Unit III - Solved Question Bank- Robotics Engineering -Sanjay Singh
This Question Bank for Robotics Engineering is only for academic purpose and not for any commercial use. Students of Anna University and other Universities can use it for reference and knowledge.
Unit III - Solved Question Bank- Robotics Engineering -Sanjay Singh
This Question Bank for Robotics Engineering is only for academic purpose and not for any commercial use. Students of Anna University and other Universities can use it for reference and knowledge.
This ppt provides you all the Basic Knowledge about Robotics or Robots an Automation.It also gives you information about how todays world is depending on Robotics and Automation.
"Building HMI with Visual Basic Technologies - 1998". Though they are old slides but still worth having a look especially for those who are new to HMI and SCADA technologies.
Đồ án Đo và điều khiển tốc độ động cơ dùng 8051Vida Stiedemann
Hiện nay trong rất nhiều lĩnh vực đời sống và sản xuất các loại động cơ điện
ngày càng được ứng dụng rộng rãi hơn so với những loại động cơ sử dụng năng
lượng như xăng, dầu, khí đốt…..Những loại động cơ điện này có những ưu điểm
hơn hẳn về hiệu suất sử dụng, cấu tạo nhỏ gọn, giá thành hợp lý, dễ dàng điều
chỉnh tốc độ, đảo chiều, cưỡng bức các quá trình khởi động, quá trình hãm dừng dễ
dàng.Trong thực tế có rất nhiều loại động cơ điện được sử dụng bao gồm:
+Động cơ điện cơ điện 3 pha được chia làm các loại cơ bản là: Động cơ điện 3
pha dây quấn và 3 pha roto lồng sóc, động cơ điện 1 pha.
+Động cơ điện 1 chiều bao gồm các loại như: kích từ song song và loại kích từ
nối tiếp.
Thông thường với những động cơ thường xuyên đòi hỏi đảo chiều,tăng,
giảm, hãm dừng thì thương sử dụng động cơ điện 1 chiều là chủ yếu, vì sẽ dễ dàng
điều khiển hơn so với đông cơ xoay chiều. Để tiến hành điều khiển động cơ 1
chiều, có rất nhiều biện pháp được ứng dụng như là: thay đổi điện áp phần ứng,
thay đổi từ thông, hoặc sử dụng điện trở phụ mắc thêm vào phần ứng của động cơ.
Để làm được điều đó, chúng ta cần đi xây dựng những hệ thống điều khiển, có rất
nhiều hệ thống được ứng dụng như là: các hệ thống điều khiển PID, điều khiển
động cơ bằng Vi điều khiển, hay có thể điều khiển bằng cách sử dụng các loại khí
cụ điện. Trong đề tài này chúng em sẽ tiến hành nghiên cứu các quá trình điều
khiểu động cơ bằng phương pháp sử dụng Vi điều khiển họ 8051.
https://monhoc.vn/
It describes about automation its components and architecture. It includes following contents namely Introduction, History, Mechanization vs. automation, Role of automation in industry, Types of production systems, Types of automation, Architecture of automation, Automation control system & Sensors and actuators
Introduction to Mechatronics – Systems – Concepts of Mechatronics approach – Need for
Mechatronics – Emerging areas of Mechatronics – Classification of Mechatronics. Sensors and
Transducers: Static and dynamic Characteristics of Sensor, Potentiometers – LVDT – Capacitance
sensors – Strain gauges – Eddy current sensor – Hall effect sensor – Temperature sensors – Light
sensors
This ppt provides you all the Basic Knowledge about Robotics or Robots an Automation.It also gives you information about how todays world is depending on Robotics and Automation.
"Building HMI with Visual Basic Technologies - 1998". Though they are old slides but still worth having a look especially for those who are new to HMI and SCADA technologies.
