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DIGITISATION OF
AUDIOVISUAL HERITAGE
IN FLANDERS
Rony Vissers (PACKED vzw)
PACKED VZW
§ give our insights regarding audiovisual collections through the
framework of digitization
§ introducing one of the projects with which we are involved
PACKED VZW
§ PACKED vzw: centre of expertise in digital heritage
§ support caretakers of different types of digital heritage
§ special interest: audiovisual heritage, collaborations with
museums
§ we do not focus on cultural heritage content but on ICT processes
linked to it
§ not only technical aspects
§ processes: creation, storage / conservation, cataloguing, online access,
exchange, use and re-use, …
§ they correspond to basic stages (digital) content moves through
§ to realise potential of digital cultural heritage: take digital life cycle into
account
DIGITAL CONTENT LIFE CYCLE (DigitalNZ)
DIGITAL CONTENT LIFE CYCLE (DCC, UK)
AUDIOVISUAL CULTURALHERITAGE
§ audiovisual cultural heritage: characteristic for 20th century
§ large part: analogue, or digital but carrier-based
§ can not be used in current digital environment, and thus potential
can not be realised
§ urgency: will be lost within next 5 -10 years if not digitised
§ analogue and digital carriers degrade rapidly
§ playback equipment disappears from market
§ playback equipment is required for digitisation
§ if digitisation still possible in future, it will be more expensive
§ if not digital, no (re-)use > loss of interest in it
§ complex copyright situation
NEED FOR COLLABORATION
§ audiovisual heritage can be found everywhere, also in places
where technical expertise is lacking > poor condition?
§ digitisation of audiovisual heritage
§ is expensive: mass digitisation reduces cost per unit
§ requires technical expertise: sharing expertise through collaboration
§ infrastructure and services for digital archiving
§ is expensive: and requires technical expertise: shared (networked)
infrastructure and services for digital archiving
§ challenge: even big organisations / institutions and public
authorities (on different levels)
§ solutions need to be found
§ cross-sectoral collaboration? good examples of public-private
partnerships?
SITUATION IN FLANDERS
§ since 2006 Flemish Ministry of Culture supports PACKED:
§ 2006 – 2010: platform organisation for archiving and conservation of
audiovisual arts / heritage
§ 2011: centre of expertise in digital heritage
§ task: support heritage caretakers with expertise
§ since 2013 Flemish Government supports VIAA (Flemish Institute
for Archiving)
§ digitalisation of audiovisual heritage
§ archiving digitised and born digital audiovisual heritage
§ making digital audiovisual heritage accessible for education, research and
general public
§ do this in collaboration with content partners (broadcasters, cultural
heritage institutions, public archives, art organisations)
SITUATION IN FLANDERS
§ inventory:
§ 2013: identified 680.000 carries that need to be digitised (film, video,
audio), 80% broadcast sector – 20% cultural heritage sector
§ since 2013 inventory further developed and expanded, registration of
carriers by content partners
§ 2015: first inventory in the arts sector: performance arts organisations
§ 50 responses: 24.000 carriers, more than 60 formats
§ goal: at least 580.000 carriers digitised by 2020
§ digitisation of film material will take longer, less threatened
§ (2014-2015: also digitisation of WW1 press (260.000 pages))
§ ingest:
§ current: material digitised byVIAA
§ future: material already digitised by content partners, born digital material
SITUATION IN FLANDERS
§ Archiving:
§ digitisation: still a long way to go…
§ 950 TB: 71% video (broadcast), 26 % video (heritage), 1,7% newspapers
1,5% audio
§ maximum capacity: 17 PB (= 17.000 TB)
§ 325.970 items: 269.976 (newspapers), 30.275 (video, broadcast), 16.835
(audio), 8.884 (video heritage)
§ Access – use / (re-use):
§ still a long way to go
§ limitations richness of metadata, funding, expertise
§ limitations copyright situation
§ through content partners: often in-house, exhibition > still need to rethink
their policy and activities in order to explore digital possibilities > but no
clear idea yet
SITUATION IN FLANDERS
§ VIAA: access – use / (re-use):
§ WW1 press: https://hetarchief.be/ > since September 2015 21.500 users,
further explore possibilities open data
§ education: Testbeeld
§ web platform with audiovisual content
§ demand-driven instead of supply-driven
§ metadata and contextualising customised for this purpose
§ current situation:
§ 6.000 video and audio excerpts
§ 15% of schools in Flanders involved (since 2014-2015)
§ focussed on certain school subject (primary education, secundary
education
§ developped in collaboration with schools and educational
organisations
SITUATION IN FLANDERS
§ there is a potential, but needs to be explored further > societal benefits
§ strategy:
§ cross-sectoral collaboration, shared infrastructure and services are
possible > expansion possible
§ requires changes on the side of the content partners
§ realising strategy takes time, while environment and expectations evolve
quickly and preservation needs are urgent
§ requires big financial investment (public money…), financial
sustainability?
