David Ackerman is senior audio engineer and manager of Harvard College Library Audio Preservation Services. He also co-chairs the SC-03-06 committee on audio metadata and TC-ARDL on archiving, restoration and digital libraries for the Audio Engineering Society.
Julia Ahamer currently works at the Phonogrammarchiv of the Austrian Academy of Sciences in Vienna. She is a scholar of African Studies specialising in the Chadic language Hausa and currently working on her PhD thesis about contemporary Hausa literature. She has worked as a network administrator and webmaster for some time, and is now an archivist at the Phonogrammarchiv. She started her training at the Archive by audio archiving African Language recordings. Since then she has focussed on video archiving and in this capacity is responsible for the videography workflow at their new video archive.
Mike Casey has training and experience as both an audio engineer and a sound archivist and is currently the Associate Director for Recording Services at the Archives of Traditional Music (ATM) at Indiana University. He manages all access/preservation transfer and restoration work for the ATM’s 110,000 audio recordings dating from the 1890’s to the present. From 1987 to 1993 he headed the Southern Folklife Collection in the Manuscripts Department at the University of North Carolina as the Department’s Sound and Image Librarian. In 1993 he “ran away to join the circus,” touring in the US and Canada with Cucanandy, a band that performed traditional Irish music and dance and used archival resources in developing repertoire. Now back in the world of archives, he is working on the ATM’s collaboration with Harvard University’s Archive of World Music to develop a sustainable, long-term, system for preserving audio in the digital domain. This initiative, funded by NEH as a research and development project, is titled Sound Directions: Digital Preservation and Access for Global Audio Heritage. Mike is also currently Co-chair of the ARSC (Association for Recorded Sound Collections) Technical Committee.
Dave Cavena is a Systems Engineer with Sun Microsystems, supporting the digital content space for studios, postproduction companies and some dotcoms. Prior to coming to Sun Microsystems in January of 2006, he was Project Director, Blu-ray Authoring System for Sony Pictures Entertainment New Technologies from the beginning of the project in 2004 until 2006. Preceding this position, he was Program Manager for Disney’s MovieBeam development and rollout, from 2002 to 2004. From the mid-1990s until 2001, Dave was IBM’s Digital Cinema lead and Executive Project Manager, where he led projects at many of the studios in content security, digital dailies and watermarking, and managed the IBM development of the prototype systems launching the WB TV network.
Paul Collard is responsible for Soho Images and Todd-ao UK, Ascent Media Group Creative Services Film Laboratories & Digital Post Facilities in the UK.
Soho Images has Film Restoration and Preservation services, including a certified nitrate vault, and two 2K Film and Digital Grading Preview Theatres which are used for Feature Film Digital Intermediate post production and screening Digital Cinema Masters. Paul has presented conference papers on Digital Intermediate, Digital Cinema and Digital Services for Film Archives. In his current role, Paul is involved in the application of Ascent Media’s digitisation and asset management services to film & video archives in the UK & Europe.
Paul is a Past President of BKSTS.
Jean-François Cosandier received his INTD diploma in Paris in 1978. He currently occupies the position of Head of the Documentation and Archives Department of the Radio Suisse Romande, Lausanne, Switzerland, since 1980. He is the Representative of the RSR in the European Project MEMORIES (in charge of Users Operations and of the Disseminations Issues).
Daniel DeVincentis currently Director of Digital Imaging at Cineric, Inc., in New York, where he oversees the quality control and throughput of color imaging. He has been a color timer since 1980 in the motion picture laboratory industry. He began working in digital imaging in 1994 and has been with Cineric since 2001.
