|No Time to Wait 2: Preliminary Program|
|A 2 day symposium on the intersection of open media, standardization, and audiovisual preservation.|
November 9-10, 2017 @ the Österreichisches Filmmuseum | Austrian Film Museum
|Questions? Please, see and add to the FAQ section on the next tab or contact us at email@example.com.|
|Time||Speaker / Chair||Description||Type|
|8:30||Breakfast and Registration|
|9:30||Bert Lemmens, PACKED & Michael Loebenstein, Österreichisches Filmmuseum | Austrian Film Museum||No Time to Wait Introduction|
|9:45||Ethan Gates||the next generation: incorporating open media and standards into A/V archival education||Lightning Talk|
|10:00||Dave Rice||The state of analog video digitization software. An examination of opportunities and risks in the software needed to help digitize video.||Presentation|
|10:25||Merle Friedrichsen, German National Library of Science and Technology (TIB)||Open source tools in the digital archive workflow: in which szenarios do we use open source tools and what are the requirements that emerge in our context||Lightning Talk|
|10:40||Jimi Jones||“So Many Standards, So Little Time”|
This is a discussion about my PhD dissertation work - a qualitative analysis of two models of standards development: how they are developed by large, well-funded institutions/associations and how they are developed “bottom up” by the open-source/not-for-profit realm.
|10:55||Ashley Blewer||spec writers: we are just like you!* *sorta||Lightning Talk|
|11:10||Steve Lhomme||State of the Matroska standardization||Presentation|
|11:35||Kate Murray, Library of Congress||Advances with FADGI's MXF AS-07: Implementation, Collaboration and Beyond||Presentation|
|12:00||Yvonne Ng, WITNESS [moderator]||Specifications Panel||Panel|
|13:30||Jean-Christophe Kummer, noa-archive||FFv1 as archive formats at broadcasters or Broadcasters Dilemma with Archive Asset Management - torn between long term and production requirements.||Presentation|
|13:55||Andreas Romeyke, Saxonian State Library||first experiences with Matroska/FFv1 in a retro digitization project||Lightning Talk|
AV-RD (AudioVisual Research & Development)
|Normalizing born digital videofiles for long-term preservation:|
Encountered oddities and lessons learned.
|14:35||Genevieve Havemeyer-King and Ben Turkus, NYPL||MKV and Mass Digitization: What We've Learned Since Giving Uncompressed Video the Boot||Presentation|
|15:00||Emilie Magnin [moderator]||Format Implementation Panel||Panel|
|15:45||Marion Jaks |
|Criticism and FFv1|
- experiences from the Austrian Mediathek
|16:00||Kieran O'Leary, Irish Film Institute||Using PREFORMA tools and formats, as well as other open source tools in a project that involved born digital material and videotape migration.||Presentation|
|16:25||Alessandra Luciano [moderator]||"Open Source: a Preservation Strategy" This panel discussion will delve into managerial and philosophical challenges of bringing benefits of open source and open formats into preservation work. For example, collaborators may consider "open source" as simply 'free' of value and a potential hinderance to private markets. How are archive administrators to consider the innovations of open source in environments where "open source" is considered with misled disdain. We'll examine tactics that have worked and review current challenges.||Panel|
|8:30||Breakfast and Welcome|
|9:15||Dave Rice||No Time to Wait Introduction|
AV-RD (AudioVisual Research & Development)
An enhanced Virtualdub fork that allows to capture directly to FFV1, transcoding to/from other popular formats with an easy to use graphical user interface (GUI).
|9:45||Jérôme Martinez||MediaConch presentation and demo||Presentation|
|10:10||Iain Richardson, Vcodex / Beamshare||‘Web-based ingest of audiovisual content’. Audiovisual content is increasingly generated on internet-connected devices such as smartphones and wifi enabled cameras. Ingest of media content via a web interface may simplify and speed up acquisition. However, this raises questions about metadata, integrity and transcoding of the content. I will discuss our experience of web-based ingest for the broadcast industry.||Presentation|
|10:35||Agathe Jarczyk, University of the Arts Bern, Atelier für Videokonservierung||Title: Dreaming of an ideal software player for video|
Video is now entering museums and collections predominantly as files.
Next to the important analytical tools like Mediainfo and QC Tools etc., software players are becoming our crucial instruments for viewing and assessing video files.
We have recently learned, that contradictory information on codec and container is differently interpreted by currently available software players. We (have thus observed) that codec libraries determine characteristics like colour representation in various ways. This knowledge has lead to the approach of a comparative playback of every file in different players. Apart of that we are facing the end of support of popular software players.
But couldn't there be developed an ideal player for conservation purposes?
Based on different examples, ideas for the layout and the functionalities and documentation of an ideal player for conservation purposes will be presented.
|11:00||Dave Rice||Fair Fixity: How checksum features of FFV1, FLAC, and Matroska aid in preservation work||Lightning Talk|
|11:15||Martin Below||Matroska Menu, advanced preservation|
|11:30||Carl Eugen Hoyos, FFmpeg||For organizations either making audiovisual data accessible or preserving it, FFmpeg has become a ubiquitous and essential resource. This presentation will review how FFmpeg develops, how it governs, and how to contribute. The presentation will also discuss how topics such as sustainability, transparency, documentation, media obsolescence and patents are considered by the FFmpeg development community.||Presentation|
|13:15||Pat Ballantyne, Elphinstone Institute / Vcodex||‘Born compressed: should the preservation community embrace lossy video compression?' The preservation community currently prefers to save uncompressed, lossless video but such a format can be costly in terms of storage and access. Born digital increasingly means born compressed, so should we question what exactly the community is trying to preserve?||Lightning Talk|
|13:30||Reto Kromer, AV Preservation by reto.ch||Data Migration, Our Frenemy|
How a migration can be used to modify the archive’s containers and codecs. En passant, some on future directions of EBML, Matroska, FFv1 and FLAC.
|13:55||Radoslav Markov - Audio Video Orpheus||About new scan method that assure full dynamic range and full color gamut and why this is important.||Lightning Talk|
|14:10||Manfred Ostermann - LINFORGE||PIELA - Paneuropean and Interdisciplinary Electronic Longtimearchive (Research & Development) - Call to Action||Lightning Talk|
|15:00||Jérôme Martinez||RAWcooked project needs sponsors:|
compress your DPX and revert without losing any metadata
|15:15||Peter Bubestinger & Christian Widerström|
AV-RD & Widerström IT-Solutions
|Serious Film Database for Serious Archivists|
The next big thing for film preservation is an Open Source implementation that's fully EN 15907 compliant. This metadata engine consists of a flexible frontend for presentation, a custom made backend for the professional archivist and built-in functionality to easily publish all your collection's metadata online.
|15:30||Dirk Hildebrandt, CTO, Wavelet Beamx||Get the best out of your film stock|
Quality assurances: Test charts and image analyses in the film scanning process as the best possibility to control the ingest. Besides resolution and dynamic range also topics like sensor artefacts and dead pixels will be discussed. Last but not least we will give a short overview about using FFv1/j2k for generating high quality proxy and broadcast encodes.
|15:55||Bojan Kosi, Mediateka at RTV Slovenia||Video and Film digitization projects at RTV Slovenija||Presentation|
|16:20||Jonáš Svatos, Národní filmový archiv | Czech Film Archive [moderator]||#savefilm goes hand in hand with developing sustainable and open digital film pres standards. This panel examines the needs and challenges associated with film preservation and assesses how well (or not) the offerings of open source and digital preservation can assist in these challenges.||Panel|