National Library of Medicine
Preservation and Collection Management Section

AUDIOVISUAL DUPLICATION SERVICES

STATEMENT OF WORK

Final version for award, 9/30/02 

Purchase orders 467-MZ-202421, 467-MZ-202422, 467-FZ-202423
s:\psd\pres\contracts\AV duplication sow.doc

Audiovisual Duplication Services
Statement of Work
Table of Contents

I.	Film-to-tape duplication..	2	
		A.  Inspection and condition reports.....	2
		B.  Repair and treatment	3
		C.  Cleaning	4
     D.  Final inspection...	5
II. 	Film-to-film duplication..	5
		A.  Inspection and condition reports	..	5
		B.  Repair and treatment	5
		C.  Cleaning	5
     III.	Tape-to-tape duplication.	5
     		A.  Minor repairs...	5
B.  Initial inspection..	5
C.  Condition reports.	6
D.  Final inspection...	6
IV.	Transfer procedures	7
		A.  NLM duplication protocols..	7
		B.  Overall objectives of transfer.......	7
		C.  Preventing damage........	7
		D.  Transfer process...	7
		E.  Tape stock ....	8
		F.  Color bars and audio tones.. ....	8
     G.  Identification slates......	8
		H.  Winding/rewinding...	9
     I.  Boxes.....	9
		J.  Labeling..	9
V.	Quality control....	11
		A.  QC for newly produced tape copies.	11
     B.  QC for newly produced film copies.	12
		C.  Final condition check for source material	12
VI.	Shipments, cost estimates and deadlines.	12
VII.	Safe handling during transport....	13
VIII.	Safe handling at contractor's facility..	13
IX.	Contractor's liability.	14
X.	Invoices...	15
XI.	Standards of performance....	15
..
Appendix A.  Standards and recommended practices...	17
Appendix B.  Sample shipping list....	18

Audiovisual Duplication Services
Statement of Work

The National Library of Medicine is a federal agency that is part of the National Institutes of Health and is located in Bethesda, MD.  NLM's audiovisual collection includes instructional films, health documentaries, commercial films with medical themes, public service announcements, histories of medicine, and documentary footage of medical procedures and research.   Initially, materials from the Historical Audiovisual Collection (a growing collection of pre-1970 productions currently numbering over 12,000 items) will be duplicated.  In future, NLM anticipates duplicating older material from the General Collection (post-1970 productions currently numbering over 67,000).  The physical condition of most originals is good; however, there are likely to be some items in fair to poor condition.  

This statement of work covers audiovisual duplicates made for National Library of Medicine; it does not apply to duplicates of NLM material requested and paid for by individual patrons.  For preservation purposes, NLM duplicates audiovisuals that are on obsolete formats, require cool or cold storage to extend their lifespan, or are in fragile condition.  NLM has clear title to the materials being duplicated.  NLM does not copy titles that are available for purchase commercially.  All newly produced copies are the property of NLM. 

The contractor is expected to follow the latest edition of all relevant standards and recommended practices for handling, repair, duplication, and inspection.  A selected list is attached as Appendix A.  

I.  FILM-TO-TAPE DUPLICATION
		
I.A.  Inspection and condition reports
When handling film, wear lint-free, clean cotton or nylon gloves at all times.  Touch only the edges of the film.  Handle shrunken and brittle films with special care.  

     1.  Inspection
a.  Unless instructed otherwise, measure each source film and note if there is excessive shrinkage (0.7% for 16mm and 1.3% for 35mm).  If there is excessive shrinkage, fax or email a condition report to NLM before proceeding.  

b.  Unless instructed otherwise, test the acidity of each film using Acid-Detection (A-D) strips available from the Image Permanence Institute.  Follow all instructions in the IPI Users Guide for Acid-Detection (A-D) Strips, which is included with each package of test strips.  If a film has a reading of 2 or greater, fax or email a condition report to NLM before proceeding.

c.  Check color films for color dye fading, and if there is an unusual amount of dye fading (in relation to the severity of fading typically found on NLM films), fax or email a condition report to NLM before proceeding.   

d.  Inspect each reel of film over a light box using manual rewinds.  Gently wind through the entire reel looking for the following: 

- Evidence that the film may be damaged during cleaning or duplication
- Portions of film that have significant color dye fading or are over- or underexposed

- Rust or other debris in a film can
- Brittleness or buckling
- Perforations that are broken, torn, or pulled 
- Perforation marks in the picture area
- Hypo staining
- Scratches in the film base
- Scratches in the film emulsion
- Leaders and trailers that are lacking, too short, damaged, or made of material that is not of preservation quality
- Splices that are failing or made of material that is not of preservation quality 
- Splices that are oozing adhesive
- Optical sound tracks that are damaged, worn or scratched 
- Magnetic sound tracks that are shrunken or shedding oxide/binder powder (check both the film and film can)
- Significant accumulations of dirt or other foreign matter

If there are problems that may cause the film to be damaged during cleaning or duplication or may adversely affect the image or sound quality of the duplicate, fax or email a condition report to NLM before proceeding.  

