|No Time to Wait 4: Preliminary Program|
|A 2 day symposium on the intersection of open media, standardization, and audiovisual preservation.|
December 5 and 6, 2019 @ the Open Society Archives
|Questions? Please, see and add to the FAQ section on the next tab or contact us at email@example.com.|
Times subject to change.
|Thursday, December 5|
|Time||Speaker / Chair||Title||Description||Section Duration / Type|
|8:30||Breakfast and Registration||45m|
|Alessandra Luciano & Zsuzsa Zadori||No Time to Wait Introduction|
|9:30||IMHO: Better Practices||45m|
|Dave Rice||Derailing Best Practices||Audiovisual archivists gravitate towards the safety of best practices in decision-making; however, evolving technologies and the expanding capabilities of the field means that we can always be doing better. This lightning talk examines the turnover of best practices, their expiration, and strategies for longterm decision-making in an effort to find sustainability and follow better practices while contributing to innovation.||Lightning Talk|
|Peter B.||Presets for FFV1 and MKV:|
Choosing the right parameters for the job.
|We'll take a short look at these questions:|
Which encoding parameters does FFV1 have? What are they for? Which one matters for preservation? What about MKV? Are there MXF-like profiles or presets? Are they necessary?
|Kieran O'Leary||Is ProRes/MOV to FFV1/MKV a good idea?||ProRes to FFV1 seems to be a topic that comes up a lot. The Irish Film Institute did some testing regarding the normalisation of ProRes/MOV to FFV1/Matroska and we didn't like the results very much. It was an interesting exercise in figuring out what a successful normalisation looks like - as the normalisation process is only part of the solution - is the playback environment capable of replicating the original display?||Lightning Talk|
|Kate Murray||No Don't You Ever Change: Essential Characteristics for Digital Video||Review of FADGI project on defining technical signficant characteristics in digital video, how they are represented in formats/wrappers/encodings and the impact of change||Presentation|
|Steve Lhomme||State of Matroska||Everything that has been done in the past years and what is left until RFC||Lightning Talk|
|Andy Irving||IIIF and AV||IIIF (International Image Interoperability Format) has emerged in recent years as a powerful framework to enable the viewing, comparing, manipulation and annotation of images online. As a community driven, standardised set of technologies, IIIF is attractive to memory institutions in providing access to digital materials and their supporting metadata without the limits imposed by bespoke, locally-developed applications and solutions. |
Over the past two years and supported by a grant from the Andrew W. Mellon Foundation, the IIIF Presentation API has been further developed by a consortium of international partners including the British Library to support the modelling and delivery of AV materials.
This presentation will explore the challenges that delivering AV resources online presents; how IIIF metadata can be used to describe complex audio collections; how harnessing this metadata can open up possibilities for research and dissemination, and how the open source IIIF compatible Universal Viewer will provide access to complex audio collections online for the Library’s “Save our Sounds” programme.
