frame |
neg | DEFINITION: negative (LC) |
neopilotone | USE: pilotone sync |
NG | USE: No good (place in an 852 $q condition note) |
Nikkatsu Scope | DEFINITION: a form of CinemaScope from Japan; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
nitrate | DEFINITION: cellulose nitrate film stock, used for still photos beginning in 1889; Kodak stopped manufacture of this material in 1951. |
*no. | DEFINITION: number(s) (AACR2) |
noise reduction | DEFINITION: an electronic process to diminish noise in an audio system; see also Dolby |
nonanamorphic wide-screen | DEFINITION: 1.66:1 and 1.85:1 are common ratios; use in the 903 $b subfield |
non-drop-frame | DEFINITION: Probably time code system that does not keep the time of a videotape accurate by dropping two numbers every minute; see also Drop frame. Put in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
NR | USE: noise reduction |
NTSC | DEFINITION: National Television Systems Committee. The television transmission standard adopted by the United States in 1953, and used in Canada, Mexico, Japan, Korea, the Philippines, and many other countries in North and South America; utilizes only 525 scanning lines. Standard for U.S. television and for U.S. DVD's, so do not use in 903 or 866 field |
number(s) | USE no. |
OPN | USE orig pic neg |
opt | DEFINITION: optical |
optical printing | DEFINITION: A method of printing in which an optical lens separates the raw stock from the film being duplicated; film is printed one frame at a time; used for shrunken or damaged film or format transfer (e.g. 35 mm. to 16 mm. or Vitaphone film in full silent aperture that needs to be reduced to accommodate an optical track); also used for special effects. See also step contact printing. |
Opticolor | DEFINITION: color process used from 1933 on; use in the 903 $b subfield |
orig | DEFINITION: "An original, that is usually negative. It is film exposed in a camera and thus of better quality than any subsequent generation or derivative. When referring to older film, an original is almost always a negative. However, the original film may also be a reversal positive (cf)"--MARC 21 Bibliographic, 007 - Motion Picture, p. 10. |
orig pic neg | DEFINITION: original picture negative |
orig pic pos | USE: reversal original |
orig track neg | DEFINITION: original track negative |
orig track pos | DEFINITION: original track positive |
original | USE orig |
original picture negative | USE orig pic neg |
original picture positive | USE original reversal |
original reversal | USE reversal original |
original track negative | USE orig track neg |
original track positive | USE orig track pos |
ortho | USE orthochromatic |
orthochromatic | DEFINITION: a type of b&w stock used in the silent era; later used to create the blue strip in the Cinecolor process; use in the 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note |
OTN | USE orig track neg |
P | USE pic, plastic or prsv |
P&E titles | USE part and end titles |
Paget Color Screen Plate | DEFINITION: Color process. "Regular mosaic color screen plate (1912) available commercially since 1929 as the Finlay Plate"--Trimble; use in the 903 $b subfield |
PAL | DEFINITION: Phase Alternation by Line; the television transmission standard used in the U.K., New Zealand and Australia, and many other countries in Europe and S. America; utilizes 625 scanning lines per picture image |
pan | USE panchromatic |
pan-and-scan | DEFINITION: unsqueezed image of anamorphic film; no special lens needed for projection; usually standard sound aperture; occasionally nonanamorphic wide-screen. Often a scanned print is missing image at the edges of the frame compared to the original wide-screen image. Scanning printers were programmed so that the lens would follow the action. On film, use in the 903 $b subfield. On video, indicate in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note that print source was pan-and-scan. |
Panascope | DEFINITION: 2:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Panavision | DEFINITION: 2.35:1 aspect ratio, modified in 1971 to 2.4:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Used an anamorphic lens on the camera to squeeze the picture onto 35 mm. film which, when projected through the same type of lens, had a 2.35:1 (and later 2.4:1) aspect ratio. |
Panavision Super 70 | DEFINITION: 2.35:1 aspect ratio for 35 mm. prints, and 2.2:1 aspect ratio for 70 mm. prints; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
panchromatic | DEFINITION: a type of b&w stock; used to represent the red strip in the Cinecolor process; note in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note |
Panchromotion | DEFINITION: color process used from 1913 on; no record of commercial use; use in the 903 $b subfield |
Pancolor | DEFINITION: method of making release prints, so any of several different systems could be used to obtain original photography; used from 1957 on; use in the 903 $b subfield |
panned and scanned | USE scanned |
Panoramic(a) | DEFINITION: a form of CinemaScope from Italy; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
part | USE pt. |
part title | DEFINITION: 1) frames at the head of the leader which give title and part information (e.g. part 3 of 6); 2) frames giving the episode title for a serial |
parts | USE pts. |
Pathe Color | DEFINITION: "Eastman negative-positive process (1953)"--Trimble; use in the 903 $b subfield |
Pathechrome | DEFINITION: "Color applied to a black and white print through a celluloid film stencil (1928)"--Trimble; use in the 903 $b subfield. (007 byte 13 (Refined categories of color), code t) |
