The increasing number of digital objects under our guardianship as archivists will require a greater convergence between IT and archival knowledge sets in order to develop effective preservation strategies. One area of great concern for the integrity and persistence of digital audio and video files is the selection of file formats and codecs…Though this is also an area where there is a great lack of certainty and clarity on the issue.

This paper by Chris Lacinak lays out a clear explanation of what codecs are, how they are used, and what their selection and application means to archives. Also provided are 10 recommendations that will help you in the selection and management of codecs in an archival setting.

10. ISO 5758:2002, Cinematography — Labelling of containers for motion-picture film and magnetic material

“Minimum information for exchange of materials specifies the information to be included on the label and/or accompanying documents, for identifying the contents of containers for processed motion-picture film and magnetic sound records. It specifies the minimum information necessary for the exchange of materials.

NOTE It does not apply to the labelling of containers of unexposed motion-picture films and magnetic materials specified in ISO 3042.”

Life would be a lot easier if this standard had been around since the beginning of the production of magnetic materials.

9. ISO 15707, Information and documentation – International Standard Musical Work Code (ISWC)

“An efficient means of identifying musical works in computer databases and in the exchange of information on an international level between rights societies, publishers, record companies and other interested parties.”

The ease of tracking works, rights, and licensing as well as improving wider access is dependent on consistent metadata applied by or available to all stakeholders. Perhaps this (and prior, pre-computing efforts) is why music has always seemed easier to find and license than moving images.

8. ISO 12234-2:2007, Electronic still-picture imaging — Removable memory — Part 1

“Basic removable-memory model specifies a basic removable-memory reference model for digital electronic still-picture cameras. The reference model includes image file formats for storing image data and metadata, filing system requirements for storing and retrieving the image files on the removable memory, and media profiles which are specific to a given storage technology. The reference model allows the image data and metadata to be interchanged among the various components of an electronic imaging system by using the removable storage media.”

Where would our culture be without the easy dissemination of embarrassing photos on Facebook?

7. AES49-2005: AES standard for audio preservation and restoration – Magnetic tape – Care and handling practices for extended usage

Few people seem to have that visceral love for magnetic tape the way they do for film, but the advances in preservation standards for tape have been equally impressive if not equally trumpeted as for film.

6. ISO 18934:2006, Imaging Materials – Multiple media Archives – Storage Environment

“Provides suggested guidelines for four storage macroenvironments for archives that contain a variety of recording media, based on the corresponding ISO storage standards for those media. Whenever possible, it is advisable to follow the storage environments in the ISO storage standards. ISO 18934:2006 does not replace these ISO storage standards. In addition to environment recommendations, those standards also include other vital information pertinent for the long-term keeping of recording materials such as inspection, housing, and handling guidelines. Although microenvironments within a storage enclosure can be dependent upon the macroenvironment, they are not the focus of ISO 18934:2006.
The storage of traditional paper collections is not within the scope of ISO 18934:2006. However, many archives containing mixed recording media also include such collections. Archivists are encouraged to review the appropriate standards for those materials. Nitrate base photographic films are also included in ISO 18934:2006 since they are often stored together with other materials in spite of the fact that nitrate films represent a fire hazard and they need to be stored in accordance with the National Fire Protection Association standard in the United States, or other applicable national standards. Moreover, fumes from decomposing nitrate film and acetate-base film can have very detrimental effects on other materials stored in the same area. It is necessary to isolate such films in a separate storage area.”

Though there have been many advancements in identifying the correct storage environments for all types of materials, no archival collection is a format island. The reality of the mixed-format collection where there are conflicting standards for ideal storage environments needs a sensible, viable solution for an overall standard that applies to all but the outliers.

5. NISO: A Framework of Guidance for Building Good Digital Collections

“Provides an overview of some of the major components and activities involved in the creation of good digital collections and provides a framework for identifying, organizing, and applying existing knowledge and resources to support the development of sound local practices for creating and managing good digital collections. It is intended for two audiences: cultural heritage organizations planning projects to create digital collections, and funding organizations that want to encourage the development of good digital collections.”

Often times standards or best practices are playing catch up to establish solutions to long standing problems. The rate of fluctuation around issues regarding digital assets doesn’t allow a wait and see attitude. Preserving digital materials requires proactive efforts to ensure their persistence beyond the immediate future.

