Moving Image

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Finding the balance: Multidisciplinary teams in digital preservation

Sarah Mason is Systems Archivist for Artefactual Systems Inc. and is based in the UK World Digital Preservation Day is a great chance for the digital preservation community to celebrate achievements, to reach out to those outside and bring them into the community; it is also a chance to discuss what challenges we face and what opportunities are out there to help us move forward. So in the face of challenges that involve funding, staffing, and managerial or IT buy-in, how do we...

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La Red Iberoamericana de Preservación Digital de Archivos Sonoros y Audiovisuales (RIPDASA) frente al riesgo de pérdida de los archivos sonoros y audiovisuales

Perla Olivia Rodríguez Reséndiz es Coordinadora de Red Iberoamericana de Preservación Digital de Archivos Sonoros y Audiovisuales (RIPDASA) e investigadora de la Universidad Nacional Autónoma de México (UNAM). [English version follows] En el Día Mundial de la Preservación Digital es necesario recordar  que subiste el riesgo de pérdida, tanto de las grabaciones sonoras y audiovisuales registradas en soportes analógicos como de las que fueron creadas de origen digital. Este es un...

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Planning ahead for DVD-Video migration research

Kieran O’Leary is Data and Digital Systems Manager at the Irish Film Institute in Dublin In a moving image archive, there are many objects that can be classified as ‘at-risk’, so it’s hard to pick just one. The one that’s on my mind the most at the moment is optical media, mostly because of an upcoming project involving lots of optical media, specifically DVD-Video. This project is similar to the Loopline Project that resulted in us winning The National Archives Award for...

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It’s just not always a clear cut: Digital, analog and everything in between.

Brecht Declercq is Digitisation and Acquisition Manager for VIAA in Belgium At first glance, there is a strict distinction between carriers of analogue and digital audiovisual information. But in practice, this distinction is not always clear. There are even carriers of audiovisual information that can hardly be catalogued under one of those two names. The word ‘digitisation’ is therefore not always used correctly. Moreover, there is an important difference between digital information,...

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Starting with complexity: Archiving digital-born music compositions from Mac systems of the 80s/90s

Beat Mattmann is Data Librarian FDM & DLZA and Iris Lindenmann is Scientific Assistant for Research Data Management at the University of Basel in Switzerland Background About ten years ago, a music archive took over the private archive of a composer who had already begun composing with digital techniques in the 1980s. The result is impressive: the composer transferred his work on not less than 700 data carriers to the archive, including 660 floppy discs, 26 SyQuest carriers...

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At-Risk Material in UCT Libraries’ Special Collections

Andrea Walker works in Special Collections at the University of Cape Town Libraries, South Africa At-Risk Material in UCT Libraries’ Special Collections This year, the first that UCT Libraries is participating, the theme for World Digital Preservation Day is At-Risk Digital Materials. It’s as if it was tailor-made for us. Even though I work in the historic, beautifully restored Jagger Library, I spend most of my time these days down in the basement, 2 or 3 stories underground (it’s...

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A Reflection: Outreach about digital preservation

Matthew Yang Jiefeng is Archive Officer at the Asian Film Archive in Singapore  The Asian Film Archive (AFA) reflects on its recent engagement with film students during an outreach session. The interaction with the students revealed that complacency is a major plague amongst content producers, posing a risk to the films that are under their care. Furthermore, many of them have misconceptions of digital data and how to care for them. This blog post shares some of the...

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Preserving Moving Image & Sound: a DPC Briefing Day

The DPC invites you to join a briefing day to learn about emerging best practice in the digital preservation of sound and moving image. Invited speakers will share their experiences preserving these valuable collections at high risk of degradation and loss. Talks will address on-going work at national institutions tasked with looking after digital heritage as well as small organisations doing sound and moving image preservation on a shoe-string budget. Participants will have the opportunity to...

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Comparative analysis of uncompressed AVI and FFV1 video

Graham Purnell is a former photographer, web content and social media professional who began working as a Digital Preservation Assistant with the National Library of Scotland in early January 2019 The purpose of these tests: to use FFMPEG to transcode an uncompressed AVI file to FFV1, with identical ‘pixel-for-pixel’ output to the original source video, and to verify the results. I’ve read a lot of information on the internet about the benefits of using FFV1/MKV as an archive video...

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DPA2018 Winners Webinars: EPISODE 5 - IFI Loopline Project

The Digital Preservation Awards 2018 (DPA2018) Winners Webinar Series provides an opportunity to learn more about some of the latest and best digital preservation initiatives, recently celebrated by the Digital Preservation Awards on World Digital Preservation Day 2018 in Amsterdam. Each episode explores the winning entry for each category of the Digital Preservation Awards, providing an overview of each initiative, investigating how their work might be used within the community, and...