PCMP | USE prsv comp master pos |
Perspect-A-Sound | DEFINITION: An obsolete "pseudo-stereo" format from the 1950's. Used a panned or stretch mono track which was made to seem to have location by the use of three tracks (copies of the same sound track) played through three speakers; the three tracks could be set to different volumes. |
PET | USE prsv mag track, or prsv mag track master (1/4" audiotape) |
PFX | USE production effects |
Photocolor | DEFINITION: toning color process on duplitized prints (007 byte 13 (Refined categories of color), code q, 007 byte 14 (Kind of color stock or print), code d); use in the 903 $b subfield; used from 1930 on. "Two color subtractive using twin lens camera and dye-toned prints on double-coated film (about 1930)"--Trimble. |
pic | DEFINITION: picture |
pic IP | USE interpositive |
pic master pos | DEFINITION: picture master positive on b&w stock; USE interpositive for pic master pos on 3 layer color stock |
pic neg | DEFINITION: picture negative |
pic pos | DEFINITION: picture positive; could be either master positive or work print |
pic work print | DEFINITION: picture work print |
pick-ups | DEFINITION: portions of good track found on other print and preprint items, used in the preservation process to restore gaps in sound track; also "minor shots filmed after the primary filming of a movie to augment what has already been shot"--Wikipedia, as viewed on February 16, 2012. Use in 866 $z PART/ELEMENT: note. |
picture | USE pic |
picture master positive | USE pic master pos |
picture negative | USE pic neg; may be orig, if dupe not specified |
picture work print | USE pic work print |
Pilney | DEFINITION: Color process. "Two color subtractive (1930)"--Trimble. (007 byte 13 (Refined categories of color), code c); use in the 903 $b subfield |
pilotone sync | DEFINITION: Pilotone synchronization; an analog recording of a sync signal usually in the center of a 1/4 in. audiotape so that the tape would be synchronized with a film image (AMIM, 2nd ed. glossary, which lists under neopilotone sync.) "'Double-system' sound used independent cameras and sound recorders. The first sync sound standard used recorders and cameras both powered by AC (alternating current) motors - essentially clock motors. Later the 50Hz or 60Hz sine wave, called a "Pilotone," was recorded on a second parallel track of an audio recorder. In double-system filming, speed variations of camera and recorder, as well as the elasticity of the magnetic recording tape, requires some positive means of keying the dialogue to its appropriate film frame. The inclusion on the sound recorder of a second, parallel, sync or "Pilotone" track, is the most common method in use today. If a location camera is driven by a DC motor, with some sort of governor control to hold it fairly accurate at 24 f.p.s., a sync pulse generator geared to the movement or motor shaft could be employed to provide the sync pulse output. A cable conducts the sync pulse from camera to sound recorder. The sync pulse is typically a sine wave of 50 or 60 Hz with an RMS amplitude of approximately 1 volt. This double-system audio recording could then be transferred or "resolved" to sprocketed magnetic film, with sprocket holes that match one to one with the original camera film. These two sprocketed media could be run through a "Moviola" or flat-bed editing table such as the Steenbeck for synchronous sound editing"--Wikipedia, Sync sound entry, as viewed on March 2, 2009. |
Pinachrome | DEFINITION: Color process. "Printing process based upon the use of Leuco bases which oxidize upon exposure to light, yielding color images which are assembled by superposition"--Trimble; use in the 903 $b subfield |
Pinatype | DEFINITION: Color process. "Subtractive three color for still pictures based upon the differential staining action of certain dyes for hard and soft gelatine (1906)"--Trimble; use in the 903 $b subfield |
Pink noise | DEFINITION: Part of the audio spectrum of noise; distributed over a wide frequency range; has a constant amplitude at all frequencies; useful as a test tone. Indicate in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
pix | USE pic |
platterized | USE previously built up |
PMP | USE pic master pos |
PMPos | USE pic master pos |
PMT | USE prsv mag track |
PN | USE pic neg; may be orig if dupe not specified. Or, for sound track, USE pink noise. |
PNeg | USE pic neg; may be orig if dupe not specified |
Polacolor | DEFINITION: color process; three-color subtractive film made by three printings and three separate color development steps (007 byte 13 (Refined categories of color), code a, 007 byte 14 (Kind of color stock or print), code z); used 1947-1949; used by Paramount in several Screen song and Popeye cartoons, and one Noveltoon; not used for feature production. "Three color subtractive film made by three printings and three separate color development steps (1946)"--Trimble; use in the 903 $b subfield |
polarization 3-D | DEFINITION: "The standard for theatrical presentations since ... 1952. To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through different polarizing filters. The viewer wears low-cost eyeglasses which also contain a pair of polarizing filters oriented differently. ... As each filter passes only that light which is similarly polarized and blocks the light polarized differently, each eye sees a different image"--Wikipedia as viewed on February 16, 2012. Use in 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
Polychromide | DEFINITION: color process; duplitized prints (007 byte 14 (Kind of color stock or print), code d); use in the 903 $b subfield; used from 1918 on |