|Emiliano Flores, Gecko||Standard terminology in the description of audio phenomena in digitized sound archives||In the form of general comments or timemarkers, the description of audio flaws and peculiarities of a sound document is part of the audio archiving practice as it formulates the link between the history of the carrier and the nature of the recorded sound, at the time of digitization. For the end user of today and tomorrow, in a context of worldwide globalization and sharing, the accessibility of audio collections cannot do without a good understandability of the idioms used in this description. Yet, the terminologies used are not the same between two countries, two institutions, two digital collections, two digitization operators. The Gecko company has used its 14 years of experience as digitization service provider to compile, organize and finally share the knowledge acquired on the topic of the homogenization of this specific lexicon. In this presentation, a project manager of the Gecko company will lay out the issues at play and introduce an open source document which can be freely used as a guideline in audio digitization projects.||Presentation|
|11:55||ICYMI: What's New!||85m|
|Carl Eugen Hoyos||FFmpeg, a universal media transcoding tool||Introduction plus news of the past two years||Presentation|
|Steve Lhomme||Videolan VLC 4.0||What is Videolan|
What is new in VLC 4.0 ? (more GPU, new UI, more libvlc)
|Jérôme Martinez||Reversibly Normalise Film Scans & Optimize Storage:|
the RAWcooked project
|RAWcooked is an open source software development initiative for the film preservation community that builds upon archival practices and open standards in order to encode RAW audio-visual data (e.g. DPX, TIFF, WAV) into a single compressed file (MKV/FFV1/FLAC).||Presentation|
|Dave Rice||Rescuing DV||This presentation examines research and work to develop tools and workflows to preserve DV from digital video tapes.||Lightning Talk|
|14:40||TIL: Learning by Doing||125m|
|Just Getting Started: Digitization and Long-term Preservation of Audiovisual Records in the Archives of Social Democracy (AdsD)||Although the main focus of the Archives of Social Democracy (AdsD) is on written documents, it still has a remarkable collection of audiovisual objects. Over the past two years, this collection has been thoroughly reviewed and the related working processes have been adapted to current needs. In this context, a new workflow for digitization and long-term preservation was developed, in which open source tools such as FFMPEG, QCTools, MediaConch and Bagger play a decisive role. Even if the concept requires a long-term overhaul, it allows media archivists with low budget and little IT knowledge to address the urgent need to digitize their audiovisual cultural assets.||Lightning Talk|
|Zsuzsa Zádori, Darius Krolokowski, József Bóné||Learning by doing - digitization of cold war and human rights collections using ffmpeg-based tools and solution||A case study of challenges faced and solutions found by the AV and IT team members while digitizing Beta SP, VHS, S-VHS material, both PAL and NTSC.||Presentation|
|ADEDIMEJI AKEEM ADEDAYO (The Federal University of Technology, Akure - NIGERIA).||Preservation and Archiving of Audiovisual resources: Issues, Challenges and Sustainability||This presentation examines research and work to develop tools and workflows to preserve Audiovisual resources as well as Sustainability. A roundup of challenges around preservation archiving of audiovisual resources.||Presentation|
|Derek Buitenhuis||I Wrote an FFV1 decoder in Go for Fun: What I learned going from Spec to Implementation||(Can be lightning talk) Why write an FFV1 decoder when two already exists? Because it's fun, and I wanted to see how writing a decoder solely from a spec works out. This is the story. Preference is that my other talk is used over this one, but put it here anyway.||Lightning Talk|
|Ashley Blewer||Adventures in reading FFmpeg logs||This talk dives into the weird things that video can do when muxing and demuxing and how to figure out what ("people" and/or "engineers") are even talking about when this happens, because what does this even mean? You don't need Masters degree in C.S. to attend this talk.||Presentation|
|Joanna White||Supporting Archival Practitioners||Archival practitioners require efficient access to knowledge and up-to-date practices; however archivists often work in organizational conditions that are isolated from their peers and must navigate through a mixture of advice, prioritiy, and pressure to determine what information is helpful. Common means to acquire recommendations and knowledge are collaboration with the archival community, collaboration with service providers, purchasing an archival education, and searching the web. This panel brings together archival practioners, service providers, and educators to discuss the challengings involved in supporting archivists, sharing knowledge, and encouraging a skill-sharing professional community.||Roundtable|
|16:45||Closing remarks, housekeeping, announcements, etc.||15m|
|See you tomorrow! 👋|
|Friday, December 6|
|8:30||Breakfast and Registration||30m|
|9:30||Presentations to Wake Up To||80m|
|Dave Rice||No Time To Wait & $||Behind the scenes looks at conference planning and budgeting.|
