The topic of restoration is potentially quite complicated and multi-faceted. The information in this section addresses the technological restoration of videotape and the signals there encoded. This, however, is just a starting point that may lead to broader research, getting in touch with various collection holders and combining material from different sources. Some of these issues are raised in the section masters and copies in issues to consider. This sort of restoration may mean managing the play-off between the original intentions behind a work and the broader technological changes undergone since the work was made.
For an artist working today, these problems can be addressed and hopefully reduced through decisions and documentation, meaning that you can think about future technology, what might happen to your work as it ages, and outlines plans accordingly. For galleries working with older work, where the artist may no longer be involved, the possible interpretations that may accompany large scheme restoration could be quite problematic
Videotape restoration
Unlike film, videotape reveals nothing
about the images it carries when separated from the machine that plays it.
This can be confounded further by the fact that even if no picture is produced
when the tape is played, it doesn't necessarily follow that there is no longer
a signal on the tape.
Fortunately varying means of restoration can sometimes recover these signals and enable images to be played.
What to restore?
If a tape is unplayable, how do you confirm
what's on the tape and thus determine whether it’s worth restoring?
Taking note of what material is on a cassette before getting to this stage
can be very useful in this respect.
Jim Linder, who works for the American video restoration service, VidiPax, outlines some points to help determine your videotape restoration priorities. In the early 1990s, Linder spent two years working on the recovery of Andy Warhol's highly fragile early 1970s video work. If you have a large amount of material, his pointers could be very helpful. Read it at http://palimpsest.stanford.edu/byauth/lindner/lindner2.html
He notes on this page that:
- Choosing which project has priority can be difficult. Beyond the cultural and historical importance, you should take into account, which is the oldest and if any of the work is on a rare format.
- If you have numerous tapes that contribute to, or are part of, a video piece, gather them all together but give the longest length edited master the highest priority.
- If you have the sole copy of a piece, and it needs attention, you should give it very high priority.
- If work has been carefully stored and looked after, this reduces priority.
- You should take time to look and see if work is damaged or deteriorating, before making decisions.
Rejuvenating unplayable tapes
There are different means of
rejuvenation, depending on the problem. Deteriorated tapes with moisture problems
can be dried through placement in a dry environment. (Note that this treatment
is not suitable for videos that are wet from spillages. These tapes should
be cleaned, rinsed and dried at room temperature.)
If you have only a few deteriorating tapes, you can put them in a sealed bag with a silica gel sachet - this helps draw out the moisture. You should make sure the gel does not come in contact with the actual videotape. Place the bag in a fridge and through checking, leave in the fridge, until the tape is dried.
For lots of tapes, you should put them in a sealed environment with a portable dehumidifier, making sure that each video is separated and outside its box. Again the treatment should last as long as is necessary. Before playing any treated tapes, you should make sure that they've had a chance to adapt to room temperature.
Heat and damaged binder
Going the other way, you can use heat
to revitalise a deteriorating videotape binder. This deterioration can cause
problems with playing and picture. The process of 'baking the tape', putting
it in an oven for 24 hours at a temperature of 45 to 55ºC, can change
this situation and produce very good results. Unfortunately, once baked, the
tape can only be played once, so to make sure it's done well, its probably
best if an experienced technician performs the procedure. After baking, use
the playback to copy the material onto another tape. Look at the formats section
for advice about formats for preservation.
Damaged cassette cartridges
If handled with care, the tape
inside a damaged cassette can be removed and placed in another.