§ situation even more complex for born digital material
THANK YOU!
RONY@PACKED.BE

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Digitisation of Audiovisual Heritage in Flanders

  • 1. DIGITISATION OF AUDIOVISUAL HERITAGE IN FLANDERS Rony Vissers (PACKED vzw)
  • 2. PACKED VZW § give our insights regarding audiovisual collections through the framework of digitization § introducing one of the projects with which we are involved
  • 3. PACKED VZW § PACKED vzw: centre of expertise in digital heritage § support caretakers of different types of digital heritage § special interest: audiovisual heritage, collaborations with museums § we do not focus on cultural heritage content but on ICT processes linked to it § not only technical aspects § processes: creation, storage / conservation, cataloguing, online access, exchange, use and re-use, … § they correspond to basic stages (digital) content moves through § to realise potential of digital cultural heritage: take digital life cycle into account
  • 4. DIGITAL CONTENT LIFE CYCLE (DigitalNZ)
  • 5. DIGITAL CONTENT LIFE CYCLE (DCC, UK)
  • 6. AUDIOVISUAL CULTURALHERITAGE § audiovisual cultural heritage: characteristic for 20th century § large part: analogue, or digital but carrier-based § can not be used in current digital environment, and thus potential can not be realised § urgency: will be lost within next 5 -10 years if not digitised § analogue and digital carriers degrade rapidly § playback equipment disappears from market § playback equipment is required for digitisation § if digitisation still possible in future, it will be more expensive § if not digital, no (re-)use > loss of interest in it § complex copyright situation
  • 7. NEED FOR COLLABORATION § audiovisual heritage can be found everywhere, also in places where technical expertise is lacking > poor condition? § digitisation of audiovisual heritage § is expensive: mass digitisation reduces cost per unit § requires technical expertise: sharing expertise through collaboration § infrastructure and services for digital archiving § is expensive: and requires technical expertise: shared (networked) infrastructure and services for digital archiving § challenge: even big organisations / institutions and public authorities (on different levels) § solutions need to be found § cross-sectoral collaboration? good examples of public-private partnerships?
  • 8. SITUATION IN FLANDERS § since 2006 Flemish Ministry of Culture supports PACKED: § 2006 – 2010: platform organisation for archiving and conservation of audiovisual arts / heritage § 2011: centre of expertise in digital heritage § task: support heritage caretakers with expertise § since 2013 Flemish Government supports VIAA (Flemish Institute for Archiving) § digitalisation of audiovisual heritage § archiving digitised and born digital audiovisual heritage § making digital audiovisual heritage accessible for education, research and general public § do this in collaboration with content partners (broadcasters, cultural heritage institutions, public archives, art organisations)
  • 9. SITUATION IN FLANDERS § inventory: § 2013: identified 680.000 carries that need to be digitised (film, video, audio), 80% broadcast sector – 20% cultural heritage sector § since 2013 inventory further developed and expanded, registration of carriers by content partners § 2015: first inventory in the arts sector: performance arts organisations § 50 responses: 24.000 carriers, more than 60 formats § goal: at least 580.000 carriers digitised by 2020 § digitisation of film material will take longer, less threatened § (2014-2015: also digitisation of WW1 press (260.000 pages)) § ingest: § current: material digitised byVIAA § future: material already digitised by content partners, born digital material
  • 10. SITUATION IN FLANDERS § Archiving: § digitisation: still a long way to go… § 950 TB: 71% video (broadcast), 26 % video (heritage), 1,7% newspapers 1,5% audio § maximum capacity: 17 PB (= 17.000 TB) § 325.970 items: 269.976 (newspapers), 30.275 (video, broadcast), 16.835 (audio), 8.884 (video heritage) § Access – use / (re-use): § still a long way to go § limitations richness of metadata, funding, expertise § limitations copyright situation § through content partners: often in-house, exhibition > still need to rethink their policy and activities in order to explore digital possibilities > but no clear idea yet
  • 11. SITUATION IN FLANDERS § VIAA: access – use / (re-use): § WW1 press: https://hetarchief.be/ > since September 2015 21.500 users, further explore possibilities open data § education: Testbeeld § web platform with audiovisual content § demand-driven instead of supply-driven § metadata and contextualising customised for this purpose § current situation: § 6.000 video and audio excerpts § 15% of schools in Flanders involved (since 2014-2015) § focussed on certain school subject (primary education, secundary education § developped in collaboration with schools and educational organisations
  • 12. SITUATION IN FLANDERS § there is a potential, but needs to be explored further > societal benefits § strategy: § cross-sectoral collaboration, shared infrastructure and services are possible > expansion possible § requires changes on the side of the content partners § realising strategy takes time, while environment and expectations evolve quickly and preservation needs are urgent § requires big financial investment (public money…), financial sustainability? § situation even more complex for born digital material