Đồ án Đo và điều khiển tốc độ động cơ dùng 8051Vida Stiedemann
Hiện nay trong rất nhiều lĩnh vực đời sống và sản xuất các loại động cơ điện
ngày càng được ứng dụng rộng rãi hơn so với những loại động cơ sử dụng năng
lượng như xăng, dầu, khí đốt…..Những loại động cơ điện này có những ưu điểm
hơn hẳn về hiệu suất sử dụng, cấu tạo nhỏ gọn, giá thành hợp lý, dễ dàng điều
chỉnh tốc độ, đảo chiều, cưỡng bức các quá trình khởi động, quá trình hãm dừng dễ
dàng.Trong thực tế có rất nhiều loại động cơ điện được sử dụng bao gồm:
+Động cơ điện cơ điện 3 pha được chia làm các loại cơ bản là: Động cơ điện 3
pha dây quấn và 3 pha roto lồng sóc, động cơ điện 1 pha.
+Động cơ điện 1 chiều bao gồm các loại như: kích từ song song và loại kích từ
nối tiếp.
Thông thường với những động cơ thường xuyên đòi hỏi đảo chiều,tăng,
giảm, hãm dừng thì thương sử dụng động cơ điện 1 chiều là chủ yếu, vì sẽ dễ dàng
điều khiển hơn so với đông cơ xoay chiều. Để tiến hành điều khiển động cơ 1
chiều, có rất nhiều biện pháp được ứng dụng như là: thay đổi điện áp phần ứng,
thay đổi từ thông, hoặc sử dụng điện trở phụ mắc thêm vào phần ứng của động cơ.
Để làm được điều đó, chúng ta cần đi xây dựng những hệ thống điều khiển, có rất
nhiều hệ thống được ứng dụng như là: các hệ thống điều khiển PID, điều khiển
động cơ bằng Vi điều khiển, hay có thể điều khiển bằng cách sử dụng các loại khí
cụ điện. Trong đề tài này chúng em sẽ tiến hành nghiên cứu các quá trình điều
khiểu động cơ bằng phương pháp sử dụng Vi điều khiển họ 8051.
https://monhoc.vn/
It describes about automation its components and architecture. It includes following contents namely Introduction, History, Mechanization vs. automation, Role of automation in industry, Types of production systems, Types of automation, Architecture of automation, Automation control system & Sensors and actuators
Introduction to Mechatronics – Systems – Concepts of Mechatronics approach – Need for
Mechatronics – Emerging areas of Mechatronics – Classification of Mechatronics. Sensors and
Transducers: Static and dynamic Characteristics of Sensor, Potentiometers – LVDT – Capacitance
sensors – Strain gauges – Eddy current sensor – Hall effect sensor – Temperature sensors – Light
sensors
Separate Pasts, Common Futures: Digital film preservation in a broadcast en...Erwin Verbruggen
Presentation given at the PRESTO4U Workshop on Digital AV Archiving Workflows; Digitisation, Ingest, Preservation, Conversion, and Delivery.
23 September 2014, Danish Film Institute, Copenhagen, DK.
http://www.dfi.dk/FaktaOmFilm/European-Film-Gateway/Presto4U.aspx
Visual Resources positions and job descriptions are constantly evolving. This means that many of us are being asked to do things that are outside of our comfort zone or area of expertise. Last year I was asked to create an area for audio and video recording to support digital storytelling initiatives on campus. Despite repeatedly pointing out that I had no experience working with A/V equipment, it became clear I would be moving forward with this project.
In the Fall of 2013 the Digital Media Lab (DML) opened its doors. Not only has it been popular with students and faculty, we have even started to circulate a small collection of cameras and audio equipment. Although, I have learned a bit about A/V equipment, I am by no means an expert and do not intend to become one.
This presentation will focus on the DML & Equipment Loan Project and how it evolved. I needed to create partnerships with people in the library and the UMBC community who could help fill in my knowledge gaps and who ultimately became the main promoters of the project. As the project moved forward it became especially important to manage faculty expectations and to keep the project do-able and reasonable.
I would also like to solicit feedback from colleagues who find themselves in similar positions. There are many different ways I could take this project and I would be interested to hear what other institutions are doing with regard to A/V support for the communities they serve.
Introduction to Audiovisual Communications.
