1. The Guidelines
   
2. Bibliographic verification
   
3. Copyright
4. Preservation Microfilming
5. Standards
6. When to choose the microfilm option
7. Estimating the cost of microfilming
8. Initial contact with the Southern Regional Library Facility - Preservation Microfilm Service or external filming bureau
9. Online Records
10. Pre-filming preparation
11. Unique numbers for the films (MNEG numbers)
12. Number of bibliographic units per reel
13. Placing orders
14. Sending material to the filmers
15. Summary of processes at the filming bureau
16. Quality control by the filmers
17. Color coding the microform containers
18. Labeling the microform containers
19. Returning completed film to the library
20. Quality control by the library
21. Returning film for correction to the filming bureau
22. Cataloging the preservation microforms
23. Housing the microforms
24. APPENDIX I: Estimating Reformatting Costs
25. APPENDIX II: Preparing Materials for Rerformatting
26. APPENDIX III: Targets
27. APPENDIX IV : QUALITY Control at the Library
28. APPENDEX V.a : Copyright Release Letters for Serials and Newspapers
29. APPENDEX VI : Dimensions of Reduction Rations and Examples of Newspaper Sizes

1. The Guidelines
These guidelines have been adapted from a UCLA Library draft document on preservation quality microfilming of printed materials. Top of Page

2. Bibliographic verification
Search the titles in appropriate bibliographical sources, in order to identify:

• commercial availability of an existing preservation microfilm of the run from a library or commercial publisher.
• unavailability.

Verification of availability requires searching the basic "in print" bibliographies for print and microform, OCLC, RLIN (selectively, now that tapes are being exchanged between the two utilities and loaded on regularly) and a few of the more important microform vendor catalogs. The information on OCLC and RLIN about microform master negatives may be taken to indicate that a microcopy may be purchased. The basic sources for verification are:

• MELVYL
• OCLC
• Guide to reprints
• Guide to microforms in print
• RLIN (selectively)
• Newspapers in microform: United States (LC)
• Newspapers in microform: foreign countries (LC)
• Newspapers in microform (UMI)
• [other available microform vendor catalogs]
• [other sources relevant to subject specializations]

Decision point. Extent of verification to be undertaken.

Decision point. Procedures to be followed when the verification process indicates a preservation microfilm may already exist either as a separate item (title) or as part of a commercially produced set of film. Top of Page

3. Copyright
Once a decision has been made to make a preservation microfilm, it becomes essential to ensure that there is no violation of the current copyright legislation. In general a printed title is protected by copyright for 75 years from the date of publication. Titles no longer in copyright are said to be "in the public domain".

Material in the public domain may be freely microfilmed and may be sold to any other library or individual. Most government publications are not subject to copyright; therefore, there is generally no need to verify the status of such pieces when they are to be filmed.

If a title is still in copyright, it may be copied under certain conditions only. Section 108c of the Copyright Law permits a library to make one copy for replacement without needing to obtain permission to do so from the holder of the copyright, if the title is in the library’s collection, and "if the library or archives has, after a reasonable effort, determined that an unused replacement cannot be obtained at a fair price." (Quoted in LC Copyright Office circular R21: Reproduction of copyrighted works by educators and librarians, p. 16) "Unused" should be taken as indicating a paper copy or a commercial microcopy. This means that a library must currently own the material that it wishes to replace and that adequate bibliographic verification has been done to determine that it is not available. If the conditions mentioned above are not met, or cannot be met, or if any uncertainty exists, it will be necessary to try to obtain permission to copy from the copyright holder (See 3.1, below). If the name and/or address of the copyright holder is not known, the unit should obtain the information from the Copyright Office at the Library of Congress. Please note that this is an expensive service.

Decision point. If copyright clearance is not obtained or appears to be unobtainable, the microfilm must clearly state that it is a preservation copy and is not for sale, unless the purchaser has the copyright holder’s permission, or is a library that owns a deteriorated paper copy of the title. As it is inevitable that a copyrighted title will eventually be in the public domain, you may decide to set a date after which the microfilm may be sold. The notice in the film would then read: "Material currently in copyright. Film not for sale until:_____".

If the library does not choose to anticipate a date after which the material may be in the public domain, the notice in the film could read: "Library use only". In both instances the notice will include an injunction against making copies of the whole or parts of the reformatted version.

When making a reformatted copy of an out of print title borrowed from another library, apply the same copyright procedures above, and include in the film an acknowledgment of the owning institution.

3.1 Obtaining permission to copy or acquire a copy of a work still in copyright
When it is necessary to get permission to make a microfilm a form letter like the one reproduced in Appendix V should be used to contact the copyright holder.

Make at least two attempts to secure permission to copy or buy a copy. If no answer is received within six months, go ahead and produce the copy.

Copies of relevant documents, or appropriate targets, should accompany orders for reformatting, as it is essential for microfilm replacements to carry a copyright statement. Targets are fully described in Appendix II. 3.2 Summary of decisions as they affect titles in copyright

The following points should provide adequate guidelines for decisions. The statements concern only titles that are still in copyright. They assume that a reasonable effort has been made to obtain unused copies at a fair price.

