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FIAT/IFTA Where are you on the Timeline? 10/2014 Results

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Audiovisual archives throughout the globe are travelling the digital journey. FIAT/IFTA, the world's leading organisation of television archives, yearly asks its members in five short questions which stage they're in when it comes to preservation formats, content management systems, access, metadata creation and connection to the public. The statistical results allow to FIAT/IFTA to identify relevant conference, seminar and course topics, to the members to situate themselves in the landscape and to the industry to see where the market's needs are.

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FIAT/IFTA Where are you on the Timeline? 10/2014 Results

  1. 1. WHERE ARE YOU ON THE TIMELINE? Media Management Commission FIAT/IFTA World Conference, Amsterdam 2014 – Eva-Lis Green, Brecht Declercq, Adrienne Warburton – 23.10.2014
  2. 2. What is the Timeline? A representation of what stage FIAT/IFTA members are in, on the journey towards digital archiving in terms of – • Preservation Format • Content Management System • Access • Metadata Creation • Connection to the public *new!
  3. 3. You tell us where you are, FIAT/IFTA allows you to compare
  4. 4. You tell us where you are, FIAT/IFTA brings relevant information to you
  5. 5. disclaimer: lies, damn lies, and statistics [Benjamin Disraeli]
  6. 6. TIMELINE SURVEY RESULTS Number of responses 47 After elimination of doubles 43 Did not consent with disclosure 7 Did consent with disclosure 36
  7. 7. TYPE OF ORGANISATION Broadcaster (36) Private archive (1) Institutional archive (6)
  8. 8. 0 5 10 15 7 3 8 8 3 13 1 1. Preservation format Step 1: Analogue carriers such as film, video or stills. Step 2: Digital linear tape Step 3: Up to 25% of digital files on mass storage Step 4: 26% - 50% of digital files on mass storage Step 5: 51% - 75% of digital files on mass storage Step 6: 76% - 100% of digital files on mass storage Step 7: Digital files stored in the cloud
  9. 9. 0 5 10 15 20 1 5 3 4 19 11 2. Content management system Step 1: Card index, log books, other paper based finding aids Step 2: Standalone databases and other electronic documents Step 3: Electronic, networked library cataloguing and tape management systems Step 4: Electronic, networked library cataloguing and tape management systems linked to preview… Step 5: Digital asset management system Step 6: Digital asset management and rights management system
  10. 10. 0 5 10 15 20 2 4 16 5 10 6 3. Access Step 1: Viewing originals on video tape machines and monitors or a Steenbeck Step 2: Viewing preview copies on video tape machine and monitors Step 3: Browse copies on networked computers - internally Step 4: Browse copies over the web for staff on and off site Step 5: Browse copies over the web internally and through external websites for staff and public access (parts of the collection) Step 6: Browse copies over the web internally and on external websites for staff and public acces; ability to transfer hi res files to other organisations
  11. 11. 0 2 4 6 8 10 12 14 16 4 8 10 5 14 1 1 4. Metadata creation Step 1: Only production metadata in existence, none created by cataloguers and no catalogue Step 2: All metadata manually input by cataloguers Step 3: Some automatic creation of technical metadata from digital files; descriptive metadata… Step 4: As stage 3 with metadata automatically fed in from external applications (e.g. production… Step 5: As stage 4 with metadata also being put in by production staff Step 6: As stage 5 with metadata creation such as tagging and crowd sourcing utilized Step 7: As stage 6 with automatic metadata creation such as speech-to-text, image recognition, …
