Field has no indicators or subfield codes; the data elements are positionally
defined.
When field 007/00 contains code m, it contains special coded information about the
physical characteristics of a motion picture.
01 - Specific material designation Special class of motion picture to which the item belongs., e.g., a film reel.
c - Film cartridge Encased in a cartridge that has the ends joined together to form a loop that
provides playback without rewinding.
f - Film cassette Encased in a cassette that winds and rewinds reel-to-reel.
r - Film reel Open reel of motion picture film designed for use with a projector having its
own take-up reel.
Includes sound track film intended to accompany visual images actually not
present.
u - Unspecified Special material designation for the motion picture is not specified.
z - Other None of the other codes is appropriate.
| - No attempt to code
03 - Color Color characteristics of a motion picture.
b - Black-and-white Printed or executed in black-and-white.
c - Multicolored Printed or executed in more than one color. Used for color photographic
processes.
h - Hand colored Motion picture, produced by a printing or photographic process, is hand
colored. Rarely used with commercial films since these are not typically issued
with hand coloring.
m - Mixed Work or collection is a combination of black-and-white, multicolored, hand
colored, and/or other images.
n - Not applicable Color characteristics are not applicable because the item has no images.
Used, for example, when the item in hand is sound track film intended to
accompany visual images not actually present.
u - Unknown Color characteristics of the motion picture are not known.
z - Other None of the other codes is appropriate (e.g., toned, stained, tinted, etc.)
| - No attempt to code
04 - Motion picture presentation format Presentation format for motion pictures.
Wide-screen is usually indicated with terms such as Techniscope, Todd-AO,
Super-Panavision, etc.
a - Standard sound aperture (reduced frame) Used for non-wide-screen formats.
Includes all standard sound 35 mm., 16 mm., and super 8 mm. film. Should be
used even for silent films in which a space has been left for the inclusion of
a sound track, i.e., where a full frame silent picture has been cropped to
allow space for a sound track.
b - Nonanamorphic (wide-screen) Wide-screen effect without optically compressing the image or requiring the use
of special projection techniques.
Nonanamorphic wide-screen process is primarily associated with 35 mm. and
larger film gauges where the image on the film is natural (not optically
compressed) and of smaller frame height, which is expanded by projection on a
wide screen through the use of normal lenses and the appropriate aperture plate
to give the required aspect ratio.
c - 3D Films which achieve a three-dimensional effect originally through the use of
two projectors which superimpose two images of the film on the screen (usually
a wide screen). It is usually associated with 35 mm. film. Polarized lenses
worn by viewers help to create the impression of depth and dimension.
d - Anamorphic (wide-screen) Films which achieve the wide-screen effect through the use of an image which is
optically compressed or squeezed horizontally. It is then expanded to the
correct proportions by projection on a wide screen with the use of special
lenses that give greater magnification laterally than vertically. Introduced
and adopted for commercial use in 1953 under the name of Cinemascope, followed
by Techniscope (1963), Naturama, Panavision, etc. Also used for 16 mm. film
which employs this process.
e - Other wide-screen format Any other wide-screen process not covered by other codes. Includes Cinerama,
Viterama, Cinemiracle, Circarama and other formats that achieve a wide-screen
effect though the use of simultaneous projection of separate prints on very
large, sometimes deeply curved screens through the use of multiprojectors that
build up the projected picture by a series of images, generally
side-by-side.
f - Standard silent aperture (full frame) 35 mm. film on which the exposed picture is approximately the width of the
space between the perforation holes of the frame.
Standard format for silent film from about 1899 until the late 1920's when
sound film was introduced and the frame size decreased to make room for the
sound track.
u - Unknown Presentation format of the motion picture is not known.
z - Other None of the other codes is appropriate. An example of this is the 70 mm. Imax
format which is a non-rectangular, circular 180 degree limited use format that
is not standardized. Imax may not technically be considered a wide-screen
format because it does not have an aspect ratio, but it does achieve a
wide-screen effect.
| - No attempt to code
06 - Medium for sound Specific medium used to carry the sound of an item (whether that sound is carried
on the item itself or is in the form of accompanying material) and the type of
sound playback required.