1. Preservation copies of complete newspaper runs currently in a library collection may be made without permission for that library. If however, we anticipate selling copies of a microfilm, the permission of the copyright holder should be obtained before filming. If permission is not obtainable, the film must carry a notice saying the material is in copyright and not for sale, except to institutions that already own a deteriorated copy of the title and need to replace it. Copies of the reformatted title must not be sold, until, at some future time, the copyright is judged reasonably to have expired, or if a purchaser has received permission from the copyright holder to buy the copy.
2. If a missing part of a serial is borrowed from another institution, permission to copy must be obtained from the copyright holder and the owning library, before filming. It is advisable to have the copyright holder's permission, before the material is borrowed. Proof of permission to copy must be supplied to the lending institution.
3. If missing or mutilated pages cannot be replaced, then photocopies of the pages may be obtained for filming.

If another library has already made a preservation film, that copy should be examined for accuracy and completeness. It may prove necessary to make a new microfilm of the material. Top of Page

4. Preservation Microfilming
Microfilm has been a preferred medium for preservation for the last fifty years and is likely to remain so for the foreseeable future. When processed and stored in accordance with the agreed standards, silver halide microfilm is very long lasting. If the film should exhibit signs of deterioration, a duplicate can be made to replace it. It will also be possible to digitize a deteriorating film, enhance the image quality, and then produce a new film -- but there may be some loss of quality.

Preservation microfilming, carried out in accordance with agreed national standards, produces a set of three films for each title preserved:

• Master negative (MNEG). This is the film in the camera when the preserved material is photographed. It must not be used except to generate the duplicate or printing negative.
• Printing negative (PNEG). This is a direct copy of the MNEG. It is used to generate positive or service copies.
• Positive or Service copy (POS). This is the film the library user reads. It is also the format used for copies purchased by individuals or other institutions.

5. Preservation Microfilming: Standards
A number of national and international organizations responsible for developing standards have created standards for all aspects of microfilm production and storage. There is a list of the standards currently used in the USA in Preservation Microfilming, edited by Lisa Fox (ALA 1996) and the RLG Preservation Microfilming Handbook, edited by Nancy Elkington (RLG, 1992).

Current standards apply only to black and white microfilm. Preservation standards for microfiche and color microfilm are being developed.

Production of the set of three films for each preserved title conforms to the current standard. It is used for preservation microfilming projects by the Research Libraries Group (RLG) and by the National Library of Medicine’s (NLM) preservation program.

The UC Southern Regional Library Facility - Preservation Microfilm Service, or any microfilming bureau, will shoot and develop the MNEG, produce the PNEG and required number of POS copies, and run quality control tests in accordance with the standards agreed on by the UC Preservations Operations Committee. A current copy of this document is available from the UC Berkeley Conservation Office. The UC Southern Regional Library Facility - Preservation Microfilm Service has it's own set of technical specifications that have been adapted from the UC Standards and the RLG Guidelines by the southern UC Preservation Officers and SRLF Microfilm staff. (A copy of these guidelines are included in the folder). Top of Page

6. Preservation microfilming:When to choose the microfilm option
Microfilm is a tried and tested preservation medium for newspapers. Illustrated materials look perfectly acceptable on film, if the correct exposures are selected by the filmer. Microfilm is not advisable for materials with poor contrast between the print and the background, e.g. faded print on very old and yellow paper, or print on a very dark colored paper. Film is also unsatisfactory for very oversize materials. Top of Page

7. Preservation microfilming: Estimating the cost of microfilming
A simple method of arriving at a realistic estimate for most elements of a filming project is outlined in Appendix I. The cost figures are based on the current Southern Regional Library Facility - Preservation Microfilm Service charges. Although it is possible to arrive at a rough estimate of the cost of filming a volume, there are many variables that determine the final cost, e.g. special handling of a very brittle newspaper, or other preparatory work the filming bureau might contract to do for the library. Therefore it is always necessary to get an estimate from the filmer, as is indicated in the next section. Top of Page

8. Preservation microfilming. Initial contact with the Southern Regional Library Facility - Preservation Microfilm Service or external filming bureau
The filming bureau should examine the pieces to confirm that they will film successfully and to estimate the cost of filming. Should there be some doubt about how a piece will film, the filmers, by their own choice or on request may shoot selected pages to ensure that the resulting film quality will be acceptable.

It is essential to determine the filmability of a title as soon as possible after it has been identified as a candidate for reformatting on film.

At this time any special requirements of the library or the filmers should be fully discussed. An individual with preservation knowledge and experience should be included in this discussion. All parties should be aware of those elements of the project for which they are responsible. The Library should also seek advice on targets, if they are likely to depart from the norm, and on any special instructions to be included with the order. (See 10 iv and Appendix III, below, for information about targets and their preparation). A decision must also be made on whether or not a piece may be disbound and/or guillotined before filming, and whether this is to be done by the customer, or the filming bureau. The manner of disbinding will depend on the prior decision to retain or discard the title after reformatting.

Estimated timelines should be agreed upon. The library will indicate when it anticipates the title will be sent for filming. This will allow the filmers to incorporate the work into their schedule. The filmers should indicate how much time they need to complete the job and give an approximate completion date. If the job is an urgent one, the filmers should be told. Top of Page

9. Preservation microfilming: Online Records
When a preservation microfilm has been produced and is accepted, records should be entered into OCLC to avoid duplication of efforts. Top of Page

10. Preservation microfilming: Pre-filming preparation
Procedures for preparing materials for filming will be found in Appendix II.

