Jean VARRA_ INA 2008 1
Managing a Preservation and Digitisation
Plan of
Audio-visual Archives
Processes and technology
Managing a Preservation and Digitisation
Planof
Audio-visual Archives
Processes and technology
Jean VARRA_ INA 2008 2
INA at a glance...
• INA (Institut National de l’Audiovisuel - France) is in charge of the preservation and exploitation of one of the richest and oldest radio and television archive holdings.
• These holdings are mainly composed of programs from public national and regional TV and radio broadcasters since the beginning until now.
• They include cinematic news items and an important amount of photographs.
• Otherwise, INA has been in charge of the legal deposit of the French radio and TV programs since 1995.
• The other missions of INA are Production, Research and Training.
• In 1999, INA decided to launch a massive and systematic digitisation plan of its audio-visual archives.
• INA (Institut National de l’Audiovisuel - France) is in charge of the preservation and exploitation of one of the richest and oldest radio and television archive holdings.
• These holdings are mainly composed of programs from public national and regional TV and radio broadcasters since the beginning until now.
• They include cinematic news items and an important amount of photographs.
• Otherwise, INA has been in charge of the legal deposit of the French radio and TV programs since 1995.
• The other missions of INA are Production, Research and Training.
• In 1999, INA decided to launch a massive and systematic digitisation plan of its audio-visual archives.
Jean VARRA_ INA 2008 3
INA holdings
Radio holdings: 497 500 hours78RPM
disks27000hours
78RPM
disks27000hours
1/4 » audio tapes
476000 hours
1/4 » audio tapes
476000 hoursDATDAT
Photo holdings: 1 200 000 photos
TV holdings: 535 000 hoursVideo
1p and 2p70 000 hours
Video1p and 2p
70 000 hours
Film
35 and 16mm
143000 hours
Film
35 and 16mm
143000 hours
Video
3/4 inch
135000 hours
Video
3/4 inch
135000 hours
BETACAM TAPES
192000 hours
Jean VARRA_ INA 2008 4
Why a digitisation plan?
All archivists must facetwo important and unavoidable problems:
All archivists must facetwo important and unavoidable problems:
AND Obsolescenceof playback
means
Obsolescenceof playback
means
Old media inevitably degrade
Old media inevitably degrade
Jean VARRA_ INA 2008 5
3 main questions to answer...
Degradation of the carriers and obsolescence of techniques
Degradation of the carriers and obsolescence of techniques
Definition and setting of preservation and
safeguardingpolicies
Definition and setting of preservation and
safeguardingpolicies
Archives have commercialand cultural values
Archives have commercialand cultural values Definition of an access policyDefinition of an access policy
questionsquestions AnswersAnswers
Archive volumesincrease exponentially
Archive volumesincrease exponentially
Decision of exhaustiveness of preservation
or definition of selection criteria
Decision of exhaustiveness of preservation
or definition of selection criteria
Jean VARRA_ INA 2008 6
Typology of degradations
3 types of decay3 types of decay
Mechanical( changes in size
and shape)
Mechanical( changes in size
and shape)
Biological(mould, bacteria….)
Biological(mould, bacteria….)
Chemical(spontaneous
chemicalchanges:Acid…)
Chemical(spontaneous
chemicalchanges:Acid…)
Jean VARRA_ INA 2008 7
Some major degradations...
• Film– Flammability of decomposing nitrate films– Vinegar syndrome of acetate films causing shrinkage and decomposition.– Splice degradation( dry or greasy splices) and damaged perforations requiring heavy mechanical repair– image degradation like scratches, dirt, colour fading….
• Tapes (video and audio)– Stickiness – head clogging and dropout– mechanical deformation (shrinkage,wavering….
