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Introduction to Moving Image�& Sound Collections
Howard Besser NYU Moving Image Archiving & Preservation
Program http://besser.nyu.edu/howard
http://www.nyu.edu/tisch/preservation/
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How long we keep things • Companies keep information for days, or even years • Individuals keep things for years, or a lifetime • Archives, Libraries, and museums keep things for
hundreds of years
Cultural Institutions have a much greater responsibility for preservation!
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Preserving Difficult Materials:�Moving Images and Complex Digital Works- • Communications History • Carriers & Content • Basic problems with technology-based
material • How are new works even more
problematic? • Problems caused by endlessly re-formatting • Paradigm shifts needed
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A/V Materials are part of Communications history-
• A history that dates back thousands of years • A history where technological
developments have massively changed communications (production of paper/ink, printing press, photography, telephone, …)
• A history where technology has permitted us to build “carriers” to encapsule and save forms of communications
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Communications:�history that dates back thousands of years
(Stockholm Telemuseum)
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A/V Materials are part of Communications history
• A history where technological developments have massively changed communications (production of paper/ink, printing press, photography, telephone, …)
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Stockholm Telemuseum
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Stockholm Telemuseum
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Today, peoples’ home collections are increasingly digital
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Many organizations have audio collections
• Archives have speeches of politicians, recordings of legislative meetings or recordings of professional society meetings
• Libraries and archives have oral histories and interviews with famous people
• Museums, libraries, and archives record the audio of special events, guest lectures, etc.
• Cultural institutions collect recordings of indigenous music, interviews about disappearing cultures and languages, etc.
• Cultural institutions collect recordings of local cultural events, music, etc.
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Bumba-Meu-Boi Gandhi silent & sound footage
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IFLA 2007, Durban
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Media News
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Documentation of Events
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Documentation of Events, 2001
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Igreja da Pampulha
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SOIMA 2009 Opening Reception (1/2)
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SOIMA 2009 Opening Reception (2/2)
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Everything I’ve shown so far was recorded on Digital devices
• More & more recordings are made on these devices
• We need to conserve and preserve these • Where is the “original”?
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Both A/V andDigital require a new way of looking at Preservation
• Little worry about the “original” • Formats and hardware frequently become obsolete • We need to constantly re-format • Long-term planning and “preservation
administration” is absolutely essential
• We can learn a lot from the Audiovisual field, which has dealt with these problems for a long time
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Many organizations have�film and video
• Historic collections often have old films of a city, of buildings, of people at another time period
• Archives have “home movies” of famous people • Science and culture museums have anthropological films
of other cultures • Museums have videos of dramatic performances, videos of
exhibits, art films, art videos • Government collections have films documenting
government-funded projects (building Brasilia), films and videos commissioned by government agencies (AIDS prevention, “Brasil, um Pays de Todos”), …
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Images with Sound are critical to understanding our cultural heritage
• Both fiction & documentaries shape any time period’s views of the past (Moses & 10 Commandments; Cleopatra; Caesar’s Rome; 1940s urban US; Hitler, Holocaust, WWII; Vietnam War, …)
• We are shaped by the cultural icons of our childhood (Leave it to Beaver, Lassie, James Bond, police shows, Mickey Mouse, Road Runner, …)
• We are also shaped by the advertisements, industrial, and educational films of our childhood (Maytag repairman, How to be a good homemaker, …)
• To understand our time period, people in the future will need to have access to the cultural artifacts of our time (imagine trying to understand 1950s and 1960s gender dynamics without pop cultural views of the family)
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TV History
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TV History
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TV History
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Duck and Cover�Sponsor: U.S. Federal Civil Defense Administration, 1951
Downloaded 2002 from Prelinger Archive http://www.archive.org/
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Today, our A/V Communications Content spreads quickly throughout the world
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A/V Materials are part of Communications history
• A history where technology has permitted us to build “carriers” to encapsule and save forms of communications – Paper and Books to capture oral legends & tales – Photographic film & paper to capture images – Motion picture film to capture what our eyes see – Audio wax and wire recordings to capture what our ears
hear – Audio and video tapes – CDs and DVDs
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Communications Technologies:�Carriers & Content (background)
• Throughout history, the content produced was intimately bound up with a particular carrier – Papyrus scrolls, clay tablets, codex – Only reproduction was hand-copying (monks w
/religious texts) • Copying technologies (printing press,
photography, film/video, photocopying) still bound content to carrier, but introduced the idea of “lack of uniqueness” and sometimes distinguished btwn a master “original” (negatives) and copies
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Communications Technologies:�Carriers & Content (lessons for today)
• Many types of institutions (libraries, some archives) only collect mass-produced copies (books, films, videos, DVDs), they do NOT collect the original materials (master copies, negatives, etc.).