Frédéric Dumas currently works at the Research and Experiment Department of the French National Audiovisual Institute (INA). He manages Research and Development projects, he coordinates software developments, and he provides technical expertise in the following fields: copyright protection techniques for audiovisual content, preservation of archives, digital mass storage. He manages R&D actions in the framework of internal INA projects (video content detection and filtering system) and in the framework of collaborative French and European projects. Before that, he participated in software developments for audiovisual applications. Then, he conducted different technical studies and professional training sessions at the Technical Department of INA since 1995 before entering INA’s Research Department in 1997. He notably co-authored reference studies concerning the tools and techniques for the distribution and storage of digitized audiovisual documents. He participated in selection committees for French and European R&D support programmes. He also contributed to the MPEG21 standard as far as multimedia content identification is concerned and he participated in Eurovision workgroups on archive management and audiovisual content protection. Education: Telecom Paris / ENST; specialization in audiovisual technologies and computer science (1994).
Thomas Edwards is the Senior Manager, Interconnection Engineering for the PBS Interconnection Replacement Office. He is currently responsible for the engineering management of the PBS Next Generation Interconnection System (NGIS). Before joining PBS in 2002, he was the streaming media product manager at Cidera, where he developed a broadband desktop video channel for technical employees delivered using IP-over-satellite. He has had significant experience with streaming media production and delivery at the Internet service provider DIGEX as well as his own streaming media company, The Sync. Edwards holds a Master’s Degree in Electrical Engineering from the University of Maryland, and is a member of IEEE and SMPTE.
Carl Fleischhauer‘s work experience includes film and video production, including a six-year stint at public television station WWVU-TV in West Virginia. At the American Folklife Center at the Library of Congress, he carried out field research and developed publications and exhibitions. Fleischhauer was a coordinator of the Library’s American Memory pilot program from 1990-1998, and now works in the Library’s National Digital Information Infrastructure and Preservation Program (NDIIPP) program, concerned with the preservation of content in digital form. Publications include record albums and CDs, a laser videodisc, and various books and articles, the most recent being the photographic book Bluegrass Odyssey, 1966-1986 (University of Illinois Press, 2001).
Giovanna Fossati is Curator at the Nederlands Filmmuseum in Amsterdam where she works since 1997 and is responsible for restoration projects and for the Filmmuseum’s Research & Development activities. Fossati participated in the creation of the MA Preservation & Presentation at the University of Amsterdam where she has been a member of the teaching staff since 2003. She has published several articles on colour in early film and digital film restoration, and she has curated an educational website on film restoration. Her recent publications include Digital technology entering film archives, in Mieke Lauwers and Bert Hogenkamp (eds.), SAP jaarboek no. 5, KVAN, 2006; The Restoration of Beyond the Rocks, in Beyond the Rocks (USA, 1922), DVD release, Milestone Film & Video, 2006. and Beyond Distribution: Some Thoughts on the Future of Archival Films in Frank Kessler and Nanna Verhoeff (eds.), Film Distribution from 1895 to the 1910s, John Libbey Publishing, Eastleigh, forthcoming in 2007. Fossati is currently working on a PhD dissertation at the University of Utrecht with the title: From Grain to Pixel: Theorising Film Archival Practice in a Time of Transition from Analogue to Digital Technology.
John Galt is currently the Senior Vice President of Advanced Digital Imaging at Panavision’s corporate office. His responsibilities at Panavision include the development of digital imaging technologies in support of Panavision’s core motion picture and television production business. Galt was project leader of the group that, with Panavision’s technology partner Sony, developed the “Genesis” digital cinematography camera. Prior to Genesis, Galt was also responsible for the “Panavized” version of the Sony HDW-F900 first used by George Lucas on Star Wars episode 2. John Galt was previously employed as Vice President, High Definition Technology Development for Sony Pictures High Definition Center. His main responsibilities were the integration of electronic and film imaging systems. This included film preservation, High Definition film transfer systems and electronic cinema. Galt was project leader of the group that designed and built the first High Definition Telecine in North America. He holds numerous U.S., British, and Japanese patents in film and electronic imaging related areas.