Catalog records for the titles to be microfilmed should be located and the volumes matched against them. Uncataloged pieces should be cataloged now or a sham record should be created, because a copy of this record must be included in the microfilm.

A reasonable effort should be made to assemble a bibliographically complete run before filming. If titles that are bibliographically distinct happen to have been bound together, they should be treated as separate titles.

When collating newspapers for filming attention must be given to the following:

1. Every part of each item must be retained for filming. Occasionally, the pages and sections of a serial are rearranged before binding. If serial volumes appear to be of this type, a decision to film as bound or to reassemble before filming must be made on a title by title basis. If it is decided to film as bound, targets are to be inserted to explain the variants. (See v, below, for information on targets.)



2. Every reasonable effort should be made to replace missing pages, parts, text pages, or pages from which text or illustrations are lost. Good quality photocopies should be sought, or a copy of the same text could be borrowed for substitution.



3. Repairs, if they are needed, must be undertaken in a manner that will enable a good copy to be made, though with consideration given to whether the original is to be retained or discarded. Do not use adhesive tape on brittle paper, as it can cause further damage very quickly. Use a mylar L-velope or silmilar construction.



4. Pencilled notes and underlining will be erased and ink marks whited out, when possible, although it must be remembered that pencilled or other additions to the printed text may be of historical or other significance and these must not be removed or erased. Cleaning a volume preparatory to filming should not require an excessive amount of time and effort. If a volume is so defaced that it is likely to need more than an hour’s attention to make it clean enough, it should really be considered unfit for archival replacement, unless the item is very rare and it is not possible to find another copy in good condition.



5. Targets and instructions to the filmer must be prepared at this time.
   
   A target is a sign or note used in microfilming to provide the user with information about the material filmed. For example, each reel of a filmed serial will need a target at the start indicating the earliest and last volumes, issues, etc., to be found on that reel, together with a list of missing issues. Guidelines for the preparation of targets are given in Appendix III.
   
   All targets must be prepared in accordance with the current standard. If the filming agent has contracted to provide the targets, there is no need to do more than insert the target information at the appropriate points.
   
   The correct catalog record for each piece is to be used to prepare the primary bibliographic target. The catalog record itself will be included as one of the preliminary targets. The "catalog record" may be the shelf list card or a copy of an on-line record in "reference" format. If there is no record available, the piece must be cataloged or a sham record created for the film.



6. Instructions to the filmer should not be confused with target information. The instructions may relate to specific problems, e.g. how an insert is to be filmed. They must be given clearly and on paper of a different color from that chosen for the targets or target data, when the filmers are creating the target for the library. If a project requires the filmer to depart from standard practices throughout the filming of a title or series of titles, a complete list of instructions must be supplied at the commencement of the project; e.g. if all blank pages are to filmed (usually, blank pages are not filmed).
   
   
7. Before filming a serial title that is unlikely to be contained on a single reel of film, decisions must be made on where the reel breaks are to occur. Whole weeks, months, years or logical combinations of these should be aimed for, e.g.:
   

   May 1 - 15; May 16 - 31
   January - March 1911; April - June 1911
   
   Avoid:
   May 1 - 23; May 24 - June 19
   March 6 - April 13, 1911; April 14 - August 3, 1911

   
   
   The position of reel breaks may be calculated quite simply. A 100’ reel of microfilm will accommodate about 625 frames of images (i.e. exposures), inclusive of the targets, when filming an average sized serial at a reduction ratio of 12: 1. Calculations for newspapers are made on the basis of one page per frame; occasionally, with bound volumes or papers that must be treated as artifacts, newspapers are filmed at 2 pages per frame. If a piece requires a very large number of targets, or has oversize pages, the number of pages that can be filmed will be correspondingly lower. The Preservation unit has developed forms to be used for registering the number of pages and frames and the running total of frames when preparing multi-reel materials. This assists in the calculation and notation of reel breaks. An example of this form is included in Appendix V.
   
   
8. In microfilm the best result is obtained if the original is a flat leaf. Tightly bound volumes or volumes with narrow inner margins may need to be disbound prior to filming in order to obtain the best possible image, without any loss of text. Therefore, a decision must always be made as to whether a volume may be disbound or guillotined before the work is begun. In general, use of the guillotine implies deaccessioning the piece.

The material to be filmed should now be in the condition in which it will be sent to the filmer. Everything should be in the correct sequence, with targets and instructions in place. If the contract with the filmer (or agreement with Southern Regional Library Facility - Preservation Microfilm Service) requires that all prefilming preparation be done by the library (including disbinding, slitting folded newspapers, pressing creases, etc.) the materials will be virtually ready to film with only essential intervention by the filmers. Materials prepared to this level are referred to as "camera ready". Finally, the contents for each reel of a multi-reel set should be wrapped in brown paper, or placed in a document or other box, and clearly labeled. Top of Page

11. Preservation microfilming: Unique numbers for the films (MNEG numbers)
Unless MNEG numbers are mandated by the California Newspaper Project funding, they may not be necessary. Top of Page

12. Preservation microfilming: Number of bibliographic units per reel
In general, a reel of film will contain a single bibliographic unit, unless the length of the item requires two or more reels. Top of Page

13. Preservation microfilming: Placing orders
Orders for original microfilming are not placed until the required pre-filming preparation procedures have been completed (see 10, above, and Appendix II).

