preserving digital television
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THE PRESERVATION
OF DIGITAL TELEVISION:
Challenges, Requirements, and Strategies
Kara Van Malssen New York University
kara.vanmalssen@nyu.edu
LA PRESERVACION DE LA TELEVISION DIGITAL: Retos, Requerimientos, y EstrategiasSeminario de Conservación de Obras y Documentos Sobre Soprotes Electrónicos
Ciudad de México, 31 de julio 2009
Digital television:1. Born Digital2. Digitized from an analog / physical source
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Why is preserving digital television especially CHALLENGING
very large filesvery large filesvery large files
?
Analog formats cannot wait for the cost of uncompressed video storage to drop!
no standard format for
production or archiving
many LARGE files
Static Media Viewed with the naked eyeUtilized without additional componentsVery long useful life if stored properly
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Dynamic MediaDependent on machines to view and utilizeMedia are fragileIndustry changes results in format obsolescence
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Digital MediaNot tangibleEven more dependenciesMore frequent obsolescence of various componentsPlayback requirements not obviousMore content than ever before
Preservation of physical media...Primarily required good storage and disaster protection
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Preservation of digital mediaMuch more than just good storage and disaster protection
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Preservation of audiovisual media is an ongoing process
There is no starting and stopping point
No audiovisual format will last forever
We can’t save everything
RISK FACTORS
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Bit Rot
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Software Obsolescence+ Upgrades
Hardware Obsolescence
Processor Obsolescence
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Storage Media Obsolescence
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Storage Media Failure
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“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 2009http://www.fiercecio.com/techwatch/story/problem-cd-bit-rot-revisited/2009-07-21?
utm_medium=nl&utm_source=internal
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.
If we didn’t know that footage of a Harvard Law
student speaking at a protest in 1990
existed at WGBH, would our lives be much different?
But because we do know of its existence
in the archive, and because it can be
ACCESSED, our collective history
is enriched
Lack / loss of organizational support
and resources
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Photo by wallyg via Flickr http://www.flickr.com/photos/wallyg/2488178506/
REQUIREMENTS
1. Bit PreservationSustaining the 0s and 1s, or ensuring that the video, audio, and ancillary files remain intact over time with no loss or corruption of bits
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2. Accessibility and Usability of ContentEnsuring that video, audio, and ancillary files can be found, retrieved, interpreted, played back, and delivered to the appropriate users.
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3. Organizational InfrastructureAn entity (repository) explicitly responsible for keeping the content alive and accessible.
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STRATEGIES
RedundancyReplicated, geographically distributed storage
Online StorageIn house
Nearline tape storage In house
Offline tape storage Off site
1. Bit Preservation
Regularly audit files, repair corrupt files with backups
1. Bit Preservation
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1. Bit Preservation
Refresh storage media periodically
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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 & OrganizationDescriptive MetadataDescriptive MetadataRights MetadataTechnical & Structural MetadataPreservation MetadataSource Metadata
Create, update, manage, and maintain good metadata throughout the
life cycle of the digital object
2. Accessibility and Usability of Content
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Preservation Version / MasterAccess Versions / Derivatives
Support current and future uses by
preserving the highest quality version to allow for many derivatives
2. Accessibility and Usability of Content
Proprietary or open source?Dependent on specific hardware and/or software?High market saturation?Good documentation / support community?
2. Accessibility and Usability of ContentPhoto by stefan1024 via Flickr http://www.flickr.com/photos/stefan1024/3701790091
Create files using open, standardized, non-proprietary file formats and codecs, high resolution or uncompressed, and avoid transcoding during production
Photo by tochis via Flickr http://www.flickr.com/photos/tochis/3431207670/
Migrate to new file formatwhen necessary
2. Accessibility and Usability of Content
3. Viable Organizational infrastructure
PRESERVATION
Establish a
And ensure sufficient funding, and staffing
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GENERAL REFLECTIONS
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Refer to the ISO standard OAIS (Open Archival Information System) Reference Model
PRODUCER
CONSUMER
MANAGEMENT
ADMINISTRATION
ACCESSINGEST
PRESERVATION PLANNING
SIP
AIP
DIP
DATAMANAGEMENT
ARCHIVAL STORAGE
AIP
DESCRIPTIVE
INFO
DESCRIPTIVE
INFO
queries
result setsorders
Establish Retention PoliciesWe can’t save everything
by Simon Evans
Establish file and folder naming conventions & workflow procedures
Implement changes during transition to digital production and distribution workflow
Create digital content with the long term in mindNot just the immediate broadcast or distribution needs
Photo by gbaku via Flickr http://www.flickr.com/photos/gbaku/2513320483/
Digital Asset Management
System derivatives
pre-production
production
derivatives
post-production
broadcast
web
legal
titlelocation
names & roles
programming
rightscontract details
formatlogs
IDs
final titleair date(s)
summary
broadcast dates
EDL
summariestranscripts
stills
library / archive
ITbackup dates
checksum
preservationstandardize terms
technical information
locationerrors
user tags
Technology watch
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Investigate cooperative solutions
Photo by quapan via Flickr http://www.flickr.com/photos/hinkelstone/2435823037/
Don’t know what they have
Have incomplete or no catalogs for much of their content
Lack equipment to playback much of their legacy content
Do not know the © status of much of their content
Cannot realize the potential of their collections!
Today, many television stations...
The digital era brings great opportunity to improve discovery, re-use, and cost savings in production,
plus wider access and interaction with audiences
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
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