Webinar Magnetic Tape Preservation And Transfer To Digital

[Music] [Music] me [Music] [Music] [Music] foreign [Music] foreign [Applause] me [Music] foreign [Music] salon foreign [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] so [Music] [Music] [Music] hey [Music] foreign [Music] [Music] foreign [Music] is [Music] [Music] [Applause] m [Music] foreign [Music] [Music] foreign foreign foreign [Music] foreign [Music] foreign [Music] me foreign [Music] foreign [Music] it is such an honor for me to be here with you i would like to say thank you very much and welcome in the last event me mr rai and mr mick had a collaboration in cpf ifan in the conference in bandung and jakarta in 2009 i still have memorized photo of you and also for [Music] [Music] [Music] um [Music] um [Music] [Music] um [Music] [Music] [Music] [Music] [Music] time is yours good morning i'm just going to share my screen first i defined preservation preservation is the totality of things necessary to ensure the permanent accessibility forever of an audiovisual document with maximum integrity digital preservation combines policies strategies and actions to ensure access to reformatted and born digital content regardless of the challenges of media failure and technological change the goal of digital preservation is the accurate rendering of authenticated content over time remember that nothing has ever been preserved it's only being preserved so let's uh look at a couple of concepts now digital means discrete discontinuous representations of information in the form of a binary code formatted as computer accessible files it's a sequence of ones and zeros and abstraction of reality analog is the opposite it refers to signals that behave in a continuous manner as information stored on a physical carrier a real object you can pick up here are some references to global standards they all relate to defining the work that we're engaged [Applause] so now i'll speak about the character of the medium the visual and earlier audio content of magnetic tapes with analog or digital can only be accessed via a machine the information is coded magnetically and the playback machine has to turn those magnetic impulses into video images and sounds you can't pick up a tape and expect to see visible pictures for example audio and video tape comprises a long strip of plastic film it's called the substrate coated on one side with the magnetizable metallic oxide it is fragile and can be easily twisted folded or crumpled it is subject to deterioration and distortion grains of the magnetic coating can start to drop off if the adhesive binding of the adhesive biting it to the substrate weakens this is called oxide shedding and the loose oxide needs to be cleaned off the tape before replaying so that it does not clog the heads in the replay machines a variation of this effect is called sticky shed syndrome and it's caused by the binder absorbing moisture eventually these effects can make the tape unplayable magnetic tapes come in many different sizes and containers to reel audio and video cassettes each format requires its own specific machine for playback for example pneumatic and vhs video tapes compact audio cassettes reel-to-reel audio and video tapes all require specific machines in archival terminology we refer to each physical tape or cassette as a carrier and the signals encoded on the tape has content not only are there many different physical physical carriers within some carrier types there are different recording standards or formats for example vhs cassettes can automatic accommodate five different formats vhs vhsc and three variations of svhs real-to-real audio tapes may be recorded at different speeds for example seven and a half inch three and three quarter inches per second one and seven eight inches per second the faster the speed the higher the quality of the sound so what information do you have for each carrier is there a catalog or inventory record is there additional information on the package in which the carrier is kept does it describe the content of the tape does it give technical details such as the format playing speed etc is there an accessioning or inventory number which locates the tape within the physical collection there may also be notes or other information which need to be kept as part of the metadata these might include information about who the tape was acquired from and when and it might include information about the owner of the intellectual property or copyright you might need to do some research to flesh out the missing information who owns the copyright the intellectual property that you're digitizing this will have to be to talk well this will have to be documented for every tape because it will control the public accessibility of the material in future if the ownership is unknown you will have to take someone some on balanced decisions about what utilization you allow details of copyright ownership should be included in the cataloging or inventory record housekeeping collection management four walls a roof shelves and a lock on the door are essential requirements for managing a collection of tapes desirably the internal environment should be maintained at 18 to 21 degrees celsius and at 45 to 50 relative humidity but where this is not possible try to get as close as you can the environment will directly bear on the useful life of the carriers so will the way the collection is physically arranged documented and controlled so conserve space by keeping carriers of similar dimensions together if you don't yet have one create a numbering and control system and relate this to the catalog or inventory this allows the carrier to be found and monitored label and number each carrier individually tapes should normally be stored vertically remove any extraneous material plastic bags paper cards rubber bands etc from inside the tape containers if you can repackage the carriers in archivally neutral containers because commercial tape boxes and sleeves may be acidic security is essential only approved staff members should have access and you need to control the movement of carriers so that none get lost cleanliness goes without saying and have