• Mechanical disks ( 78 RPM, LP) – (grooves disappear producing a fin white powder) – sensitivity to fungus, ultra violets and heat– crackling and shrinkage
• Optical disks– layer separation,lack of planarity,crackling and pinholes.– sensitive to pollutants , corrosion of the metallic layer and long light exposure
• Film– Flammability of decomposing nitrate films– Vinegar syndrome of acetate films causing shrinkage and decomposition.– Splice degradation( dry or greasy splices) and damaged perforations requiring heavy mechanical repair– image degradation like scratches, dirt, colour fading….
• Tapes (video and audio)– Stickiness – head clogging and dropout– mechanical deformation (shrinkage,wavering….
• Mechanical disks ( 78 RPM, LP)– (grooves disappear producing a fin white powder) – sensitivity to fungus, ultra violets and heat– crackling and shrinkage
• Optical disks– layer separation,lack of planarity,crackling and pinholes.– sensitive to pollutants , corrosion of the metallic layer and long light exposure
Jean VARRA_ INA 2008 8
The importance of good storage conditions
• “Old media are often archived in stores with bad climate conditions”.• the effects of climate conditions ( temperature , humidity,dust, air
quality…)on degradation and therefore on the life expectancy of carriers are now well known.
• Preserving original media in good climate conditions (controlled T°, Relative humidity and dust) and in suitable containers is always far less expensive than being obliged to restore degraded media.
• “Old media are often archived in stores with bad climate conditions”.• the effects of climate conditions ( temperature , humidity,dust, air
quality…)on degradation and therefore on the life expectancy of carriers are now well known.
• Preserving original media in good climate conditions (controlled T°, Relative humidity and dust) and in suitable containers is always far less expensive than being obliged to restore degraded media.
Vented cans Stil Design•Archives films
But relying only on good climate conditionsto preserve content in the long term,is not enough….
But relying only on good climate conditionsto preserve content in the long term,is not enough….
Jean VARRA_ INA 2008 9
Recommended climate conditions
Film• Main vault: Cold
– T= 5°C– RH:25%– Light over-pressure.– air filtering.
• transit storage: Cool– T= 15°C– RH:30% – dew point controlled to avoid
condensation • Temperature and RH stability
– T°= +/- 1°C over 1 hour– Relative humidity : +/- 5% RH over 1 day
• Frozen storage vault 0°C( for degrading acetate films with vinegar syndrome and or degrading nitrate
• Isolate degraded nitrate and acetate film to avoid contamination.
Film• Main vault: Cold
– T= 5°C– RH:25%– Light over-pressure.– air filtering.
• transit storage: Cool– T= 15°C– RH:30% – dew point controlled to avoid
condensation• Temperature and RH stability
– T°= +/- 1°C over 1 hour– Relative humidity : +/- 5% RH over 1 day
• Frozen storage vault 0°C( for degrading acetate films with vinegar syndrome and or degrading nitrate
• Isolate degraded nitrate and acetate film to avoid contamination.
Magnetic tapesAcetate tapes:
– Cool 12 °C max for 50% max RH– 17°C max for 30% max RH– 23°C max for 20% RH– frozen forbidden unless high vinegar
syndrome level (IPI 2 or higher).
Polyester tapes:– Cool 12 °C max for 50% max RH– 17°C max for 30% max RH– 23°C max for 20% RH– Cold to avoid– frozen forbidden
Disks– Store Vertically– Frozen is forbidden
Magnetic tapesAcetate tapes:
– Cool 12 °C max for 50% max RH– 17°C max for 30% max RH– 23°C max for 20% RH– frozen forbidden unless high vinegar
syndrome level (IPI 2 or higher).
Polyester tapes:– Cool 12 °C max for 50% max RH– 17°C max for 30% max RH– 23°C max for 20% RH– Cold to avoid– frozen forbidden
Disks– Store Vertically– Frozen is forbidden
Jean VARRA_ INA 2008 10
Why digitise our archives?
Only one way:
Digitisation.
Only one way:
Digitisation.