An MNEG number (if used) should be assigned to each title to be filmed. The following note, or similar note, may also need to be entered into the online record:

946 $m Cataloger note negative master #

In response to this prompt, the cataloger will, for serials records, complete the subfields of the 007 field, as appropriate. The cataloger will also put the MNEG number into the 905 MN/ subfield. Finally, a photoreproduction note will be placed in the 533 subfield.

Orders should comply with SRLF or other filming bureaux requirements. They will want you to include the following information when preparing either a request for an estimate or an order:

1. the title being filmed
2. the number of frames estimated
3. the condition of the pieces to be filmed (extremely fragile, low or high contrast, etc)
4. the number of reels (or anticipated number of reels, if the order is for a lengthy, on-going project)
5. the generations that are required (typically three generations)
6. the number of copies of each generation required
7. the requirement that the work be done in accordance with the prevailing US copyright laws. (See Appendix V).

14. Preservation microfilming: Sending material to the filmers
When all the pre-filming routines are completed, the materials (camera ready, or prepared to the level agreed upon with the filmers) should contain the master negative number, targets one of which should include a copy of its catalog record, instructions for the filmer (general instructions for a project or title and instructions for specific problems), and the official order for the work. The contents for each reel of a multi-reel set should be wrapped in brown paper or placed in a document or other box clearly labeled.

An assurance that every title in a shipment is copiable within the law should be included with the shipment. If the work requires written permission to copy from the copyright holder, a copy of the document granting permission should accompany the order. If there is any ambiguity in matters relating to copyright for a title, the filmer will insert, in place of the copyright target, one that reads "This material may be protected by the copyright laws of the United States, Title 17 (United States code). For use in UCLA Library only. No copies to be made for distribution."

If responsibility for disbinding or guillotining pieces has been left to the filmer, specify any titles that will be retained in their original format and which must, therefore be filmed in a bound state, even though that will produce a less than perfect microimage.

Arrange now for the filmer to collect the materials or to deliver the materials to the filmer. The library should retain an acknowledgment of receipt of the materials by the filmers. Top of Page

15. Preservation microfilming: Summary of processes at the filming bureau

1. Pick up or receive material to be filmed.



2. Log in each job received.



3. Assign jobs to individual filmers.



4. Preparation.
   
   
   1. Check that all materials are in correct sequence, with targets, etc., in accordance with the contract or other agreement with the library.
      
      
   2. Contact unit if anything is thought to be amiss.
      
      
   3. Provide agreed upon preparation services, e.g. pressing creased pages.
      
      
   4. Add targets provided by the filming bureau, e.g. place and date of filming, required technical targets, strip targets (as needed).
   
   
5. Film the materials.



6. Process the MNEG, check it for quality, errors, etc., reshoot;frames, as necessary, and splice them into the MNEG, or reshoot the entire reel. The Microfilm Inspection Sheet will be used (see Appendix V).



7. Produce PNEG and POS copies.



8. Run methyl blue tests for each batch of film processed.



9. Complete Quality Control Report form.



10. Wind film onto spools and place each in an appropriate pH neutral box.



11. Label the boxes.



12. Deliver the films together with the original materials, the Quality Control Report forms, and the bill.

16. Preservation microfilming: Quality control by the filmers
The filmers will perform quality control tests on the films. They will examine the density of the image, the focus, register, etc., verify that all the pages have been copied in correct order, and that all targets have been filmed in their correct positions, and that the residue from the chemicals used in processing do not exceed the amount permitted by the standard. A Quality Control Report form will be completed for each MNEG and will accompany the finished film. Top of Page

17. Preservation microfilming: Color coding the microform containers
Microfilms will be housed in boxes made out of neutral boards. The color of the grommets (i.e. the metal edges) will indicate the kind of film in the box:

Red = NMEG
Blue = PNEG
Silver = POS

Envelopes and other containers used for preservation microfiche must be similarly color-coded. Top of Page

18. Preservation microfilming. Labeling the microform containers
The filming bureau will provide labels for every box of film. Information will include title (a short title) inclusive dates and reel number. The labels will identify the generation of the film in the box as prescribed by preservation microfilming conventions, with the terms "Master negative", "Printing negative", or "Positive" ("Service copy" is also acceptable), as appropriate. The MNEG number, if used, will appear on all the containers. Top of Page

19. Preservation microfilming. Returning completed film to the library
After all the required procedures have been completed by the filmers and the film is judged to meet the applicable standards, the three generations of film for each title, together with the original pieces, should be delivered by the filmer to the unit indicated on the order form. Top of Page

20. Preservation microfilming. Quality control by the library
Upon receipt of the microfilm, library staff should make random quality control checks on it, following the guidelines in Appendix IV. Examine the positive copy for legibility, crispness of image, and placement of image within the frame. It is particularly important to see how illustrations, color images, etc. have fared. If the best attainable quality of filming proves inadequate for a piece, as a whole or in part, it might make a decision to keep the original necessary. It is also useful occasionally to do a frame by frame check on a reel of film, to ensure that all of the pages have been filmed, in the correct order, and that targets have been filmed in the correct locations. The Library Quality Control Forms and Microfilm Tracking Sheet (for multi-reel projects) should be completed (see Appendix V). If there are errors on the film, they must be corrected, either by splicing in new film to replace the film that is incorrect, or by reshooting the entire reel.