polyester | DEFINITION: a type of safety film base. Used for preservation materials (since ca. 1990), as well as for industry-produced internegatives and release prints because stronger and more stable than triacetate base. Base is thinner than triacetate, so rolls can hold a larger amount of film. Estar is Kodak's version of polyester film base. Per Bob Gitt, the "tear" test for polyester (it does not tear as easily as triacetate does) is not always completely reliable. Describe as 'polyester' in 903 $c subfield, and code 007 byte 12 (Base of film), code p. According to Alan Lewis' AMIA Basic Training Workshop handout, polyester was invented in 1941 and was used for some microfilm and photographic needs since 1960; AKA polyethylene terephthalate polyester. |
pos | DEFINITION: positive (LC) |
positive | USE pos |
preservation | USE prsv |
Prizma Color (successive exposure b&w film projected through color filters, 1917) | DEFINITION: two-color process; (prints: 007 byte 13 (Refined categories of color), code c; negatives: 007 byte 13 (Refined categories of color), code l, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
Prizma Color (successive exposure prints and negatives, 1917-1918) | DEFINITION: two-color process; (prints: 007 byte 13 (Refined categories of color), code c; negatives: 007 byte 13 (Refined categories of color), code l, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
Prizma Color (successive exposure negatives printed on duplitized stock, 1919-) | DEFINITION: two-color process (prints: 007 byte 13 (Refined categories of color), code c, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), code l, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
production effects | DEFINITION: effects recorded on location or on the set, as opposed to effects added in editing. Put in an 866 $z PART/ELEMENT: note. |
PRRT | USE prsv rerecorded track |
PRRTN | USE prsv rerecorded track neg |
prsv | DEFINITION: preservation; use for preservation material generated according to FIAF standards. |
prt | USE print, answer print, or work print |
*pt. | DEFINITION: part (AACR2) |
*pts. | DEFINITION: parts (AACR2) |
p.u. | USE pick-ups |
push-pull | DEFINITION: sound track with 2 tracks side by side, one 180 degrees out of phase with the other to eliminate distortion. Use in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
PWP | USE pic work print |
quad. | DEFINITION: having four sound channels (disc, film or tape); use in the 903 $b subfield |
quadraphonic | USE quad. |
r | DEFINITION: reel(s) |
RA | USE reduced aperture |
Raycol | DEFINITION: Color process. "Two color additive. The image pairs are exposed (1/4 standard size) on each frame. The image pairs from contact positives are superimposed by a suitable optical system (1930)"--Trimble. (007 byte 13 (Refined categories of color), code b); use in the 903 $b subfield |
RDPN | USE red/dupe pic neg |
Realife | DEFINITION: per Chris Horak, a wide-screen process used by Metro-Goldwyn-Mayer in 1929-1930 utilizing 70 mm. film with four perforations per frame; (007 byte 4 (Motion picture presentation format), code b. Use in the 903 $b subfield. |
Reduced aperture | DEFINITION: Use only when we have reduced the aperture from full silent aperture in order to add a sound track in the course of preservation. Otherwise use the synonym Academy aperture. Describe in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note; code 007 byte 4 (Motion picture presentation format), code a. |
Rerecorded | DEFINITION: track which has been rerecorded from an existing negative, rather than copying it using a photographic process; in other words, it is not a dupe; often done to improve the quality of the sound, and may enable a preservationist to remix dialogue, effects and music, if necessary, but neither process is necessary for a track to be designated rerecorded; code 007 byte 11 (Generation) as z. |
Realife | DEFINITION: an early 70 mm. wide-screen process developed by MGM after Fox developed the Grandeur wide-screen process for The big trail in 1930; 2:1 aspect ratio, approximately; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. (Source of information: "Trail blazing" by Ronald Haver published in American film, May 1986.) |
red | DEFINITION: the color separation record of blue or green light which prints as red; if two colors are involved, blue or green record=red printer, red record=blue or green printer; if three colors are involved (red, blue and green), use yellow, cyan and magenta: red record=cyan printer; blue record=yellow printer; green record=magenta printer; may be orig, if dupe not specified. Use in the 903 $b subfield. |
ref print | USE print |
Regalscope | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
reversal dupe | USE reversal print if item consists of a reversal print made from a reversal original; otherwise, if item is a print with a low quality image due to its having been made from another print, DO NOT USE this term, but instead make a condition note (852 $q). |
reversal intermediate | USE color reversal intermediate |
reversal internegative | USE internegative |
reversal original | DEFINITION: a camera original filmed with a positive image; (reversal refers to the fact positive film goes through the camera and is used to make positive prints, not negatives, i.e. duplication uses a reversal system, not a positive-negative system; reversal original can have sound on it that has been recorded in the camera, per Bob Gitt.) Per Chris Horak, "Reversal film after processing is more scratch resistant than negative film. ... All black and white reversal films are panchromatic. Since its emulsion is very much like that of negative film, it can also be developed in the laboratory as negative. It is in the processing that a positive image is created with reversal film." 8 mm. film originals are all reversal. |