The presentation gives a big picture of different technologies involved in the Audio and Video Communication systems.
Memnon / BNF : Public Private Partnerships as a way to accelerate the preser...MemnonArchiving
French Government and National Library of France (BNF) announce new partnerships with Memnon Archiving Services to digitize 200.000 recordings - 33 rpm and 78 rpm.
Over 700,000 tracks (in many genres) will become available on major digital music distribution services
Estimate of 70% of analogue holdings never becoming digital; other information on cost-effective digitisation, digital preservation and a 4-part mantra for access: granularity, navigation, citation and annotation.
DevOps and Testing slides at DASA ConnectKari Kakkonen
My and Rik Marselis slides at 30.5.2024 DASA Connect conference. We discuss about what is testing, then what is agile testing and finally what is Testing in DevOps. Finally we had lovely workshop with the participants trying to find out different ways to think about quality and testing in different parts of the DevOps infinity loop.
Pushing the limits of ePRTC: 100ns holdover for 100 daysAdtran
At WSTS 2024, Alon Stern explored the topic of parametric holdover and explained how recent research findings can be implemented in real-world PNT networks to achieve 100 nanoseconds of accuracy for up to 100 days.
GraphSummit Singapore | The Future of Agility: Supercharging Digital Transfor...Neo4j
Leonard Jayamohan, Partner & Generative AI Lead, Deloitte
This keynote will reveal how Deloitte leverages Neo4j’s graph power for groundbreaking digital twin solutions, achieving a staggering 100x performance boost. Discover the essential role knowledge graphs play in successful generative AI implementations. Plus, get an exclusive look at an innovative Neo4j + Generative AI solution Deloitte is developing in-house.
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
Removing Uninteresting Bytes in Software FuzzingAftab Hussain
Imagine a world where software fuzzing, the process of mutating bytes in test seeds to uncover hidden and erroneous program behaviors, becomes faster and more effective. A lot depends on the initial seeds, which can significantly dictate the trajectory of a fuzzing campaign, particularly in terms of how long it takes to uncover interesting behaviour in your code. We introduce DIAR, a technique designed to speedup fuzzing campaigns by pinpointing and eliminating those uninteresting bytes in the seeds. Picture this: instead of wasting valuable resources on meaningless mutations in large, bloated seeds, DIAR removes the unnecessary bytes, streamlining the entire process.
In this work, we equipped AFL, a popular fuzzer, with DIAR and examined two critical Linux libraries -- Libxml's xmllint, a tool for parsing xml documents, and Binutil's readelf, an essential debugging and security analysis command-line tool used to display detailed information about ELF (Executable and Linkable Format). Our preliminary results show that AFL+DIAR does not only discover new paths more quickly but also achieves higher coverage overall. This work thus showcases how starting with lean and optimized seeds can lead to faster, more comprehensive fuzzing campaigns -- and DIAR helps you find such seeds.
- These are slides of the talk given at IEEE International Conference on Software Testing Verification and Validation Workshop, ICSTW 2022.
GridMate - End to end testing is a critical piece to ensure quality and avoid...ThomasParaiso2
End to end testing is a critical piece to ensure quality and avoid regressions. In this session, we share our journey building an E2E testing pipeline for GridMate components (LWC and Aura) using Cypress, JSForce, FakerJS…
GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using Deplo...James Anderson
Effective Application Security in Software Delivery lifecycle using Deployment Firewall and DBOM
The modern software delivery process (or the CI/CD process) includes many tools, distributed teams, open-source code, and cloud platforms. Constant focus on speed to release software to market, along with the traditional slow and manual security checks has caused gaps in continuous security as an important piece in the software supply chain. Today organizations feel more susceptible to external and internal cyber threats due to the vast attack surface in their applications supply chain and the lack of end-to-end governance and risk management.
The software team must secure its software delivery process to avoid vulnerability and security breaches. This needs to be achieved with existing tool chains and without extensive rework of the delivery processes. This talk will present strategies and techniques for providing visibility into the true risk of the existing vulnerabilities, preventing the introduction of security issues in the software, resolving vulnerabilities in production environments quickly, and capturing the deployment bill of materials (DBOM).