21. Preservation microfilming. Returning film for correction to the filming bureau
Procedures for returning film for correction should be established. All generations of the film must be returned together if reshooting is involved. Do not send only the pages that need to be refilmed, but include at least a dozen pages on either side of it, or the entire issues. Let the filmer judge exactly how many frames to reshoot in order to comply with the standard that dictates the minimum acceptable distance between splices.

Regardless of whether the corrected film represents a total or a partial reshoot, treat all film received from the filming bureau as though it were a new batch, as it should have gone through all the steps outlined in Sections 15 - 19, above. The library must apply the quality control standards outlined in section 20, above. Top of Page

22. Preservation microfilming. Cataloging the preservation microforms
When the microfilm is deemed to be correct and acceptable, catalog records should be upgraded. The record should include the MNEG number that has been assigned to the reel of film. The record should also contain notes to indicate that the MNEG must never be handled except to generate a new PNEG, should the original PNEG be damaged in any way. Likewise, there should be a note to indicate that the PNEG must not be handled except to generate positive copies.

Decision point. If they are not already in place, cataloging procedures for the microfilm must be agreed upon.

Once the catalog record has been upgraded, the three generations of film must be dispersed to their designated locations.

Decision point. A location for each of the generations of film, the MNEG, PNEG, and POS, must be designated. Top of Page

23. Preservation microfilming. Housing the microforms
Each generation of film should be housed in a different location. Under no circumstances should the MNEG and PNEG be housed in the same location. Every effort should be made to store the MNEG in a cool and dry place, in conformance with current preservation standards. Top of Page

APPENDIX I: Estimating Reformatting Costs
1. Estimating costs for original microfilming

To estimate the cost of microfilming the following must be known:

1. the number of frames
2. the number of master microfilm (MNEG) reels that will be required
3. the number of print negative (PNEG) reels (it should be the same number MNEG).
4. the number of use copies (POS) required. Multiply the number of each use copy by the number of MNEG or PNEG.

Important note:Not included here are the costs associated with obtaining permission from the copyright holder, and trying to borrow copies of missing pages, issues, etc. Top of Page

APPENDIX II: Preparing Materials for Rerformatting

1. Essential Preliminaries
The following must be completed prior to physical preparation:

1. submit a request for copyright permission from copyright holder.


2. search for an existing preservation quality commercially available film.


3. determine whether materials will be discarded after filming.


4. if materials are to be retained, determine type of conservation quality repairs to be performed.


5. determine if materials can be disbound, or otherwise tampered with to get a better image.


6. consult filmers regarding: filmability of documents, reduction ratio, and number of frames per reel.

2. Major steps in pre-filming:

1. Collation/count sheets


2. Repairs


3. Calculating reel breaks


4. Preparing targets


5. Final preparation

3. Collation/physical preparation:

Peruse the materials page by page. Fill out the count sheet (See Appendix V) as you go through these steps. This information will be used later. Pay attention to the following:

1. Ensure materials are in the correct sequence.


2. Note areas which may not film well due to colored paper, faint images, colored images. Write these on the count sheet.


3. Note missing portions, bad copies, and mutilations or other things which affect the text. Also note anything which needs repair. Write these on the count sheet.


4. Remove extraneous materials, paperclips, and staples.


5. A reasonable attempt should be made to clean up the items to be filmed, e.g. removal of pencil markings.


6. Note anything which may affect a reader’s ability to easily decipher what has been filmed, e.g. errors in pagination, printing errors, mutilations, obscured text. Note these on the count sheets.


7. Look for unusual page layouts. These need to be brought to the attention of the filmers. Write occurrences of these on the count sheet.

Using the information gathered on the countsheets, compile a list of pages and/or issues that are either missing from our collection or that are not in good condition and that may not film very well. Search for other libraries or private collections from which these items could be borrowed. In addition to checking the sources listed in the Guidelines, Section 2, it is frequently useful to contact three to four libraries which may hold the materials. An example would be the state library or local archives near the place of publication of the documents. One can begin any necessary repairs while awaiting the arrival of the additional materials.

4. Repairs

Some materials are damaged in a manner which will affect the quality of the film by obscuring the text. These need to be repaired. If materials are to be discarded following filming, do not use expensive repair materials or time consuming techniques; the use of transparent tape is acceptable for materials which are not very brittle. Brittle materials may need to be placed in plastic sleeves or encapsulated for the duration of the filming. With materials that will be retained following filming, do the minimum amount of conservationally sound repair work possible so as not to delay the project or run up the costs. Do not do anything to borrowed materials without the written consent of the owning institution.

5. Calculating reel breaks

1. Orientation
   Comic book format is generally used by SRLF, unless the pages are very oversize, especially if they are tall relative to their width. When in doubt, contact the filmer for guidance on orientation, reduction ration and average number of frames per reel.
   
   
2. Number of frames per reel
   The method for calculating this is given in Appendix I.
   
   
3. Reduction ration
   See handout in binder.

Remember:

Serial runs: arrange to have whole years, half years, or some other regular period on each reel. Changes may have to be made in the course of a title, it there are substantial changes in the dimensions of the issues.