Today all archive owners have the same dilemma to solve:
Today all archive owners have the same dilemma to solve:
•How could this analogue heritage be preserved?•How could this heritage be everlasting?•How could this heritage be more valuable?
Digitisation
Jean VARRA_ INA 2008 11
Setting a preservation and digitisation plan
A methodological approach
Jean VARRA_ INA 2008 12
Some important preliminary considerations
Why a methodological approach?Why a methodological approach?
•Because the holdings are often huge.•Because the holdings are often poorly identified•Because budgets for preservation are poor compared to the mass of material to be treated. •Because priorities must then be defined.•Because the materials to be treated are often damaged and their life expectancy is limited.
Jean VARRA_ INA 2008 13
A 3 entries problem…
Volumes Time
MeansTechnical, Human, Money
Jean VARRA_ INA 2008 14
1 - Define the measurement unit of your holdings (nbr hours)1 - Define the measurement unit of your holdings (nbr hours)
2 - Map your holdings: (indexed) contents & physical storage media2 - Map your holdings: (indexed) contents & physical storage media
3 - Assess the condition of the physical storage media3 - Assess the condition of the physical storage media
4 – Define a preservation policy & processing priorities (+ preservation committee)4 – Define a preservation policy & processing priorities (+ preservation committee)
5 – Define the technical solutions (formats, storage media, workflows)5 – Define the technical solutions (formats, storage media, workflows)
6 - Estimate your human, technical, financial resources6 - Estimate your human, technical, financial resources
7 – Draw up annual budgets and processed volumes (over the pluriannual plan)7 – Draw up annual budgets and processed volumes (over the pluriannual plan)
A seven steps preliminary process...
Jean VARRA_ INA 2008 15
Some important preliminary considerations
Why is it important to define and set a massive, industrial and pluri-annual
digitisation plan?
Why is it important to define and set a massive, industrial and pluri-annual
digitisation plan?
• Bring an answer to the urgency to face to degradation and obsolescence of analogue technology.
• “Massive and industrial” in order to reduce costs and go fast.• Get a reference tool for negotiating funds and all other
negotiations : human resources, technical resources and budgets.
• Provide a tool to select and define priorities in terms of materials to be processed.
Jean VARRA_ INA 2008 16
Step 1
Measure your holdings (volumes)Measure your holdings (volumes)
•Number of materials•Number of catalogued documents •Number of programmes •Number of hours of programmes
•Evaluate “redundancy”
Jean VARRA_ INA 2008 17
Step 2
•Map your contents:•using cataloguing, indexing, searching tools
•Map your media:•make inventory of physical media •sort volumes according to the genre and type of media
Map your holdings (volumes)Map your holdings (volumes)
Jean VARRA_ INA 2008 18
Examples of mapping
CONTENTS 2004 2005 2006 2007 2008TOTAL
2008 2009-2015Amount to be treated
NEWSREELSNews 1000 1500 2800 2500 2000 9800 200 10000Collections of news magazines 500 1000 1000 500 1622 4622 2 499 7121
Total newsreels 1500 2500 3800 3000 3622 14422 2699 17121
DOCUMENTARIES AND MAGAZINESDocumentaries 300 350 300 200 100 1250 1316 2566Litterature programs 300 400 400 200 100 1400 1007 2407Art programs 200 400 400 200 100 1300 730 2030Cultural programs 200 100 100 100 100 600 2166 2766Music programs 300 300 300 300 200 1400 713 2113Cinema,TV, theater programs 400 300 300 200 200 1400 2660 4060Tourism programs 1560 1560
