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76 Film Preservation 1993 image.
I'd like to elaborate briefly on the three points. Regarding the first, our recommendation is for a well-defined, broad-based national partnership between the Library of Osngress, The National Film Preservation Board, archives, studios, independent producers and the technical community, including SMPTE. In this way, a greater awareness of preservation and improved decision making will prevail.
Sony Pictures recognizes that our commercial-driven requirements and the work on the preservation conmiunity should be integrated. The efforts of our committee demonstrate that such an arrangement does work.
Sony Pictures established its corporate Film and Tape Preservation Conunittee in June of 1990 with the institutions I just mentioned. This committee has become a catalyst for accelerating film preservation and assisting in the prioritization and restoration for the Columbia Pictures Library.
The committee has also prepared the groundwork for the identification of preservation issues on the national level and the development of resolutions to these issues. A very important component has been the sharing of information and research. The partnership arrangement between Sony Pictures and these archives has made us aU better problem solvers in the preservation area.
A collective effort will result in improved communications for ongoing preservation projects, coordinated guidelines for storing and preservdng film, and create insights into new technological developments.
Referring to our second point, an offshoot of the needs for preservation partnership in the United States is a need for clarification of priorities and increased planning of preservation and restoration projects. We have found that good plaiming and analysis of a restoration project, prior to starting work, results in higher quality and cost effectiveness. Prerestoration planning also includes a high level of inventory control and quality control. Without this, the ability to carry out restoration is not possible.
Sony Pictures has concentrated significant resources through its Film and Tape Operations Division to develop and implement a comprehensive plan to inventory aU Sony Pictures assets, which total over one million units of film material
Our final point, new technologies must be integrated into the film preservation effort. In the long term, new electronic and data processing technologies will be an integral component of preservation. New technologies impact restoration in three ways. First, as new electronic mediums are created, the demand to use original film materials increases. Second, new technologies can, in theory, assist film preservation, correcting or enhancing film, which cannot be accomplished through conventional means. Third, new