     2.  Condition reports
For each film, record inspection results on a condition report form.  The form is to be developed by the contractor and approved in advance by NLM.  Record the film's title and call number.  Record the presence of any of the problems listed above, as well as any other unusual or problematic characteristics.  Note the footage/frame address of each problem.  Note any recommended treatments.  

If there are problems, but they are not severe enough to be likely to cause the film to be damaged during cleaning or duplication or to adversely affect image or sound quality, proceed with cleaning and duplication.  If a film has no problems, note this on the condition report and proceed with cleaning and duplication.  

     Return all film condition reports to NLM with the source film.  

I.B.  Repair and treatment
If a procedure might cause damage or adversely affect other image areas on the film, contact NLM before proceeding.  

Only skilled technicians with 3 years of experience repairing historical motion pictures may perform repairs and treatments.  Use equipment that is cleaned, maintained, and operated according to the manufacturers' specifications.  

1.  Cleaning by hand:  For oozing adhesives and sections of film that are too dirty to be cleaned thoroughly by the cleaning equipment, clean by hand using Webril wipes and Ecco 2000 Straight Film Cleaner or similar products approved in advance by NLM.  Be sure to check adjacent film wrap locations that have been in contact with the adhesive or dirt.

It is important to allow the cleaning liquid to dry completely before winding the film.   Never use any alcohol-based solution (such as isopropanol which is used in the Lipsner-Smith Excel 1100 machine) without prior approval of NLM. 

2.  Leaders and trailers:  Films should have leaders and trailers that are at least 9 feet long and are made of archival-quality, light-struck, undeveloped, black-and-white, raw film stock in good condition.  Painted leader film that may shed white powder is unacceptable.  If leaders/trailers are lacking or are not of acceptable quality, attach new ones according to the instructions for splices below.  If existing leaders/trailers need to be removed, take care that any printer sync marks are replaced accurately to assure the synchronization of the A and B rolls and sound elements.

3.  Splices:  Repair splices and other breakage.  For acetate film in good condition, use a hot cement splicer and Kodak professional film cement, or a similar product approved in advance by NLM.   For fragile acetate film, use Christie's Editorial non-perforated, clear splicing tape, or a similar product approved in advance by NLM.   Take care never to cover perforations with a tape splice because this is likely to cause damage when the film is transported through sprockets.  For polyester film, use an ultrasonic splicer.  Hold frame loss to an absolute minimum.  Maintain frame line continuity (especially important for 35mm film), proper longitudinal alignment, and sound and picture synchronization.  

4.  Perforations:  Repair torn out perforations using clear perforation repair tape from Cine Care or Perfix, or similar product approved in advance by NLM.  Apply tape only to the edge of the film so the repair will remain invisible when subsequently printed or projected.  

5.  Scratches:   Minimize scratches on the emulsion side by re-washing and/or by digital image processing.  Minimize scratches on the base side by using a liquid gate when the transfer is made and/or by digital image processing. 

6.  Other treatments:  If the contractor recommends other treatments, contact the Project Officer before proceeding.   

I.C.  Cleaning 
Unless a film is too fragile to permit it, clean all films using particle transfer rollers and/or a cleaning machine.  Maintain and operate the cleaning machine properly according to the manufacturers specifications to ensure that film is not damaged and residual chemicals are not left on the film.  Use only solvents that have been tested and approved by Kodak and are known not to leave any residue, cause color dye fading or film brittleness, or otherwise damage film.  Replace solvents in a timely manner.  Do not use solvents that have become water-saturated because the film may not dry properly, causing tackiness or emulsion streaks.  It is essential to make sure that film dries completely before being rewound.  

I.D.  Final inspection
After duplication, the newly produced copies will be inspected to determine their quality.  (See V.C. Final condition check for source material.)  This check will identify any problems with the film that were not found prior to duplication.  