Speakers:
Bob Boule
Robert Boule is a technology enthusiast with PASSION for technology and making things work along with a knack for helping others understand how things work. He comes with around 20 years of solution engineering experience in application security, software continuous delivery, and SaaS platforms. He is known for his dynamic presentations in CI/CD and application security integrated in software delivery lifecycle.
Gopinath Rebala
Gopinath Rebala is the CTO of OpsMx, where he has overall responsibility for the machine learning and data processing architectures for Secure Software Delivery. Gopi also has a strong connection with our customers, leading design and architecture for strategic implementations. Gopi is a frequent speaker and well-known leader in continuous delivery and integrating security into software delivery.
PHP Frameworks: I want to break free (IPC Berlin 2024)Ralf Eggert
In this presentation, we examine the challenges and limitations of relying too heavily on PHP frameworks in web development. We discuss the history of PHP and its frameworks to understand how this dependence has evolved. The focus will be on providing concrete tips and strategies to reduce reliance on these frameworks, based on real-world examples and practical considerations. The goal is to equip developers with the skills and knowledge to create more flexible and future-proof web applications. We'll explore the importance of maintaining autonomy in a rapidly changing tech landscape and how to make informed decisions in PHP development.
This talk is aimed at encouraging a more independent approach to using PHP frameworks, moving towards a more flexible and future-proof approach to PHP development.
Alt. GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using ...James Anderson
Effective Application Security in Software Delivery lifecycle using Deployment Firewall and DBOM
The modern software delivery process (or the CI/CD process) includes many tools, distributed teams, open-source code, and cloud platforms. Constant focus on speed to release software to market, along with the traditional slow and manual security checks has caused gaps in continuous security as an important piece in the software supply chain. Today organizations feel more susceptible to external and internal cyber threats due to the vast attack surface in their applications supply chain and the lack of end-to-end governance and risk management.
The software team must secure its software delivery process to avoid vulnerability and security breaches. This needs to be achieved with existing tool chains and without extensive rework of the delivery processes. This talk will present strategies and techniques for providing visibility into the true risk of the existing vulnerabilities, preventing the introduction of security issues in the software, resolving vulnerabilities in production environments quickly, and capturing the deployment bill of materials (DBOM).
Speakers:
Bob Boule
Robert Boule is a technology enthusiast with PASSION for technology and making things work along with a knack for helping others understand how things work. He comes with around 20 years of solution engineering experience in application security, software continuous delivery, and SaaS platforms. He is known for his dynamic presentations in CI/CD and application security integrated in software delivery lifecycle.
Gopinath Rebala
Gopinath Rebala is the CTO of OpsMx, where he has overall responsibility for the machine learning and data processing architectures for Secure Software Delivery. Gopi also has a strong connection with our customers, leading design and architecture for strategic implementations. Gopi is a frequent speaker and well-known leader in continuous delivery and integrating security into software delivery.
GraphRAG is All You need? LLM & Knowledge GraphGuy Korland
Guy Korland, CEO and Co-founder of FalkorDB, will review two articles on the integration of language models with knowledge graphs.
