|The Call for Proposals is now open. Please feel welcome to contribute your ideas here.|
|No Time to Wait 3: Open Call for Proposals|
|A 2 day symposium on the intersection of open media, standardization, and audiovisual preservation.|
|Specify the names of the speakers associated with your proposal and provide a description. Also select if it is a "lightning talk" (short 10-15 minute specific presentation), "presentation" (25-40 minute), "panel" (a 45 minute mix of presentations and group discussion) or "roundtable" (a 25-35 minute group discussion amongst many panelists on a specific theme) . If you'd prefer to propose or discuss an idea for the conference program without using this form, please feel welcome to contact us at firstname.lastname@example.org. The Call for Proposals is open until July 31. |
Questions? Please, see and add to the FAQ section on the next tab or contact us at email@example.com.
|The call for proposals is now closed.|
|Jimi Jones||So Many Standards, So Little Time: Initial Findings and Analysis||This presentation is a discussion about my in-progress PhD dissertation work, which is 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. My paper presentation will be an opportunity to share initial findings and analysis to the NTTW community, many of whom contributed to my work. Where last year's presentation was an introduction to my topic, this year's presentation will be a discussion of where the dissertation is going and what I have found so far.||Presentation|
|Reto Kromer||Beyond RGB #1: The so-called «raw» scans and FFV1||The majority of the current film scanners use a Bayer pattern sensor. Codecs like CineForm RAW or the new ProRes RAW allow to store these data, but FFV1 version 3 cannot. As suggested in my presentation at No Time to Wait 2, FFV1 should implement in version 4 the possibility to handle natively Bayer-based content as well. This is a short update on our on-going experimental implementation on hardware and software.||Lightning Talk|
|Reto Kromer||Beyond RGB #2: Multispectral imaging and FFV1||Currently FFV1 is limited to the YCbCr and RGB families. There is an increasing need to store multispectral content from moving image as well, as done since years in other fields of conservation and restoration. Following my last year’s presentation, this is a short update on the possibility to store multispectral content by using a quick-and-dirty hack on FFV1 version 3 and the proposal for a cleaner implementation in FFV1 version 4.||Lightning Talk|
|Reto Kromer||Beyond RGB #3: Hyperspectral imaging||Hyperspectral imaging can be seen as a kind of generalisation of multispectral imaging. Today’s computers cannot handle in an efficient way such content, especially not in the domain of moving image, but to keep an eye open on these evolutions should not hurt.||Lightning Talk|
|Richard Wright||Review of Audiovisual Preservation||All physical heritage, from cities to stamp collections, has preservation needs, but only in the audiovisual world do we regularly "remaster" - completely changing the physical materials, the carriers, in our attempt to preserve the content held on those carriers. Even entirely analogue 'film-to-film' transfers replace the originals with 'new masters', while digitisation can be seen as replacing a physical object with data that has no definite physical form, and whose future is seen by many as speculative. This presentation will review the preservation strategies of the last 100 years, including nitrate to acetate migration of film, but concentrating on the digitisation projects of the last 40 years. It will conclude with evidence (not speculation) about the likely future of both analogue and digital audiovisual content for the next 100 years.||Presentation|
|Richard Wright||The Problem with Film Preservation||The problem is that too many influential people, and institutions and government bodies, think that film heritage is synonymous with feature films: the 'jewels in the crown' of a collection or a nation. The result is that the bulk of film is ignored, and the price tag associated with film preservation is inflated to the levels associated with restoration of 'cinema masterpieces'. This paper will give statistics on the totality of 'significant' film in universities, medicine, industry, government and many other areas not typically included in national film collections. The statistics are sketchy, which is one of the basic problems. The paper concludes with a strategy for significant reduction of the per-hour cost of digitisiation of 'non feature film'.||Presentation|
|David Pfluger||Born Compressed: Should the Preservation Community Embrace Lossy Video Compression?||2017’s presentation with the same title showed me that we are not on the same page rearding the technical characteristics and the access hierarchy of archival files. At the same time the title raised my expectations for a conversation which did not take place. In my talk I would like to recapitulate what archival elements should be produced from a source element (video tape, film and digital born) and what the access strategy of an archive to these elements should be. Secondly I would like to raise the question of the use of lossy compression for archival masters. Everybody seems to agree that an archival master should only undergo lossless compression. Still the reality looks different for many archives. Based on Memoriav’s recommendations, I would like to explore options of the use of lossy compresson for archival masters.||Lightning Talk|
Helen Hockx-Yu, University of Notre Dame
