Electronic Arts Intermix (EAI)

Preservation > Single-channel > Budget

Although preparing the budget for a videotape preservation project can be daunting, the costs are actually determined by a relatively small number of variables. These variables include the original format, condition, and program length, as well as the desired destination format and level of restoration. Reviewing these variables in consultation with a vendor will provide the information needed to create a workable budget.

Each of the following points should be discussed with a vendor to have an accurate idea of the project's total cost. (See our questionnaire (PDF file) detailing the steps needed to work successfully with a vendor.)

More information about each of these variables is available on our Best Practices page.

Condition

The first variable to consider is the condition of the tapes. Tell the vendor as much as possible about the age of the tapes and how they may have been stored over the years. A basic inspection of the tapes can provide much additional critical information. (See the Association of Moving Image Archivists' guide to videotape inspection for a step-by-step guide to physical inspection.)

Damage or deterioration has a direct effect on the costs involved with transfer. For example, dirty tapes may need to be cleaned. If they exhibit symptoms of sticky shed syndrome, they may need to be "baked"-heated in a dry oven to reduce sticky shed. Each of these procedures probably cost additional money, depending on the vendor. (And they should not be attempted by anyone who is not familiar with the processes.)

Format

The second variable is format. Obsolete tapes-tapes for which playback equipment is no longer manufactured-may limit the number of vendors who can handle a job. Very obscure formats can only be played back by a handful of labs.

Also, early tape formats may require additional equipment adjustments before they play back properly. Quad videotape machines-playing back 2" open-reel tapes-often require extensive setup time. In particular, 1/2" open-reel decks often exhibited wide variations in recording; today, 1/2" tapes may need to be tried on several different decks to get a good enough signal.

An accurate listing of tape formats is critical when dealing with a vendor. The following website offers a detailed guide to videotape format identification:

The Texas Commission on the Arts Videotape Identification and Assessment Guide

Level of Restoration

The third variable is the amount of restoration desired. Is it a simple reformatting with minimal intervention? Does it call for the correction of dropouts, color shifts, etc.? The answers to these questions, of course, have ethical as well as fiscal implications.

Most vendors charge more money for supervised sessions-in which the client is present-than for unsupervised sessions. It is generally not necessary for the client to be present at every moment of the process. Clients should discuss the desired end product and the most efficient way of achieving it with the vendor.

Destination Formats

The desired format types for master and viewing copies will also affect a project's overall budget. Digital Betacam videotape, for example, can cost as much as $100 a tape, depending on vendor markups. In general, this is one variable for which vendors should be able to provide exact figures.

Quality Control

In creating a budget, many preservation clients often overlook the cost of quality control. On its return from the vendor, each new tape should be reviewed for quality. Checking such things as running time, audio and video quality, chaptering on DVD copies, etc., takes a great deal of staff time. Costs for this review should be figured into the project from the beginning.

Storage

Finally, it is crucial to include the cost of storage needs in a budget. In planning a preservation project, archivists sometimes overlook the need to provide for what will essentially be a doubling of their storage requirements. Moreover, storage conditions [internal link to Best Practices] should not be forgotten. The substantial investment of time, money, and effort that a preservation project entails should be backed up by storage that will allow the new masters to last as long as possible.