|Derek Buitenhuis||Opening up Open Source||Do the words 'open source' scare you (or your boss)? Do you want to contibute but don't know how? Did an angry person reply to your email scolding you for top-posting? This talk is for you! It will cover various real world relevant aspects of open source communites and projects, as well as put to rest various bits of FUD (fear, uncertainty, and doubt) that vendors may throw around. It'll cover best practices for interaction and contributing to open source projects and their communities (specific to archival, and also a more general foundation) on issue trackers, mailing lists, etc., with confidence, so that everyone can benefit.||Presentation|
|Julia Kim||Archives Anonymous, or "How I Learned to Stop Worrying and Love the File," or "Non-ideal moving image files: What is this? and What do I do with it"||group analysis of anonymously submitted "non-ideal" moving image files (amateur born-digital video? poor analog migrations?). I imagine split-screen analysis of ffmpeg readouts while also playing copies of the file on another screen. This could be a fun way to work together as a group and review terms, tools and commands, workflows, etc. the moving image files could be truncated in length/size so a number of different strange representative sample files could be analyzed. I would help curate and do some prep work, but I don't think this would be a straight presentation in which information flows in 1 direction||Panel|
|Francesca Colussi & Ana Ribeiro||From ARTWORK to FILE and back to THE ARTWORK||Tate has around 700 Time Based Media artworks in the collection including video, software, performance, film, sound and slide based works. These artworks spend most of their life sitting on a shelf, fragmented into different components (media, equipment, sculptural elements, documentation, etc.). All these components are waiting for the moment they will be reunited again and installed in a gallery to exist as an artwork.
In this presentation we will be focusing on artworks that have digital audio visual files as their main components, we will introduce the way these works evolve within the collection and how we care for their digital components from archival masters to exhibition format files. We will explore issues around keeping the authenticity of an artwork when preparing the media for each specific combination of contexts and display equipment. To conclude we will reflect on the way we are documenting the decision making process and the tools we use when creating specific digital video files to activate artworks.
What information must we capture to keep a history of the artwork and its past displays, as well as decisions made in specific circumstances? What information can be extracted automatically, and which decisions must be more thoroughly documented? How will we use this information, and what is the most helpful format?
|Caylin Smith and Stephen McConnachie||A Matrix for Videogame Collecting||Videogame collecting in the UK is being carried out by many organisations; however approaches are piecemeal and differ depending on an oganisation's collecting remit and available resource. This presentation will explain the collaborative initiative by many of these organisations to develop a matrix-based approach to collecting, preserving, and providing access to videogames created in a variety of formats. The matrix is meant to inform what files and related material could be collected and preserved to inform wider collection management decisions that align with an organisation's collection policy. A further piece of work is to determine whether this matrix could inform the creation of a data model for videogames.||Presentation|
|Lorena Ramírez-López||The Internet gets processed here||WIP: I have been researching web development practices and will apply them to specfic artworks of net art and internet culture. If anyone would like to join me I am up to talking/collaborating!||Roundtable|
|13:30||BLOCK 3 |
13:30 - 15:30
|Genevieve Havemeyer-King||RAWCooking With Gas: A Film Digitization and QC Workflow-in-progress||To prepare for mass digitization of NYPL's film collections by external vendors, NYPL needed some more robust quality control measures. In this lightening talk, Genevieve will describe NYPL's sponsorship of new verification features in RAWCooked and share stories about the development of our film QC workflow-in-progress.||Lightning Talk|
|Ben Turkus and Annie Schweikert||Opening closed captions||The ability to extract and preserve closed captions is essential for video archivists who want to comply with web accessibility guidelines, index content for search and transcription, and safeguard caption data from original analog or digital video (without losing these features in the process of transcoding). The first part of this presentation will discuss the different types of captions and caption files in technical detail; the second part will walk through a script, developed by Dave Rice for the New York Public Library, that uses FFmpeg to generate .srt and .scc caption files from a video file.||Presentation|