Janet Gertz has been Director for Preservation for the Columbia University Libraries since 1989. Prior to that, she was Head of Reformatting for Columbia. She has an MLS from the University of Michigan and a PhD from Yale University in Indo-European Linguistics. Janet spends much of her time managing projects to digitize, reformat, conserve, or otherwise preserve books, archival collections, and audio materials. Outside of Columbia she has served on committees and task forces in many preservation-related organizations, including the Research Libraries Group, the Digital Library Federation, and the National Information Standards Organization. She has served on many American Library Association committees and task forces, recently as Chair of the Recording Media Committee, and she is a past Chair of the Preservation and Reformatting Section. She teaches preservation for the Long Island University Palmer School of Library and Information Science, is a member of the NEDCC School for Scanning faculty, and over the past twenty years has written and spoken on many aspects of preservation.
Robert Heiber has been involved in film sound preservation since 1990 when he joined Chace Productions. A member of AMIA since 1991, SMPTE, the Academy of Motion Pictures Arts and Sciences and ACVL, Bob has served on the National Film Preservation Board Advisory Task Force and the Library of Congress panel for the State of American Television and Video Preservation. He has spoken on film sound preservation, restoration and re-mastering at AMIA, ACVL, SMPTE and ARSC conferences. Prior to joining Chace, Bob was the Manager of Technical Operations at Warner Hollywood Studios and an award winning documentary/industrial filmmaker in Chicago, Illinois. Bob graduated from Purdue University in 1973 with a Bachelor of Arts in Radio-TV-Film.
Richard L. Hess has been involved with tape recording since he bought his first tape recorder in 1963 at the age of eleven. He worked at ABC-TV in New York from 1974-1981 as an audio-video systems engineer. He designed ABC’s first 8-track audio sweetening room, among other projects. During that period, he also recorded many concerts and servicesas well as recorded or produced about a half dozen record albumsfor St. Thomas Church on Fifth Avenue at 53rd Street. Two of these recordings were re-released on Priory Records out of the UK a few years ago. In 1981, Richard joined McCurdy Radio Industries in Toronto-they had supplied much of the audio equipment for the last large ABC project he worked on and he thought it would be interesting to move to Canada and to work on the “other side” for a while. McCurdy was sold in 1983 and Richard (and his new bride) went to Glendale, California, to work for 21 years at National TeleConsultants, where he held various titles including vice president and principal consultant. He worked on a wide variety of high-end design projects.In 1999, he had the opportunity to “go public” with the restoration of the 51 oldest tapes in the U.S. and from then on, he returned to his early passion of tape recording. He was able to evaluate this as a second career by working part time at tape restoration while working full time for NTC. Tape restoration continued to excite him. In 2004, Richard and his wife decided it would be good to return to her hometown of Aurora, Ontario, and go into tape restoration full-time. He has been getting great customer feedback and has been involved in researching, along with a host of others, the degradations of recording tape.
Martin Jacobson is presently Head of Technology and Development at The Swedish National Archive of Recorded Sound and Moving Images. He studied Electronic Engineering Technology and has twenty-five years experience in technology issues including communications and audiovisual applications and systems. For more than a decade he has focused primarily on digitization and preservation issues related to audiovisual content. He has recently led a successful effort to create an automated mass digitization facility with a capacity of 650 thousand hours per year. He teaches classes in Digital Archiving at the University of Stockholm, and Audiovisual Digitization at the University of Gothenburg.
Tanisha Jones is the Moving Image Archiving and Preservation (MIAP) Research Fellow in the Barbara Goldsmith Preservation and Conservation Department at New York University (NYU) Libraries. She received her M.A. in 2005 from NYU as a graduate of the inaugural class of Tisch School of the Arts’ MIAP Program. Her professional experience includes internships at the Museum of the Moving Image in Astoria, New York, NYU’s Elmer Holmes Bobst Library, WNET/Thirteen, and the New York Public Library for the Performing Arts. Ms. Jones worked as a research assistant for the Library of Congress’s National Digital Information Infrastructure and Preservation Program (NDIIPP): “Preserving Digital Public Television,” a cooperative project with NYU, Thirteen/WNET, WGBH Boston, PBS, and the Library of Congress. Since 2005, she has been a board member of the New York based nonprofit organization Independent Media Arts Preservation, Inc. (IMAP).