  12. 12. 0 5 10 15 20 25 20 10 5 8 5. Connection to the public Step 1: Featuring archival items on tv, radio and own websites not dedicated to the archive Step 2: Tthe above plus featuring items on own dedicated archival website' Step 3: The above plus via external social media platforms, sites and/or apps Step 4: The above plus via external or own platforms aiming at target groups e.g. education'
  13. 13. SOME COMBINED RESULTS 1. Preservation format vs. Type of organisation PRESERVATION FORMATS INSTITUTIONAL ARCHIVES BROADCASTERS ARCHIVES Step 1: Analogue carriers such as film, video or stills. 1 6 Step 2: Digital linear tape 0 3 Step 3: Up to 25% of digital files on mass storage 1 7 Step 4: 26% - 50% of digital files on mass storage 0 8 Step 5: 51% - 75% of digital files on mass storage 1 2 Step 6: 76% - 100% of digital files on mass storage 3 9 Step 7: Digital files stored in the cloud 0 1 TOTAL 6 36
  14. 14. SOME COMBINED RESULTS 2. Content management vs. Type of organisation CONTENT MANAGEMENT SYSTEMS INSTITUTIONAL ARCHIVES BROADCASTERS ARCHIVES Step 1: Card index, log books, other paper based finding aids 0 1 Step 2: Standalone databases and other electronic documents 0 5 Step 3: Electronic, networked library cataloguing and tape management systems 0 3 Step 4: Electronic, networked library cataloguing and tape management systems linked to preview digital files 1 3 Step 5: Digital asset management system 2 17 Step 6: Digital asset management and rights 3 7 management system TOTAL 6 36
  15. 15. SOME COMBINED RESULTS 3. Access vs. Type of organisation ACCESS INSTITUTIONAL ARCHIVES BROADCASTERS ARCHIVES Step 1: Viewing originals on video tape machines and monitors or a Steenbeck 0 2 Step 2: Viewing preview copies on video tape machine and monitors 0 4 Step 3: Browse copies on networked computers - internally 0 16 Step 4: Browse copies over the web for staff on and off site 1 4 Step 5: Browse copies over the web internally and through external websites for staff and public access (parts of the collection) 2 8 Step 6: Browse copies over the web internally and on external websites for staff and public acces; ability to transfer hi res files to other organisations 3 2 TOTAL 6 36
  16. 16. SOME COMBINED RESULTS 4. Metadata creation vs. Type of organisation METADATA CREATION INSTITUTIONAL ARCHIVES BROADCASTERS ARCHIVES Step 1: Only production metadata in existence, none created by cataloguers and no catalogue 0 4 Step 2: All metadata manually input by cataloguers 0 8 Step 3: Some automatic creation of technical metadata from 0 4 digital files; descriptive metadata manual input by cataloguers Step 4: As stage 3 with metadata automatically fed in from external applications (e.g. production systems) linked to the DAM 1 5 Step 5: As stage 4 with metadata also being put in by production staff 3 2 Step 6: As stage 5 with metadata creation such as tagging and crowd sourcing utilized 1 12 Step 7: As stage 6 with automatic metadata creation such as speech-to-text, image recognition, … 1 1 TOTAL 6 36
  17. 17. SOME COMBINED RESULTS 5. Connection to public vs. Type of organisation CONNECTION TO THE PUBLIC INSTITUTIONAL ARCHIVES BROADCASTERS ARCHIVES Step 1: Featuring archival items on tv, radio and own websites not dedicated to the archive 1 19 Step 2: Tthe above plus featuring items on own dedicated archival website' 0 10 Step 3: The above plus via external social media platforms, sites and/or apps 1 3 Step 4: The above plus via external or own platforms aiming at target groups e.g. education' 4 4 TOTAL 6 36
  18. 18. EVOLUTION vs 2012: HIGH LEVEL CONCLUSIONS Preservation format: Significant progress in digitization, storing in the cloud still one bridge too far? Content management systems: Worldwide adoption of MAM systems, expansion towards Digital Rights Management: a challenge for many. Access: Mostly still on site and for staff only. But fortress walls torn down slowly. Metadata creation: Production staff ever more involved in annotation. UGM and AGM still rare but increasing.
  19. 19. THANK YOU FOR FILLING OUT THE SURVEY! YOU CAN STILL JOIN! www.FIATIFTA.org

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