reversal print | DEFINITION: A print made on reversal stock, generally a positive image print made from a positive image reversal original. Reversal film allows a high-quality image and diminishes the visibility of abrasions and dirt, but tends to create more contrast on the image. |
reversal stock | DEFINITION: either original or print positive stock; a single generation film stock that, after exposure in the camera, is processed to form a positive image on the original base, thus eliminating the need to print the positive from an original negative. Place in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
revolutions per minute | USE rpm |
right total | DEFINITION: ?; found on sound track records; use in the 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note |
RKO-Scope | DEFINITION: a form of Superscope 235; 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
rl. | USE reel(s) or r |
Rotocolor | DEFINITION: color process; used from 1931 on; no record of commercial use; use in the 903 $b subfield |
rpm | DEFINITION: revolutions per minute (AACR2) |
RPN | USE red/pic neg; may be orig, if dupe not specified |
RPNeg | USE red/pic neg; may be orig, if dupe not specified |
RRT | USE rerecorded track |
RRTNeg | USE rerecorded track neg |
RRTPos | USE rerecorded track pos |
RS | USE reversal stock |
Rt | USE right total |
rv | USE sd. (means 'released sound track version', as opposed to ambient sound version, newsreels only); record in 562 field (bib.) |
S | USE safety or shellac |
S-VHS | DEFINITION: Super-VHS; use in 903 $a subfield in parentheses. (007 byte 1 (Specific material designation), code f; 007 byte 4 (Videorecording format), code k; byte 6 (Medium for sound), code h; 007 byte 7 (Dimensions), code o) |
sampling rate | DEFINITION: probably the rate at which an analog signal is measured at a regular frequency to create a digital code; indicate the sample rate in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
scanned | USE: pan-and-scan |
Scanoscope | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
scope | USE anamorphic |
sd. | DEFINITION: sound (AACR2) |
SDDS | DEFINITION: Sony Dynamic Digital Sound; a sound-on-film system with the digital information printed in two continuous strips along the film's edges which appear visibly as blue speckled bands on both outer edges (the sound track tends to get dirty because of its location); the SDDS data is recorded on the cyan layer; each side of the film contains the backup information for the track on the opposite side of the film; eight-track configuration with five loudspeakers behind the screen; as needed, the same 35 mm. print sound track can be played back in either eight, six, or four channels due to a specifically designed fold-down mechanism within the SDDS decoder; a professional sound format intended only for the motion picture theater; probably would be found only on prints in our collection, although a studio might hold an SDDS print master; because this sound system is proprietary to Sony, some Sony films will have only SDDS and Dolby SR sound tracks (inclusion of DTS and SR-D being more standard currently); use in the 903 $b subfield |
sec. | DEFINITION: second(s) (AACR2). DO NOT USE for section; instead, spell out the term 'section.' |
SECAM | DEFINITION: Sequential Couleur A Memoire. The television transmission standard used extensively in Europe, Africa, and the Middle East; has 625 scanning lines per picture image, but is not compatible with PAL because color signals are encoded differently |
second(s) | USE sec. |
select | DEFINITION: Term used in condition notes (852 $q) at the Archive to indicate "best possible" or "highest quality" material. |
SEN | USE successive exposure neg |
SEN-2 | USE 2-col. in 903 $b subfield and successive exposure neg in 903 $c subfield. |
SEN-3 | USE 3-col. in 903 $b subfield and successive exposure neg in 903 $c subfield. |
Sennett Color | DEFINITION: two-color process; duplitized prints (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; used from 1930 on |
sequential pic master pos | USE successive exposure pos |
Shawscope | DEFINITION: a form of CinemaScope from Hong Kong; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
si. | DEFINITION: silent (AACR2) |
silent | USE si. |
silent aperture | USE full aperture |
single stripe mag track | DEFINITION: 35 mm. preprint magnetic sound track with the iron oxide coating in a single band; may also have balance strips; use in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. cf. full coat mag track, mag striped. |
single track | USE 1-track |
Sirius | DEFINITION: Color process. "Two color subtractive in which alternate frames of the negative are exposed with the aid of a beam splitter and the positive print is made upon double-coated film (1929)"--Trimble. (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h?, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
sof | USE sd. (found on Hearst index cards, and formerly used by Commercial Services to denote ambient sound on reproductions of newsreels, for newsreels only); record in 562 field (bib.) as 'Ambient sound track version.' |
sound | USE sd. |
Sovscope | DEFINITION: a form of CinemaScope from Russia; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
