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7/11/11 1 1 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/ Besser-SOIMA 2011 2 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! Besser-SOIMA 2011 3 Introduction to Moving Images and Sound Collections- 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 Besser-SOIMA 2011 4 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 Besser-SOIMA 2011 5 Communications: history that dates back thousands of years (Stockholm Telemuseum) Besser-SOIMA 2011 6 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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Page 1: Introduction to Moving Image - New York Universitybesser.tsoa.nyu.edu/howard/Talks/11soima-intro.pdf · Introduction to Moving Images and Sound Collections-• Communications History

7/11/11

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1

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/

Besser-SOIMA 2011 2

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!

Besser-SOIMA 2011 3

Introduction to Moving Images�and Sound Collections-

•  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

Besser-SOIMA 2011 4

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

Besser-SOIMA 2011 5

Communications:�history that dates back thousands of years

(Stockholm Telemuseum)

Besser-SOIMA 2011 6

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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Besser-SOIMA 2011 7

Stockholm Telemuseum

Besser-SOIMA 2011 8

Stockholm Telemuseum

Besser-SOIMA 2011 9

Today, peoples’ home collections are increasingly digital

Besser-SOIMA 2011

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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Besser-SOIMA 2011

Bumba-Meu-Boi

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Gandhi silent & sound footage

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IFLA 2007, Durban

Besser-SOIMA 2011 14

Media News

Besser-SOIMA 2011 15

Documentation of Events

Besser-SOIMA 2011 16

Documentation of Events, 2001

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SOIMA 2009 Opening Reception

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SOIMA 2011 Opening Reception

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Latvijas Blondīņu Asociācija

Besser-SOIMA 2011 31 Besser-SOIMA 2011 32

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”?

Besser-SOIMA 2011 33

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

Besser-SOIMA 2011 34

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”), …

Besser-SOIMA 2011 35

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)

Besser-SOIMA 2011 36

TV History

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Besser-SOIMA 2011 37

TV History

Besser-SOIMA 2011 38

TV History

Besser-SOIMA 2011 39

Duck and Cover�Sponsor: U.S. Federal Civil Defense Administration, 1951

Downloaded 2002 from Prelinger Archive http://www.archive.org/

Besser-SOIMA 2011 40

Today, our A/V Communications Content spreads quickly throughout the world

Besser-SOIMA 2011 41

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

Besser-SOIMA 2011 42

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

Besser-SOIMA 2011 44

Paper Conservators at Museu Imperial

Besser-SOIMA 2011 45

Both A/V and Digital Preservation causes a shift in Conservation thinking

Besser-SOIMA 2011 46

Museu Imperial-access

Besser-SOIMA 2011 47

Casa Rui Barbosa

Besser-SOIMA 2011 48

Kungl Biblioteket-Conservation storage

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Kungl Biblioteket-Conservation storage

Besser-SOIMA 2011 50

Very different concerns than for Digital Storage

Besser-SOIMA 2011 51

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-

Besser-SOIMA 2011 52

Svenska Filmhuset (original production elements)

Besser-SOIMA 2011 53

Bibliotek (finished distributed copies)

Besser-SOIMA 2011 54

Cinemateca Brasileira (facilities)

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Cinemateca Brasileira (film storage)

Besser-SOIMA 2011 56

Cinemateca Brasileira (film storage)

Besser-SOIMA 2011 57

Cinemateca Brasileira (video storage)

Besser-SOIMA 2011 58

Cinemateca Brasileira (nitrate storage)

Besser-SOIMA 2011 59

Cinemateca Brasileira (documentation)

Besser-SOIMA 2011 60

Cinemateca Brasileira (other collections)

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Cinemateca Brasileira (shortage of storage)

Besser-SOIMA 2011 62

Cinemateca Brasileira (restoration lab)

Besser-SOIMA 2011 63

Cinemateca Brasileira (inspection & repair)

Besser-SOIMA 2011 64

Cinemateca Brasileira (film cleaning)

Besser-SOIMA 2011 65

Cinemateca Brasileira (film copying)

Besser-SOIMA 2011 66

Cinemateca Brasileira (video/digital re-formatting)

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Hampton Collection (1)

Besser-SOIMA 2011 68

Hampton Collection (2)

Besser-SOIMA 2011 69

Hampton Collection (3)

Besser-SOIMA 2011 70

Hampton Collection (interviews)

Besser-SOIMA 2011 71

Hampton Collection (exhibits)

Besser-SOIMA 2011 72

Hampton Collection (negatives)

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Academy-35mm

Besser-SOIMA 2011 74

Academy--vault staging

Besser-SOIMA 2011 75

Academy--8mm reformtting

Besser-SOIMA 2011 76

Hampton Collection (atmosphere cntrl)