Total doc and mag 1700 1850 1800 1200 800 7350 10152 17502ENTERTAINMENTSPop, rock programs 200 200 175 100 100 775 6925 7700
Total entertainments 200 200 175 100 100 775 6925 7700SPORTSports magazines 300 300 300 200 100 1200 2556 3756
Total sports 300 300 300 200 100 1200 2556 3756YOUTH PROGRAMS 4296 4296ANIMALS PROGRAMS 3000 3000RELIGIONS 3207 3207GAMES 7162 7162
TOTAL FILM 3700 4850 6075 4500 4622 23747 39997 63744
NOT REAL
FIGURES
FILM 1 and 2 inches Umatic/BVU TOTALACTUALITE - NEWSREELSNews 10 828 Regional news 35 500 55 800
TOTAL NEWSREELS 46 328 55 800 102 128 FICTIONSFictions 5 000 650 770 6 420
TOTAL FICTIONS 5 000 650 770 6 420 DOCUMENTAIRES - DOCUMENTARIESliterature programs 2 407 959 749 4 115 art programs 2 030 850 650 3 530 cultural programs 2 766 951 1 771 5 488 music programs 2 113 2 085 1 727 5 925 science programs 2 790 1 024 718 4 532 cinema, theater programs 4 060 1 534 2 072 7 666 tourism programs 1 560 1 163 823 3 546 society programs 8 710 2 810 2 500 14 020
TOTAL DOCUMENTARIES 26 436 11 376 11 010 48 822 ENTERTAINMENTSrock, pop programs 7 700 2 900 3 968 14 568
TOTAL ENTERTAINMENTS 7 700 2 900 3 968 14 568 SPORTsport programs 3 756 1 900 2 429 8 085
TOTAL SPORTS 3 756 1 900 2 429 8 085 YOUTH PROGRAMS 4 296 3 540 1 897 9 733 ANIMALS PROGRAMS 3 200 1 695 802 5 697 RELIGIONS 3 207 1 490 720 5 417 GAMES 7 162 4 813 2 477 14 452
NOT REAL
FIGURES
Jean VARRA_ INA 2008 19
Step 3
•Evaluate the degradation level of each type of media and the corresponding volumes.
•Vinegar syndrome•Splice condition•Image degradation.•Sticky shed syndrome.•Mechanical deformations•…….
Define and estimate the level of difficulty to process them.
Know the condition of physical mediaKnow the condition of physical media
Jean VARRA_ INA 2008 20
Example: items for film condition mapping
NITRATE BASE FILM
16 mm Acetate base film
NEGATIVE
SEPMAG
COMMAG
SPLICED WITH ADHESIVETAPE SPLICED WITH GLUEVINEGAR SYNDROME
STATE OF THE ADHESIVETAPE
GOOD DAMAGED
DRY GREASY
LEVEL OF DEGRADATIONIPI levels
0 2 31
PHYSICAL STATE
STATE OF THE GLUE
GOOD BREAKS
SHRINKAGERETRAIN
Black and white
Colour
News
production
YEAR
Manufacturer andtype
Making statistics /decisions/processes...
PICTURE
SCRATCHES
Reconditionning? separation of film andsepmag ? storage conditions/isolation
decisions to transfer?
base gelatine colourgraded ?
GOOD FADEDCOLOR
specific telecine and orsepmag player
film processing? simple check up or repair?
Yes no
Color correction ?
Value
severity?
PERFORATIONS
DAMAGED?
Yes no
GRADINGNOTCHES
Yes no
KINESCOPE
type of copyACETATE
POLYESTER
smallRollls
Editedon one
reel
Jean VARRA_ INA 2008 21
Step 4
With the help of a preservation commissionWith the help of a preservation commission
Define prioritiesDefine priorities
combiningContent reasons
heritage value, commercial value, scientific value, shortage...
Technical reasons
Uniqueness of the carrier, decay level,exploitation difficulties...
Jean VARRA_ INA 2008 22
Step 5
•Prefer open media and standardised files.
•Specify precisely the encoding schemes and the various quality levels to get. (see next chapter)
Choose digital target media and filesChoose digital target media and files
Jean VARRA_ INA 2008 23
Step 6
• Define mean processing times for each type of media according to its physical condition.