SP | DEFINITION: On videotape, stands for "Superior Performance." Most SP formats of any kind use special tape and record sharper images. In the 3/4 in. U-matic format SP tapes can be played on non-SP machines (however, with no picture improvement). ' For 3/4 in. SP, mention in both the physical description (903 $a (SP)), and the condition note (852 $q: "Play only on SP deck."). Betacam SP videocassettes cannot be played on "regular Betacam" machines. SEE ALSO Betacam SP. On a videodisc: USE CAV (videodisc). |
Space-Vision | DEFINITION: 3D; 2.35:1; 007 byte 4 (Motion picture presentation format), code c; use in the 903 $b subfield |
special effects | DEFINITION: effects created by unusual technial means, either through use of special photographic techniques or specially created through a camera that is shooting normally. Put in an 866 $z PART/ELEMENT: note. |
SP-EFX | USE special effects |
Spectrascope | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
squeezed anamorphic | USE scope |
SR | DEFINITION: spectral recording (Dolby); use in the 903 $b subfield |
SR-D | USE Dolby Digital |
Splendicolor | DEFINITION: Color process. "Three color subtractive in which the three color separation records are reproduced by iron toning one side of the film and forming the yellow and red as successive color layers upon the opposite side by dyed bichromatic methods (1928)"--Trimble. (prints: 007 byte 13 (Refined categories of color), code e, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes i, j, k?, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
SRate | USE sampling rate |
standard sound aperture | USE Academy aperture |
step optical printing | USE optical printing or step contact printing |
step contact printing | DEFINITION: A method of printing one frame at a time with the raw stock and the film being duplicated sandwiched emulsion to emulsion (contact printed); used for shrunken or damaged film. See also optical printing and continuous contact printing. |
stereo. | DEFINITION: having two sound channels (disc, film or tape); use in the 903 $b subfield |
Stereovision | DEFINITION: Per Chris Horak, a 3-D system developed by the French company Bolex in 35 mm. (007 byte 4 (Motion picture presentation format), code c); use in the 903 $b subfield. |
Stereovision 70 | DEFINITION: Per Chris Horak, a 3-D single film system that used Todd-AO cameras and put two three perforation high images within the same frame (one above the other), giving the image an aspect ratio of 1.85:1 (007 byte 4 (Motion picture presentation format), code c); use in the 903 $b subfield. |
S.T.F.F.P.C. | USE Stanford Theatre Foundation Film Preservation Center |
3-stripe, 4-stripe, etc. | USE 3-track, 4-track, etc. |
successive exposure neg | DEFINITION: pic neg that contains two-color or three-color records in the form of two or three successively alternating frames of film; code as orig neg, (007 byte 11 (Generation), code o) or dupe neg, (007 byte 11 (Generation), code d); if 3-col., code as 007 byte 13 (Refined categories of color), code m, 007 byte 14 (Kind of color stock or print), code _; if 2-col., code as 007 byte 13 (Refined categories of color), code l, 007 byte 14 (Kind of color stock or print), code _); assume 3-col. unless specifically stated to be 2-col.; use in the 903 $c subfield |
successive exposure pic master pos | DEFINITION: sequential pic master pos; code as master pos (007 byte 11 (Generation), code e); if 3-col, code as 007 byte 13 (Refined categories of color), code m, 007 byte 14 (Kind of color stock or print), code _; if 2-col., code as 007 byte 13 (Refined categories of color), code l, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $c subfield |
successive exposure pos | USE successive exposure pic master pos |
super. titles | USE subtitles |
Super Panavision | DEFINITION: An unsqueezed image was photographed onto 65 mm. film which, when projected from a 70 mm. print or an anamorphically squeezed print of 35 mm. had an aspect ratio of 2.2:1. 2.35:1 aspect ratio for unsqueezed 35 mm. prints? (007 byte 4 (Motion picture presentation format), code b); 2.2:1 aspect ratio for 70 mm. prints (007 byte 4 (Motion picture presentation format), code b) or squeezed 35 mm. prints (007 byte 4 (Motion picture presentation format), code d); use in the 903 $b subfield. AKA Super Panavision 70? |
Super Panavision 70 | DEFINITION: 2.35:1 aspect ratio for 35 mm. prints; 2.2:1 for 70 mm. prints; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. Per Chris Horak, introduced in 1959, resulted from use of the Ultra Panavision process with spherical rather than anamorphic lenses, used a 65 mm. negative, and yielded an image with a 2.21:1 aspect ratio and five perforations per frame; prints in 70 mm. (six track magnetic) also required spherical lenses to reproduce the 2.21:1 aspect ratio, but 35 mm. reduction prints utilized an anamorphic lens (007 byte 4 (Motion picture presentation format), code d) to produce a 2.35:1 aspect ratio (four track stereo magnetic sound). |
Super Technirama 70 | DEFINITION: 2.2:1 in 70 mm.; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. Used 35 mm. film moving horizontally through the camera while exposing a frame of eight perforations behind an optical system which compressed the image; the image was then unsqueezed on a 70 mm. print to project a wide-screen image of 2.2:1 through a normal lens. |
Super Techniscope | DEFINITION: a variable screen size process; ranges from 1.85:1 to 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Super 35 | DEFINITION: a variable screen size process; ranges from 1.85:1 to 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Super-VHS | USE S-VHS |