1. Unifying Large Language Models and Knowledge Graphs: A Roadmap.
https://arxiv.org/abs/2306.08302
2. Microsoft Research's GraphRAG paper and a review paper on various uses of knowledge graphs:
https://www.microsoft.com/en-us/research/blog/graphrag-unlocking-llm-discovery-on-narrative-private-data/
1. 30 October 2014 SIPAD Workshop
Basic Principles of
Digitisation – of audio,
video and film
Richard Wright
SOIMA-LATAM, Mexico City, October 2014
2. Review
Audio and Video are signals
Audiovisual Archives hold recordings of signals
A signal is described by two attributes:
• Frequency range = bandwidth
• Dynamic range = signal-to-noise ratio
Pure tones = only one frequency (tuning fork)
All other sounds have a spectrum of frequencies
Speech: 100 Hz to 10 000 Hz (= 10 kHz)
30 October 2014 SIPAD Workshop
3. Review
All other sounds have a spectrum of frequencies
• Speech: 100 Hz to 10 000 Hz (= 10 kHz)
• Music: 30 Hz to above 18 000 Hz
• Human hearing (normal): 50 Hz to 18 kHz
• Telephone bandwidth: 300 Hz to 3.3 kHz (old)
• 78 rpm recording (shellac): up to 8 kHz
• 33 1/3 (vinyl; LP): up to 15 kHz (hi-fi)
• Audio tape (1/4”): up to 18 kHz (at 15 ips; many
different kinds of tape, and bandwidth varies with
recording speed)
• CD: theoretical max= 22 kHz = (44.1)/2;
practical max = 17.6 kHz = (44.1)/(2.5)
30 October 2014 SIPAD Workshop
4. Dynamic Range
• Speech: typically 30 to 50 dB; max about 70 dB
• Music: could be 70 dB in concert hall
– Could be 90 dB in a very quiet studio
• Human hearing: 100 dB without risk of damage; 130
dB max
• Old telephones: 20 to 30 dB
• 78 rpm shellac recording: 40 to 50 dB
• Sound on film: typically 40 to 50 dB
• 33 1/3 rpm vinyl LP: 60 to 70 dB
• ¼” audio tape: just over 70 dB (best = 73 dB)
• CD: capable of over 90 dB range (96 dB in theory)
30 October 2014 SIPAD Workshop
5. 5
The need for digitisation
Preservation planning
mapping your collections;
setting priorities;
making a collection strategy,
a preservation strategy
and a preservation plan
The Preservation Factory approach
Conservation, Digitisation
and Preservation
6. Terminology
Preservation – “Everything needed to ensure
permanent access” = maintenance
Conservation: keeping what you have (for as long
as you can) = safe storage and handling
Preservation actions: interventions. Changing what
you have = repair and replace
− Making a new negative or interneg
− Copying from an old carrier to a new carrier
− Digitising
Which separates content from carrier = liberation
6
7. Conservation
packaging, handling and shelving
environmental conditions: temperature and
humidity; protection from pollution, dirt etc
protecting the masters; and
condition monitoring = checking the stock
Full description on Preservation Guide wiki:
http://wiki.prestospace.org/pmwiki.php?
n=Main.PreservationStrategy#Conservation
7
8. 8
The need for digitisation
Only three ways to preserve:
1.Keep what you have
2.Copy using same technology
3.Copy using new technology
Keep what you have: only works for film
•
Audio, Video: analogue technology obsolete
Copy on same technology: only works for film
•
Audio, Video: analogue technology obsolete
10. 10
More on gramophone records
Shellac was used for 78
rpm commercial
recordings
Also fragile – the main
risk is handling; the
shellac itself is stable
(compared to laquer)
11. 11
But, what about vinyl?
Used for 45 and 33 1/3 rpm recordings
They are fragile (though less fragile than
shellac)
Warp from heat (can be fixed with care)
Easily scratched, and can get very dirty
The groove can be damaged in playback (if the
needle and tone arm adjustment is not right)
Vinyl is soft !!!
Vinyl and shellac can suffer chemical damage
12. Vietnam Film Institute Workshops 12
Gramophone
damage
Dropping a
needle onto a
vinyl disc
Oil coming to
the surface
on a lacquer
disc
13. 13
Where was I?
Only three ways to preserve:
Keep what you have: only works for film
•
Audio, Video: analogue technology obsolete
Copy on same technology:only works for film
•
Audio, Video: analogue technology obsolete
So we are left with only one option (for audio and
video):
Copy using new technology
14. 14
Preservation of Film
Many excellent example of conservation
Film technology still exists (but in decline)
BUT – the situation is rapidly changing
Kodak in severe economic trouble
Commercial cinemas changing to digital projection
− Norway changed completely in 2011-2012
Commercial cinema will change or go out of
business
Commercial cinema will not keep old projectors
15. 15
The end of film projection?