a disaster prepared and disaster preparedness regime uh you can go to the sipava checklist checklist for further discussion on this staff training staff will need to be trained in the physical care and handling of magnetic media in recognizing and identifying the format of each item they will also need to recognize the metadata that needs to be transcribed and kept it's not just conventional catalog records it can be notes scribbled on boxes or other containers notes on pieces of paper that might be inside or stuck on those boxes some of the information may be technical or may identify the properties of the carrier if tape has been kept in humid conditions mold can grow on it this has to be carefully removed using appropriate cleaning agents and with regard to protecting your health so you don't breathe in fumes or mold spores if you are using chemical compounds to clean tapes be sure you've understood the health risks and safety steps to be taken be aware that stray magnetic fields can affect the information encoded on the tapes for example if using a vacuum cleaner in the vicinity of the tapes the electrical field created by the motor could have a demagnetizing effect on the tapes now equipment what playback equipment do you have available and what carrier types and formats does it cover what systems and standards do they embrace indonesia use the pal standard for analog television the other systems with global reach were ntsc and c-cam and imported material may be in one of those you will be using obsolescent or obsolete playback equipment and you may need to find additional equipment to complement your present array and you will need to have staff members who are familiar with how to operate these machines you may have to go searching for them they could be people who are currently employed as technicians but they may also be retired now because skills are generational the same is true for technicians who know how to service and maintain this old equipment and again generational change is constant so these skills are becoming rare current radio and television broadcasters may be able to point you to current or former staff members who have the skills that you need spare parts for some of for much of this equipment may no longer be available readily you will need to research available resources find out are the manufacturers still in business what can they offer are there specialist suppliers who can service the archive market can you get advice and help from other archives consider the possibility of outsourcing there are specialist commercial services service providers who may be able to do what you cannot do or perhaps you can share tasks between archives who may have different but complementary capacities to yours a final option is cannibalization that is acquiring additional machines which you can use as a source of spare parts you might need to build something that is uniquely your own to get the job done build your own monster 2025 is coming migration of the current of the content of analog magnetic tapes to digital files is essential for its survival for two reasons the carrier has a limited life and the technology required to reproduce the content is obsolete and no longer manufactured further the skills required to operate and maintain such equipment are disappearing it is generally accepted in the profession that the year 2025 and that's just four years away represents the end of certainty for the survival of analog content and archives around the world are working to this deadline it does not mean that in 2026 all the remaining magnetic tapes suddenly become unplayable or that they magically self-destruct but it does mean their chances of survival migration decline much more rapidly in terms of explaining the task publicly a stated deadline makes it much more meaningful because that's simply the way we are all hardwired to think in analog to digital transfer there will be some inevitable loss of information of picture and sound quality your objective is to absolutely minimize that loss and ensure that the method used is lossless not lossy using compression algorithms to save storage space is very short-sighted and the lost information can never be retrieved curatorial priorities my favorite quote of mine is this one digital information lasts forever or five years whichever comes first so in setting up a digitization program you will need to make some choices do you digitise every tape or leave some out what order of priority do you create in your copying queue do you copy every tape well based on your selection policy you may decide that some tapes you had acquired in the past no longer merit digital preservation on the basis of their content this should be a considered decision because any tapes you do not copy will eventually become unplayable either because of their condition or because the technology is no longer available priority order you will need to balance several considerations do you copy the tapes in poorest condition first do you prioritize according to perceived access demand if some tapes have greater heritage heritage significance than others do you attend to these first and you will need to weigh up how the available skills and resources and funding constraints match your priorities do you keep the tapes after digitization as a general archival principle yes if they are still viable and in good condition just in case you discover the migration process was poor and a better opportunity offers later because no copy will ever contain more information than the original this principle has to be held in tension with other realities such as available storage space and some carriers might be identified for permanent retention because of their artefact value and in some cases such as when you treat a tape with sticky shed syndrome by baking it you might only get one chance anyway to make a copy before the tape becomes unplayable once you have digitized a file ongoing migration every few years is essential now your collection is forever more on life support you cannot copy and forget for example the reliable life of a solid state hard drive can be as little as five years digital to