Used in conjunction with the information coded in 007/05 (Sound on medium or
separate) and 007/07 (Dimensions). Typically, the carriers of sound are: 1)
optical and/or magnetic track on a film reel or encased in a cassette or
cartridge; 2) audio or video tape which may be on a reel or encased in a cassette
or cartridge; and 3) sound or videodisc.
# - No sound (silent) Sound is not present (i.e., the item is intended to be silent).
a - Optical sound track on motion picture film Sound to accompany a motion picture is carried on an optical track that is part
of the film. Optical sound is the most commonly used process for 16 and 35 mm.
film.
b - Magnetic sound track on motion picture film Sound to accompany a motion picture is carried on a separate magnetic track
that is part of the film. 70 mm. motion picture films often include magnetic
sound tracks.
c - Magnetic audio tape in cartridge Accompanying sound is carried on a magnetic audio tape cartridge.
d - Sound disc Sound to accompany an item is carried on a sound disc. Sound discs include 7,
10, and 12 in. vinyl phonograph records and 4 3/4 in. compact discs.
e - Magnetic audio tape on reel Sound to accompany an item is carried on a reel of magnetic audio tape.
f - Magnetic audio tape in cassette Sound to accompany an item is carried on a cassette of magnetic audio tape.
g - Optical and magnetic sound track on motion picture film Sound to accompany a motion picture is carried on both an optical and magnetic
track.
h - Videotape Sound to accompany an item is included as part of a videotape. Videotape is not
ordinarily used to record only sound.
i - Videodisc Sound to accompany an item is included as part of a videodisc. Videodiscs are
not ordinarily used to record only sound. A distinction must be made between
videodiscs (e.g., 12 in. laser-scan videodiscs that include video information)
and compact discs that are used to record sound only (e.g., 4 3/4 in. audio
compact discs). The technology to physically record video or audio information
on digital disc systems is the same.
u - Unknown Medium for sound is not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
07 - Dimensions Width of a motion picture.
Only codes that exactly match the measurements of the item as given in the
physical description should be used. If no code exactly matches, code z is
used.
a - Standard 8 mm. Width of the motion picture film is standard 8 mm. Motion pictures termed
Mauer 8 mm. are recorded as code a.
b - Super 8 mm./single 8 mm. Width of the motion picture film is super 8 mm. Single 8 mm. motion picture
film is a Japanese equivalent of super 8 mm. motion picture film.
c - 9.5 mm. Width of the motion picture film is 9.5 mm.
d - 16 mm. Width of the motion picture film is 16 mm.
e - 28 mm. Width of the motion picture film is 28 mm.
f - 35 mm. Width of the motion picture film is 35 mm.
g - 70 mm. Width of the motion picture film is 70 mm.
u - Unknown Dimensions are not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
08 - Configuration of playback channels Configuration of playback channels for the sound portion of a motion picture.
Should be coded based on a clear indication of intended playback. These codes do
not refer to the configuration of channels originally recorded unless those
channels are all intended to be available on playback.
k - Mixed More than one configuration of playback channels is available on a single
motion picture.
An example would be a film with both monaural optical and stereophonic magnetic
sound tracks.
m - Monaural Configured to be played back on one channel.
n - Not applicable Film is silent, has no sound or sound is on separate medium (007/05 contains
b).
Also used when describing an item with separate sound. The configuration of
playback channels for the separate sound track would be described in another
007 representing the sound recording on accompanying material (e.g., sound on
cassette).
q - Quadraphonic, multichannel, or surround Configured to be played back or more than two channels. Used for Dolby surround
sound tracks and other multichannel techniques.
s - Stereophonic Configured to be played back on two separate channels. Use when the medium is
not monaural and when it is not possible to ascertain that multiple playback
sources are available or intended.
u - Unknown Configuration of sound playback channels is not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
09 - Production elements Whether the film is part of a complete production or is a preliminary or
post-production element.
Materials described in this character position do not represent a complete work
(i.e., a finished film).
a - Workprint Print from the original camera footage which is edited to a fine degree to
achieve the final version.
b - Trims Sections of shots remaining after the desired portions have been incorporated
into the workprint.
c - Outtakes Shots discarded in the editing of a film.
d - Rushes First positive prints from the laboratory of the previous day's shooting.
e - Mixing tracks Separate sound tracks that are combined for the final film sound track.