Bill Klinger is a consulting engineer. For more than thirty years, he has been researching the history, technology, and products of the cylinder record industry. His personal collection includes more than 7,000 cylinder records. Bill chairs the Cylinder Subcommittee of the ARSC Technical Committee. He reports on the subcommittee’s progress in developing an optimized Archival Cylinder Box.
Christophe Kummer studied sound engineering and experimental music science with the focus on computer technology at Hochschule für Musik und Darstellende Kunst in Vienna from 1989 – 1992. In parallel to his studies he founded and managed Impact Audio, a sound company dealing in the classical recording field (Sony Music, arte nova…) for recording and mastering and providing sound design for the public address industry for major classic music live events (Zubin Metha & Israel Philharmonic Orchestra, Mozart in Schönbrunn, Wiener Klangforum). The close cooperation with Austrian Mediathek led to the foundation of NOA Audio Solutions together with Peter Kuhnle in 1999, and here they developed, as one of the first with the NOA product range, a meaningful approach of audio mass digitization in quality controlled workflows. Within his company he works as product and project manager mainly with the development of parallel media ingest and batch processing from metadata driven workflows. Christophe Kummer is married and the father of 2 children.
Chris Lacinak, the founder of AudioVisual Preservation Solutions, has several years experience assisting University, Nonprofit, Government, and Corporate archives on a wide array of moving image and sound preservation and access issues. Chris is also an Adjunct Professor for the NYU Moving Image Archiving and Preservation Program and has consulted with organizations including the Library of Congress, Stanford University, Witness, and the Image Permanence Institute. His projects have addressed all aspects of audiovisual preservation, including high efficiency reformatting, facility design, collection management, metadata development, workflow design, and digital asset management. As a passionate advocate for the advancement of the field Chris also lectures, sits on advisory boards, chairs committees and is active in standards forming and relevant organizations including the Audio Engineering Society, The Society of Motion Picture and Television Engineers, Association for Moving Image Archivist, International Organization for Standardization, and Moving Image Collections.
Eric Lesage is operations manager at Memnon. His function covers first the management of the production, then the establishment, maintenance and application of procedures, and, last but not least, the configuration and exploitation of studios and IT infrastructure. To fulfil all those important missions, he can rely on his educational background in IT sciences, a strong commercial experience and 15 years practices in settlement of several projects directly or indirectly linked to Memnon’s fields of activities: picture, video, movie and sound production. He has been involved in projects like virtual montage systems – even before the concept became popular-, the creation of a movie and video production company; the implementation of data base management systems and automatic protocol in the nuclear medicine’s imagery field. He implemented also a sophisticated back office, providing data management and restitution in customer relationship management and exploitation, supplying multilingual/multi-alphabet value added services in the first web applications using xml language principles. His professional background allowed him to become the ideal person to contribute to the implementation of Memnon in its form today and to continue facing the numerous challenges encountered for its future progression.
Hermann Lewetz has been living in Vienna since the mid-1980’s following schooling at Elektrotechnik in Fachhochschule Augsburg Kamera and Film-Editing in Filmschool, Vienna. He has been working at the Österreichische Mediathek since 2001. He also gives lectures concerning mass storage and digitization workflows.
Jim Lindner, an internationally respected authority on the preservation and migration of magnetic media, is the Managing Member of Media Matters. Jim pioneered many of the techniques now commonly used for videotape restoration and has lectured widely and written about media preservation for the past twenty years. After founding the videotape restoration company VidiPax, he served as its president and executive director, stepping down after selling the company in 2001. He is a founding director of the National Television & Video Preservation Foundation and acted as a witness and panelist for the Library of Congress’ “The State of American Television.” Jim was twice a member of the board of the directors of the Association of Moving Image Archivists and FIAT. Currently, Jim sits on the Executive Board of SEAPAVAA and is the Chief Video Consultant for the National Audio-Visual Conservation Center at the Library of Congress. An active participant in SMPTE and ANSI standards committees, Jim has also served as Chairman of the Board of Anthology Film Archives.