digital migration is in principle lossless unless some other factor like glossy compression is introduced into the process assuming you don't already have sufficient funds to undertake your digitization project you'll have to raise them if you're going to complete it fundraising and advocacy are large subjects which could take up an entire workshop in their own right but let's briefly dig into them you have to prepare the ground for your project so how do you go about it here are some suggestions you need to be very clear about the scale of your project about the resources it will need what it will achieve and what will be the consequences of failure you can invoke international reference points such as the ones i listed at the beginning of the presentation these include several from unesco and you can invoke these the justification document them include them in your proposal and back it up with factual data consultants reports presentations you need to be clear about your target funding sources is it government philanthropic organizations commercial sponsors the general public partnerships all of the above your message in your case needs to be crafted appropriately pursue due process the legislature response to formal enquiries one-on-one lobbying if the situation calls for it design a publicity campaign there are many communication avenues open to you the press radio and television articles statements releases position papers letters petitions you can supplement this with events such as conferences lectures show and tell demonstrations so that the issues are understood social media allows instant discussion and networking and once the project starts regular updates through these channels is a way of maintaining interest and raising public awareness show both material that has been saved and material that is still at risk and remember the loss of moving images and recorded sounds is an emotive subject does all that advocacy work uh yes it works but it can take persistence and a bit of courage these links are two examples that you can check out for example the national film and sound archive in australia did this by internal lobbying within government the national archives of australia did it by a public campaign so with that thank you for your attention okay uh thank you very much for watching [Music] [Music] [Music] um [Music] [Music] [Music] is [Music] [Music] um well good morning everybody i'll just try and get my shared screen up uh where are we okay well i'm going to follow on from ray edmondson and talk a little bit about preservation because it's important uh but mostly i will be talking about the accessibility of the content once it has been digitized so you will find a lot of what i say may repeat some of the information that ray has already given you but i might come at it from a slightly different angle or emphasize other parts of it because preservation and access are such in terms of the digital world are such huge topics you know there's there is so much to know about it all that um sometimes coming from slightly different angles helps clarify it for you i'm certainly very happy to answer any questions that you may have as the talk goes on so let's get started um i'll just look at the basic or the the basic factors to consider in a digitization project the sort of things that you need to to think about and have as part of your plan obviously to begin with you need what we call infrastructure these are things like where do we do it the accommodation then you need what we call clean power now ideally what comes out of the power point should be 240 volts or 110 volts wherever you are in the world depending but mostly you will find that those voltages will fluctuate i once had an experience where i was working and we measured the power that was coming out it should have been 240 volts but it was anywhere between 180 volts and 260 volts and it would fluctuate now these can actually upset computers they can certainly upset uh playback devices so you need some way of making your power clean which there are stabilizers out there that you put into things quite often you find that big it installations will actually have a lot of stabilizers and backup power supplies and things with it so if you just have a look around and see what other people are doing that will give you a good idea the next thing is that the it system cabling plain everyday office cable connections which work perfectly even for large offices when you start pushing files that are gigabytes and gigabytes in size multiple gigabytes even terabytes if we start talking about motion picture film which we're not today standard office cabling will not cope it will cause backlogs it it's just a nightmare so you need some dedicated it cabling capability that can handle the size files that you'll be working with the next thing you'll need you'll need somewhere to do quality checking somewhere to hold the files while you check them because you will find there will be mistakes made by the digitization system and these will need to be found before you put those files into your archive and you'll need somewhere to temporarily store them before you move them into your mass storage and then of course you need mass storage and we're talking more than terabytes we're probably talking petabytes at least today and in the future we will be talking about exabytes of information and these are just unimaginably large amounts of um of information finally we will need a digital asset management system now i'll come back and talk a little bit about some of these as we go on okay so now i think ray has already discussed object selection which is the technical collection uh condition of the tapes and the curatorial significance so we'll leave that one for the time being conservation treatments you'll need to be able to do some way of making sure that the tapes are clean as ray said cleanliness with magnetic materials is absolutely top of the line you can't have any dirt any mold on your tapes otherwise you will not get a good transfer now this next thing is shell distortion um cassette formats come in that lovely little box over time they can twist if they don't sit