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Audiovisual archives & digital preservation

Bertram Lyons is Senior Consultant for AVP I want to tell a story to demonstrate the inherent relationship between audiovisual preservation and digital preservation. 1. What is it about audiovisual preservation today that requires us to engage in digital preservation? My story begins with a collection of folk music analog audio recordings in the Alan Lomax Archive. The year is 2002. The recordings -- I’ll focus on the 2,000 quarter-inch magnetic reel to reel audio tapes -- date from 1948...

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Against the clock: videotape digitisation and preservation now!

Stephen McConnachie is Head of Data and Digital Preservation and Charles Fairall is Clifford Shaw Head of Conservation, at the BFI  In the late 1950s magnetic videotape recording transformed the way television programmes were made, edited and broadcast. For a generation, the 2” Quadruplex format dominated the UK broadcast industry – the machinery was manufactured to military specifications and some 60 years on, it is still just possible to replay the...

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Everyone’s a winner?!

Kasandra O’Connell is Head of the IFI Irish Film Archive Last year I wrote a blog for World Digital Preservation Day contemplating the progress the Irish Film Institute (IFI) had made in the area of Digital Preservation; this year’s WDPD sees the IFI join the list of nominees for the DPC Digital Preservation awards in the Safeguarding the Digital Legacy category taking place in Amsterdam as part of the WDPD2018 celebrations. The project we are nominated for, The Loopline Conservation...

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What if … your smartphone movies were suddenly all erased?

Brecht Declercq is Manager of Digitisation and Acquisition at VIAA, the Flemish Institute for Archiving in Belgium There it is, lying next to you. Or maybe it is in your handbag or pocket. It may still be on your bedside table. Or your children are messing with it. Yesterday you used it to make some video clips. From your partner, your parents, your children, your BFF or just from the car before you. You probably didn’t think about it, but you documented your life in images and...

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Digital is an Illusion, but Film is a Reality?

Sanchai Chotirosseranee is Deputy Director of the Film Archive (Public Organization) in Thailand When it comes to the digital age, most people believed that there is no need to preserve original materials, once they are digitized. When we had a funding campaign for a film storage a decade ago, Dome Sukvong, the founder of the Thai Film Archive, used the motto inspired by a famous Thai saying that the “Digital is an Illusion, but Film is a Reality” to champion an awareness about the...

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A Greener Film Archive

Janice Chen is Archive Officer at the Asian Film Archive in Singapore Much has been written about the escalating carbon footprint arising from digital consumption and its resulting environmental impact. The U.N. Intergovernmental Panel on Climate Change (IPCC) reported that the world needs sweeping changes to energy, transportation and other systems to hold global warming to 1.5 degrees Celsius.[i] The bleak future facing our world and the devastating natural disasters in 2018 that have hit...

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No Time To Wait 3: Rough Consensus and Running Archives

Ashley Blewer is AV Preservation Specialist for Artefactual Systems   NTTW3 Group picture - Photo credit E. Verbruggen CC-BY

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Dear IFI Irish Film Archive of five years ago

{jcomments on} Kasandra O’Connell is Head of the IFI Irish Film Archive in Dublin, Ireland Dear IFI Irish Film Archive of five years ago, I know you are filled with trepidation at the sudden need for the IFI Irish Film Archive to preserve Ireland’s digital moving image heritage alongside your analogue collections. The switch to digital formats within the film and broadcasting sector in Ireland has been sudden, encouraged by a government sponsored scheme enabling cinemas to...

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How do I keep my digital films safe

{jcomments on} Joshua Ng is the Information Technology (IT) & Technical executive at the Asian Film Archive (AFA) based in Singapore. Hi Joshua, I made some short films a couple of years back. Some of them were submitted to competitions and won some awards. I have been keeping them in an external hard disk, thinking that since the files are backed up, it should be safe. But I had quite a scare the other day when my computer couldn't detect the hard disk. Fortunately when I tried it...

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'Personal Digital Preservation: Photographs and Video' by Richard Wright

{jcomments on} ‘The Digital Preservation Coalition (DPC) Technology Watch Report Personal Digital Archiving provides an overall approach and methodology for putting one's “digital house” in order. My purpose in this case note is to add the gory detail about digital photos and video, giving a one-person case study. I say exactly what software and processes I use (and which ones I've considered but rejected, or used and discarded), and try to be frank about successes and...

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