|Backup & Restore of IR Remote Controls||When aquiring used (video-)replayers, its not to be taken for granted that their remote control has also survived the journey through time. In this talk, we'll take a look at how to "backup" and actually restore infrared remote controls in a way that allows sharing and exchanging these virtual remotes with others. Using only FOSS and openly-documented hardware components.||Presentation|
|Fabian Würtz and Stefan Länzlinger||Archival IIIF||More and more archives are using OAIS (Open Archival Information System) environments to store their data. But how to present fonds that contain mixed (audio-visual, written, 3D, … ) content in a user friendly way? And can this be done with open source software and open standards? To solve this problem, the IISH (International Institute of Social History) and the Swiss Social Archives developing the open source framework Archival IIIF. The presentation will introduce the software and its key features.||Lightning Talk|
|Jonáš Svatoš||Using MINIO object storage for digital preservation tasks||MINIO is an open-source implementation of S3 API server with a feature set ideal for digital preservation (automatic checksums, paralelization, WORM, self-healing etc..), but can also be included in traditional workflows trough usage of s3fs FUSE filesystem.||Presentation|
|Gareth Harbord||A Forensic Approach to Video||Challenges of taking a forensic approach towards processing video from ingest to replay.||Presentation|
|Jina Chang||Articulating obsolescence in a broken world way||This presentation takes a cue from Steven J. Jackson’s essay “Rethinking Repair” (2014) that advocated the possibility of a new epistemology of new media and information technology based on “broken world thinking” - thinking that focuses on breakdown, maintenance, and repair, rather than growth, innovation, and novelty - to have a fresh look at phenomena and problems of technological obsolescence from a conservator’s - a fixer or maintainer - perspective. Instead of embarking on innovative approaches or calls to remedy or overcome the problems of technological obsolescence, this presentation thus highlights the narratives of how obsolescence is perceived, understood, discussed, and dealt through daily activities and reasonings of conservators and within heritage institutions and preservation communities. Offered as a looking glass or a prism to reflect on and refract through, these broken world narratives seek to inspire a new way to articulate obsolescence in preservation studies.||Presentation|
|Brianna Toth||Knowledge Obsolescence in Audiovisual Preservation: Legacy Skills as Cultural Heritage at Risk||As those with the technical knowledge to repair and maintain analog video playback equipment age out of the professional field, the ability to steward the equipment for preserving analog video to standards becomes an endangered skill set at risk of being lost. Due to the fact that all media is dependent upon playback equipment, all analog video formats are now obsolete, and the magnetic media crisis has only become more grim—how do we cope with this persistent and time sensitive issue? For my graduate research I grappled with this question by retracing and compiling past efforts that addressed this issue in an interactive timeline. From the 46 instances I was able to find that spanned from 1978 to present, I believe we can gain insight in tackling this issue once again. For this presentation I will discuss my findings my timeline, case studies I believe offer potential avenues that enable knowledge transfer and the steps forward I believe could be beneficial to the community at large.||Presentation|
|Dan Finn||Hardware-independent documentation for time-based media||Case studies for documenting works w/hardware dependent significant characteristics and thinking creatively about how to document those significant characteristics in a way to make them hardware independent. Example pieces will include Nam June Paik's "Megatron/Matrix" and Jenny Holzer's "For SAAM"||Presentation|
|Joanna White||The NTTW effect: Building confidence through open learning and community support.||Working as a digital technician can be an isolating experience. Conversations about 'metadata', 'checksums', 'codecs' and 'wrappers' can lead to pained expressions from colleagues who are taxed enugh with other technicalities. Conversation turns to expensive vendors who offer a one-stop solution that makes all these difficult questions go away. But then, you discover a small paradise where people just like you come together and share knowledge and best practice under the banner of 'open source'. Thanks to the generous support and encouragement of the NTTW community the Media Archive for Central England has implemented its first open source workflow, and recently started developing IFIscripts to produce a range of Python microservices. Personally, my developer archivist skills have been continually nurtured with encouragement to engage with GitHub, open source software testing, and contributing to the wonderful FFmprovisr and MediaArea.net. In tribute to my excellent mentors, I've attempted to share and document these learning processes through social media discussion and development blogs. I hope to share some of my enthusiasm for my new paradise hom in this lightning talk.||Panel|
|17:30||Closing remarks, housekeeping, announcements, etc.||15m|
|Til We Meet Again! 👋||525949.2m|