• In the digital world, most originals are absolutely identical to all copies. Even when these are put onto different carriers (hard disk, digital tape, CD, DVD), all copies are identical to original (unless specifically made lower quality)
• For those mentioned above, there is no notion of “uniqueness”, nor of “original” – For those institutions that collect material that was used to construct an
“original” (manuscripts, negatives, inter-negatives), the production elements used to construct the “original” still maintain some uniqueness
• Not being able to identify “originals” or “uniqueness” bothers conservators
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Paper Conservators at Museu Imperial
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Both A/V and Digital Preservation causes a shift in Conservation thinking
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Museu Imperial-access
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Casa Rui Barbosa
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Kungl Biblioteket-Conservation storage
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Kungl Biblioteket-Conservation storage
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Very different concerns than for Digital Storage
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Communications Technologies:�Carriers & Content (cautions)
• In the A/V world, we often distribute identical content through many different carriers – Vinyl, cassette tape, CD, iPod – Nitrate film to safety film – 35mm film, 16mm film, video formats, DVD – 2” video, 1” video, U-Matic, Beta, VHS
• Sometimes the content is identical with each carrier, and sometimes it is shrunken or compressed for some carriers
• Managers of really unique content (production elements) have different vocabularies and different needs than managers of mass-produced content-
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Svenska Filmhuset (original production elements)
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Bibliotek (finished distributed copies)
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Cinemateca Brasileira (facilities)
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Cinemateca Brasileira (film storage)
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Cinemateca Brasileira (film storage)
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Cinemateca Brasileira (video storage)
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Cinemateca Brasileira (nitrate storage)
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Cinemateca Brasileira (documentation)
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Cinemateca Brasileira (other collections)
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Cinemateca Brasileira (shortage of storage)
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Cinemateca Brasileira (restoration lab)
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Cinemateca Brasileira (inspection & repair)
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Cinemateca Brasileira (film cleaning)
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Cinemateca Brasileira (film copying)
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Cinemateca Brasileira (video/digital re-formatting)
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Hampton Collection (1)
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Hampton Collection (2)
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Hampton Collection (3)
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Hampton Collection (interviews)
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Hampton Collection (exhibits)
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Hampton Collection (negatives)
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Academy-35mm
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Academy--vault staging
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Academy--8mm reformtting
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Hampton Collection (atmosphere cntrl)
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Academy-Atmosphere
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Old Film Formats
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Various Formats Intermixed (Hampton)
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We’re always reformatting, and dealing with wide variety of
formats • Nitrate • Super8 • Cinemascope • 3-D • Cartridge • …
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Lots of Formats; Hard to Store (VidiPax)
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Difficult Materials become obsolete relatively quickly
• The physical carriers decay or become obsolete
• The technology required to view the carriers changes frequently
• The encoding formats needed to decode the content shift
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Pre-Cinema Machines
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Zoetrope
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Obsolete or deteriorated Physical Carriers
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Obsolete Carriers & Info Techn
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Obsolete Carriers
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Obsolete Carrier viewing Technology?
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Kodak stops making some films
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Old Video Formats (www.vidipax.com)
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List of old Audio Formats Format Description Years in UseWax Cylinder Records 2- or 4-minute formats, wax
or wax compound1888– 1929
Recordable Disc Records(Direct or Acetate Discs)
7”, 12”, or 16”, recorded at33 or 78 revolutions perminute (rpm). Generallyvinyl on a paper, glass ormetal base
1929– 1960s
Recording Wire Spooled wire, usually in 15-to 30- minute lengths, onedirection only
c. 1945– 1955
Open reel recording tape 1/4”– 2”, 3”– 10 1/2" reels,1 7/8– 30 inches per second(IPS) speeds
c. 1945– Present
Compact Cassette 1/8” tape in hard case, 1 7/8IPS format
1965– Present
Microcassette/Minicassette Very small 2-4 cm cassettetapes
1977– Present
Digital disk, MP3, and otherdigital recorders
Audio recorded directly indigital files to optical disksor internal hard drives
2000– Present
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Lost Tapes, Found SoundsExhibition�Harold Schellinex
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Other Deterioration-film
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Color Restore (VidiPax)
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Re-formatting is not a new idea
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What is Reformatting?
• A form of copying • Usually copied onto a medium having
different physical characteristics than the original physical strata
• Examples – Document on acidic paper onto non-acidic
paper – Newspaper microfilming
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History of Conservation & Preservation Reformatting
• In ancient times, in the library of Pamphilus at Caesaria, badly damaged papyrus manuscript pages were replaced with parchment (which was stronger)
-Saint Jerome • The Bible was hand-copied for millenia • 1964 - US Newberry Library (Paul Banks) began
1st US institutional preservation program • 1987 - US NEH begins funding massive
microfilming of brittle paper (mainly newspapers)
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Why do we Reformat?-
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Brittle Newspapers (Australia Battye Library)
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Film Decay (LC Dayton)
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Why do we Reformat?