4. Sound Directions: Best Practices for Audio Preservation, Mike Casey & Bruce Gordon

Just one of the many great resources to come out of the Sound Directions project. They should probably write a best practices document for how to develop and run funded research projects that is based on their experiences.

3. IASA-TC 03, The Safeguarding of the Audio Heritage: Ethics, Principles and Preservation Strategy & IASA-TC 04, Guidelines on the Production and Preservation of Digital Objects

See description for #1.

2. ANSI/NISO Z39.87 – Data Dictionary – Technical Metadata for Digital Still Images

The basis of the Metadata for Images in XML (MIX) Schema which is a model for good digital collection management. Storage, migration, and access of materials rely in part on standardized, interchangeable metadata.

1. Audiovisual Archiving: Philosophy and Principles, Ray Edmondson & Reference Model for an Open Archival Information System (OAIS), Consultative Committee for Space Data Systems

Archiving and preservation dictate technical standards and ethical standards. We cannot provide one without taking factors of the other into consideration. Like a 70s supergroup, these documents combine both as individuals and compliment each other as a duo.

— Joshua Ranger

10. Care and Handling of CDs and DVDs: A Guide for Librarians and Archivists, Fred R Byers, 2003
Because they’re everywhere, but not for as long as was claimed.

9. Tinfoil Phonographs, Rene Rondeau, 2001
Because we are not immune to pictures and mechanical technologies.

8. Documentary Filmmakers’ Statement of Best Practices in Fair Use, 2005
Because, agree or disagree, action needed to be defined and taken in order to move the issue forward and make the stakeholders engage.

7. The MXF Book, Nick Wells, Oliver Morgan, Jim Wilkinson & Bruce Devlin, 2006
Because it’s the way things are going, and we need to understand the route.

6. Restoration of Motion Picture Film, Paul Read & Mark-Paul Meyer, 2000
Because we need to remind ourselves that we got this one down pretty good; magnetic and digital media are next.

5. The LCSH Century: One Hundred Years With the Library of Congress Subject Headings System, Alva T. Stone editor, 2000
Because taxonomies matter.

4. IPI Media Storage Quick Reference, Peter Z. Adelstein, published by Image Permanence Institute, 2004
Because not everyone has an iPhone, and this is reference information we need.

3. FACET Format Characteristics and Preservation Problems, Mike Casey, 2007
Because such thorough, systematic training with visual examples is hard to come by.

2. PrestoSpace Wiki, http://wiki.prestospace.org/
Because digital publishing is a valid resource, and PrestoSpace is a great resource.

1. The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, National Film Preservation Foundation (U.S.), 2004
Because you gotta start somewhere

— Joshua Ranger

DV tapes are not a preservation medium. As the support for DV tape technology gradually declines, it is imperative to begin migrating DV content from tapes to files for storage and ongoing preservation of the content. In the migration process, the technical nature of DV tapes frequently causes issues generally described as “glitchy” or “finicky”. DV tapes often perform differently from one play to the next and across playback devices. DV Analyzer provides an automated way to monitor and report on the accuracy of the migration process.

DV Analyzer is a technical quality control and reporting tool that examines DV streams in order to report errors in the tape-to-file transfer process. DV Analyzer also reports on technical metadata and patterns within DV streams such as changes in DV time code, changes in recording date and time markers, first and last frame markers within individual recordings, and more. To those concerned with preservation and archiving, this means that you now have the ability to automatically monitor integrity during reformatting of DV tapes and extract meaningful metadata from DV files.

AVPS is pleased to offer DV Analyzer free of charge to the AV preservation community which we serve. DV Analyzer is licensed by AudioVisual Preservation Solutions under the open source GNU General Public License.

For more information on DV Analyzer, or to download it go to: http://www.avpreserve.com/avpsresources/tools

To request specific information about the product go to: http://www.avpreserve.com/you/

Or e-mail us at info@avpreserve.com

We look forward to hearing your comments and suggestions about DVAnalyzer.

Be sure to catch up with David Rice, Chris Lacinak, or Joshua Ranger of AVPS at the AMIA conference this week. They can also answer your questions about DVAnalyzer.

We were happy to have the opportunity to lend a helping hand in navigating this difficult path. You can download the resource created by AVPS in the resources section of our website.

You will also find the EAI online preservation resource below.
resourceguide.eai.org