• Take an inventory of the available work forces and skills, outsourcing (service providers) and indoor and evaluate them.
• Specify the processing costs for each media type.• Define the best cost effective technical solutions.
• Define the best cost effective technical solutions
Measure one’s forces:human and technical
Measure one’s forces:human and technical
Jean VARRA_ INA 2008 24
Step 5
Specifications of the technical jobSpecifications of the technical job
•The objectives of technical specificationsis to define precisely the technical expected results.
•Describe precisely all the steps of each process.
Jean VARRA_ INA 2008 25
•Set precisely the dispatch of:• annual investment and operating budgets•volumes according to: internal /external processing capabilities.
Set budgets and volumes(over the duration of the plan)
Set budgets and volumes(over the duration of the plan)
Step 7
Jean VARRA_ INA 2008 26
Volumes Pattern (INA) Digital preservation Plan ( volumes - hours)
Total remaining Achievement %
hours repartition over 2005 - 2015
to process achieved achieved Achieved 05 / 15
Years 99 / 02 03 04 05 06 07 08 09 10 11 12 13 14 15
vinegar syndrome 64500
FILM telecine 143 500
mechanical repair 132 400
VIDEO 3/4 inch 122 200
VIDEO 1 et 2inch 70 000
Total TV 335 700
DISQ 78 RPM 20 700
preservation restoration
1/4 ich tapes 465 000
DAT 11 800
Total RADIO 497 500
TOTAL 833 200
EXAMPLE
PATTERN
Jean VARRA_ INA 2008 27
Budget pattern (INA)Tableau 2 Preservation Plan Budgets ( M€
Total hours to process Total
Total PSNAnnées 99 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 05/15 99/15vinegar preservation vinegar mesasurementFILM TC 143 500mechanical repairVIDEO 3/4i 122 200VIDEO 1 et 2i 70 000Total TV 335 700
78 RPM 20 700preservation restoration14 Inch tapes 465 000DAT 11 800Total RADIO 497 500PhotoStoragestorageTOTAL INVESTInventory containersmagnetic media tapesCD/DVDothersmanagementlabour forces TOTAL FONCT
TOTAL
achieved
EXAMPLE
PATTERN
Jean VARRA_ INA 2008 28
Overall technical process
Composition
Identify and assemble
items
Digitisation and
new media creationnew digital
masterlow data rate
versionscreate
new archive item
quality control
Updatearchive
replaceold item with newupdate
metadata
Preparation of the sets
packing original media
job orders
planning
Reception of sets
performing expected job
work progress
Reception of sets
performing quality control
accept or reject work
organise corrective actions
Reception of sets
Statistics about job achievement : budget and volumes
Organisation of transports
Organisation of transports
Organisation of transports
Jean VARRA_ INA 2008 29
Digital solutions for preservation
Jean VARRA_ INA 2008 30
Digitisation is the key… But what digital?
Keys for everlastingness or “ permanence” of digital audio or video data are:
Keys for everlastingness or “ permanence” of digital audio or video data are:
The independence of dataregard to
the physical media
The independence of dataregard to
the physical media
The use of standardisedand “non proprietary” :
• Essence data • Metadata formats• Storage file formats• Exchange file formats
The use of standardisedand “non proprietary” :
• Essence data • Metadata formats• Storage file formats• Exchange file formats
Jean VARRA_ INA 2008 31
A few figures...
– Film digitisation: keeping the original definition of a 1 hour film.• 1 hour of 16mm film requires 595 GB ( Gigabyte)• 1 hour of film 35mm requires from 1008 GB to 3715GB• according on the 35 mm formats• a 4K (4096x3112) scan delivers a file of 4,13 TB (Terabyte)• a 2K (2048x1556) scan delivers 1 TB• a HD (1920x1080) telecine delivers a file of 560 GB
– Video SD digitisation:• One hour of uncompressed video (720 x 576) requires 72 GB
– Audio digitisation: one hour of stereophonic audio • (16 bits, 48KHz) requires 700 MB
Digitising film, video or, in a smaller scaleaudio, requires large storage capacities.