|Media Asset Management: challenges and considerations related to balancing operational and long term archiving needs:|| Digital media are frequently produced and widely used at the University of Notre Dame (UND) for education, research, special events, faith-based services and athletic competitions and performances. UND’s media products range from photographs and simple sound or video capture to sophisticated footage appropriate for national broadcasts. UND's video assets are estimated to measure ~2PB at present, and growing. This talk will present our effort in developing a common solution for the lifecycle management of video assets, and specifically the challenges and considerations related to long-term archiving and digital preservation. The focus will be on balancing operational and long term archiving needs and the topic will be approached from organisational as well as techninical perspectives, including a discussion on the current Digital Asset Management applications and thier (lack of) support for long-term archiving and preservation. ||Presentation|
|Stephen McConnachie||Emerging Media: collecting, preservation and access challenges||Emerging Media can be loosely defined as the suite of digital formats that are transforming the viewing or reading experience of image or text-based works to emphasise immersiveness in various forms: 360-degree, Virtual Reality, Augmented Reality, Mixed Reality, Interactives. Memory organisations are seeking to collect, preserve and provide access to these formats, but substantial challenges can be identified: among these, the lack of standardisation in production and distribution, and the complexity of the file formats aligned with proprietary software and hardware, including Head Mounted Display and site-specific installations, device haptic and camera integration, and dynamic content personalisation. The technology landscape is moving extremely quickly, and the collecting organisations are rushing to catch up, but there is little substantial publication or discourse to help form a consensus around collecting, preservation and access methodology. This panel will present case studies from some organisations engaged in this activity (BFI, Netherlands Institute for Sound and Vision, British Library, Tate, Central Saint Martins, MoMA) and discuss the issues and potential solutions for collecting, preservation and access.||Panel|
|Stephen McConnachie||FFMPEG server farm: best practice and recommendations discussion||Setting up a server farm to run FFMPEG operations - splitting files into smaller sections, transcoding uncompressed input to FFV1 Matroska for preservation - in a daisy chain workflow or separately, can be daunting. How to optimise multi-thread parameters for best results? How to optimise VMs across multiple physical devices to achieve best throughput with available cores? Would be great to discuss optimisation strategies with those who have built ffmpeg farms. Stephen McConnachie from BFI suggesting this in case others feel it's useful / interesting - please contact firstname.lastname@example.org if interested in contributing.||Lightning Talk|
|Jérôme Martinez||Open source tools||Some examples of open source projects used by archivists||Presentation|
|Jérôme Martinez||RAWcooked||DPX (or TIFF?) and PCM to MKV/FFV1/FLAC without losing metadata||Presentation|
|Yvonne Ng||Accessible workflows for collecting and preserving video evidence for human rights||Human rights activists and advocates around the world are increasingly collecting audiovisual media, including video shared on social media, to use as evidence of abuses. At WITNESS, we frequently hear activists' need and desire to archive their content in ways that make it more easily manageable, while preserving its evidentiary value. This presentation will share some recent projects we have collaborated on to implement archiving workflows using open-source tools, and discuss gaps where accessible tools are still needed.||Presentation|
|Ashley Blewer, Stephen McConnachie, Kieran O'Leary, Edward Anderson||The Developer-Archivist: a Definition of the Profession||Panel discussion on the independent and institutional paths that have been carved out to make room for an emerging type of worker: the hybrid developer-archivist. Discussion topics will include: How and why skills were acquired, fitting into organizations (or not), and the role technical skills play in the future of the field.||Roundtable|
|Carl Fleischhauer, Lars Gaustad||Presenting the initial IASA TC 06||Unlike earlier guidelines from the Technical Committee, IASA's Guidelines for the Preservation of Video Recordings, IASA-TC 06, is being published in stages, reflecting the complexity of this topic (much ground to cover) and the still-emerging consensus on best practices. Posted online earlier this year, the initial version of TC 06 focuses on video recordings on conventional carriers, i.e., videotapes. Although the guideline recommends the conservation and retention of the original tapes, the central preservation action consists of digitization, a term that is applied to the transfer of content from both analog and (some) digital videotapes. Future versions of the guideline will add information digital-file-based video formats and additional types of digital videotapes. For such source materials, the preservation actions may consist of rewrapping the recording in a fresh digital-file "wrapper," or combining digital transcoding with rewrapping.|
Two parts of the guideline describe relatively settled matters: (1) "what is video," which outlines the technical complexity of the underlying formats, and (2) detailed information about the conventional carriers held by many archives: ½- and 1-inch open reels, U-matic videocassettes, ½-inch consumer and semi-professional videocassettes, and the Betacam family of professional videocassettes. The guideline also discusses matters for which there is less consensus and/or for which practices are not yet mature, e.g., the selection of digital target formats and methods for the capture of components of the video payload beyond picture and sound, such as captioning and historical timecodes. In addition, the guideline offers a high-level overview of a preservation facility, intended to guide archivists planning either a self-operation or the selection of contractors.
