The Real Thing, 17 November 2010.

1. PLANNING
BEYOND
DIGITIZATION
Kara Van Malssen
AMERICAN ARCHIVE /
Broadway Video Digital Media
kvanmalssen@broadwayvideo.com
DIGITAL
PRESERVATION OF
AUDIOVISUAL
COLLECTIONS
The Real Thing
17 November 2010

2. Photo by chrisdlugosz via Flickr http://www.flickr.com/photos/chrisdlugosz/3403751594/
Digital AV Media:1. Born Digital
2. Digitized from an analog / physical source

3. a lot more
born-
digital!
Digital Universe 2010 =
1.2 zetabytes (1 billion terabytes)

4. Why is preserving digital
audiovisual content
CHALLENGING?

5. Photo from the Library of Congress via Flickr http://www.flickr.com/photos/library_of_congress/3738806589/
Static Media
Viewed with the naked eye
Utilized without additional components
Very long useful life if stored properly

6. Magnetic Media
Dependent on machines to view and utilize
Media are fragile
Industry changes results in format
obsolescence
Photo by Martin Deutsch via Flickr http://www.flickr.com/photos/teflon/2352818254/

7. Digital Media
Not tangible
Even more dependencies
More frequent obsolescence of various components
Playback requirements not obvious
More content than ever before

8. VIDEO:
no standard
format for
production or
archiving

9. many LARGEfiles

10. Analog formats cannot wait!

11. “There is simply not enough equipment to
play them all back.”
“the small population of decks make it mathematically
improbable that a great deal of this work can ever be
transferred - there is simply not enough equipment to do it -
at any price.”
“We have lost the chance to save it all - now
we must move quickly to identify and save
what is critical.”
-Jim Lindner,“End of Quad and One Inch” Discussion on AMIA-L, 21 May 2009

12. Preservation of physical media...
Primarily required good storage and
disaster protection
Photo by vodstrup via Flickr http://www.flickr.com/photos/vodstrup/1486839907/

13. Photo by Scoobay via Flickr http://www.flickr.com/photos/scoobay/3163954667/
Preservation of digital media
Much more than just good storage and
disaster protection

14. Value creation for
today’s users

15. RISK FACTORS
Photo by kino-eye via Flickr http://www.flickr.com/photos/kino-eye/39529915/

16. Bit Rot

17. Photo by damclean via Flickr http://www.flickr.com/photos/damclean/2143598772/
Software
Obsolescence
+ Upgrades

18. Hardware Obsolescence

19. Processor
Obsolescence
Photo by huangjiahui via Flickr http://www.flickr.com/photos/huangjiahui/3179858408/

20. Storage Media Obsolescence
Photo by Ian-S via Flickr http://www.flickr.com/photos/ian-s/2785762687/

21. Storage Media
Failure
Photo by massdistraction via Flickr http://www.flickr.com/photos/sharynmorrow/3718174646

22. Despite storing CD-Rs
recorded in ideal conditions,
tech site TechARP unboxed
300 CDs recorded between 7
to 9 years ago, and found that
they have a failure rate
approaching 10 percent for
the first 173 discs--the
restoration is still on-going.
Paul Mah, “The Problem of Bit Rot Revisited.”
FierceCIO: Tech Watch, 21 July 2009
http://www.fiercecio.com/techwatch/story/problem-cd-bit-rot-revisited/2009-07-21?
utm_medium=nl&utm_source=internal
“
”

23. Lack of METADATA
“If a piece of program material is not
correctly placed and identified on a digital
system, it might as well not be there - no one
will be able to find it or even know it exists.”
Cox, Tadic, Mulder. Descriptive Metadata for Television. Focal Press, 2006. p63.

24. Photo by Roby (C) via Flickr http://www.flickr.com/photos/roby72/2401722298/
Lack / loss of
organizational support
and resources

25. Photo by wallyg via Flickr http://www.flickr.com/photos/wallyg/2488178506/
REQUIREMENTS

26. 1. BIT
PRESERVATION
Sustaining the 0s and 1s, or
ensuring that the video,
audio, and ancillary files
remain intact over time with
no loss or corruption of
bits
Photo by adrenalin via Flickr http://www.flickr.com/photos/adrenalin/4250667/

27. 2. ACCESIBILITY AND
USABILITY OF CONTENT
Ensuring that video, audio, and ancillary files can be
found, retrieved, interpreted, played back, and
delivered to the appropriate users.
Photo by Sunshine Junior via Flickr http://www.flickr.com/photos/sunshinetoday168/1323387457