Mixing tracks may include music, sound effects, and dialog tracks.
f - Title bands/inter-title rolls Printed captions or titles separated from their corresponding picture.
g - Production rolls Various types of production elements (film usually wound on cores) before they
are cut and assembled into reels.
n - Not applicable Item is not a production element.
z - Other None of the other codes is appropriate.
| - No attempt to code
10 - Positive/negative aspect Whether the film is positive or negative.
Positive/negative aspect of motion picture film is related to the kind of emulsion
bonded to and supported by a film base.
a - Positive Colors and/or tonal values are the same as the original subject matter.
b - Negative For a black-and-white film, tonal values are the opposite of those in the
original subject matter. For a color film, tonal values are the complements of
the original subject matter (e.g., red appears as green in a color
negative).
n - Not applicable Film does not have a positive/negative aspect.
u - Unknown Positive/negative aspect of the film is not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
11 - Generation How far away from the original material the item is (e.g., the actual negative
film or original videotape in the camera). Generation data is used to evaluate the
quality of available copies, to make preservation decisions, and to identify
materials available for viewing and research.
Concept of generation represents the photographic process required to
create, duplicate, and preserve moving image materials. Material that is produced
successively from the original is second, third, fourth, etc. generation material
(e.g., original negative to master-positive to duplicate negative to reference
print).
d - Duplicate Duplicate that is usually negative, referred to as a dupe neg, and is a
reproduction of the original picture or sound track. A duplicate negative is
made from a master positive, which in turn was made from an earlier negative. A
duplicate is at least three generations from the original. Duplicate negatives
may be prepared either to obtain characteristics not present in the original
image, as in special effects work, or to protect and extend the production
availability of the assembled original negative as when duplicate negatives are
prepared for release printing simultaneously at different labs.
e - Master Master that is usually positive and referred to as a master positive. It is a
specially prepared positive print made from an earlier generation negative film
and used for the preparation of duplicate negatives rather than for projection.
The master is normally considered second generation material.
o - Original Original that is usually negative. It is film exposed in a camera and thus of
better quality than any subsequent generation or derivative. When referring to
older film, an original is almost always a negative. However, the original film
may also be a reversal positive.
r - Reference print/viewing copy Reference print (ref print) that is defined technically as a release print
which has been approved by the producer and director of a film. A reference
print may also mean a print kept as a reference print to evaluate the quality
of subsequent prints. In film archives, the term is used to indicate that a
film may be viewed by researchers. It is not original, master, or duplicate
material.
u - Unknown Generation stage of the film is not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
12 - Base of film Safety base film is a comparatively nonflammable film base that meets ISO
requirements for a safety base. On some film, the phrase safety film
appears on the edge of motion pictures. Nitrate film base is a highly flammable
film base that does not meet the ISO requirements for safety base film.
a - Safety base, undetermined Safety base film whose type has not been identified.
c - Safety base, acetate undetermined Acetate safety base film whose exact type cannot be determined, i.e., where it
is unknown if the type is diacetate or triacetate.
d - Safety base, diacetate Cellulose diacetate film base. Introduced before World War I for home movies,
diacetate base was more expensive and unpredictable than nitrate base and so
failed to gain acceptance in professional 35 mm. film production.
i - Nitrate base Cellulose nitrate film base. Cellulose nitrate support or base was used in the
manufacture of 35 mm. film (and some 17.5 mm. film) until 1951. Nitrate base
film is no longer manufactured.
m - Mixed base (nitrate and safety) Combination of nitrate base and safety base film. The use of a mixed base was
common in the early 1950s when nitrate base stock shots were spliced with
safety base film for low-budget motion pictures. In such releases, up to 50% of
the film consisted of stock shots on nitrate base film.
n - Not applicable Item does not have a film base, e.g., paper film.
p - Safety base, polyester Film base made of a synthetic resin (e.g., estar).
r - Safety base, mixed Mixed safety base films spliced together, but no nitrate film.
t - Safety base, triacetate Cellulose triacetate film base. Cellulose triacetate is a high acetal compound
with very low flammability and slow burning characteristics. From 1951,
triacetate has been used for professional as well as for amateur produced
moving image film.
u - Unknown Base of the film is not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
13 - Refined categories of color More specific color characteristics of the moving image than are contained in
007/03 (Color).