|Dave Rice||How we FFV1 & How we Matroska||Standardization efforts are actively underway for both FFV1 and Matroska; however, applying these formats in audiovisual archives requires decision-making about the specifics of how these formats are implemented. This panel will discuss emerging best practices for the use of these formats in various preservation scenario in order to further develop consensus and recommendations for format implementation. Moderator: Dave Rice. Interested panelists should contact email@example.com.||Panel|
|Kieran Kunhya||Supporting niche formats and niche hardware in open source software and operating systems||Multimedia in open source reaching the stage where the rate of creation of new codecs and formats is slower than codecs can be implemented (often by reverse engineering). But there are still a small number of niche formats with few samples which need reverse engineering, not for any commercial reason but to have as a record in the future if such files are discovered and need playback. The same also applies to niche hardware, these may be discovered in the future and it is only by open source implementations that data can be extracted from such items. This presentation will talk about work to implement these last remaining codecs and also how hardware is being reverse engineered so future generations can decode old material.||Presentation|
|Evanthia Samaras||Archiving VFX: A research project to preserve evidence of film digital visual effects production||Film digital visual effects (VFX) has evolved into a global industry and has become an integral component of modern filmmaking practice. Presently neither the film studios nor VFX companies have standardised or consistent approaches to managing and preserving VFX records (including computer generated imagery). This lightning talk will introduce my doctoral research project on how archival methods could be effectively applied within film VFX production environments to ensure that first-hand evidence of this culturally significant aspect of filmmaking and cinema discourse is captured and maintained for posterity.||Lightning Talk|
|Peter Bubestinger-Steindl||Open Source & Long Term||Open Source is often advertised as "The cheap/free alternative to proprietary/expensive/professional tool X". When using Open Source for professional use cases, it's important not to fall for certain assumptions.Just using "open stuff" won't fix your problems. It might even make things worse.|
This is about how to integrate open solutions the right way: For long-term.
|Derek Buitenhuis||Every Solution is Wrong: Normalizing Ambiguous, Broken, and Pants-on-Head Crazy Media||Normalizing is a tought problem. Not everyone has the luxury of being able to send back deliverables to a post-house to fix metadata or mastering. You may not even know the origin of many files. Maybe your workflow from 12 years ago used to create really crazy files, and the original source material is long gone. Maybe your users and clients are cuckoo for Cocoa Puffs. Maybe you work with MXF apologists. Regardless, you probably have to make something standard out of these crazy media files. There's no clear 'right' way, but some ways are less bad than others. At Vimeo, we've dealt with an extensive amount of mistagged, broken, niche, or otherwise messy files, both from users and our own ancient proprietary workflows of yesteryear — and contributed back most of these fixes to open source projects. This is a short talk on some of these problems, how we handled them, and how you can too, using the same open source libraries. (Submitted as Presentation, but also suitable for a Lightning Talk.)||Presentation|
|Lucy Wales / Melanie Hoyes||Big data and diversity analysis: the BFI Filmography as example of repurposing an archive's data as an evidence base for assessing industry diversity||The BFI Filmography is a project to create a complete database of all British feature films released to cinemas since the start of film, built on the BFI National Archive collections database. Once collated, the dataset was used to infer gender for 1/4 million cast and crew in the British film industry (using forename-based inference), and that inferred gender was then used to undertake deep analysis of gender parity in British film: career longevity, roles and departments, seniority, on-screen bias, and so on. This presentation will explore the methodologies for upcycling an archive's data to help drive positive change in gender balance in film production.||Presentation|
Stephen McConnachie / Edward Anderson
|Perceptual hashing: how can it help archives?||A perceptual hash is a fingerprint calculated from the content of an image, which lets us compare two images and measure their similarity. Common use cases for this are online image search and copyright infringement detection. But there is also great potential for moving image archives. This presentation will outline the basics of perceptual hashing and explore some of the use cases for archives.||Presentation|
|Stephen McConnachie||Women in AV and tech: the need for shifting current experiences and narratives||Technical work in an audiovisual environment may sometimes feel like a traditionally gendered domain, with many technical or directorial roles held by men, such as male managers, engineers and technicians. There are both institutional and social challenges for women in gaining experience in technical or technologist roles, including in the audiovisual domain. This panel aims to explore the subject of gender in tech work in the A/V archive (and similar industries), getting perspectives from women working in technical roles in both digital and analogue domains, to take a view of gender parity in this field and how to improve it. Participants include Ashley Blewer and Somaya Langley.||Roundtable|