See also:   IV.  Transfer procedures

II.  FILM-TO-FILM DUPLICATION

The Project Officer will discuss film-to-film transfer procedures with the contractor in advance on a title-by-title basis.  

When handling film, wear lint-free, clean cotton or nylon gloves at all times.  Touch only the edges of the film.  Handle shrunken and brittle films with special care.  

II.A.  Inspection and condition reports
Follow the procedures under  I.A.  Film-to-tape duplication. Inspection and condition reports.  However, most films selected for film-to-film transfer will already have been measured for excessive shrinkage and tested for level of acidity.  If so, NLM will send this information to the contractor, and the contractor need not repeat the inspection and reporting procedures related to shrinkage or acidity level.  

II.B.  Repair and treatment
Follow all procedures under I.B.  Film-to-tape duplication. Repair and treatment.

II.C.  Cleaning
Follow all procedures under I.C.  Film-to-tape duplication. Cleaning.

See also:   IV.  Transfer procedures

III.  TAPE-TO-TAPE DUPLICATION 

When handling videotape, wear lint-free cotton gloves and touch only the edges of the tape.

III.A.  Minor repairs
Inspect each video source tape for minor problems such as detached or damaged leaders or trailers, damaged cassette shells, damaged boxes, etc.  Re-attach or replace detached or damaged leaders and trailers as needed.  Repair or replace damaged cassette shells and boxes as needed. 

III.B.  Initial inspection
Inspect each source video to check that it plays properly and does not bind or stick in the machine.  View a portion of each tape to see if there is serious damage or deterioration or major problems with image or sound quality.  Check for the following types of problems and for any other unusual characteristics:

     - debris where tape enters and exits the cassette case or elsewhere
     - brown/black flakes of oxide, smell, or other evidence of sticky shed syndrome
     - tackiness
     - oxide scratches, voids, redeposit, peeling, or shedding
- white or crystalline residue or other exudation that indicates loss of lubricant or other chemical deterioration
- tape pack problems (uneven wind, excessive popped strands, creases, wrinkles, deformations, slippage, waviness etc.) 
 - edge damage
- stains, mold
- splices
- tears, stretching

- poor sound or image quality
- color fading or color shifts
- scratches
- dropouts
- artifacts
     - squealing

III.C.  Condition reports

A condition report form is to be developed by the contractor and approved in advance by NLM.  Record the video's title and call number.  Note the counter/time elapse location of each problem

If a source video has any problems that cannot adequately be mitigated using digital processing or that may prevent it from being duplicated successfully and without damage, record the problem on a condition report form.  If the contractor recommends any treatment prior to duplication (such as flattening, spot cleaning, cleaning in a cleaning machine, dehumidification, or baking), note this on the condition report.  Fax or email the condition report to NLM before proceeding. The Project Officer will discuss the problems with the contractor and fax the report back to the contractor with notes indicating what actions are to be taken.  Return the condition report to NLM with the source videos.

If  there are no problems, proceed with duplication.

III.D.  Final inspection
After duplication, the newly produced copies will be inspected to determine their quality.  (See V.C. Final condition check for source material.)  This check will identify any problems with the source tape that were not found prior to duplication.  

See also:   IV.  Transfer procedures

IV.  TRANSFER PROCEDURES  (Film-to-tape, film-to-film, and tape-to-tape)

IV.A.  NLM duplication protocols 
At the time the purchase order is issued, the Project Officer and the contractor will discuss the contractor's equipment and capabilities and NLM's needs and will decide on the duplication protocol to be used for most NLM materials.  The contractor is expected to identify specific source items that would benefit from being duplicated using equipment or procedures that differ from the agreed-upon protocol and to consult the Project Officer about how to handle them.   

IV.B.  Overall objectives of transfer
The overall objective of  the transfer process is to produce a complete, accurate copy that maintains a high degree of fidelity to the source AV.   Timing adjustment, color correction, re-recording of sound tracks, noise reduction, audio equalization, or other similar measures shall not be performed for the purpose of making the duplicate look like a new production.  Measures to improve image and sound quality shall be performed only to the extent necessary to prevent information loss, to correct a problem that is so severe it interferes with viewing the film, or to achieve reasonable consistency in audio and video levels.  