Examples: Good breaks:

Reel 1: 1934-1935
Reel 2: 1936-1937

or

Reel 1: Jan-June 1934
Reel 2: July-Dec. 1934

or

Reel 1: Volume l-10(1934)
Reel 2: Volume 11-20 (1935)

Examples: Bad breaks:

Reel 1: Jan. l934-August 1935
Reel 2: Sept. 1935-Feb. 1937

or

Reel 1: Volume l-10 no.2(1934)
Reel 2: Vol. 10 no.3-Vol.19 no.2(1934-35)
Reel 3: Vol.19 no.3(1935)-Vol.20(1935)

6. Targets:
As discussed in detail in Appendix III, targets are sheets of information filmed along with the item to identify the materials and aid in locating them on the film, any features of the originals that may be confusing to a user, information regarding the filming institution, and technical information. The notes taken down on the count sheets during collation which list the irregularities found in the materials will be used to produce targets.

To guard against errors, provide the filming bureau with clear instructions about the use and sequence of targets supplied (see 8, General notes to the filmer, below).

Instruction sheets should be used to instruct the filming bureau on how to film a specific item that requires special handling not covered in the general instructions to the filmer. These will not be filmed. These should be inserted at the appropriate page. The filmer will remove the instruction sheets, follow the instructions about filming, and then replace them. Keep instruction sheets to a minimum.

Example: Following pages bound out of order: Please film in correct sequence.

7. Final Preparation

Review the materials and the instructions to the filmer. Ensure that all materials and accompanying targets are in the correct place and that all instructions to the filmers are included with the materials. Prepare a target sequence sheet for each reel. Create a sign-out sheet for the materials to be received by the filming agent.

8. General instructions to the filmer

Some general instructions need to be provided to the filmers at the beginning of each project. They should outline routine operating procedures that normally are to be followed in handling and filming the materials. Some things to include in the notes:

1. how many pages to film per frame, the reduction ratio, and whether to use cine or comic modes.



2. some foreign language materials are read in the opposite direction from how we read.(the filmers need to be informed when this is the case).



3. curled or folded single sheets need to be flattened.



4. instructions regarding the placement of special targets and strip targets
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APPENDIX III: Targets
1. General comments
Targets are designed to give bibliographic and technical data, and other useful pieces of information about a filmed publication, the conditions under which it was filmed, and the institution for which it was filmed. Bibliographic targets identify the title and edition; technical targets include test and control data, such as the resolution test chart; information targets provide details about the physical condition of the original material that appear ambiguous on film and confusing to a user or affect the quality of the image, and other information for the guidance of the user. Some aspects of a volume or a newspaper that might be readily recognized and understood by a reader using the original printed materials are frequently obscured when transferred to film.

Convention requires that some targets in the series that accompany a text, say "START", be eye-legible, that is, the letters should be large enough to be read on the film itself without magnification.

The targets will be fully prepared by the customer or by the filming agent from details provided with the material by the customer, depending on agreements or contracts between the two.

2. Information targets
The texts for information targets can take many forms. Some targets are of a general nature and precede the text, e.g. reel contents or the bibliographic record target; these constitute the preliminary target sequence. They are matched by a shorter concluding sequence at the end of the reel. Other targets should appear in the body of the text, as needed. In some instances details must be supplied to amplify the basic text given below; e.g. "PRINTING ERROR" should be followed by an indication of the error itself. Some of these targets will not be full sized, but will provide the information at the foot of the frames or some other suitable place. These "strip" targets cover certain recurring problems that affect the filmed image. For example, a colored background to a block of text in a serial will cause a reduction in the contrast; the use of a simple strip target bearing the word "COLOR" will indicate to the user of the film the reason for the difference in appearance. These targets are provided by the filmers and used as needed. The texts for these targets and the occasions for their use should be agreed upon by the library and filming bureau.

Example:

START
REEL NO.
INDEX [for a multi-reel set]
CONTENTS OF REEL
LIST OF BIBLIOGRAPHIC IRREGULARITIES *
BOOKWORM DAMAGE THROUGHOUT
I S S U E (S ) NOT PUBLISHED
FILMED AS BOUND
PAGE(S) MISSING. NOT AVAILABLE
ISSUE(S) MISSING. NOT AVAILABLE
ISSUE(S) MISSING. NOT PUBLISHED? **
VOLUME(S) MISSING. NOT AVAILABLE
YEAR(S) MISSING . NOT AVAILABLE
FOXING
PRINTING ERROR(S)
INSECT DAMAGE ON PAGE(S)_ NO TEXT MISSING
PAGE NUMBERS OCCUR TWICE. NO TEXT MISSING OR DUPLICATED
END OF TITLE
CONTINUED ON NEXT REEL
END OF REEL. PLEASE REWIND

* In general the irregularities listed here in summary form as one of the targets at the start of a reel have an appropriate eye-legible target immediately before the problem. Sometimes, when a problem occurs frequently, it is sufficient to simply to indicate this fact, with or without mention of the page numbers, in the list of irregularities.

** The interrogation mark indicates that the statement conveys information about which the library is not absolutely certain.