|Merle Friedrichsen||Monitoring the risk of obsolescence in TIBs AV holdings||The German National Library of Science and Technology (TIB) has a collection of audio-visual (AV)-material. The team digital preservation has the task to preserve the digital holdings of TIB for the long term, and therefore operates a digital archive. The risk of obsolescence in TIBs holdings has to be monitored and evaluated. This talk will present the development of a catalogue of criteria to determine, if a format is at risk to become obsolete. The findings shall be presented, as well as lessons learned and questions that emerge from the findings.||Presentation|
BBC Audio and Video Preservation - Using open source tools and ensuring long-term readability
|The BBC has been migrating their physical archives into files for over a decade and have made use of open source tools in most of these projects and operations. This presentation will provide an overview of these activities and discuss some particular challenges that have been encountered along the way and how these have been solved. It will also discuss the particular measures the BBC use to ensure the long-term readability of the content it creates.||Lightning Talk|
|Dave Rice||Status of CELLAR||This presentation will provide an overview of the work of the IETF cellar working group which is developing standards documents for Matroska, FFV1, and FLAC. We'll review the agenda, the working process, upcoming goals, as well as recommendations on how to contribute to the working group.||Lightning Talk|
|Peter Schallauer||Quality Control Experiences from Large Scale Video Tape and Film Digitization Projects||Migrating media from one to the next generation is a crucial step in audiovisual media preservation. Dependent on the media, specific playback and conversion issues can be introduced.|
This presentation provides an overview about which kind of issue can arise when migrating video tape and film media to the digital domain and it shows approaches on how to detect and avoid these digitization issues by quality control tools. Ongoing, large scale video as well as film digitization projects with quality control tools in place will be presented. Experiences from these projects as well as statistics of type and quantity of digitization issues will be shown.
|Martin Wrigley, OPF||Preservation Action Registry||The Preservation Action Registry (PAR) project aims to facilitate the exchange of digital preservation best practice within the community and between preservation systems. Funded by the Jisc Research Data Shared Service (RDSS) pilot program, the PAR project partners are Preservica, Artefactual Systems, Arkivum and the Open Preservation Foundation.|
Currently, digital preservation systems such as Archivematica and Preservica lack a common and consistent way to describe and execute preservation policies and actions at a technical level. This presentation will explain how the PAR aims to deliver a practical solution for the capture and sharing of technical best practice for the preservation of digital objects in the form of a registry of machine-readable actions. The registry’s data model defines tool choices and how they can be used for different digital object formats, what properties can be extracted or measured and what preservation actions are to be taken. The model also includes contextual and provenance information describing the reasons behind the recommendations.
This shared registry approach will enable users to exchange their preservation policies with one other and support the publication and sharing of preservation information with the wider community.
|Peter Oleksik, Caroline Gil||MoMA Case Study||MoMA’s film department has been generating a significant amount of digital material related film preservation as workflows have shifted from the analog to the digital. Focusing specifically on the DPX format and its associated material, this presentation will discuss how the conservation department is adapting to this influx of data both in scale and complexity. We will present our current research on working with vendors on deliverables, staff and stakeholders on education and advocacy, and adapting/pushing our own workflows and practices. Additionally, special attention will be given to how this material challenges our digital repository eco-system and the research currently being undertaken to adapt both our chosen preservation format and our repository to properly handle and preserve this material utilizing open-formats and standards.||Presentation|
|Callie Holmes||Case Study in Open Media Adoption at the University of Georgia||How do we advocate for open media? What turning points lead to open media adoption? When is a good time to shake up your digital preservation workflow? The University of Georgia's Brown Media Archives (BMAC) has been moving to more open media solutions based on a number of factors, including problems with sundry files created via digitization projects past, exponentially increasing researcher usage of digital media collections, and the advent of an institution-wide digital preservation system. This presentation will include a brief account of how the digital preservation workflow at BMAC has developed over the past decade and how, in relatively small archives, personnel changes can dramatically impact the digital archive. I will also discuss how the shift to open media from proprietary solutions has changed my work and my goals for BMAC's future.|
The Walter J. Brown Media Archives & Peabody Awards Collection is part of the University of Georgia Special Collections Libraries. BMAC holdings include over 250,000 physical items and over a petabyte of digital materials, with a staff of six full time employees.
