Workshops on sound and moving image preservation hanoi v2


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A document giving the outline of the two day workshop given at the Vietnamese Film Institute -- and a reading list.

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Workshops on sound and moving image preservation hanoi v2

  1. 1. Workshops on Sound and Moving Image Preservation, Hanoi, September 20124-5 September 2012; Presented by Richard Wright, Preservation Guide, LondonIntroduction: The Vietnamese Film Institute has arranged a two-day series of practical workshops on all the technicalissues around preservation of sound and moving image materials. The workshops will be presented byRichard Wright, formerly the archive technology specialist at the BBC Research & Developmentdepartment in London, who has been working in digital media since 1967, and in audiovisual archivepreservation since 1994. Delegates have been invited from other Vietnamese institutions, soinformation about the VFI and about other institutions and their experience of preservation problemswill be presented. The workshops will be informal, with questions from the floor and general discussionwelcome at all times. Presentation of information by delegates is also encouraged – to add variety anddepth and give someone else a chance to talk!Day One: Saving Our Analogue HeritageWelcome and IntroductionsOverview session The importance of the world’s cinema and broadcast heritage o The Vietnam Film Archive – its collections and activity – VFI o Any other short presentations from delegates – all delegates invited to say a few words about their institutions and collections: what they hold, numbers of items in various formats, condition of the material, use of the material o The importance of sound and moving image collections in general[tea break]Conservation, Digitisation and Preservation technical session The need for digitisation – for preservation and for access [Ref 1, Sct 3] Preservation planning – mapping your collections; setting priorities; making a collection strategy, a preservation strategy and a preservation plan [Ref 4, Develop a Strategy] The Preservation Factory approach to digitisation [Ref 4, The Preservation Factory Approach] Technical issues in digitisation of 1) audio carriers; 2) video carriers; 3) film; 4) digital carriers (CD, DVD, DAT, minidisc, digital video tape) [Ref 1, Sct 4] o Digitisation experience of the VFI o Any other short presentations from delegates – delegates invited to describe their own institution’s preservation planning and digitisation progress[lunch]Practical SessionWorkflow and problems for audio digitisation (from various analogue formats) [Ref 2]Workflow and problems for video digitisation (again, from various formats) [Ref 1, Sct 4; also Ref 5]Workflow and problems for film digitisation (again, various formats) [Ref 3] datacine vs telecine
  2. 2. preparation: cleaning, polishing, fixing splices scanning: o technology, wet gate, infrared scratch removal; o resolution, dynamic range, grading sound from film: how best to digitise film sound what kind of output file? video formats, digital cinema formats, JPEG2000, MXF, technical issues film restoration: state of the art quality control: how to know how well you have done[tea]Digital Preservation Strategy, Technology and Management A roadmap from analogue to digital [Ref 4, A Format Roadmap] Digital choices: data tape, optical media, hard drives; mass storage systems and their management [Ref 4, Selecting Your Storage Solution] Practical examples: the BBC experience since 1992 o other practical examples from the VFI or from other delegates Building a business case for digitisation: costs and choices [Ref 4, Making a Preservation Budget] A digital roadmap: deciding on digital formats, and when to update the decisions Cost and performance estimation for preservation systems [PrestoPRIME]Summary of the day, feedback, discussionSummary of tomorrow: when we succeed in creating digital collections, what do we do with them?Day Two: Succeeding in a Digital WorldSoftware and Systems for Digital PreservationIn the new world of ‘information technology’ (IT) there are many choices for how to keep files and howto work with them. This session looks at what is available from the IT industry: Digital storage, backup, archives, libraries, content management, digital asset management, media asset management and digital preservation systems Formal approaches to digital preservation: “OAIS and all that” [Ref 1, Sct 5 and 6] Digital Preservation Packages (and their international standards) (MPEG, AXF, bagit ...) The PrestoPRIME traffic-light (red-yellow-green) model of digital preservation Working together: outsourcing and cloud technologies (and how to use them) o National digital libraries: can they help audiovisual collections? [Ref 1, Sct 7][tea break]Digital Access: Audiovisual Archives for All!Access is the payoff: Internet technology allows digital audiovisual content to reach everyone with adata connection and a computer. How can this huge opportunity be used? Is there money there (to helppay for digitisation)? Don’t the problems with rights get in the way? How will our institutions change?Case Studies From Europe
  3. 3. o INA, France; NISV, The Netherands; BBC, UK; o Audiovisual activity and Europeana: European Film Gateway, EU Screen and more from Taiwan and Singapore (so far)[lunch]Technical Issues in Access Requirements for time-based access: division into meaningful parts, navigation, citation, annotation Metadata: standards, mapping, verification; crowd-sourcing of metadata; “linked data” and the semantic web (and its use in the BBC) Search and Discovery: how does Google find you? Rights management metadata and how it differs from digital rights management (DRM) National and International Digital Libraries and Repositories (for cultural heritage materials)[tea]How to get help (in audiovisual archiving and preservation) o Online Resources o Organisations o Training Courses o Service Providers o Experts and Consultants o Books and other Documents o PrestoCentreSummary and Conclusions and end of the workshopsReference Material[1] Wright, Richard (2012) Preserving Moving Pictures and Sound, DPC Technology Watch Report (PDF 915KB)[2] Henrikson, Juha and Nadja Wallaszkovits (2008) Audio Tape Digitisation Workflow (online resource)[3] Triemstra, Harm Jan and de Smet, Tom (2011) Film Scanning Considerations Beeld and Geluid,Hilversum, The Netherlands[4] PrestoSpace (2008-2010) Preservation Guide (online resource)[5] PrestoSpace Training Videos[6] Addis, et al (2010-2012) PrestoPRIME Tools for modelling (online resources)
  4. 4. Short Biography- Richard Wright was the archive preservation specialist in the BBC Archive and in BBCResearch and Development from 1994 to 2011. He has 45 years of experience in digital audio and videoprocessing.He has a PhD in signal processing engineer from the University of Southampton in the UK. He started thePresto series of international projects in audiovisual preservation in 1999 (Presto, PrestoSpace,PrestoPRIME). PrestoSpace and Presto were about audiovisual digitisation – and the preservationfactory approach to efficiency. PrestoPRIME is about digital preservation: how to use and preservefiles. He developed the Preservation Guide – a “Google Number 1” coveringaudiovisual preservation.He has been an advisor to many international projects and organisations, including: the US American Archives project (for preservation of public broadcasting archives) the US National Archives and Records Administration audiovisual preservation project WGBH (Boston, MA USA) project on open source digital asset management Dublin City University and Moving Media project: Metalabs iPRES annual international digital preservation conferences Digital Preservation Coalition (UK) Preservation and Migration Commission, International Federation of Television Archives Technical Committee, International Organisation of Sound and Audiovisual Archives