The vendor is expected to use its expert judgment, based on professional motion picture and broadcasting standards and taking into account NLM's duplication protocol, when determining what, if any, enhancements are necessary.  Care must be taken not to change the inherent characteristics of the source AV or to introduce any undesirable artifacts.  For many source films, acceptable results can be obtained with a "best light" unsupervised transfer.  However, if portions of a source AV have significant color dye fading or are considerably over- or underexposed in relation to the rest of the item, some timing/lighting adjustments may be necessary to prevent portions of the duplicate from being so light or dark that information is lost.  

IV.C.  Preventing damage

Preventing damage to source films and source videos is of paramount importance.  

Monitor the transfer process carefully from beginning to end.  Ensure that all equipment is cleaned frequently, maintained according to the manufacturers' specifications, and calibrated according to SMPTE and ISO standards and recommended practices.

To prevent source films from being damaged, pay particular attention to the cleanliness and alignment of the film guides and check that films are not too shrunken to be run through the transport mechanisms without risk of damage.  To reduce the risk of stretching fragile videotape or causing edge damage, be sure that equipment is properly aligned and adjusted for tape tension.  

IV.D.  Transfer process
Produce one Betacam SP and one VHS tape unless requested to produce multiple copies or copies in another format.  Produce the copies at standard play speed.  Copy each source AV in its entirety, without deletions, alterations, or edits.  Duplicate each source AV onto a separate reel/cassette unless NLM gives specific instructions to combine two or more source items on one reel/cassette.  If a source item is too long to be copied onto a single reel/cassette, contact the Project Officer for instructions on how to divide it.  

1.  Film-to-film transfers  
Duplicate film using a wet gate optical printer.  Do not change the screen aspect ratio when printing film elements.  Use film gate apertures that match the source film.  For film shot at less than sound speed, approximate silent speed using a variable or adjusted speed; do not create extra film frames.  When transferring films with separate optical or magnetic sound elements or synchronized sound, ensure that synchronization is maintained.  

NOTE:  For film-to-film transfers, the Project Officer will review specific duplication procedures with contractors in advance on a title-by-title basis.  

2.  Film-to-tape transfers  
Use only the highest quality telecine film-to-tape transfer equipment approved in advance by NLM, such as CTM, Rank, or Marconi.  Telecine film chains, i.e. modified projectors designed for projection prints, shall not be used.  For films with scratches on the emulsion side, it is desirable to use a telecine machine equipped with a wetgate attachment or digital image processing software to make the scratches less obvious.  

IV.E.  Tape stock 
Use professional grade, metal particle (MP) analog Betacam SP and VHS videocassettes of the highest quality available.  Use virgin, unopened stock from major manufacturers known to produce tape of consistent high quality (e.g. Sony, Quantegy, Fuji, or Maxell).  Test at least a 3% sample of each batch of new tape for excessive dropouts.  Use videotape with the shortest running time that will accommodate the length of the source material.   

IV.F.  Color bars and audio tones
Each tape copy shall contain a 10 second leader, a 60 second NTSC color bar, and a 1000-cycles/second reference tone on both audio tracks, followed by 30 seconds of black.  

Reference color bars shall be a true indication of the program's chroma, video pedestal, and phase.  Peak chrominance shall not exceed 120 IRE units above blanking level.  In most cases, the video shall average 100 IRE units and pedestal 7.5 IRE units when the VTR is in unity.  In all cases, video, chroma, and pedestal levels shall be consistent throughout.  Horizontal blanking shall not exceed 12.0 us and vertical blanking shall not exceed 24 lines.  

Reference audio tones shall be a true indication of the program's audio levels.  The tone shall be Ovu when the VTR is in unity.  Audio levels shall be consistent throughout the program.

IV.G.  Identification slates

NLM reserves the right to change the content and format of labels.

Each tape copy shall have an identification slate containing information listed below in the format shown in the example.   The source of the information is the shipping list .

1.  This [format of copy] was duplicated from a [format of source material] by [Contractor's name] for the National Library of Medicine, [date of duplication]
2.  NLM call number 
3.  If the title fills more than one tape, the number of the piece in hand and the total number of pieces

IV.H.  Winding/rewinding
After duplication, both of the tape copies, as well as source material in video formats, must be played or rewound at normal play speed and without stopping to create an smooth tape pack with uniform tension.  If the equipment used cannot rewind at play speed, rewind each tape at high speed, then play each tape at normal play speed to the end of the tape without stopping.  The tapes should be left fully wound (i.e.,  tails out).  If the equipment used can rewind at playback speed, the tapes may be left fully rewound (i.e., tails in).  Check the quality of each tape pack to assure that there are no ridges or popped strands.  