|Lisa Parolo||Documenting analog video preservation work-flows and protocols||Due to their specificities, analog video collections are at risk of becoming part of a misinterpreted history. In fact, the absence of specific standardized protocols, workflows and cataloguing systems is causing an ‘incorrect’ accessibility, when accessible, to the material. Moreover, to guarantee the authenticity of the digital file coming from the digitization, it is necessary also to document the migration process. Metadata derived by digitization work-flows must as well be recorder and preserved, possibly on inventory and preservation sheets. Through the analysis of some case studies derived from the activities of the video and film preservation Lab. La Camera Ottica (University of Udine) the presentation will firstly address the need of documenting analog video collections’ digitization work-flows; and, secondly, an example of a ‘preservation sheet’ in use by the Lab. to record all metadata will shown.||Presentation|
|Jack McConchie, Tom Ensom||Developing a High Level Preservation Strategy for Virtual Reality Artworks||Artists are increasingly making and presenting work in virtual environments, using hardware such as Oculus Rift and HTC Vive to deliver an experience of an immersive medium. What we commonly refer to as "VR" can take many forms: from passive experiences of video delivered in a 360 field of view, to fully interactive digitally designed environments utilising stereoscopic vision and ambisonic audio to achieve a true sense of space, depth, and autonomous narrative. These works are the product of multi-faceted production processes for real-time rendering, while their display is contingent on a complex ecosystem of interdependent software, hardware and data, closely tied to the user's experience in a physical space. VR works therefore present a host of new preservation challenges, and in this presentation we will discuss recent research at Tate to start developing a high level preservation strategy to address the imminent prospect of collecting works of this type.||Presentation|
|Miriam Reiche||Project DELFT: Digitizing ethnological films||As part of the project the German National Library of Science and Technology will |
undertake the digitization of the ethnological film collection from the former
Institute of Scientific Film (IWF), comprising 1.953 films. These film are preserved
in ffv1/mkv, and are made accessible to the research community via TIB's AV-portal.
I want to give a short overview on the project and it goals, the decision for ffv1/mkv
and other scan parameters. Furthermore I will present the process from inspection
of the analogue copies until ingest of the digital film into the archive.
|Adedimeji, Akeem Adedayo||Dilemma of Audiovisual Archives Preservation and Management: A case study of Albert Ilemobade Library, The Federal University of Technology Akure-Nigeria.|
Media archives have reached a critical point in their history. Rapidly advancing obsolescence, combined with degradation of carriers and multiplied by large numbers of archival recordings, forces a race against time to preserve important holdings. These factors, as well as Consultation with leaders in media archiving, compelled for plan to digitally preserve audio and video recordings archives. Even motion picture film, which has a different set of preservation concerns than audio or video, is at risk if not stored properly and this pose an increasing barriers to access as playback equipment becomes increasingly hard to find and maintain. This paper articulates clearly and documents objectively the repercussions that new digital technology is having on traditional preservation practices that remain oriented toward analogue film heritage. Several key actions were identified as critical to digital-specific formats. These include: verifying data integrity; migration to new media; redundancy; scheduling and managing preservation activities. Given this evidence, it is clear that preservation action on media holdings is urgent if content is to survive. This action must be undertaken in the near-term, whether this is defined as five, ten, or fifteen years.