Digitising film, video or, in a smaller scaleaudio, requires large storage capacities.
Jean VARRA_ INA 2008 32
Current digital mediafor archiving
Jean VARRA_ INA 2008 33
Two ways to store digital audio and video...
There are 2 main approaches to store and archivedigital audio and video according to expected
uses and storage hierarchy.
There are 2 main approaches to store and archivedigital audio and video according to expected
uses and storage hierarchy.
Proprietary solutions:
Digital SD or HD video or
audio digital formats.
Proprietary solutions:
Digital SD or HD video or
audio digital formats.
Open solutions:File formats (data)
onHard disk servers
ordata tapes or optical disks
on the “shelves”or within
data tape librariesor disc jukeboxes.
Open solutions:File formats (data)
onHard disk servers
ordata tapes or optical disks
on the “shelves”or within
data tape librariesor disc jukeboxes.
Jean VARRA_ INA 2008 34
Possible current media for digital archiving
Proprietary solutionsProprietary solutions Open SolutionsOpen Solutions
SD digital videotapes
D1,D2,D3,D5,DCTDigital BETACAM
BETACAM SXIMX
DV, DVCAM ,DVC Pro 25- 50HD formats
VOODOO, D5 HD, DVC pro 100HDCAM-SR
Audio tapesDAT
SD digital videotapes
D1,D2,D3,D5,DCTDigital BETACAM
BETACAM SXIMX
DV, DVCAM ,DVC Pro 25- 50HD formats
VOODOO, D5 HD, DVC pro 100HDCAM-SR
Audio tapesDAT
Hard drives(RAID arrays)
Data tapesSDLTLTO
Optical mediaCD/DVDBlu ray
Holographic disk ?
Hard drives(RAID arrays)
Data tapesSDLTLTO
Optical mediaCD/DVDBlu ray
Holographic disk ?
Jean VARRA_ INA 2008 35
Open media
• Magnetic hard drive disks capacity is still growing: it doubles every 18 months (currently 1 TB/disk)
• Used in servers as RAID arrays ( Redundant array of inexpensive disks) Solves 2 main needs : it increases data bit rates for video and reliability and tolerance to disk failures
• Cost per GB is dramatically decreasing ( Currently 1 to 2€/GB)
• Magnetic hard drive disks capacity is still growing: it doubles every 18 months (currently 1 TB/disk)
• Used in servers as RAID arrays ( Redundant array of inexpensive disks) Solves 2 main needs : it increases data bit rates for video and reliability and tolerance to disk failures
• Cost per GB is dramatically decreasing ( Currently 1 to 2€/GB)
• Current data tape solutions are– SDLT: 1/2 inch linear
recording by quantum
– LTO (LTO4) 1/2 linear inch tape by IBM, Seagate, Hewlett Packard
• Still best cost per GB (0,3 €/GB)• LTO is the leader on the market
• Current data tape solutions are– SDLT: 1/2 inch linear
recording by quantum
– LTO (LTO4) 1/2 linear inch tape by IBM, Seagate, Hewlett Packard
• Still best cost per GB (0,3 €/GB)• LTO is the leader on the market
Jean VARRA_ INA 2008 36
Open media
• Blu-ray Disk– 12 cm and 8 cm– Capacity: 23 /25/ 27 GB– data bit rate: 36,/ 72 /144 Mb/s– Suitable for HD and compressed
video – Used in XDCAM ( SONY)– Currently 1,2€ /GB
• Blu-ray Disk– 12 cm and 8 cm– Capacity: 23 /25/ 27 GB– data bit rate: 36,/ 72 /144 Mb/s– Suitable for HD and compressed
video– Used in XDCAM ( SONY)– Currently 1,2€ /GB
• Holographic disk– Format HDV Alliance / InPhase
technology – Storage capacity: 200 GB to 1,6 TB– Data bit rate: 20 MB/s to 1 GB/s
• Holographic disk– Format HDV Alliance / InPhase
technology– Storage capacity: 200 GB to 1,6 TB– Data bit rate: 20 MB/s to 1 GB/s
Jean VARRA_ INA 2008 37
Evolution of digital media technology
• In the digital domain, media technology evolves very fast:– Road maps of the manufactured products show that:
• capacity ( GB) doubles every 2 years• recording and play back speed also.
