Preserving Digital Television

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Talk given at the Seminario de Conservacin de Obras y Documentos Sobre Soportes Electronics in at the Centro Nacional de las Artes. More information about the program is available from the Centro Multimedia website, here: http://cmm.cenart.gob.mx/seminario09/index.html

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<ul><li> 1. THE LA PRESERVATION PRESERVACIONOF DIGITAL DE LA TELEVISION:TELEVISIONChallenges, DIGITAL: Retos,Requirements, Requerimientos,and Strategies y EstrategiasSeminario de Conservacin deKara Van Malssen Obras y Documentos SobreNew York University Soprotes Electrnicoskara.vanmalssen@nyu.edu Ciudad de Mxico, 31 de julio 2009 </li></ul> <p> 2. Photo by chrisdlugosz via Flickr http://www.ickr.com/photos/chrisdlugosz/3403751594/ Digital television: 1. Born Digital 2. Digitized from an analog / physical source 3. Why is preserving digital ? television especially CHALLENGING 4. Analog formats cannot wait for the cost of uncompressed video storage to drop! 5. no standard format for production or archiving 6. many LARGE les 7. Static Media Viewed with the naked eye Utilized without additional components Very long useful life if stored properly Photo from the Library of Congress via Flickr http://www.ickr.com/photos/library_of_congress/3738806589/ 8. Photo by Martin Deutsch via Flickr http://www.ickr.com/photos/teon/2352818254/ Dynamic Media Dependent on machines to view and utilize Media are fragile Industry changes results in format obsolescence 9. Digital Media Not tangible Even more dependencies More frequent obsolescence of various components Playback requirements not obvious More content than ever before 10. Photo by vodstrup via Flickr http://www.ickr.com/photos/vodstrup/1486839907/ Preservation of physical media... Primarily required good storage and disaster protection 11. Photo by Scoobay via Flickr http://www.ickr.com/photos/scoobay/3163954667/ Preservation of digital media Much more than just good storage and disaster protection 12. Preservation of audiovisual media is an ongoing process There is no starting and stopping point No audiovisual format will last forever We cant save everything 13. Photo by kino-eye via Flickr http://www.ickr.com/photos/kino-eye/39529915/ RISK FACTORS 14. Bit Rot 15. Software Obsolescence+ UpgradesPhoto by damclean via Flickr http://www.ickr.com/photos/damclean/2143598772/ 16. Hardware Obsolescence 17. Photo by huangjiahui via Flickr http://www.ickr.com/photos/huangjiahui/3179858408/Processor Obsolescence 18. Storage Media ObsolescencePhoto by Ian-S via Flickr http://www.ickr.com/photos/ian-s/2785762687/ 19. Photo by massdistraction via Flickr http://www.ickr.com/photos/sharynmorrow/3718174646Storage MediaFailure 20. Despite storing CD-Rs recorded in ideal conditions,tech site TechARP unboxed300 CDs recorded between 7 to 9 years ago, and found that they have a failure rate approaching 10 percent for the rst 173 discs--the restoration is still on-going. Paul Mah, The Problem of Bit Rot Revisited. FierceCIO: Tech Watch, 21 July 2009http://www.ercecio.com/techwatch/story/problem-cd-bit-rot-revisited/2009-07-21? utm_medium=nl&amp;utm_source=internal 21. Lack of METADATA If a piece of program material is not correctly placed and identied on a digital system, it might as well not be there - no onewill be able to nd it or even know it exists.Cox, Tadic, Mulder. Descriptive Metadata for Television. Focal Press, 2006. p63. 22. If we didnt know that footage of a Harvard Lawstudent speaking at a protest in 1990existed at WGBH,would our lives be much different? 23. But because we do know of its existencein the archive, and because it can beACCESSED, our collective historyis enriched 24. Lack / loss of organizational support and resources 22298/ 2/24017 /photos/roby7 w. ickr.com tp://ww Flickr ht y (C) via Photo by Rob 25. REQ UIRE MEN TS Photo by wallyg via Flickr http://www.ickr.com/photos/wallyg/2488178506/ 26. 1. Bit Preservation Sustaining the 0s and 1s, or ensuring that the video, audio, and ancillary les remain intact over time with no loss or corruption of bits Photo by adrenalin via Flickr http://www.ickr.com/photos/adrenalin/4250667/ 27. 