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Workshop 7 web access technology (for audiovisual content)
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Workshop 7 web access technology (for audiovisual content)

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Requirements for 'serious access' to online audiovisual content: granularity, navigation, citation, annotation

Requirements for 'serious access' to online audiovisual content: granularity, navigation, citation, annotation

Published in: Education, Technology

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  • http://en.wikipedia.org/wiki/BBC_iPlayer#Online_streaming_servicehttp://en.wikipedia.org/wiki/H.264
  • Definition from http://www.economist.com/economics-a-to-z/p
  • www.guardian.co.uk/media/2010/nov/01/tony-ageh-interview-bbc-archive
  • The man who could walk through walls (Le Passe-Muraille)http://www.stresscafe.com/translations/pm/index.htm
  • http://www.efgproject.eu/outcomes.php
  • Transcript

    • 1. Web access: technical requirements and usability requirements Dealing with copyright and other rights4-5 September 2012 Vietnam Film Archive Workshops 1
    • 2. The technology has never been easier:•Make a website to be the portal (Wordpress etc)•Put the audio and video content ‘somewhereelse’ – YouTube (mid quality) or Vimeo (higherquality)•Link to the content from the portal; job done !•YouTube and Vimeo will recode for you, but youcan code it yourself: H.264/MPEG-4 AVC, 1 Mb/s•Vimeo example: https://vimeo.com/448363024-5 September 2012 Vietnam Film Archive Workshops 2
    • 3. Six requirements for sensible access to time-based content• Granularity• Navigation• Reference and Citation• Annotation• Rights• Access4-5 September 2012 Vietnam Film Archive Workshops 3
    • 4. Granularity - division into meaningful units• Keyframes• Other methods to represent video• and audio:4-5 September 2012 Vietnam Film Archive Workshops 4
    • 5. Navigation• "Click and play" on visual representation of the meaningful units4-5 September 2012 Vietnam Film Archive Workshops 5
    • 6. Reference and Citation• the core requirement for scholarly discourse – along with a major change in attitude!• Needs a permanent place for “things to be” – Hence the need for stable audiovisual collections “Hamlet, for example, is comparable to Saxo Grammaticus Gesta Danorum.[citation needed] King Lear is based on King Leir in Historia Regum Britanniae by Geoffrey of Monmouth, retold in 1587 by Raphael Holinshed.[citation needed] “ wikipedia4-5 September 2012 Vietnam Film Archive Workshops 6
    • 7. Annotation• the core requirement for social web = interactivity• individual interacts with content• individuals interact with other individuals4-5 September 2012 Vietnam Film Archive Workshops 7
    • 8. Rights• 95% of cost of BBC trial of archive access – 20 hours per hour of content – Does not scale• PrestoPRIME Ontology – supporting codification of owners, users and uses – Ten years ago we had matrices in a spreadsheet, now we have an ontology• New laws needed (for publicly-funded content) – Denmark leading the way4-5 September 2012 Vietnam Film Archive Workshops 8
    • 9. Economic Theory: Public GoodsThings that can be consumed by everybody in a society, or nobody at all. They have three characteristics. They are:• non-rival – one person consuming them does not stop another person consuming them;• non-excludable – if one person can consume them, it is impossible to stop another person consuming them;• non-rejectable – people cannot choose not to consume them even if they want to.4-5 September 2012 Vietnam Film Archive Workshops 9
    • 10. Public GoodsExamples include: – clean air – national defence – judges and courts They might not be provided at all if left to MARKET FORCES.In most countries they are provided for by GOVERNMENT and paid for through compulsory taxation.”http://www.economist.com/research/economics/alphabetic.cfm?term=publi cgoods#publicgoods4-5 September 2012 Vietnam Film Archive Workshops 10
    • 11. Public Goods, the Public Sector and Cultural Heritage• Argument: archives, libraries, museums are publicly-supported institutions that hold public goods• Rights laws that apply to private goods need to be re-interpreted for public goodsIs access for entertainment and leisure activity or for education and research activity?But: doesn’t everyone deserve to be taken seriously? Can’t we all be researchers?4-5 September 2012 Vietnam Film Archive Workshops 11
    • 12. Digital Public Space www.bbc.co.uk/blogs/bbcinternet/2012/06/the_space _one_month.html• A place for public goods• an access point for all of the UKs cultural archives• an Umbrella data model, based on RDF = Resource Discovery Format (semantic web)• a platform for navigating, annotating and curating heritage content• “providing permanent access to the UKs cultural archives in a digital environment thats available to everybody” Jake Berger, BBC4-5 September 2012 Vietnam Film Archive Workshops 12
    • 13. Digital Public Space• Tony Ageh (BBC): "As a nation, we need to decide that we are going to create an environment where every one of our citizens can get value from these technologies. The BBC should facilitate this, but it is an opportunity for these technologies to remind all our national institutions what they were trying to achieve in the first place."4-5 September 2012 Vietnam Film Archive Workshops 13
    • 14. AccessDigital objects can walkthrough walls (and violatemost other laws ofphysics)Unless access is denied –interfering with a miracle!4-5 September 2012 Vietnam Film Archive Workshops 14
    • 15. EUScreen report: Online Access to AudiovisualHeritage (concentrates on TV)Download the Second EUscreen Status Report[PDF]: http://bit.ly/OVLcZVDownload the First EUscreen status report[PDF]: http://bit.ly/MF1hsL4-5 September 2012 Vietnam Film Archive Workshops 15
    • 16. European Film Gateway www.europeanfilmgateway.eu/A European Union project www.efgproject.eu/• Also connected to Europeana “Your single access point to films, images and texts from selected collections of 16 film archives across Europe”• VIDEOS: 27.547 (27 on Vietnam)• IMAGES: 521.021• TEXTS: 25.537• PROVIDERS: 164-5 September 2012 Vietnam Film Archive Workshops 16
    • 17. EFG documents:• D 5.3 The European Film Gateway - Final Guidelines on Copyright Clearance and IPR Management• M 5.4 Digital rights management and watermarking expression• M 5.3 Research Report on open content models• D 4.3 Guidelines for Digitisation, digital storage and retrieval• On the History and Function of Film ArchivesAnd lots more4-5 September 2012 Vietnam Film Archive Workshops 17
    • 18. And finally: JISC Access Recommendations• View online at http://filmandsoundthinktank.jisc.ac.uk• Paul Gerhardt and Peter B Kaufman4-5 September 2012 Vietnam Film Archive Workshops 18
    • 19. JISC: Ten Guides for Use of AV Content1. Extend Awareness of Resources. Develop marketing strategies and case studies.2. Enable Resource Discovery. Make content searchable; audiovisual extension of JSTOR and ARTstor.3. Clear Rights, Facilitate Use. Inventory, legal documents, collaborations.4. Build a Citation System. Use of video and audio in academic writing and publishing.5. Work with Primary Audiovisual Sources. Storage, curation, and distribution of uncut raw materials.4-5 September 2012 Vietnam Film Archive Workshops 19
    • 20. 6. Build Digital Literacy. Tools for audiovisual materials in academic environments.7. Open National Collections. Partnerships with broadcasters and other AV collections.8. Model New Productions. Explicit requirements for products to be freely licensable.9. Establish an Integrated Media Service for Higher Education.10.Call a Summit. Experiment4-5 September 2012 Vietnam Film Archive Workshops 20
    • 21. Thank YouLunch time !• After lunch – review of digital technology• Then our two days are nearly over• Conclusion: further sources of information• And on organisations concerned with audio, video and film (and heritage and preservation) 4-5 September 2012 Vietnam Film Archive Workshops 21

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