Superama | DEFINITION: a form of Superscope 235; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Supercinecolor | DEFINITION: three-color process; duplitized prints (prints: 007 byte 13 (Refined categories of color), code e, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes i, j, k, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield; used 1950-1954. "Extension of Cinecolor to three color duplitized subtraction film by addition of a yellow (dye tone) image (1945)"--Trimble. |
SuperCinemascope 55 | DEFINITION: a form of CinemaScope developed by Fox, using a 55.625 mm. negative; planned for use in roadshow versions of Carousel and The king and I; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
SuperCinescope | DEFINITION: a form of CinemaScope from Italy; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Superpanorama 70 | DEFINITION: 2.2:1 aspect ratio in 70 mm.; a form of Todd-AO from Europe; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Superscope | DEFINITION: 2:1 aspect ratio; meant to be shown with a normal anamorphic lens; since the image is not as wide on the screen, a special aperture plate is needed to narrow the projected aspect ratio to 2:1; associated with RKO. 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. An image that extended the full width of 35 mm. film between the perforations was shot with a regular lens and cropped on top and bottom for a 2:1 aspect ratio. The image was then run through an optical printer to horizontally compress and vertically enlarge it to fit into an anamorphic frame. It was then projected through an anamorphic lens. |
Superscope 235 | DEFINITION: 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
SuperTotalscope | DEFINITION: a form of CinemaScope from Italy; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
sync | DEFINITION: synchronized |
sync mag | USE sync mag track |
sync mag T | USE sync mag track |
sync mag TM | USE sync mag track |
sync mag track | DEFINITION: magnetic track synchronized to picture |
sync mag track master | USE sync mag track |
System 35 | DEFINITION: a variable screen-size process; ranges from 1.85:1 to 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
T | USE track |
1-T, 2-T, etc. | USE 1-track, 2-track, etc. |
Technicolor, imbibition process | USE 2-col. Technicolor IB or 3-col. Technicolor IB |
Technirama | DEFINITION: 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Developed by the Technicolor Motion Picture Corporation. Used 35 mm. film moving horizontally through the camera while exposing a frame of eight perforations behind an optical system which compressed the image. The image was further compressed horizontally when printing on 35 mm. film so that it could be projected through an anamorphic lens with an aspect ratio of 2.35:1; unsqueezed prints could also be made on 35 mm. film. |
Techniscope | DEFINITION: 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Introduced by Technicolor Italia in 1963. A camera with a two perforation pull-down is used to create a frame that is half the normal height with a 2.35:1 aspect ratio. The image is compressed on a 35 mm. print for projection through an anamorphic lens. |
Technovision | DEFINITION: 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Telco Color | DEFINITION: duplitized prints (prints: 007 byte 14 (Kind of color stock or print), code d); use in the 903 $b subfield; used from 1936 on; used by Universal for 1938 short Cavalcade of Texas, and later for independent low-budget features, including Monogram's Lure of the wasteland. |
Thomascolor | DEFINITION: never used for feature production; use in the 903 $b subfield |
3M Color | USE Ferrania Color |
tinted | DEFINITION: a film print that has been colored by dyeing its film base, printing on an already dyed film base, or hand-tinting its film base. Also used to describe a film print that has a simulated tint on color stock or a video copy of a tinted original. In the past, UCLA preserved tinted films by making an Eastman color low-fade print from a b&w negative, and then using color flashing (i.e. exposing the film using colored light) in developing the print in order to get the tint; such an Eastman color low-fade preservation copy should be described using 'b&w (tinted)' in the 903 (and 866) physical description, it should be coded as a tinted print on Eastman color low-fade stock in the 007 field (007 byte 3 (Color), code z, 007 byte 13 (Refined categories of color), code r, 007 byte 14 (Kind of color stock or print), code c), and an 866 $z subfield ADDITIONAL PHYSICAL DESCRIPTION: note should be made indicating the type of tint, if known, as well as the information about the stock. If a print has been tinted using color dyes (a process newly available to the Archive as of ca. 2000), this should be made clear in the 866 $z subfield ADDITIONAL PHYSICAL DESCRIPTION as well. The latter type of tinting would be coded as 007 byte 3 (Color), code z, 007 byte 13 (Refined categories of color), code r, 007 byte 14 (Kind of color stock or print), code | [OR bar]. c |
TM | USE mag track master |
TMP | USE track master pos |
TMPos | USE track master pos |
TN | USE track neg; may be orig, if dupe not specified |
TNeg | USE track neg; may be orig, if dupe not specified |