David MacCarn is Chief Technologist for the WGBH Educational Foundation. He is currently responsible for long-term planning, investment and adoption of new technologies. His career with WGBH began in 1985 as director of engineering. Mr. MacCarn co-authored “Universal Preservation Format,” a recommended practice for archiving media and electronic records for the National Historical Publications and Records Commission of the National Archives. He is also co-author of an article entitled “Understanding the Preservation Challenge of Digital Television” for the National Digital Information Infrastructure and Preservation Program of the Library of Congress. Mr. MacCarn has a patent pending for a “Universal Digital Data Preservation System.” He received a BS degree in Computer Science from the University of Missouri, St. Louis where he held the honor of University Scholar, and did graduate work in Computer Architecture at the University of New York at Stony Brook. He is a member of the Society of Motion Picture and Television Engineers, the Institute of Electrical and Electronic Engineers and the Association for Computing Machinery.
Dirk Matthews enrolled at Columbia College Chicago to study photography, but wound up studying film, concentrating in cinematography. I freelanced for 5 years after that, but I gave up the glamour for counselor training. I received my Certified Addictions Counselor certification from the state of Arizona. It wasn’t long, however, before I smacked myself on the forehead and said, I’ve got to get back into image making! So I returned to Chicago, where I now freelance and teach in the Film Department as an adjunct faculty member. All of this, of course, when I’m not working in the Portfolio Center. Some of my more notable freelance jobs are camera for an ABC special America the Beautiful, and the HD concert film The First Waltz. My job in the Portfolio Center is to coordinate the archives. Outside of work, I am a freelance videographer, a photographer, and run a small dessert business with my wife. My images have been shown at the Tucson International Film Festival and Columbia College Chicago.
Nicola Mazzanti has been active in the field of film archiving and restoration for over 20 years, starting as a Film Archivist, and as a founder and director for over 10 years of the Bologna Film Festival, dedicated to film history and preservation. As a preservationist, he founded and directed an internationally renowned film restoration laboratory, and in this capacity he is responsible for the analog or digital restorations of hundreds of silent and sound films. He also teaches and writes about theory and practice of film archiving and restoration, and is a Member of the Technical Commission of the International Federation of Film Archives. Currently he is an independent consultant in Europe and in the US on major projects involving the transition of traditional Film Archives to Digital technologies for preservation and access.
Professor John McBride received a degree in Aeronautical Engineering from the University of Southampton in 1978. In 1986, he received a PhD for his work at Plymouth University with a thesis on Electrical Contact Phenomena. From 1985 to 1987 he lectured in the Mechanical Engineering Department at Plymouth University and from 1987 he has been a lecturer, senior lecturer and now Professor of Electro-Mechanical Engineering in the School of Engineering Sciences at the University of Southampton. He is chair of the Electro-Mechanical research group, and Head of Research in the School (2001-05). His main research interests include Electrical Contacts, Metrology and Instrumentation.
Arne Nowak graduated with a degree in Electrical Engineering from Technische Universität Ilmenau, Germany, in 2002. Subsequently, he worked as a research assistant at TU Ilmenau in the field of television studio technologies and virtual TV studios. In 2006 he joined Fraunhofer Institute for Integrated Circuits IIS to work in the European EDCine project on the development of a digital film archive system.