If the color portions of the item include more than one color process, a code for
the predominant color process is given. The additional color processes are
described in field 500 (General Note).
a - 3 layer color Three layers of emulsion: cyan, magenta, and yellow. Each layer is sensitive to
its own primary color. Beginning in the early 1950's, color film work has been
done primarily on 3 layer, also called multilayer, film. This process is also
known as integral tri-pack.
b - 2 color, single strip Single strip of film was exposed with pairs of images by means of a
beam-splitter prism. One of the pairs of images was exposed through a red
filter and one through a green filter. The resulting negative was used to
produce both prints consisting of two strips cemented together, and, later in
the history of the process, two color dye transfer prints. Also known as
red and green Technicolor, the process was used exclusively by
Technicolor and had its heyday between 1922 and 1933, although it was used
until 1936 for animated cartoons.
c - Undetermined 2 color System of color reproduction, which cannot be specifically identified, in which
the visible spectrum is divided either into blue and red regions or into green
and red regions for recording and presentation. Although extensively used in
early color film processes, the inherent inability of two components to
reproduce a satisfactory range of hues rendered all such systems obsolete when
three-color processes became readily available and relatively inexpensive.
d - Undetermined 3 color System of color reproduction, which cannot be specifically identified, in which
the visible spectrum is divided into three sections, normally red, green, and
blue, for the purposes of recording and presentation.
e - 3 strip color Color system in which three color-separation negatives were produced on
black-and-white film. 3 strip color is often used synonymously with the
trademark Technicolor. In the Technicolor three-component system, light
reflected from the subject matter is transmitted through the single lens of a
special camera where it strikes a prism. One part of the light is passed
through the prism and a green filter to produce a green record. The remainder
of the light is reflected from the prism and absorbed by negatives to produce
red and blue records. Each of the negatives is developed to produce new
negatives which resemble black-and-white negatives.
f - 2 strip color Color system in which two strips of film, one to record red light and one to
record blue, were run through the camera simultaneously and exposed through the
base of the front piece of film. These two strips of negatives were then used
to produce prints of duplitized film stock (film stock with emulsion on both
sides of the base), with a red-dyed image on one side, and a blue-dyed or
-toned image on the other. Although extensively used in early color film
processes, the inherent inability of two components to reproduce the visible
color spectrum rendered all such systems obsolete when three-color processes
became readily available. The process used from about 1929 to about 1950 by,
among others, the following companies: Cinecolor, Magnacolor, and
Multicolor.
g - Red strip Cinecolor process, in which the color separation record of blue-green light
prints as red. In the Super Cinecolor process, the color separation record of
green light which prints as magenta (called "red" by Cinecolor). In the
two-color Technicolor process, the color separation record of green light which
prints as red.
h - Blue or green strip Cinecolor process and the Super Cinecolor process, in which the blue strip is
the color separation record of red light which prints as blue-green (called
"blue" by Cinecolor). In the two-color Technicolor process, the green strip is
the color separation record of magenta-red light which prints as green.
i - Cyan strip Color separation record of red light which prints as cyan.
j - Magenta strip Color separation record of green light which prints as magenta.
k - Yellow strip Color separation record of blue light which prints as yellow.
l - S E N 2 Successive exposure negative 2. S E N 2 is a method of motion picture color
photography in which two color separation negative images were recorded on one
strip of film by photographing each frame two times successively through red
and blue filters. The resultant negative was subsequently optically printed by
the use of a skip-frame mechanism. The process was restricted to the
photography of animated cartoon and puppet subjects in which the movement from
frame to frame could be controlled. The successive exposure process was
rendered obsolete by the introduction of 3 layer (multilayer) color negative
film.
m - S E N 3 Successive exposure negative 3. S E N 3 is a method of motion picture color
photography in which three color separation negative images were recorded on
one strip of film by photographing each frame three times successively through
red, blue, and green filters. The resultant negative was subsequently optically
printed by the use of a skip-frame mechanism. The process was usually
restricted to the photography of animated cartoon and puppet subjects in which
the movement from frame to frame could be controlled. The successive exposure
process was rarely used after the introduction of 3 layer (multilayer) color
negative film.
n - Not applicable Item is not a color film.
p - Sepia tone Sepia tone which is a conversion of a black-and-white image in silver to sepia
(a brownish grey to dark olive brown) by metallic compounds. Sepia was the most
common tone used, and was used in black-and-white prints of films for special
sequences to enhance the dramatic or pictorial effect.