Todd-AO | DEFINITION: 2.21:1 aspect ratio; uses a 65 mm. negative to remove the necessity of employing anamorphic lenses for the wide image; prints are on 70 mm. film to allow for six stereophonic sound tracks on four magnetic strips; photographed at 30 fps so required special projectors; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. According to Chris Horak, the 65 mm. image had five perforations on either side of the frame, and another 2.5 mm. of film width on each side beyond the perforations, which allowed for four magnetic tracks, while two more magnetic tracks ran between the frame and the perforations. |
Todd-AO 35 | DEFINITION: 2.35:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield |
Toeiscope | DEFINITION: a form of CinemaScope from Japan; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Tohoscope | DEFINITION: a form of CinemaScope from Japan; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Totalscope | DEFINITION: a form of CinemaScope from Italy; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Totalvision | DEFINITION: a form of CinemaScope from Italy; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
TP | USE orig track pos or dupe track pos |
1-track, 2-track, 3-track, 4-track, 5-track, 6-track | DEF: Tracks refer to both how an audiotape or sound track is physically broken up, and how those tracks have been utilized. For example, 8 mm. digital audiotape (D-88) has 8 tracks on it, but only one may be used. See also channels, mono., stereo. and quad. 1-track, 2-track, 3-track, 4-track, 5-track or 6-track sound track (magnetic tape only); 1-track is always mono.; 2-track may be mono. or stereo.; 4- or 8-track may be mono., stereo. or quad.; for 12-, 16-, 25-track, etc. there is no need to specify mono. or stereo. |
track master (magnetic) | USE mag track master |
track master pos | DEFINITION: track master positive (optical) |
track master positive (opt) | USE track master pos |
track negative (optical) | USE track neg; may be orig, if dupe not specified |
track positive | USE orig track pos or dupe track pos |
triacetate | DEFINITION: a type of safety film. Assume for safety film after 1951 and before 1995; if preservation materials say 'acetate,' code here; if there is no explicit indication of type of safety base on preservation generated preprint, check with preservation staff, as they are using polyester more and more. Describe as 'safety' in 903 $c subfield, and code 007 byte 12 (Base of film), code t. Alan Lewis' AMIA Basic Training Workshop handout indicates this was in use from 1948 on, and consists of cellulose triacetate plus solvents plus plasticizers. |
Tricolor | DEFINITION: "A three color beam splitter camera, prints by Cinecolor"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
Triarama 3D | DEFINITION: Per Chris Horak, a single film 70 mm. 3-D system developed by the German company Constantin Film in 1973. (007 byte 4 (Motion picture presentation format), code c); use in the 903 $b subfield. |
trk | USE track |
trt | USE playing time; may mean 'total running time;' found on Academy screener videocassettes. |
Trucolor (2-color process, 1948-ca. 1951) | DEFINITION: two-color process; duplitized prints (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes g, h, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
Trucolor (3-color process, DuPont and Eastman, 1951-1956) | DEFINITION: 3-color subtractive multilayer color process (007 byte 13 (Refined categories of color), code a); use in the 903 $b subfield |
TV gamma | DEFINITION: printed low contrast with the intent that contrast would be heightened when the print was televised, restoring normal contrast as seen on a TV screen. Use in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note with an explanation of its meaning. See also gamma values |
Type A | DEFINITION: a one-inch wide reel-to reel videotape introduced by Ampex in 1965, according to the Vidipax Videotape Format Guide; according to MARC 21, "an obsolete early system." (007 byte 1 (Specific material designation), code r; 007 byte 4 (Videorecording format), code z; 007 byte 7 (Dimensions), code p); use in the 903 $a subfield in parentheses |
Type B | DEFINITION: a one-inch wide reel-to reel videotape introduced by Bosch in 1975, according to the Video Format Identification Home Page put on the Web by EMG; according to MARC 21, uses 2 heads and runs at 9.65 ips; still used in the U.S. and overseas (as of 1982). (007 byte 1 (Specific material designation), code r; 007 byte 4 (Videorecording format), code z; 007 byte 7 (Dimensions), code p); use in the 903 $a subfield in parentheses |
Type C | DEFINITION: a one-inch wide reel-to reel videotape; introduced by Ampex and others in 1978, according to the Video Format Identification Home Page put on the Web by EMG; according to MARC 21, utilizes one video head and tape runs at 9.61 inches per second; most widely employed as the broadcasting standard in the U.S. and overseas; equipment and technology made by Sony, RCA and others. (007 byte 1 (Specific material designation), code r; 007 byte 4 (Videorecording format), code e; 007 byte 7 (Dimensions), code p); use in the 903 $a subfield in parentheses | U+D | USE up and down |
UCLA standard track arrangement | DEFINITION: First channel: recorded non-Dolby with Academy filter for flat playback, that is with no Dolby needed and no Academy filter needed. Second channel: recorded Dolby A with Academy filter for playback with Dolby A decoding and no Academy filter needed. Third channel: recorded Dolby A with no Academy filter for playback with Dolby A decoding and with Academy filter. Used only on sprocketed sound track film, not on audiotape. Put in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. Per Nancy Mysel, September, 2003, they are moving from using Dolby A on the second and third channels to using Dolby SR |