“ We're About to Lose 1,000 Small
Theaters That Can't Convert to Digital.
Does It Matter?”
Indiewire, USA
2012
16. 16
Digitisation of Film
Now: needed for access
Internet
Digital cinema
Soon: needed for preservation
When manufacture of film stock is stopped
Result: ALL media needs to be digitised, audio
and video and film
That's a lot of content that has to be digitised
There isn't enough time
There isn't enough money
17. 17
PRESTO Digitisation
“Better Faster Cheaper” Daniel Teruggi, Institut
National de l'Audiovisuel (INA), Paris
Basic concepts:
1) Dealing with the whole collection
2) Developing a strategy
For the institution and its collection
For the preservation work
3) Developing a preservation plan
18. 18
Digitisation Planning
All the Presto information on a wiki:
www.preservationguide.co.uk/RDWiki/pmwiki.php
StrategyStrategy – what does your institution do?
What does the collection do?
What can digitisation do?
PlanningPlanning – making a preservation plan
How to estimate a budget
Building a business case
19. 19
Collection Strategy
Long-term purpose of the digitisation
Preserving the collection
Maintaining services (old business)
Creating new services (new business)
Physical Outcomes:
Digital files
Mass storage
Cheaper, better maintenance
Cheaper, better digital access copies
Web access
20. 20
Access Outcomes
Collection access from computer stations
Mediatheque approach
Collection access via the Internet
With restricted access
− British Film Institute: higher education, public libraries …
and on YouTube
− British Library Sound Archive: higher education
institutions only
Or even unrestricted access
− INA has 30 000 hours of broadcast content online !
21. 21
Restrictions on Access
Attitudes: we don't do that
Fear: somebody might complain
Rights: we don't hold the rights
A solution:
1) public institutions create public value by
opening their collections as widely as possible
2) non-fiction content has the most information
and the least rights problems
We have a public service obligation to create
access to our collections !
22. 22
Access:
Technical Requirements
A usable catalogue
Online support services: questions, linking to
online sales, dealing with faults
Logins, access control, authentication, data
protection …
Computing power to support what could be
large numbers of people requiring access
UK National Archive crashed; Europeana crashed
Managing lots of information technology
23. 23
Digital Archive: workflow
Everything changes when shelves disappear:
Acquisition: digital ingest
Cataloguing: complex metadata issues: embedded
metadata, preservation metadata, mapping
Curation: huge opportunity to create online
collections
Research: self-research, fast scanning of 'hits' –
changes the requirements of cataloguing
Access: requirements need to be built into the
digitisation workflow (access copies, public
metadata, rights clearance, censorship?)
24. 24
Getting Started
Map – The collection needs to be divided by
format, condition, purpose ...
Priorities – arrange the “areas on the map”
according to what needs to be done first
wiki: Make a Map of your Collection
Divide the collection by physical formats, and
collect the following information on each format:
age range
storage history
genre or value
physical condition
Getting Started
25. 25
BBC film examples from wiki
Map:
http://www.preservationguide.co.uk/RDWiki/pmwiki.php
?n=Main.GettingStarted
Strategy:
http://www.preservationguide.co.uk/RDWiki/pmwiki.php
?n=Main.PreservationStrategy
Plan:
http://www.preservationguide.co.uk/RDWiki/pmwiki.php
?n=Main.PresPlan
Also: tutorials on PrestoCentre website
collection strategy and preservation plans_V1.01_0.pdf
mapping your collection_V1.01_0.pdf
26. Collection Strategy & Plan
• PDFs of wiki ‘chapters’
– Collection Strategy
– Preservation Strategy
– Preservation Plan and Budget
– Collection Strategy Preservation Strategy
– Preservation Plan and Budget
• Tutorials on PrestoCentre
– collection strategy and preservation plans_V1.01_0.pdf
– mapping your collection_V1.01_0.pdf
30 October 2014 SIPAD Workshop
27. 27
The Factory Approach
The division of labour
in pin manufacturing:
(and the great increase
in the quantity of work
that results)
28.