IV.I.  Boxes
Provide heavy-duty, hard plastic clamshell style boxes that snap shut securely and protect tapes from dust and water infiltration, and that are capable of accepting self-adhesive labels on the spine and the side that would correspond to the front cover of a book.  Boxes must be made of polyethylene, polypropylene, or other inert plastic that does not emit gasses harmful to videotape.  PVC and other vinyl plastics are not acceptable.  

IV.J.  Labeling 

	NLM reserves the right to change the content and format for labels.

1.  Labels
Color code labels to differentiate between source material, intermediates, and viewing copies.   Lettering must be crisp and dark enough to be easily legible and must withstand moderate abrasion without smudging.  Write the call number on the edge of each videotape box and film can using a permanent ink of the same color as is used on the label.  

Label the top and spine of each videotape box using non-adhesive, alkaline paper labels that slide into pockets.  Label the tops of  videocassettes and film cans using self-adhesive labels.  The adhesive on the labels must be an acrylic polymer or copolymer.  Labels must adhere securely to tapes stored under cold conditions (35 degrees F).  Adhesive must not ooze beyond the label edges or cause cassettes or boxes to discolor or deteriorate.   (These requirements are based on Library of Congress Specifications for Pressure Sensitive Adhesive Labels for Application to Plastic and Metal Substrates.  Specification numbers 700-703 and 700-713.  http://lcweb/loc/gov/preserv/supply/specific.html) 

2.  Data on labels
Include only the information specified, in the format shown in the example.  The source of the information is the shipping list or the piece itself.

a.  Labels for cassette and box tops  (10 pt. font or larger)
     - Title 
- If title fills more than one tape, the number of the piece in hand and the total number of pieces
- Date of content
- Running time
- B&W / color
- Silent / sound   
- This [format of the copy] was duplicated from a [format of the source material] by [Contractor's name] for the National Library of Medicine, [date of duplication]
- NLM call number 

b.  Title labels for cassette and box spines  (10 pt. font or larger) are to be placed so that the top of the label is 1 inch below the top of the spine.

c.  Generation labels for cassette and box spines (10 point font or larger) are to be placed immediately above the call number label, or be included at the top of the call number label.  Identify the Betacam SP copy as the "Duplication Copy" and the VHS copy as the "Viewing Copy." 

d.  Call number labels for cassette and box spines (12 point font or larger) are to be positioned so that the top of the label is 2 inches above the bottom of the spine.
- Call number  
- If title fills more than one tape, the number of the piece in hand and the total number of pieces

V.  QUALITY CONTROL

Use a professional quality monitor/VCR that is kept clean, maintained according to the manufacturers specifications, and calibrated according to SMPTE standards and recommended practices. 

V.A.  QC for newly produced tape copies

1.  Inspect one of the tape copies in its entirety to verify that:
     - it is a faithful and complete duplicate of the source material
- the sound quality and image quality are as good as possible, given the condition of the source material, and are uniform throughout the whole tape
     - no undesirable artifacts have been introduced
     - a set of color bars and a sound reference tone have been included
     - the identification slate is accurate 

2.  For both copies, use a waveform monitor, vectorscope, and other appropriate equipment to check the quality of the transfer.  

3.  For both copies, compare the information on all labels against the shipping list or source material for accuracy and completeness.  

V.B.  QC for newly produced film copies
View each newly produced film in its entirety to make sure its image quality and sound quality are as good as possible, given the condition of the source film, and are uniform throughout the whole film.  Make sure that all SMPTE and ISO standards and recommended practices for film printing and developing have been followed, that the film is completely dry before rewinding, and that there is no harmful residue left on the film.

V.C.  Final condition check for source material
While viewing one of the video copies in its entirety for quality control purposes, also check for any indication that the source film or video has damage or deterioration that was not identified prior to duplication.   If there are such indications, inspect the source film or video more thoroughly.  If  the quality of the duplicates may be improved by additional cleaning or adjustments during the transfer process, duplicate the source AV again.  If the problem with the source AV cannot be mitigated, fill out a condition report form (or add to the existing form if there is one), noting that the problem was identified after duplication and could not be corrected.  Return the condition report with the source material.  