28. 3. ORGANIZATIONAL INFRASTRUCTURE
An entity (repository) explicitly responsible for keeping
the content alive and accessible.
Photo by stefan1024 via Flickr http://www.flickr.com/photos/stefan1024/3682770758

30. Authenticity
Requirements
“The archive accomplishes [preservation and access] by taking
ownership of the records, ensuring that they are understandable to the
accessing community, and managing them so as to preserve their
information content and authenticity.” - OAIS
B6.10 Repository enables the dissemination of authentic
copies of the original or objects traceable to originals.
- Trustworthy Repositories Audit and Certification
“Authentication, or the demonstration of authenticity...includes both technical and
procedural aspects. Technical approaches may include the maintenance of detailed
documentation of digital provenance (the history of the object), the preservation of a
version of the object that is, bit-wise, identical to the content as submitted” - PREMIS

31. STRATEGIES

32. efficiency
costs
authenticity

33. Refer to the ISO standard OAIS (Open Archival
Information System) Reference Model
P
R
O
D
U
C
E
R
C
O
N
S
U
M
E
R
MANAGEMENT
ADMINISTRATION
ACCESSINGEST
PRESERVATION
PLANNING
SIP
AIP
DIP
DATA
MANAGEMENT
ARCHIVAL
STORAGE
AIP
DESCRIPTIVE
INFO
DESCRIPTIVE
INFO
queries
result sets
orders

34. INGESTSIP
Brings content into the repository

35. INGEST STRATEGY
Establish Submission Information
Package (SIP) requirements
essence + metadata

36. Limit formats accepted
use LOC sustainability criteria
http://www.digitalpreservation.gov/formats/

37. Descriptive
Technical
Digital
Provenance
Rights

38. ARCHIVAL
STORAGEAIP
Manages storage & backups, integrity, security

39. ARCHIVAL STORAGE
STRATEGY
Establish AIP requirements using
metadata standards
METS
amdSec
fileSec
structMap
dmdSec
techMD rightsMD
HD
Broadcast
Master
(mov/data)
SD
Broadcast
Master
(mov/aiff/
m2v)
Production
Master
(mxf)

40. ARCHIVAL STORAGE
STRATEGY
Regularly audit files, repair corrupt
files with backups
by oosp via Flickr http://www.flickr.com/photos/mhl20/4197661773/

41. Results of data corruption,
from “Digital Preservation
Strategies for AV Content”
M. Addis, R. Wright, R.
Weerakkody (IBC 2010)

42. DATA
MANAGEMENT
DESCRIPTIVE
INFO
Administers database about repository holdings

43. Where is the content?
What is the content?
Who made it?
Can I use it?
How can I display it properly?
How can I preserve it?
Where did it come from?
Identification & Organization
Descriptive Metadata
Descriptive Metadata
Rights Metadata
Technical & Structural Metadata
Preservation Metadata
Source Metadata
Create, update, manage, and maintain
good metadata throughout the life cycle of the
digital object
DATA MANAGEMENT STRATEGY
by cirox via flickr http://www.flickr.com/photos/cirox/2217372790/

44. ACCESS
DIP
Facilitates requests to archival storage and data
management, generates Dissemination Information
Packages, delivers information in the appropriate
format to users.

45. ACCESS
STRATEGY
Meeting users
needs
http://www.flickr.com/photos/myradphotos/4337804/
by Tom Rafferty via flickr http://www.flickr.com/photos/traftery/4311797662/

46. PRESERVATION
PLANNING
responsible for planning, reviewing, and
updating the repository’s preservation strategy

47. PRESERVATION PLANNING
STRATEGY
Technology watch
Photo by jacobian via Flickr http://www.flickr.com/photos/jacobian/2385490476/

48. ADMINISTRATION
Oversees the operation of the system

49. ADMINISTRATION
STRATEGY
Self Assessment or Certification
on Digital Object Management,
Technological Infrastructure,
and Governance &
Organizational Viability

50. Implementation of the repository
depends on the services to be
provided to the producer/customer

51. by future15pic via Flickr http://www.flickr.com/photos/future15/2036935569/
CASE STUDIES

52. PBS
Library of
Congress
NYU
WNET WGBH
SIP site
Repository
NDIIPP - PRESERVING DIGITAL
PUBLIC TELEVISION

53. AMERICANARCHIVE

54. MUSEUM OF
MODERN ART
Digital
Repository for
Museum
Collections

55. THANK YOU!
kara.vanmalssen@broadwayvideo.com