The division of labour in pin manufacturing:
(and the great increase in the quantity of work
that results)
Approach: NOT about cutting corners or
reducing quality
Instead: about cutting wasted time and wasted
effort
Batches: doing one thing at a time, and then
doing it again (and again, and again)
Problem: how to keep the work interesting!
28
The Factory Approach
30. 30
The Factory Approach
“Division of labour” requires having specialists,
which means having a team
Which means having a middle-sized or larger
project
But: even a single person can use a batch
approach, and get some efficiencies
31. BBC Preservation:
£5M per year (for 20 years)
Audio: 7000 hours per year of ¼ inch tape
Also digitised 63 000 “sepmag” elements:
separate magnetic sound tracks for film;
− Transferred to CD (good!) and to polyester (bad!)
Also 35 000 shellac and vinyl recordings
Also DAT and MD digital recordings
2” videotape: 46 000 tapes, transferred to D3
or Digibeta, done over 7 years
1” videotape: 80 000 in 5 yrs, to D3/Digibeta
U-matic: 40 000 in 3 yrs, to MPEG-2 files
32. 32
News film: 43 000 items in 3 years
Ektachrome; digitised to SD video (Digibeta)
10% of total cost is cataloguing
20 to 30% is quality control (checking)
Since 2008: transfer 40k D3 videotape to files:
Uncompressed; MXF wrapper = INGEX
Now: transfer of BetaSP and Digibeta to files
Major confusion over High Definition formats !
33. 33
Discussion
Digitisation projects of delegates
Audio, video, film
Which physical formats (eg ¼-inch audio tape,
1-inch video tape, 16mm B&W film … ) ?
Size: how much content, how many people,
how many years ?
34. 34
Time for a break
After the break – a choice !
1)Low-level: standards and best practice for
audio, video and film
2)Higher level: case studies for preservation
and access
3) Your questions on digitisation
your long-term plan?
your immediate problems?
36. Digitisation Issues:
• Audio and Video: no problems at all with the
digitisation technology – the problems are with:
– Playback of originals
– Standards: compression, formats
37. Audio holdings (TAPE data)
Carrier %
wax cylinders 0.03
coarse groove replicated disks
(‘78s’,‘shellacs’)
1.9
instantaneous disks of any kind 0.2
microgroove disks (LPs) 17.5
open reel magnetic tape 38.6
compact cassettes 20.6
R-DAT 2.5
replicated CDs, DVDs 16.5
recordable and rewritable CDs, DVDs 1.4
Minidisks 0.4
Other 0.3
Total 100
38. Audio: major problems
• Wax cylinders: condition, equipment
• Lacquer discs: condition
• Sticky shed on 6mm tape playback
• DAT recordings: technical standards, condition,
equipment
• CD ‘ripping’ – common issue for digital-digital
transfer: error concealment (and what to do about it)
• IASA TC-04: Guidelines on the Production and
Preservation of Digital Audio Objects, March 2009.
– BWAV, 96kHz, “24bit”; BBC do 44.1kHz, 16bit
39. How to digitise audio
• IASA TC-04
• 48 kHz, “24 bit”
– 96 kHz recommended
• Save as a wav file
• Broadcast Wave Format recommended
40. Film: major problems
• No problem with playback equipment !
• Some film can last centuries
• Some film already destroyed
vinegar syndrome; colour fade; mold
• Telecine out, datacine in
41. Datacine for film digitisation
• Batch process
• HD or better for 16mm
• Many archives doing 2K scanning
• No grading shot-by-shot
– so a higher dynamic range is needed: 14 bits or better
• Needs sprocketless transport to cope with fragile film,
shrinkage, splices
• Infrared technology for scratch detection
• Wet-gate for scratch concealment (on one side)
• Several new sprocketless systems, €80 to 240k
42. How to Digitise Film
B&G document on PrestoCentre
http://www.prestocentre.eu/sites/dev.prestocentre.
antenna.nl/files/filmscanning_v1.03.pdf
White Paper: Film scanning considerations
By Tom de Smet and Harm Jan Triemstra
43. Sound on Film
• Successful digital processing of optical sound
tracks now very well established by Chase
Audio, Hollywood
– But expensive
• Analogue capture most cost-effective if sound
track in reasonable condition
• Much TV archive material has separate sound
tracks: sepopt, sepmag (beware vinegar!)