VI.  SHIPMENTS, COST ESTIMATES, AND DEADLINES

Contractors shall provide pick-up and delivery service to the Preservation and Collection Management Section, National Library of Medicine, Bldg. 38, Room B1E21, 8600 Rockville Pike, Bethesda, MD weekdays between 8:30 am and 4:30 pm.  Special arrangements must be made for deliveries outside of these hours.  The contractor shall have its own staff make deliveries or provide a bonded courier service.  Contractors should expect to go through security checks that may include verification of identification and vehicle searches.

The Project Officer will contact the contractor in advance of each shipment to obtain a cost estimate.  The contractor shall provide cost estimates within 1 week.  For each shipment, the Project Officer and contractor will agree in advance on dates for pick-up and delivery.  Occasionally, NLM will need to have small shipments of no more than 10 items done on a rush basis and delivered within 3 workdays after the date of pickup.  The contractor is expected to pick up and deliver shipments on the agreed-upon dates.  If a pick up or delivery cannot be made on the scheduled date, the contractor shall notify the Project Officer on or before the scheduled date.    When the vendor must send a condition report to NLM and wait for a decision before proceeding, the length of time between sending the report and receiving NLM's decision is  automatically added to the agreed-upon deadline.

With each shipment, NLM will supply a list of the items to be copied and the format and quantity of the copies to be produced.  (See Appendix B.  Sample Shipping List.)  The contractor shall check the material received against the shipping list and notify the Project Officer by phone, fax, or email of any discrepancies within 1 workday of pick up.  

VII.  SAFE HANDLING DURING TRANSPORT

NLM will pack source materials in coolers for transportation.  NLM materials must be handled carefully to prevent damage or loss.  Handling requirements are as follows:

1.  Transport materials in a heated and air-conditioned vehicle.  Ensure that the temperature near NLM materials is maintained between 65 - 75 degrees Fahrenheit at all times. 

2.  Do not leave NLM materials unattended in the vehicle at any time.

3.  At the contractor's facility, take coolers immediately to a heated/air-conditioned office area.  

4.  Return source materials and as many of the duplicates as will fit in NLM's cooler.  Pack any remaining duplicates in a cardboard box.  Stand videocassettes and film on reels vertically, so they rest on the their narrow edge.  Place film on cores horizontally.  Use bubble wrap to prevent shifting.   Such placement will minimize damage due to sudden impacts and adverse environmental conditions.

VIII.  SAFE HANDLING AT CONTRACTOR'S FACILIITY

NLM's source materials are valuable and often irreplaceable.  NLM expects the contractor to handle materials with the utmost care at all times.  NLM reserves the right to inspect at any time areas where NLM materials are handled and stored to ensure that the following requirements are being met.  

1.  Do not permit the temperature in areas where NLM materials stored and duplicated to exceed 72 degrees Fahrenheit or 55% relative humidity at any time. 

2.  Provide adequate security against theft, vandalism, fire, flood, rodent and insect infestation, and other environmental hazards.   Provide clean work areas.

3.  Do not permit food, drink, or smoking at any time near NLM materials.
 
4.  Handle NLM materials with clean hands that are free of creams and moisturizers.  When handling film, wear lint-free, clean gloves and touch only the edges of the film.   

5.  Take care not to drop materials.  Do not leave NLM materials sitting on electronic equipment.  Do not expose materials to sunlight, heat, metal detectors, or sources of radiation.

6.  Daily or more frequently as needed, clean rollers, heads, and other parts of equipment that come in direct contact with material.  Adjust rollers, guides, and transport mechanisms regularly.  Clean, adjust, and calibrate all equipment according to the manufacturer's specifications.  

7.  Never transport films with excessive shrinkage (0.7% for 16mm and 1.3% for 35mm) through any sprocketed equipment.  

8.  Store NLM materials at least 4" above the floor to avoid water damage.  

9.  Have a posted disaster response plan that has been approved by NLM.

10.  In the event of a water emergency or other disaster that affects NLM materials, immediately call the following in the order listed until one person is reached:   

Karen Sinkule, Project Officer		office 301-435-7117	home 301-986-4740

Walter Cybulski, Alt. Project Officer 	office 301-496-2690	home 301-570-3363
Mary Kate Dugan				office 301-435-7113	home 301-581-0109 or
               202-686-1277
Margaret Byrnes				office 301-435-7110	home 301-493-8346	
Preservation and Collection 
        Management Section Office		301-496-8124   

IX.  CONTRACTOR'S LIABILITY

The contractor shall inspect every item sent for duplication. If, in the opinion of the contractor, the item cannot be cleaned or duplicated without damage to the original, the contractor shall fax or email a condition report to NLM. (See in particular I.A. Inspection and Condition Reports.)  If NLM authorizes the contractor to proceed, all risk of loss or damage to the original shall be borne by NLM.

