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File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
File formats at the Dutch Institute for Sound and Vision
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File formats at the Dutch Institute for Sound and Vision

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How the Dutch Institute for Sound and Vision work out a digitization solution.

How the Dutch Institute for Sound and Vision work out a digitization solution.

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  • SD was niet goed genoeg, moest een formaat kiezen met een hogere resolutie.
  • + DCDM = Digital Cinema Distribution Master
    + The lesson learned from the first pilot study in 2008 was that JPEG 2000 was not yet an industry standard for archival purposes. Mathematically lossless profiles and practical applications for JPEG 2000 production and repurposing seemed to be lacking and mainly focused on digital projection resulting in lossy compression.
    + The overall conclusion of this pilot and research was that important functionality – e.g. system supported quality control – is not yet available and that the market will need more time to embrace the JPEG 2000 compression as an archival standard for film material.
  • + gestructureerde uitwisseling van metadata en procesdata obv XML
  • Transcript

    • 1. F File Formats at The Dutch Institute for Sound and Vision Dubai 2013 Ernst van Velzen CIO Dutch institute for Sound sound and Vision Evvelzen@beeldengeluid.nl
    • 2. DIGITAL FORMATS
    • 3. IMAGES FOR THE FUTURE, LEGACY • Digitize 120.000 hours of video – Simple choice: digitize the Digibeta tape to MXF D10-50 and ad them to the Born digital collection in our digital archive. – Same for older formats like BCN VHS etc. • Digitize most of our audio tapes: 300.000 hours – BWF 24bit 48 kHz, same as the born digital material – Music BWF 24bit 96 kHz, there was no born digital eqivalent becouce music was not part of the “digital facility” • What to do with the 17.500 hours of Film we have to digitize?
    • 4. Film, the quest for a solution • We would not digitize everything to MXF SD or HD – The film material contained more information than a SD resolution. – XDCAM-HD is heaviley compressed: long gop – Not suitable for 4x3 material: Pillar Bars – How to handle frame rates: 18, 24 • We conciderd HDCAM SR – Expensive – What to do with different frame rates etc – legacy format, not a file format
    • 5. RESOLUTIONS Relative importance in collection 2K resolution News (selected) Current Affairs (selected) News Telerecordings Documentaries (selected) Opdrachtfilms Polygoon (35mm) Drama (selected) Current Affairs Documentaries Advertorials Drama Sports (selected) Sports (old) Sports (more recent) HD resolution S tandard resolution Cinematographical & technical quality
    • 6. USE OF JPG2000 FOR PRESERVATION • • • • • Industry focused on DCI DCDM / DCP No standard for MXF container (SMPTE 422M) Little tools available for validating / controlling of code stream Little benefits in storing mathematically lossless over direct output DPX format (50%) reduction A lot of processing power is needed
    • 7. WY: DPX? • We developed a complete workflow were we produced DPX. The onley reason to look for compression was storage • We bought our own Tape robot to backup al our material (15PB LTO5). Against marginal cost we could store 6 PB • Problem solved! DPX is our archive master for Film. XDCM-HD derived from the DPX for immedite use in the digital facility – Use AXF as a wrapper for DPX to do partial file retrieval. We now use TAR. • Top collection nitrate even on 4K
    • 8. HD / 2K WORKFLOW DATA SCANNING WRITE LTO4 14/10/10
    • 9. HD / 2K WORKFLOW DATA SCANNING WRITE LTO4 14/10/10

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