– Backward compatibility of data tapes is 2 generations at the utmost.– Obsolescence of digital media comes very fast.
• In the digital domain, media technology evolves very fast:– Road maps of the manufactured products show that:
• capacity ( GB) doubles every 2 years• recording and play back speed also.
– Backward compatibility of data tapes is 2 generations at the utmost.– Obsolescence of digital media comes very fast.
To prevent from that, digital to digital migrationmust be considered as soon as possible.
To prevent from that, digital to digital migrationmust be considered as soon as possible.
Jean VARRA_ INA 2008 38
Essence dataFormats
Jean VARRA_ INA 2008 39
Preserving quality
The use of compression allows the user to match quality with different uses, while reducing storage needs and
data transfer rates.
Archive owners must learn to deal withseveral quality levels:
Archive owners must learn to deal withseveral quality levels:
Archivingquality
Archivingquality
Exploitationquality
Exploitationquality
local viewingquality
local viewingquality
distant viewingquality
distant viewingquality
Jean VARRA_ INA 2008 40
Preserving quality
UncompressedUncompressed Losslesscompression
Losslesscompression
Lossycompression
Lossycompression
?
Jean VARRA_ INA 2008 41
The central role of a preservation master file
PreservationMaster file
PreservationMaster file
Uncompressed
Loss less compression
“Visually loss less” compression
Exploitation fileExploitation file
“Light” compression for current use
Viewing fileViewing file
Compression rate adapted to networks and Internet
Original formatOriginal format
Film
SD Analogue video
SD Digital video
HD Digital video
Jean VARRA_ INA 2008 42
Current file formats for archiving quality
data files for audiodata files for audio
WavWav
AES/EBUAES/EBU
AIFFAIFF
UncompressedUncompressed
MPEG L2MPEG L2
MPEG 3MPEG 3
Lossy compressed
Lossy compressed
data files for film and videodata files for film and video
JPEG2000JPEG2000
Loss less compression Loss less
compression
MPEG2 422(I frame only
until 100 Mb/s)
MPEG2 422(I frame only
until 100 Mb/s)
DV25 /50/100
Mb/s
DV25 /50/100
Mb/s
H264?H264?
Lossy compression
Lossy compression UncompressedUncompressed
DPXDPX
AVIAVI
Jean VARRA_ INA 2008 43
Metadata and exchange format standardisation
Jean VARRA_ INA 2008 44
Metadata
• Metadata is data about data• Information that makes data
useful: – Technical metadata– Descriptive metadata– Rights
• Several initiatives related to different domains and environment ( libraries,broadcast, multimedia,consumer…)
• Trying to converge….
• Metadata is data about data• Information that makes data
useful:– Technical metadata– Descriptive metadata– Rights
• Several initiatives related to different domains and environment ( libraries,broadcast, multimedia,consumer…)
• Trying to converge….
Dublin core
Dublin core
SMPTESMPTE MPEG7MPEG7
TV anytimeTV anytime
AAF AAF SMEF andP/META
SMEF andP/META
Metadata initiativesMetadata initiatives
Jean VARRA_ INA 2008 45
Exchange file formats (wrappers)
A Wrapper gathers in one file format the content (essence) and its related metadata for data exchange between two different systems.