2. Accessibility and Usability of Content Ensuring that video, audio, and ancillary les can be found, retrieved, interpreted, played back, and delivered to the appropriate users.Photo by Sunshine Junior via Flickr http://www.ickr.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.ickr.com/photos/stefan1024/3682770758 29. STRATEGIES 30. Redundancy Replicated, geographically distributed storageOfine tape storageOff site Nearline tape storageIn houseOnline StorageIn house1. Bit Preservation 31. Photo by Niklas via Flickr http://www.ickr.com/photos/pivic/2829376039/ Regularly audit les, repair corrupt les with backups1. Bit Preservation 32. Photo by TaranRampersad via Flickr http://www.ickr.com/photos/knowprose/111119035/Refresh storage media periodically1. Bit Preservation 33. 2. Accessibility and Usability of Content Where is the content? Identication &amp; Organization What is the content?Descriptive Metadata Who made it?Descriptive Metadata Can I use it? Rights MetadataHow can I display it properly? Technical &amp; Structural Metadata How can I preserve it?Preservation Metadata Where did it come from? Source Metadata Create, update, manage, and maintain good metadata throughout the life cycle of the digital object Photo by Sunshine Junior via Flickr http://www.ickr.com/photos/sunshinetoday168/1332297470 34. Support current and future uses bypreserving the highest quality version to allow for many derivatives2. Accessibility and Usability of Content Preservation Version / Master Access Versions / Derivatives 35. Create les using open, standardized, non-proprietary le formats and codecs, high resolution or uncompressed, and avoid transcoding during productionProprietary or open source?Dependent on specific hardware and/or softwareHigh market saturation?Good documentation / support community? Photo by stefan1024 via Flickr http://www.ickr.com/photos/stefa2. Accessibility and Usability of Content 36. Photo by tochis via Flickr http://www.ickr.com/photos/tochis/3431207670/2. Accessibility and Usability of ContentMigrate to new le formatwhen necessary 37. Photo by comicbase via Flickr http://www.ickr.com/photos/comicbase/3338358430/ Establish a PRESERVATION And ensure sufcient funding, and stafng 3. Viable Organizational infrastructure 38. Photo by seriykotik1970 via Flickr http://www.ickr.com/photos/seriykotik/195406053/GENERALREFLECTIONS 39. Refer to the ISO standard OAIS (Open Archival Information System) Reference Model PRESERVATIONPLANNINGDESCRIPTIVEDESCRIPTIVE INFO INFO PDATA CR MANAGEMENT queriesOO ND result sets SUSIPINGESTACCESS ordersUC ARCHIVALME ESTORAGEDIPR RAIP AIP ADMINISTRATION MANAGEMENT 40. EstablishRetentionPoliciesWe cant saveeverythingby Simon Evans 41. Establish le and folder naming conventions &amp; workow procedures Implement changes during transition to digital production and distribution workow 42. Photo by gbaku via Flickr http://www.ickr.com/photos/gbaku/2513320483/ Create digital content with the long term in mind Not just the immediate broadcast or distribution needs 43. pre-ITproduction titlebackup dates location locationchecksum errors names &amp; roles broadcastrightsbroadcastlegal contract details Digital Assetdatessummaries ManagementtranscriptsderivativesderivativesSystem webformatuser tagsstills production logsEDL IDs technical information standardize terms summaryair date(s)preservation post- final titlelibrary /productionarchive programming 44. Photo by jacobian via Flickr http://www.ickr.com/photos/jacobian/2385490476/ Technology watch 45. Photo by quapan via Flickr http://www.ickr.com/photos/hinkelstone/2435823037/ Investigate cooperativesolutions 46. Today, many televisionstations... Dont know what they haveHave incomplete or no catalogs for much of their contentLack equipment to playback much of their legacy content Do not know the status of much of their contentCannot realize the potential of their collections! 47. The digital era brings great opportunity to improve discovery, re-use, and cost savings in production,plus wider access and interaction with audiences 48. Lets not risk the loss of our collective heritage, or waste the opportunity to take advantage of the digital transition. THANK YOU!kara.vanmalssen@nyu.edu </p>

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