Ultra Panavision | DEFINITION: 2.76:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Per Chris Horak, used a 65 mm. negative, 5 perforations per fram, with a 1.25x anamorphic lens. The negative could generate either 70 mm. roadshow prints with six track stereo., or 35 mm. reduction prints with 4 track sound. First film using the process was Ben Hur (MGM), released November 1959. AKA MGM Camera 65. |
Ultra Panavision 70 | DEFINITION: 2.7 or 2.75:1 aspect ratio; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. Used an anamorphically squeezed image on a 65 mm. negative and 70 mm. print to project a picture with a ratio of 2.7:1 or 2.75:1. |
Ultrascope | DEFINITION: a form of CinemaScope from Germany; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Universal aperture | DEFINITION: standard sound aperture |
up and down | DEFINITION: double edged |
up and down track master pos | DEFINITION: double edge track master positive |
up and down track neg | DEFINITION: double edge track negative |
up and down track pos | DEFINITION: double edge track positive |
Utocolor | DEFINITION: "Three color subtractive transfer using the bleach out method for making a color transparency. It depends upon the bleaching property of certain wave lengths for certain dyes (1895)"--Trimble. (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
V | USE vinyl |
VA track | USE variable area track |
variable area track | DEFINITION: Optical sound track technology used from the 1930s to the 1980s, developed by RCA; encoded the audio signal by varying the area of the waveform. Place in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
variable density track | DEFINITION: Optical sound track technology used from the 1930s to the 1980s; encoded the audio signal by varying the grayness of the track. Place in an 866 $z ADDITIONAL PHYSICAL DESCRIPTION: note. |
VD track | USE variable density track |
Vericolor | DEFINITION: "Similar to Cinecolor (1935)"--Trimble. Two-strip color process with duplitized prints? (prints: 007 byte 13 (Refined categories of color), code f, 007 byte 14 (Kind of color stock or print), code d; negatives: 007 byte 13 (Refined categories of color), codes f, g, 007 byte 14 (Kind of color stock or print), code _); use in the 903 $b subfield |
vis. t.c. | USE visible time code; record in 852 $q condition note |
Vistarama | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Vistascope | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield. |
VistaVision | DEFINITION: developed by Paramount in the 1950s; did not require anamorphic lenses for camera and projector; instead, employed 35 mm. film running through the camera horizontally rather than vertically; could be projected as such in a special projector, but usually was reduced and printed a variable aspect ratio ranging from 1.66:1 to 2:1; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. Per Chris Horak, a 35 mm. wide-screen process developed by Paramount ca. 1953-1954; used a camera that exposed an area as great as two frames of film, while the film negative was pulled horizontally in 8 perforations per frame across the aperture; road showed for 35 mm. horizontal 8 perf. projectors with 1.85:1 or 2:1 aspect ratios; vast majority of prints were released in 35 mm. reduction with the standard vertical pull-down, and could be shown with standard spherical projection optics at an aspect ratio of 1.66:1 or 1.85:1. First film using the process was White Christmas |
Vitacolor | DEFINITION: two-color process. "Additive two-color similar to Kinemacolor (1930)"--Trimble. (prints: 007 byte 13 (Refined categories of color), code f; negatives: 007 byte 13 (Refined categories of color), codes g, h); use in the 903 $b subfield; limited to shorts and low-budget features; used from 1930 on |
Vitascope | DEFINITION: an early 65 mm. wide-screen process developed by Warner Bros. after Fox developed the Grandeur wide-screen process for The big trail in 1930; 2:1 aspect ratio, approximately; 007 byte 4 (Motion picture presentation format), code b; use in the 903 $b subfield. (Source of information: "Trail blazing" by Ronald Haver published in American film, May 1986.) According to Chris Horak, there were five perforations per frame. |
VTR | USE record date; make a 518 note in the bibliographic record. |
W | USE wire |
Warner-Color | DEFINITION: "Eastman negative-positive process (1953)"--Trimble; use in the 903 $b subfield |
Warner-Powrie | DEFINITION: color process; no record of commercial use; used from 1924 on. "Three-color regular line-screen process (1905)"--Trimble (007 byte 13 (Refined categories of color), code d); use in the 903 $b subfield |
WarnerScope | DEFINITION: a form of CinemaScope; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
Warwickscope | DEFINITION: a form of CinemaScope from England; 2.35:1; 007 byte 4 (Motion picture presentation format), code d; use in the 903 $b subfield |
wet gate printing | DEFINITION: A method of printing in which the film being copied is submersed in a solution during exposure to fill base scratches with a liquid to make the scratch invisible in the resulting print. |
window dub | USE visible time code; record in 852 $q condition note |
work print | Code as reference print; usually MOS, but do not guess. |
WP | USE work print |
Y | USE yellow |
YCM | USE yellow, cyan, magenta; if one record is identified as being 'YCM', create three holdings, one for the yellow strip, one for the cyan strip and one for the magenta strip. |
Yellow | DEFINITION: Color separation record of blue light which prints as yellow. Use in the 903 $b subfield. |
Last modified: February 16, 2012, my