Some information targets relate to the technical quality of the finished film and are to be provided at the discretion of the filming bureaux. Examples of these targets are:

STAINS -- UNEVEN DENSITIES UNAVOIDABLE
FAINT PRINT/TEXT
ORIGINAL TEXT FADED/BLURRED
COLORED PAGES -- UNEVEN DENSITIES UNAVOIDABLE
LOW-CONTRAST ORIGINAL -- BEST AVAILABLE QUALITY
ORIGINAL MUTILATED/CREASED
ORIGINAL EXTENSIVELY REPAIRED
PAGES TRIMMED CLOSE TO TEXT

NOTE: A comprehensive list of targets is not included in these guidelines, because it is not possible to anticipate every problem or bibliographic irregularity that might arise.

3. Technical targets
The texts for these targets will always be supplied by the Southern Regional Library Facility - Preservation Microfilm Service or other filming agent. There are four that will always be used for films that conform to the standards agreed by the UC Preservation Operations Committee.

3.1 Filming agent identification target

UNIVERSITY OF CALIFORNIA PRESERVATION PROGRAM
MICROFILMED: [DATE] [i.e., year of filming]
[FILMING AGENT NAME & ADDRESS]

3.2 Copyright
Unless the library unit supplies a target with copyright information, or sufficient information for the filming agent to prepare an appropriately worded statement, the following basic text, or a similar set of statements, should be used:

MAY BE COVERED BY COPYRIGHT LAW, TITLE 17, US CODE.

REPRODUCTIONS AVAILABLE FROM:
UNIVERSITY OF CALIFORNIA
SOUTHERN REGIONAL LIBRARY FACILITY
PRESERVATION MICROFILM SERVICE
LOS ANGELES, CA 90095-1388

WHEN ORDERING, PLEASE QUOTE FULL BIBLIOGRAPHIC DETAILS
AND FURNISH COPYRIGHT CLEARANCE AND/OR PROOF OF OWNERSHIP OF ORIGINAL PRINT COPY

The following is the text was used in the Venetian Libretto Collection microfilm set:

COPYRIGHT STATEMENT
The copyright law of the United States - Title 17, United State Code - concerns the making of photocopies and other reproductions of copyrighted material. One of the specified conditions is that a photocopy or other reproduction is not to be "used for any purpose other than private study, scholarship, or research " If a user makes a request for, or later uses, a photocopy or reproduction in excess of "fair use", that user may be liable for copyright infringement.

Other examples can be found in the RLG Preservation Microfilming Handbook, edited by Nancy Elkington (RLG, 1992).

3.2 Resolution Test Chart
The Microcopy Resolution Test Chart target is compulsory and will appear on the film at the end of the preliminary target sequence, immediately before the first page of text. It was designed by the National Bureau of Standards. The chart is reproduced with other sample targets at the end of this appendix. 4.Bibliographic targets

These are generally two in number and the information is to be supplied by the unit when the microfilming order is sent to the filmer with the material to be filmed. Alternatively, the unit can supply the targets ready for use.

Primary bibliographic target

AUTHOR:
TITLE:
EDITION:
PLACE OF PUBLICATION:
DATE OF PUBLICATION:
VOLUME(S) FILMED: (for a serial or a monographic series)
CALL NO: (if not on the catalog record target)
MASTER NEGATIVE NO: (if used)

4.2 Bibliographic record target

This is a straightforward reproduction of a printed or typewritten catalog record for the piece being filmed. Information on reduction ration and filming follows on the same target.

Reduction ratio, etc.

FILMED AND PROCESSED BY:
UNIVERSITY OF CALIFORNIA
SOUTHERN REGIONAL LIBRARY FACILITY
PRESERVATION MICROFILM SERVICE
LOS ANGELES, CA 90095-1388
JOB NO.:
DATE: [i.e., month of year of filming]
REDUCTION RATIO:
DOCUMENT SOURCE

5. Target sequence
A sequence of targets for a serial publication must agree in every detail with the final collection of material to be filmed. It must account for the total text and for all irregularities that are noted during collation. Create the targets using a word processing program with scalable fonts, so that the correct point size can be used for the lettering for the eye-legible targets. The targets will then be inserted into the appropriate places in the volumes. If the filming agent is responsible for producing the targets, the relevant target data should be typed or handwritten legibly, a separate sheet for each target, and inserted at appropriate places in the volume(s) to be filmed. When the filmers receive the material, they will insert the targets that they are required to add.

In the sequence that follows items marked with an asterisk (*) are eye-legible targets. These are generally 60 pt., but may be larger.

5.1 Initial sequence

1. *Start
2. Density target
3. MNEG number (if used)
4. Filming agent identification
5. Copyright
6. *Primary bibliographic target
7. Bibliographic record/Catalog record
8. Title guide, to be used for complete serial titles
9. * Reel number
10. Reel contents (for serials, this may be combined with the reel number target) Reel 1 of a multi-reel set will include the content for all the reels in the set. This will precede the content target for reel 1 only.
11. List of Bibliographic Irregularities (typed list of major defects that have not been corrected prior to filming; list of volumes, issues, etc. lacking from a serial. Include the "Filmed as bound" target or other target about present condition at this point)
12. Resolution test chart, etc.

5.2 Sequence within the text

1. *Start of individual volume/year or individual issue of a serial, if date, volume number, etc can be easily distinguished.
2. *Information targets, as needed.
3. *Strip targets, e.g. color, second exposure, which the filmer will use as needed.

5.3 Concluding sequence

1. *End of title (when appropriate; for serial titles, use at the end of the last reel)
2. *Continued on next reel (when appropriate)
3. *End of reel. Please rewind.