The contractor is liable for damage or loss to NLM source material and duplicates that:  1) is due to the contractor's failure to follow procedures as required in the Statement of Work or to gross carelessness or negligence, and 2) occurs while items are in the contractor's facility or in transit between NLM and the contractor's facility.  

If  the contractor is liable for damage or loss, contractor's obligation to NLM shall be, at NLM's option and in this order of preference:  1) to clean, repair, or reduplicate the damaged item as specified by NLM (not to exceed a maximum of $500 per videotape and $2,500 per reel of motion picture film);  2) to reimburse the cost to obtain and process a replacement (not to exceed a maximum of $500 per videotape and $2,500 per reel of film); or  3) to reimburse NLM $500 per videotape and $2,500 per reel of film.

X.  INVOICES

The contractor shall issue an invoice for each shipment.  The following information must appear on each invoice:
- Contractor's name and address
- Purchase order number
- NLM's shipment number
- Contractor's unique, consecutive invoice number
- Itemized list of charges

Invoices may be submitted to the Project Officer for approval as soon as a shipment is delivered.  
Walter Cybulski 
Preservation and Collection Management Section
Bldg. 38, Room B1-E21
National Library of Medicine8600 Rockville Pike
Bethesda, MD  20894
Phone 301-496-2690
Fax 301-480-3862  
walter_cybulski@nlm.nih.gov

The Project Officer will notify the contractor when an invoice is approved for payment.  Once approved, the contractor shall mail a copy of the invoice to:
National Institutes of Health
Chief, OFM, APB
9000 Rockville Pike
Bldg. 31, Room B1B39
Bethesda, MD 20892

It is the responsibility of the contractor to report non-receipt of payment to The Chief, Accounts Payable Section, OFM, APB.  The phone number for payment inquiries is 301-496-6088.  The contractor shall keep the Project Officer informed about all invoicing problems.  

XI.  STANDARDS OF PERFORMANCE

The contractor shall ensure that work meets all of the requirements in this Statement of Work.  A selected list of key requirements is given below.  The contractors work shall be reviewed and approved by the Project Officer.  NLM will notify the contractor of errors within 15 days of receipt.  If NLM finds errors, they will be returned to the contractor to be corrected at no additional cost to NLM.  

The contractor is expected to have an adequate quality assurance program. If  NLM finds more than 3 errors in a shipment, NLM will stop its review and return the shipment to the contractor.  The contractor shall re-inspect the entire shipment and correct all errors.  

1.  Materials are not damaged or lost while at the contractor's facility or in transit.  

2.  Conditions in the contractor's facility and delivery vehicles meet NLM requirements.  

3.  Equipment is cleaned, maintained, and adjusted as specified.

4.  Prior approval for use of specific equipment and supplies and for repairs and treatments is obtained as specified.

5.  Source materials are inspected carefully prior to duplication and all problems are identified.  Condition reports are filled out accurately and legibly.  Reports are submitted to the Project Officer and returned to NLM as stipulated.  

6.  Measures employed to enhance images or sound are in accordance with the requirements in this Statement of Work and with the duplication protocol agreed upon at the beginning of the project.  

7.  For each source film/tape, one of the video copies is inspected carefully in its entirety.  All problems resulting from duplication errors are identified and corrected.  All problems resulting from damage to the source material that was not identified prior to duplication are found and reported.

8.  Labels are prepared and applied as specified.  Information on all labels is correct and complete.

9.  Shipments are packed and transported as specified.  Shipments are picked up at the scheduled time and delivered within the agreed turnaround time.