44. Video: major problems
• As for audio: equipment, operators, fragile and
decaying media; sticky-shed
• Plus: time base correction and dropout ‘concealment’
not built into old equipment
• Colour: composite signals and their decoding;
– BBC: a composite original is PAL-decoded and
saved as component, even though “the original” is
composite
• Head wear, head life, head replacement – alternative
technology for reading videotape has been propose
45. Video digitisation issues
• What codec, what file format?
– Uncompressed, lossless, lossy
– Lossless: JPEG2000, FFV1 (many others)
– MOV, AVI, MXF ... (cf LOC FADGI case studies)
• Endgame: uncompressed (no codec !)
• BBC: saving uncompressed from D3 transfers
to files: INGEX open-source software (as used
by Tate Galleries, London)
46. How to digitise video
1. Save the original
2. Digitise @ SDI = 4:2:2 = 200 megabits/sec
3. Save exactly as digitised = uncompressed
4. Use an open source file format (MXF or ?)
3b – or lossless = lossless JPEG2000,
3c – or ‘mezzanine’ = high-quality lossy
(but only for low quality originals)
(digibeta is a ‘mezzanine’ format)
47. Common issue: quality control
• Computer processing exists
– in professional audio equipment: Quadrega, NOA …
• ‘fault detection’ technology from restoration
work
• Joanneum video problem detector = VidiCert
• Audio Inspector
https://www.audioinspector.com/
• New QC software from Dave Rice, BAVC
http://www.bavc.org/qctools
• Key issues: workflow integration, statistics
48. How to Digitise Film
• B&G document on PrestoCentre
• http://www.prestocentre.eu/sites/dev.prestocentr
e.antenna.nl/files/filmscanning_v1.03.pdf
White Paper: Film scanning considerations
By Tom de Smet and Harm Jan Triemstra
Editor's Notes
Wright DPC report, p 9:
Conservation of analogue content can be divided into the following concerns.
packaging, handling and shelving (storing): the immediate environment of a physical item;
environmental conditions: essentially control of temperature and humidity, and the stability of that control, but also protection from anything harmful in the environment, such as dust, pollutants, magnetic fields, excess light or infrared and ultraviolet radiation;
protecting the masters; and condition monitoring.
http://www.unesco.org/webworld/virtual_exhibit/safeguarding/film.gif
http://www.unesco.org/webworld/virtual_exhibit/
safeguarding/texte10.html
Before magnetic tapes came into general use, recordings were made on so called ‘instantaneous records’, which could be replayed immediately after the cut. The most popular form was the ‘lacquer disk’, or ‘acetate disk’ used from the 1930s to the 1950s in broadcasting and scientific institutions for unique recordings. Chemical decomposition (hydrolysis) causes the information carrying lacquer layer to become brittle and thus to separate from the metal or glass core of the record. Of an internationally assessed total of three million records, many have already been lost, including numerous unique interviews and speeches from historically important politicians and artists.
Photo: Phonogrammarchiv, Austrian Academy of Sciences
BL Sound Archive access:
http://www.bl.uk/reshelp/bldept/soundarch/
about/soundarchive.html
Br Film Inst access: Cinema, IMAX, Mediatheque
Sells DVDs and publications
BFI Inview: http://www.jisc-collections.ac.uk/
Catalogue/Overview/index/24
BFI Online sales: http://filmstore.bfi.org.uk/
Other online: http://www.bfi.org.uk/
Archive-collections/
introduction-bfi-collections/archive-resources-online
http://www.flickr.com/photos/tobanblack/3433957359/
License Some rights reserved by Toban Black
The division of labour in pin manufacturing:
(and the great increase in the quantity of work that results)