• Because we cannot sustain the original object (its physical characteristics are deteriorating too fast)
• Because continued access and handling of the original object will rapidly decay its physical characteristics (so we create a surrogate for users and store the original in very good conditions, away from users)
• Because viewing the work requires some kind of technology, and we can’t keep that technology working very far into the future-
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Early Wax
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Edison
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Metal sound recording Disks�Casa Rui Barbosa
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Paper print (LC Dayton)
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Record Turntables
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Slide Projector
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Limitations of Reformatting
• Authenticity issues • User behaviors (newspaper, book, video
game, …) • Users mistaking the reformatted work for
the original
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Critiques of Reformatting
Mainly User Behaviors
• Can’t view outside the library
• Only sequential access • Viewing and studying
is awkward • …
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But if we don’t Reformat, we totally lose some kinds of works�
(particularly audiovisual works like film) • 50% of all titles produced before 1950 have vanished (approximate
number as of late 1970s) • This reflects full-length features; survival rates are much lower for
other types (studio newsreels, shorts, docs, independent, …), and these “orphans” are particularly in peril
• Fewer than 20% of features from 1920s survive in complete form; survival rates of 1910s is <10% (& none of these are negatives)
-Film Preservation 1993: A Study of the Current State of American Film Preservation, Vol 1: Report, June 1993, Report of the Librarian of
Congress (http://www.loc.gov/film/study.html)
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And sometimes we have to reformat because of technology changes
• We don’t have video players to play tapes made 25 years ago
• We don’t have 8-inch floppy disk drives, syquest drives, zip drives
• We don’t have Windows 3 operating systems
• But this is something that conservators have always dealt with…
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We sometimes have no control over the technologies we use
• Environmental--Government mandates to discontinue use of halon gas as fire extinguisher
• Economic--Companies in economic trouble will cease manufacturing technologies that aren’t hugely profitable – Ilford (2004 bankruptcy) – Agfa (2005 bankruptcy) – Kodak-
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Kodak stops making some films
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Kodak stops making some papers
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Basic Economics • The conservation community is not large enough a
purchaser to sustain many types of manufacturing and technological production
• Many of the things we use are based upon larger production runs for larger (and richer) communities
• Therefore, we need to be periodically monitoring the economic health of our suppliers, and be aware of long-term trends affecting their other customers
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Technical & Conceptual Approaches to Solutions-
• Save the Hardware & Software • Emulate • Migrate • FRBR • Artist Intentions
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Save the Hardware & Software-
• A huge undertaking • Computer Museum • Broderbund
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Old Video Formats
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Old Digital Formats
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Save the Hardware & Software
• A huge undertaking • Computer Museum • Broderbund
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Possible endless need for reformatting implies
• Possible loss with each generation • Requires managed environment • Can lead to © violations-
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Preservation steps can raise serious�Copyright Issues
• Refreshing onto new physical strata can violate © • Migrating raises “moral rights” issues • Emulation often requires reverse engineering of software • Underlying rights
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Some other things you should know about-
• The production process- • Resources to help you-
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Film Production & Preservation
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Resources/Manuals (Cinemateca Brasileira)
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Intro to Imaging
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Managed Environment
• More than temperature & humidity control • Periodic monitoring of the works • Periodic monitoring of the technical
environment for viewing the works (software, systems, hardware)
• Trusted repositories
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Storage Media
• Removable media (like CDs) is not a long-term answer
• The long-term answer requires ongoing management, and involves regular migration or emulation. This solution is only viable with storage on spinning disks-
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Storing on CDs becomes a big problem over time
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Consumers replace their CDs with a hard disk (& so should you)
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Plain DVDs are no longer the latest format
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So, with electronic works, the focus should be less on stable temperature�
(Helsinki underground vaults)
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And less on the construction of Vaults (Helsinki underground vaults)
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But more on ongoing management of a work without worrying so much about
physical embodiment
Producer
Management
Consumer
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Paradigms Shifts needed Old New
Physical preservation
atmospheric cntrl ongoing mgmt
What to save? artifact idea + ancillary material & documentation
Cataloging Individual work in hand
FRBR
Later access Artifact & documentation
Restaging, ancillary material & documentation
Preservação de Filmes, Videos, Som Howard Besser, NYU Moving Image Archiving & Preservation Program
• http://www.nyu.edu/tisch/preservation • http://www.ptvdigitalarchive.org/ • http://www.iasa-web.org/tc04/ • http://www.screensound.gov.au/screensound/screenso.nsf/ • http://www.digitalpreservation.gov/ndiipp/repor/repor_back_tv.html