The Association of Moving Image Archivists

Our diverse range of AMIA Committees and Task Forces collaborate with colleagues from around the world. We create forums for exchange, and develop programs and projects that move us all forward in a changing field.

AMIA was the first professional organization to offer scholarships specifically for students pursuing careers in moving image archives. Applications for scholarships and the IPI Internship program opened in January.

The AMIA Supplier Directory is an international resource guide for anyone working with audiovisual media. Find a supplier, or list your own services or products. We update the directory on a quarterly basis.

AMIA believes that the education and training of moving image archivists is essential to the long-term survival of our moving image heritage. This year three scholarships will be offered: the Sony Pictures Scholarship, the Universal Studios Preservation Scholarship, and The Rick Chace Foundation Scholarship.

In addition, the Image Permanence Institute Internship in Preservation Research will offer a student who is committed to the preservation of moving images the opportunity to acquire practical experience in preservation research.

For further information, deadlines and applications, please visit the AMIA web page: http://www.amianet.org/programs-and-initiatives/scholarships

Application deadlines are May 1st.

Untouched for decades, a vast scientific treasure trove had been left to decay In the archives at Los Alamos National Laboratory in New Mexico, the birthplace of the atom bomb. Some of the film has been lost forever. But Film preservationist Jim Moye has been able to restore most of it, using a scanner to convert each frame to a digital file.

Grover Crisp, exec vp asset management, film restoration and digital mastery, Sony Picture Entertainment, offered an overview of current restoration, preservation and archive techniques. He showed examples of how color grading software has been used to dramatically restore color, and how he has used digital trickery to repair frames (for instance, he replaced an actor's eye with one from a different take). Crisp noted that the costs of a restoration could range from several thousand dollars to several hundred thousand, depending on the condition of the material.