Maybe you heard about our new film inspection tools at AMIA this year or last. Maybe you heard about them afterwards. Maybe you discovered them on our website first. Anyway, here’s the story of our AMIA exhibition and beyond.
In October we delivered our 16mm film inspection system to Northeast Historic Film in Maine. Cataloger Emma let us observe and she talked to us about the experience. We call Northeast Historic Film our beta site. The whole point of the exercise was to learn from its use in real life. Get out of the lab.
We brought the FI-16 to AMIA and rented a conference room where we invited moving image archivists to bring their own films and try it out. That was fascinating! In addition to all the wise and experienced commentary, we got to see a remarkably varied range of films in all kinds of conditions. Sorry we couldn’t do that on the AMIA exhibition floor where we had a booth, but we figured that the people who brought their films to us deserved their privacy. Hey, when it comes to film inspection you don’t always know in advance what’s going to be on that film!
We learned from our friends at Northeast Historic Film and at AMIA that there were two areas of improvement that we could implement immediately. First of all, the films we inspected were larger than we thought people would be storing and carrying. Second, people have a lot more ideas about how to do film inspection than you would think. Some like to go really slow, some like to start slow and speed up, some like to just set and forget. Some like to look at the edges while the film is running, some prefer to look at the video workprint later when they can scrub and pause and so on.
And perhaps most interesting, we built our system for photography and video to support the film inspection workflow for humans and for computer vision analyzed condition reporting. But you know what? Sometimes film inspection just means winding. Winding loose, winding medium, winding tight for shipment, or just winding so the other end of the film is outside.
So we brought the FI-16 device back to our lab in Baton Rouge and implemented those improvements. Will be sending it back to Northeast Historic Film soon, because they’re renting it for a year. Yippee 🎉!
While programming those motor control improvements we also discovered that with a little tweaking around the rollers, we no longer needed top platters resting on the films. At least most films. We’ll still ship top platters but hey, if you can remove that step from the film inspection process every little bit helps. It’s all about workflow and efficiency.
We also programmed in those new controls I mentioned. All the winding functions, film speed cruise control, manual and automatic controls, and a menu system right by your fingers so that you don’t have to look up at the computer screen because the film is right there by your fingers too.
Thanks to Northeast Historic Film, AMIA and beyond, today we’re building a production run of film inspectors. Our dreams are coming true. We hope for you too.