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

1. Workshops on Sound and Moving Image Preservation, Hanoi, September 2012
4-5 September 2012; Presented by Richard Wright, Preservation Guide, London
Introduction:
The Vietnamese Film Institute has arranged a two-day series of practical workshops on all the technical
issues around preservation of sound and moving image materials. The workshops will be presented by
Richard Wright, formerly the archive technology specialist at the BBC Research & Development
department in London, who has been working in digital media since 1967, and in audiovisual archive
preservation since 1994. Delegates have been invited from other Vietnamese institutions, so
information about the VFI and about other institutions and their experience of preservation problems
will be presented. The workshops will be informal, with questions from the floor and general discussion
welcome at all times. Presentation of information by delegates is also encouraged – to add variety and
depth and give someone else a chance to talk!
Day One: Saving Our Analogue Heritage
Welcome and Introductions
Overview 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 Session
Workflow 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. 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 http://prestoprime.it-
innovation.soton.ac.uk/]
Summary of the day, feedback, discussion
Summary of tomorrow: when we succeed in creating digital collections, what do we do with them?
Day Two: Succeeding in a Digital World
Software and Systems for Digital Preservation
In the new world of ‘information technology’ (IT) there are many choices for how to keep files and how
to 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 a
data connection and a computer. How can this huge opportunity be used? Is there money there (to help
pay for digitisation)? Don’t the problems with rights get in the way? How will our institutions change?
Case Studies
From Europe

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 PrestoCentre
Summary and Conclusions and end of the workshops
Reference Material
[1] Wright, Richard (2012) Preserving Moving Pictures and Sound, DPC Technology Watch Report
http://dx.doi.org/10.7207/twr12-01 (PDF 915KB)
[2] Henrikson, Juha and Nadja Wallaszkovits (2008) Audio Tape Digitisation Workflow
http://www.jazzpoparkisto.net/audio/ (online resource)
[3] Triemstra, Harm Jan and de Smet, Tom (2011) Film Scanning Considerations Beeld and Geluid,
Hilversum, The Netherlands http://www.prestocentre.org/library/resources/film-scanning-
considerations
[4] PrestoSpace (2008-2010) Preservation Guide (online resource) http://wiki.prestospace.org/
[5] PrestoSpace Training Videos http://digitalpreservation.ssl.co.uk/training/2460/2542.html
[6] Addis, et al (2010-2012) PrestoPRIME Tools for modelling (online resources) http://prestoprime.it-
innovation.soton.ac.uk/

4. Short Biography- Richard Wright was the archive preservation specialist in the BBC Archive and in BBC
Research and Development from 1994 to 2011. He has 45 years of experience in digital audio and video
processing.
He has a PhD in signal processing engineer from the University of Southampton in the UK. He started the
Presto series of international projects in audiovisual preservation in 1999 (Presto, PrestoSpace,
PrestoPRIME). PrestoSpace and Presto were about audiovisual digitisation – and the preservation
factory approach to efficiency. PrestoPRIME is about digital preservation: how to use and preserve
files. He developed the Preservation Guide http://wiki.prestospace.org/ – a “Google Number 1” covering
audiovisual 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