The paper concludes that the biggest challenges are keeping up with technology, developing clear policy for migration plans (deciding how much really needs to be digitized), developing collaborative mechanisms to cope with the scope of the challenges, employing trained staff, and of course, funding.
|Andrew Brown and Ernesto Coto||Automated tagging of the BFI archive using face recognition||The BFI National Archive holds a collection of 1.3 million film and television stills, including portraits of cinema's most iconic actors as well as on-set photographs from thousands of films. Identifying the people in the stills would be impossible to achieve manually, so the BFI is working with Oxford University Robots visual geometry group to explore a computer vision and machine learning solution. This presentation describes how Deep Learning technologies can be used to automatically label people in images from the BFI archive by their faces. Furthermore, we then describe how the results of the automatic labelling can be combined with existing cast metadata associated with the films, in order to filter the results further and even correct the existing metadata. We will also show examples of a similar processing being applied to video collections.||Presentation|
|Ben Cartwright-Cox||Archiving DAB/DAB+ Feeds||For the past four years I have been archiving DAB feeds from the BBC as part of a personal archive and preservation effort for radio content that I consume. When I started doing this there was very little information on decoding DAB and how to archive it correctly (as my day job does not involve archiving at all). In this talk I will explain my methods and the thinking behind the system I run, and on top go into detail about expanding the networks reach to include international multiplexes.||Lightning Talk|
|Somaya Langley||What steps to take when AV is yet to become a priority for your organisation||For large organisations who have to adequately address the acquisition and preservation needs of a vast array of digital content (including personal, corporate and organisational archives and records, electronic publications, research data and digitised content etc.), where the need for implementing processes, systems and skills for digital preservation outweighs the need for audiovisual digitisation and preservation, what should an organisation do about their AV collections? The Polonsky Digital Preservation Project, a two-year digital preservation collaborative project between Cambridge University Library and the Bodleian Libraries, Oxford has been focussing on the preservation needs of digitised image content, born-digital archives and research data. While a high-level awareness of the risks around analogue and digital audiovisual carriers are known, a program of work to address audiovisual collections has yet to become a priority. What basic initial steps should be taken by large organisations that don't already have audiovisual digitisation and acquisition processes in place (including steps to advocate for action in the AV space)? This presentation is intended as an audience participatory experience, where steps towards advocacy, recommendations and strategy for audiovisual content in collections can be developed collaboratively drawing on the knowledge of all conference attendees.||Presentation|
|Kelly Haydon and Ben Turkus||If we could turn back...timecode||Let’s be real: timecode is a pain. LTC, VITC, Drop Frame, Non-Drop Frame, continuous, discontinuous, file formats that offer varying levels of support—at times, it feels like timecode was designed to foil the best intentions of archivists working with time-based media. While there’s certainly an argument for pretending it doesn’t exist, every once in while timecode reveals itself to be an essential part of a video recording, something that captures the intentions or thought processes of an artist or creator. Offering a historical overview, some technical background, and an update on recent developments in vrecord and MKV, in this Cher-themed presentation Kelly and Ben will take back all of the bad words that they’ve said about timecode, and find us a better way.||Presentation|
|Alessandra Luciano, Ben Turkus, and you!||Open $ource Hustle||It’s often said that for those who struggle to code, there are other ways to support open source projects. Documentation, sending in smart, well-considered issues, fleshing out user stories (bo-ring), blogging, tweeting—these things are all well and good, but they got nothing on scraping, scrounging, and scrambling for that loot. |
How can you make a compelling case for your institution to support open source development? In this roundtable/panel devoted to open source advocacy, participants will offer personal stories of successes and failures, touching upon strategy, approach, and underlying philosophy. Often, getting your organization to step up is all about framing (and persistence): making it clear that immediate goals can be fulfilled while also saving money and helping others. If anyone’s interested in joining up with us, please email firstname.lastname@example.org or Alessandra.Luciano@cna.etat.lu.
|Esther Harris||Multiple Masters||With hybrid analogue-digital workflows ever more prevalent, an increasing number of artworks now enter Tate’s collection with both analogue and digital archival master formats and display specifications. Several works recently acquired were created specifically to allow for both analogue and digital display options from the outset. What opportunities and challenges do such artworks present at the acquisition stage, and how do they differ from analogue-born artworks which have been digitally restored?||Presentation|
|Kelly Haydon||The Stream Dream: Imagining a Standard||From players to personalities, this lightnening talk will cover the challenges and lessons learned of streaming media through an archival finding aid. Using New York University Libraries as a case study, Kelly will cover nuts and bolts of a recently implemented workflow while examing the archival implications of developing a standardized model.||Lightning Talk|
Building digital audio-visual pipelines using standard IT tools.
|Maintaining deterministic workflows when using numerous steps while ingesting. transcoding or normalization can be quite a challenge. Fortunately, IT gives us several industry-standard tools like Jenkins or Ansible. These tools can be used to build a complex, standardized and open workflows which are truly deterministic and yet provide simple web interface and notifications.||Lightning Talk|