10.  Cost estimates are provided in a timely manner.  

11.  Accurate invoices are submitted promptly to the Project Officer and to NIH Commercial Accounts.   

APPENDIX A:  STANDARDS AND RECOMMENDED PRACTICES

The contractor is required to follow the latest edition of all relevant standards and recommended practices for handling, repair, duplication, and inspection published by the Society of Motion Picture and Television Engineers (SMPTE), the International Standards Organization (ISO), the European Broadcast Union (EBU), and other industry groups.  The following is a selective list of key standards and recommended practices: 

SMPTE 1-1996		Video Recording -- 2 in. Magnetic Recording Tape
SMPTE 5-1993		Video Recording -- 2 in. Quadruplex Tape -- Video, Audio, and
     Tracking-Control Records
SMPTE 20M		Television Analog Recording -- 1 in. Type C -- Records
SMPTE 21M-1977	Video Recording --  in. Type E Helical Scan -- Records
SMPTE 32M		Video Recording --  in. Type H -- Cassette, Tape and Records 
SMPTE 103-2002	Care, Storage, Handling and Shipping of Magnetic Tape for Television
SMPTE 229M		Television Analog Recording  in. Type L -- Records
SMPTE 230M		Television Analog Recording  in. Type L -- Electrical Parameters, 
     Control Code and Tracking Control
SMPTE 238M		Television Analog Recording  in. Type L -- Tapes and Cassettes

SMPTE RP 121		Tape Dropout Specifications for 1 in. Types B and C Video Tape
     Recorders/Reproducers
SMPTE RP 166-1995	Critical Viewing Conditions fro Evaluation of Color Television Pictures
SMPTE RP 167-1995	Alignment of NTSC Color Picture Monitors
SMPTE RP 169-1995	Television, Audio and Film Time and Control Code -- Auxiliary Time
     Address Data in Binary Groups -- Dialect Specifications of 
     Directory Index Locations
SMPTE RP 187-1995	Center, Aspect Ratio and Blanking of Video Images
SMPTE RP 190-1996	Care and Preservation of Audio Magnetic Recordings

ISO (I3A/AES)	Care and Handling of Magnetic Tape (This document is in ISO balloting, known as 18933.)	
				
EBU /UER Tech. 	Guidelines for Broadcasters-Preservation and reuse of Film Material for
3289-2001 Television

IPI	Users Guide for Acid Detection (A-D) strips, Image Permanence Institute

Eastman Kodak	Telecine Tool Kit, which includes the Telecine Alignment Film (TAF) and Telecine Exposure Calibration (TEC). 

APPENDIX B:  SAMPLE SHIPPING LIST	

[Vendor's name}						National Library of Medicine	Source films: 		9	Betacam SP ordered:	15
Vendor shipment #  [filled in by vendor]		PO # 467-MZ-000000			Source videos:		7	VHS ordered:		14
Vendor invoice # [filled in by vendor]													Digibeta ordered:		1
														Total source items:	16	Total copies ordered:	30	
Produce 1 Betacam SP and 1 VHS, unless noted otherwise.

Call #
Title
Date
B&W / 
Color
Sound /
Silent
Min.
Feet
Orig. format
Special
Instructions
HF1981
The faces of depression
1960
B&W
Sound
28
1014
16mm AP

HF2103
Pulling it straight: a story of crooked teeth
1957
Color
Sound
14
482
16mm AP

HF0709
The large Chalais-Meudon wind tunnel, Part 1
1930
B&W
Sound
7
237
16mm AP
Combine pts 1+2 on copies
HF0709
The large Chalais-Meudon wind tunnel, Part 2
1930
Color
Sound
7
237
16mm AP
Combine pts 1+2 on copies
HF0077
Practical points in the treatment of syphilis
1937
B&W
Silent
13
465
16mm D/Neg

HF0600
Radium treatment of carcinoma of the cervix
1938
B&W
Silent
17
1500
16mm D/Neg

HF0819  Reel 1
The human body in pictures: a visual text of anatomy and physiology, Reel 1
1948
Color
Silent
10
861
35mm FGM

HF0819  Reel 2
The human body in pictures: a visual text of anatomy and physiology, Reel 2
1948
Color
Silent
10
861
35mm FGM

HF0701
Electrical axis of the heart and axis deviation
1933
B&W
Silent
11
393
16mm FGM

HF0020
A paregoric reaction (schizophrenia) in a person of low intelligence
1938
B&W
Silent
15
501
" U-Matic

HF0158
An improved technique for the operative treatment of anorectal lesions
1947
Color
Silent
33
1201
" U-Matic

HF0155
Pancreatic cysts
1953
Color
Sound
28
1100
" U-Matic
2 B-SP, 1 VHS, 1 Digibeta
HF0125
Therapy influencing the autonervous system
1952
Color
Sound
18
1550
" U-Matic

HF0456
Bronchoscopic cinematography of bronchial tumors
1945
Color
Silent
11
393
" U-Matic

HV235 R27 2001
NIH Lecture Series: Menopause and migraines
2001
Color
Sound
30
?
Digibeta

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