q - Other tone Color created by chemically altering the color, for example, uranium produces
red, or increasing the brilliance of a print. Toning differs from tinting in
that the clear portions of the film remain unaffected. Only the silver image of
the positive film becomes colored.
r - Tint Early in the history of tinting, a tint was created by dipping film in a bath
of chemical dyes to get a dominant hue. Later raw stock became available
already tinted in eleven stock shades: peach blow, blue for moonlight, amber
for firelight, etc. The tinting of a film may be in whole or in part. Tinting
was common until the advent of sound.
s - Tinted and toned Color has been added to a film by using a tinted base and a toned emulsion.
t - Stencil color Color is added using stencils, one cut for each color. Stencil color replaced
the hand-coloring used in earlier years.
u - Unknown Refined category of color is not known.
v - Hand colored Image, produced by a photographic process, is hand colored. Used whenever code
h (hand-colored) is present in 007/03 (Color).
z - Other None of the other codes is appropriate, such as when no single color process is
predominant.
| - No attempt to code
14 - Kind of color stock or print Type of color film stock or color print the item represents.
a - Imbibition dye transfer prints Film color prints created by the transfer of two or more differently colored
dye images to a single strip of blank film. The dye transfer process was used
only to produce prints. Imbibition dye transfer prints can be produced from
film originally shot on either multi-strip or multi-layer film. The process was
used only by the Technicolor Company from ca. 1928 to ca. 1975. The patents
were sold to the People's Republic of China, and since ca. 1980, the process
has been available only in China.
b - Three-layer stock Color film stock with three layers of emulsion: cyan, magenta and yellow. Each
layer is sensitive to its own primary color. Since the early 1950's, most color
films have been both shot and printed on this stock. It is also called
multilayer film stock.
c - Three layer stock, low fade Color film stock with three layers of emulsion: cyan, magenta and yellow. Each
layer is sensitive to its own primary color and stabilized to reduce color
fading as much as possible. It has been available since ca. 1983.
d - Duplitized stock Color print stock with emulsion on both sides. Usually one side is dyed red,
and the other side is dyed or toned blue.
n - Not applicable Item is not a color film.
u - Unknown Type of color film stock is not known.
z - Other None of the other codes is appropriate.
| - No attempt to code
15 - Deterioration stage Level of deterioration of the motion picture film.
Codes are listed according to the seriousness of the deterioration. If more than
one condition is applicable to the film in hand, the code for the most serious
condition is recorded.
a - None apparent No deterioration is apparent on either nitrate or non-nitrate motion picture
film.
b - Nitrate: suspicious odor Codes b-h are used for recording nitrate deterioration. The codes are listed
according to the seriousness of the condition of deterioration. If more than
one condition is applicable to the film in hand, the code for the most serious
condition is recorded.
c - Nitrate: pungent odor
d - Nitrate: brownish, discoloration, fading, dusty
e - Nitrate: sticky
f - Nitrate: frothy, bubbles, blisters
g - Nitrate: congealed
h - Nitrate: powder
k - Non-nitrate: detectable deterioration Codes k-m are used to record deterioration of non-nitrate materials (safety
film, etc.). The codes are listed according to the seriousness of the
deterioration. If more than one condition is applicable to the film in hand,
the code for the most serious condition is recorded.
l - Non-nitrate: advanced deterioration
m - Non-nitrate: disaster
| - No attempt to code
007/02 - Original versus reproduction aspect [OBSOLETE, 1997] [USMARC only]Defined codes were: f (Facsimile), o (Original), r (Reproduction), and u
(Unknown).
007/04 - Motion picture presentation format
n - Not applicable [OBSOLETE, 1983]
e - Other [OBSOLETE, 1980]
e - Other wide-screen format [NEW, 1981]
007/06 - Medium for sound
g - Other [OBSOLETE, 1980]
g - Optical and magnetic sound track on motion picture film [NEW, 1985]
007/09 - Productions elements
h - Other [OBSOLETE, 1988]
007/17-22 - Film inspection date [CAN/MARC only]Prior to the definition of this character position, the film inspection date was
coded in field 009/16-19 for Visual Materials (Film inspection date).