Luis Nunes was born in Portugal in 1979. He graduated from Instituto Superior Técnico (Lisbon, Portugal) with a specialization in Computer Vision. He is an experienced Workflow Analyst, and he is currently with the Engineering Operations department at MOG Solutions, where he is deeply involved in customer’s interfacing for requirements gathering and specification. In addition, he also has specific training in international R&D project management. Currently, he is the operational manager of MOG Solutions contributions to European Union R&D projects, such as WorldScreen (www.worldscreen.org) and EDCine (www.edcine.org).
Heinrich Pichler received his masters degree in information technology from the University of Technology in Vienna in 1968 and graduated as PHD in 1972. Until 2002 he was assistant professor at the University of Technology Vienna. He is working in the field of audio, video and circuit design. He is expert on the court of commerce in Vienna and consulting engineer in this fields. He lectures at the University of Technology in Vienna and on the University of Applied Sciences in Vienna. He is author of more than 100 papers in the field of audio and electronic circuit design and holds more than 40 patents. Heinrich Pichler is member of AES, IEEE, ITG and other national and international scientific organisations.
Unni Pillai . Prior to joining NYU Digital library, Unni Pillai spent 15 years as a real-time embedded systems software engineer in the console game industry. He worked on developing physics based simulations, real time video servers on the PLAYSTATION 2, motion capture tools, and various frameworks for application development. He studied Electrical Engineering at SUNY Stony Brook, graduating in 1991. He is presently working on the NDIIPP Preserving Digital Public Television project and is working on the technical design and implementation of the Preservation repository at NYU Digital Library. His current work areas include metadata interoperability, distributed computing, grid based storage systems, and automation of work-flows.
Paul Read joined Kodak Ltd in the UK in 1960 (after studying chemistry, biology and mathematics at University College, London), working in applied research, teaching, lecturing and commissioning technical motion picture film facilities throughout Europe and Asia. In the 1960’s, Paul spent two years at Eastman Kodak in the USA, with Ph.D. studies at RIT in (photographic) chemical engineering. He joined Kay Laboratories in London as Operations Director in 1973, and in 1979 set up as an independent technical consultant specializing in project and technical management of new technology in the film and TV industry. Since then, clients have included companies, government departments in many countries, the courts and insurance companies, with visiting teaching posts in universities. Since 1989, a long term interest in archive film lead to the legal guardianship of the British Pathé collection, membership of the Gamma Group, and involvement with the EU project Archimedia on behalf of a London client, Soho Images, and technical consultant on film restorations, initially using conventional film, now digital techniques. Since 1997 clients have included digital intermediate feature film post-production companies in Europe. Consultant on several European Union film research projects including FIRST, 2000-2003, and EDCine, 2006-current. Member of FIAF Technical Commission. Fellow of BKSTS.Author of many papers on motion picture technology and archive film restoration, including A Short History of Cinema Film Post-production, Polzer, Potsdam 2006, and, with Mark-Paul Meyer, Restoration of Motion Picture Film, Butterworth Heineman, Oxford, 2000.
Nan Rubin manages special projects in technology planning at WNET in New York, where she was instrumental in creating the Thirteen Tape Archives in 1999 when the station moved. She is project director of Preserving Digital Public Television, developed in partnership with Boston’s WGBH, PBS and New York University, to design a model preservation repository. The project is funded by the Library of Congress through its National Digital Information Infrastructure Preservation Program (NDIIPP.)
Ernesto Santos was born in Portugal in 1976. He is co-founder and Head of Engineering Operations of MOG Solutions, a leading provider of MXF based solutions. He is an experienced contributor to standardization. He was active in MPEG in the development of MPEG-21, as a co-editor of Part 2 of the standard, Digital Item Declaration. Currently he is a member of SMPTE and the Chairman of SMPTE W25.10, the MXF Working Group. He also has extensive experience in contributing to European Union R&D projects over the years, such as Worldscreen, EDCine, CONTESSA, G-FORS, ASSET and NUGGETS, among others.