Main standardised wrappersMain standardised wrappers
AAFAdvance Authoring Format
AAFAdvance Authoring Format
MXFMedia exchange format
MXFMedia exchange format
BWFBroadcast Wave Format
BWFBroadcast Wave Format
Jean VARRA_ INA 2008 46
Current digital archive system at INA
Digitisation Storage DeliveryFilm
(telecine)
Film(telecine)
2”/1”tapes
2”/1” tapes
BETACAMtapes
BETACAM tapes
3/4 inchtapes
3/4 inch tapes
transfer to digital betacam
transfer to digital betacam
AutomatedMPEG2
and/MPEG1encoding
(flexicarts)
Automated MPEG2
and/MPEG1 encoding
(flexicarts)
ONLINE MPEG1storage
(NAS servers)
ONLINE MPEG1storage
(NAS servers)
distantBACK UP STORAGE
HARD DRIVE SERVERS
distantBACK UP STORAGE
HARD DRIVE SERVERS
Browsing and viewing
intranetInternet (Ina media)
delivery of viewing copies(DVD,VHS, DV….)
Browsing and viewing
intranetInternet (Ina media)
delivery of viewing copies (DVD,VHS, DV….)
Deliverydelivery of exploitation copies
(Digital BETA, IMX, DVCPro….)Delivery through dedicated links
(TF1,FTV)delivery over networks FTP
(all customers)
Deliverydelivery of exploitation copies
(Digital BETA, IMX, DVCPro….) Delivery through dedicated links
(TF1,FTV)delivery over networks FTP
(all customers)1/4 inchaudio tapes1/4 inch
audio tapes
1/4 inchaudio tapes
78 RPMdiscs
78 RPM discs
78 RPMdiscs
78 RPM discs
transfer to WAV files
BWF
transfer to WAV files
BWF
NEAR ON LINE MPEG2storage
(LTO 4 inADIC library)
NEAR ON LINE MPEG2storage
(LTO 4 inADIC library)
INA Information system ( Databases,workflows, networks,commercial and rights management,...
Jean VARRA_ INA 2008 47
Near future evolutions...
MPEG1 1Mb/sMPEG1 1Mb/s
Digital BETACAMDigital BETACAM
MPEG2 8 Mb/sMPEG2 8 Mb/s
H264 400Kb/sH264 400Kb/s
File lossless compression
JPEG2000 (SD and HD)other?
File lossless compression
JPEG2000 (SD and HD)other?
MPEG2 higher bit rateor H264 HD and SD?
MPEG2 higher bit rateor H264 HD and SD?
Jean VARRA_ INA 2008 48
A temporary conclusion about digital technology...
• Digital media and technologies are evolving and renewing extremely fast.
• In the digital domain, we must learn to think of“everlasting file” and forget the idea to find an “everlasting media” for a while.
• Once analogue media has been digitised, the job is not finished, we must foresee and prepare the regular “migration” of data from current digital media to new ones.
• Digital media and technologies are evolving and renewing extremely fast.
• In the digital domain, we must learn to think of“everlasting file” and forget the idea to find an “everlasting media” for a while.
• Once analogue media has been digitised, the job is not finished, we must foresee and prepare the regular “migration” of data from current digital media to new ones.
Jean VARRA_ INA 2008 49
A temporary conclusion about digital technology...
• The choice of a suitable preservation master file is fundamental.
• If standardised essence data formats are more and more used in televisions (MPEG2, DV, …),there is still a long way from theory to “real” use of standardised metadata;
• For standardised exchange formats, MXF and BWF seems to take the leadership.
• The choice of a suitable preservation master file is fundamental.
• If standardised essence data formats are more and more used in televisions (MPEG2, DV, …),there is still a long way from theory to “real” use of standardised metadata;
• For standardised exchange formats, MXF and BWF seems to take the leadership.
Jean VARRA_ INA 2008 50
Thank you for your attentionand don’t let your archives
become like that!
Jean VARRA_ INA 2008 51
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