6. Examples of actual targets

Examples of targets used in UCLA filming projects follow Top of Page

APPENDIX IV : QUALITY Control at the Library

A. MICROFILM

1. The customer will receive from the filming agent the original materials and the set of three generations of per title.
   
   
2. Every POS will be inspected for:
   
   1. regular and consistent framing and image placement;
   2. legibility, focus and resolution;
   3. absence of scratches, fingerprints, and other blemishes;
   4. absence of dust and dirt;
   5. absence of splices (i.e. physical joins, which are only permitted in the MNEG 6 splices (or 3 pieces added within the film) are permitted;
   6. bibliographic completeness, with pages, volumes, illustration, etc. in their correct order, and with irregularities of the original, if any;
   7. inclusion of all necessary and relevant targets.
   
   
   The inspection should be carried out on a non-scratching film reader. If there appear to be no technical problems present in the first several films inspected, future inspection should be restricted to a sampling only (say, 10 percent).
   
   
3. Every PNEG will be inspected for:
   1. absence of scratches, fingerprints, and other blemishes;
   2. absence of dust and dirt;
   3. absence of splices (i.e. physical joins, which are only permitted in the MNEG);
   
   The inspection should be carried out using rewinds and a light box, or a non-scratching film reader. Care must be taken when handling the film, and clean, white, lint-free gloves worn, if possible. If there appear to be no technical problems present in the first several films inspected, future inspection should be restricted to a sampling only (say, 10 percent).
   
   
4. Use the Library Quality Control Report form to note problems. Decide if the problems need to be corrected. Consider if the entire reel or only parts of the reel must be refilmed. The total number of splices on the finished film will dictate this. If corrections are to be made, send the MNEG to the filmer with clear and detailed instructions; If any of the materials need to be refilmed, send them also.
   
   
5. After a film has been corrected, the corrected MNEG, and entirely new PNEG and POS will be sent to the library. If an entire reel has been refilmed an entirely new MNEG, PNEG, and POS, together with a new Quality Control report form, will be sent to the library. The new film must be checked to ensure that the errors have been corrected and that no new errors have been introduced. The other possible problems, mentioned in items 2 and 3, above, must also be looked for.

APPENDEX V.a : Copyright Release Letters for Serials and Newspapers

For a serial or newspaper still publishing

Dear

The UCLA Library owns(serial/newspaper (holdings). Parts of our run of this title are in a deteriorated condition. We would like to preserve this title by making a microfilm copy of it. The service copy of the microfilm will be used in support of instruction and research to UCLA students, faculty, and staff members, and other legitimate users of the UCLA Library. It is also likely that some libraries or individuals may wish to buy a copy of the film. UCLA will be the owner of the master negative and will ensure that it is securely stored.

As you hold the copyright to this title, we would like your permission to microfilm the Library’s holdings and to make copies available on request to other libraries and individuals conducting research. We are also seeking your permission to make preservation microfilm of recent issues on a continuing basis. We prefer to assemble as complete a run as possible, before we begin to shoot the film. If we find that some of our issues are missing, mutilated, or not filmable for any reason, we shall approach you or another holding library for the loan of these issues.

A copy of this letter is attached. Please indicate in the space provided whether you give or withhold permission to each request, sign the letter, and return it to me in the enclosed envelope.

Yours sincerely,

Christopher Coleman
Preservation Officer,
UCLA Library

This letter is typed on 8-l/2" x 11 W paper. The copy is made on 14" x II " paper, with the information on the following page occupying the extra space.

Permission is hereby granted to UCLA Library to microfilm the title named above and to make a service copy available for use in the Library. Circle one

signature _____________________________________ date ________________

For a serial or newspaper that has ceased publishing

Dear

The UCLA Library owns

(serial/newspaper title) _____________________________________________________

(holdings) _______________________________________________________________

Parts of our run of this title are in a deteriorated condition. We would like to preserve this title by making a microfilm copy of it. The service copy of the microfilm will be used in support of instruction to and research by UCLA students, faculty, and staff members, and other legitimate users of the UCLA Library. It is also likely that some libraries or individuals may wish to buy a copy of the film. UCLA will be the owner of the master negative and will ensure that it is securely stored.

As you hold the copyright to this title, we would like your permission to microfilm the Library’s holdings and to make copies available on request to other libraries and individuals conducting research. We prefer to assemble as complete a run as possible, before we begin to shoot the film. If we find that some of our issues are missing, mutilated, or not filmable for any reason, we shall approach you or another holding library for the loan of these issues.

A copy of this letter is attached. Please indicate in the space provided whether you give or withhold permission to each request, sign the letter, and return it to me in the enclosed envelope.

Yours sincerely,

Christopher Coleman
Preservation Officer,
UCLA Library

This letter is typed on 8-l/2 " x II n paper. The copy is made on I4 " x I I " paper, with the information on the following page occupying the extra space.

Permission is hereby granted to UCLA Library to microfilm the title named above and to make a service copy available for use in the Library. Circle one

signature ___________________________________________ date ________________

APPENDEX VI :

	Mode	Width (in inches)	Height (in inches)	Reduction Ratio
Single Page Double	Cine Comic	11.5	17	12:1 14:1
Single Page Double	Cine Comic	14 28	23 23	14:1 17:1
Single Page	Cine	24	33	14:1

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