Dietrich Schüller is director of the Phonogrammarchiv of the Austrian Academy of Sciences. A specialist in audiovisual preservation and restoration, he has worked as a consultant to a number of audiovisual archives world-wide. He was Chair of IASA TC for many years and has served on JTS Organising Committees from 1987 – 2000. He is now Vice-President of the Intergovernmental Council for the Information for All Programme, and Chair of the Sub-Committee on Technology for the Memory of the World-Programme of UNESCO, member of the European Commission on Preservation and Access (ECPA) and of the Audio Engineering Society. and Vice Chair of the AES Standards Subcommittee SC03 on Audio Preservation and Restoration. He is author of numerous publications on audiovisual preservation, lecturer at several Austrian Universities and visiting professor at the Teachers University of Fuzhou, China. He is also engaged in national and international training seminars on audiovisual archiving, more recently in Europe doer Project TAPE, Mexico, the Caribbean, China, the Philippines, Singapore, and Central Asia.
John Spencer is President of BMS/Chace LLC. As a member of the NARAS P&E Wing Deliverables Committee, Spencer is a co-author of the Recommendation for Delivery of Recorded Music Projects document (also adopted by AES) and remains an active proponent of bringing transparency to the Master delivery process for record labels. He is also a member of the ARSC Technical Committee, the AMIA Digital Issues Committee, and various AES committees (Digital Libraries and Studio Production and Practices).
James M Turner is a professor at the École de bibliothéconomie et des sciences de l’information, Université de Montréal. He holds a PhD in information science from the University of Toronto. His research activities are focused on storage and retrieval of still and moving images, indexing images, metadata for digital images in a networked environment, preservation of digital images, and audio description. He teaches in the areas of multimedia information systems, managing visual and sound information and moving image archives, and preservation of digital information. He is a lifetime member of AMIA and a member of the Section on Audiovisual and Multimedia of IFLA. More information about his professional activities can be found at mapageweb.umontreal.ca/turner.
Léon-Bavi Vilmont received an educational training in chemistry and graduated as a Ingénieur chimiste (Chemical engineer) with a specialization in physico-chemistry analytical techniques. He also obtained a university post-graduate degree (D.E.S.S.) in preventive conservation management of Cultural heritage. Vilmont is a research scientist at the CRCC, a joint research laboratory of the French Ministry of Culture, the National Science Research Council (CNRS) and the National Museum of Natural History. Léon-Bavi VILMONT is employed by the French Ministry of Culture. He carried out research in the field of cultural heritage preservation studying at first the ageing of collection materials (natural and synthetic polymers), the characterization of their physical, mechanical and chemical properties and finding methods for safeguarding and long-term preservation. He then developed research – since 1999 – in the preservation of modern information carriers (audiovisual and digital media). Vilmont is currently involved in PrestoSpace FP6 IST European project on the preservation of the Audiovisual Heritage, and he is in charge of the media assessment Work Package. Léon-Bavi Vilmont teaches every year at numerous educational and cultural institutions: Université Paris I (Panthéon-Sorbonne), Institut national du patrimoine, Archives de France, etc. and provides scientific consultancy in the field of preventive conservation.
Nadja Wallaszkovits received her master’s degree in comparative musicology from the University of Vienna and graduated as an audio engineer from the School of Audio Engineering (SAE) Vienna. Since 1988 she has been working as recording and balancing engineer in the studios of the Vienna Concert House and for private national and international recording companies, focusing on classical, jazz and pop music, including film and video sound and synchronisation. In 1998 she joined the Phonogrammarchiv of the Austrian Academy of Sciences, where she has been managing the audio department as a chief engineer since 2004. She is specifically responsible for audio restoration, digital archiving and rerecording of historical tape collections. She works as a consultant for archival technology and systems implementation for National and International Project Partners. She lectures at the University of Vienna and has held several training seminars, recently in the context of the Project TAPE. Wallaszkovits is Member of Technical Committee of the Audio Engineering Society (AES), Chair of the Audio Engineering Society Austria (AES Austria) and Member of Technical Committee of the International Association of Sound Archives (IASA).