Besser-SOIMA 2011 77

Academy-Atmosphere

Besser-SOIMA 2011 78

Old Film Formats

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Various Formats Intermixed (Hampton)

Besser-SOIMA 2011 80

We’re always reformatting, and dealing with wide variety of

formats •  Nitrate •  Super8 •  Cinemascope •  3-D •  Cartridge •  …

Besser-SOIMA 2011 81

Lots of Formats; Hard to Store (VidiPax)

Besser-SOIMA 2011 82

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

Besser-SOIMA 2011 83

Pre-Cinema Machines

Besser-SOIMA 2011 84

Zoetrope

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Obsolete or deteriorated Physical Carriers

Besser-SOIMA 2011 86

Obsolete Carriers & Info Techn

Besser-SOIMA 2011 87

Obsolete Carriers

Besser-SOIMA 2011 88

Obsolete Carrier viewing Technology?

Besser-SOIMA 2011 89

Kodak stops making some films

Besser-SOIMA 2011 90

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

Besser-SOIMA 2011 92

Lost Tapes, Found SoundsExhibition�Harold Schellinex

Besser-SOIMA 2011 93

Other Deterioration-film

Besser-SOIMA 2011 94

Color Restore (VidiPax)

Besser-SOIMA 2011 95

Re-formatting is not a new idea

Besser-SOIMA 2011 96

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)

Besser-SOIMA 2011 98

Why do we Reformat?-

Besser-SOIMA 2011 99

Brittle Newspapers (Australia Battye Library)

Besser-SOIMA 2011 100

Film Decay (LC Dayton)

Besser-SOIMA 2011 101

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-

Besser-SOIMA 2011 102

Early Wax

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Edison

Besser-SOIMA 2011 104

Metal sound recording Disks�Casa Rui Barbosa

Besser-SOIMA 2011 105

Paper print (LC Dayton)

Besser-SOIMA 2011 106

Record Turntables

Besser-SOIMA 2011 107

Slide Projector

Besser-SOIMA 2011 108

Limitations of Reformatting

•  Authenticity issues •  User behaviors (newspaper, book, video

game, …) •  Users mistaking the reformatted work for

the original

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109

Critiques of Reformatting

Mainly User Behaviors

•  Can’t view outside the library

•  Only sequential access •  Viewing and studying

is awkward •  …

Besser-SOIMA 2011 110

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)

Besser-SOIMA 2011 111

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…

Besser-SOIMA 2011 112

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-

Besser-SOIMA 2011 113

Kodak stops making some films

Besser-SOIMA 2011 114

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

Besser-SOIMA 2011 116

Technical & Conceptual Approaches to Solutions-

•  Save the Hardware & Software •  Emulate •  Migrate •  FRBR •  Artist Intentions

Besser-SOIMA 2011 117

Save the Hardware & Software-

•  A huge undertaking •  Computer Museum •  Broderbund

Besser-SOIMA 2011 118

Old Video Formats

Besser-SOIMA 2011 119

Old Digital Formats

Besser-SOIMA 2011 120

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-

Besser-SOIMA 2011 122

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

Besser-SOIMA 2011 123

Some other things you should know about-

•  The production process- •  Resources to help you-

Production Process

Besser-SOIMA 2011 124

Production Process Terms

•  Camera Negative or Positive (Reversal) •  A/B Roll •  Inter-negative •  Inter-positive •  Release Print

Besser-SOIMA 2011 125 Besser-SOIMA 2011 126

Film Production & Preservation

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Resources/Manuals (Cinemateca Brasileira)

128

Intro to Imaging

Besser-SOIMA 2011 129

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

Besser-SOIMA 2011 130

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-

Besser-SOIMA 2011 131

Storing on CDs becomes a big problem over time

Besser-SOIMA 2011 132

Consumers replace their CDs with a hard disk (& so should you)

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Plain DVDs are no longer the latest format

Besser-SOIMA 2011 134

So, with electronic works, the focus should be less on stable temperature�

(Helsinki underground vaults)

Besser-SOIMA 2011 135

And less on the construction of Vaults (Helsinki underground vaults)

Besser-SOIMA 2011 136

But more on ongoing management of a work without worrying so much about

physical embodiment

Producer

Management

Consumer

Besser-SOIMA 2011 137

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

Introduction to Moving Image�& Sound Collections

Howard Besser, NYU Moving Image Archiving & Preservation Program

•  http://www.nyu.edu/tisch/preservation •  http://www.nyu.edu/tisch/preservation/program/10fall/intro-syllabus10.shtml •  http://www.thirteen.org/ptvdigitalarchive/ •  http://www.iasa-web.org/tc04/ •  http://www.screensound.gov.au/screensound/screenso.nsf/ •  http://besser.tsoa.nyu.edu/howard/Talks/