properly inside the machine the tape will not run properly and you will not get a good transfer so you need to be able to check shell distortion and deal with it usually that means putting the tape into another good shell um not that hard but it does take a bit of skill uh and then of course there's really important things about wine tension making sure the tape is correctly wound uh again if it's not correctly wound when you put it on the machine to do some copying the the change in tension will cause all sorts of problems in audio you might call it wow and flutter in video it would be just a drop out even if the tape stops suddenly or slows down because there's too much tension in the system you won't get the head catching the tracks properly and finally and certainly in tropical areas the ability to dry tapes out um ray used the term baking but really what we're trying to do here is we're just trying to drive the moisture out of the tape because the moisture is actually the sticky bit as the binder breaks down uh it it attracts moisture it absorbs moisture and the water is actually the sticky bit of the whole problem so if we can dry the tapes nicely i don't use the term baking but a lot of people do that drives the moisture out and the taste becomes less sticky and more likely to transfer properly i'll talk a bit about digitization basics later because it's kind of important to get your head around it and we'll talk a little bit about what's called spatial resolution and temporal so that's just the actual physical resolution of an object and also the time base resolution um of the original document and that becomes important one of the things we might consider in the temporal resolution was as ray suggested this tape speed for an analog tape so it was seven or three and three quarters or whatever it was um that could be considered the temporal resolution as well quality checking and checksums um huge we'll do a little exercise on that as we go through now this next thing format status um that is when you've digitized a file what do you call it is it a preservation file then there's this strange thing called a mezzanine which is kind of halfway between access and preservation but it has a specific purpose and then of course you have your access files which are the ones that you put on the internet or however you want to do it then we need to think about migration timing and as ray said you know this is it's on a roundabout you're stuck you're going to have to do it uh so there's things like technology watch what's the technology doing is your file format still current is your um the media on which you're storing your content still supported technologically and then the timelines how you might consider when you want to do these migrations and then of course security and ray was talking about security for your analog collection but digital collection security is also incredibly important and in that we would consider disaster planning we consider things like viruses and we also think about things like piracy and fraud because these are quite serious issues for archives as you all see as we work through it okay so let's just think a little bit about a mass storage system and we need to know what the minimum capacity is that we're going to need now it's it's quite often good to work backwards i think when you're designing a system uh work out the infrastructure first work out your mass storage system um your cabling all the way through then at the very end of it you can get to your digitizers and things like that now many projects fall or fail to to deliver by purchasing the actual digitization equipment before they've got everything else in place and that that can cause a few problems such as until you've actually got the rest of it in place you can't test the machines and make sure they're going to work properly and also things like your warranty on the machine you know your the guarantee that the machine is going to be supported for 12 months or 5 years or whatever it is that the contract has created um that's being wasted if the machine is just sitting there our digitization equipment is very front page newsworthy and perhaps cabling isn't but cabling is really really important so it's good to get these sorts of things in in place to begin with okay so when you're also thinking about storage of course we're talking about the minimum capacity and it's possible to work out roughly how much storage you're going to need based on your collection and if you know how you're going to digitize it the parameters which we can talk about later that will give you an idea of what you're going to need but you are going to need multiple copies because all your eggs in one basket is a bad idea also in your your mass storage system you need to think about how long it takes you to access a file now data tape is a very very efficient cost-effective way of storing large amounts of digital data but it does have a cost in terms of time it won't be necessarily instantly available it might take seconds might take minutes and depending on how you've done your math storage system it might even take days to retrieve the right tape put it in the machine work out where the file is you want one thing that i i do think is important is that you actually have separate systems for preservation and access and i've got a little diagram to look at that a little bit later your mass storage needs to be secure so that means no one can get into it apart from those people who are authorized to and again the little diagram i've got will show that a quarantine system for anything that you're putting into your mass storage just to make sure that no nasty viruses go in there and start corrupting all your your collection um [Music] and then there are a couple of ways of thinking about how do we want to to buy this mass storage cost per terabyte per year now there are a few things that you might want to put down underneath this so if you want to do it all in house then you would look at the net lettable area you know the rent that you'll be paying per square meter the initial hardware cost depreciation maintenance licensing electricity staff costs hardware upgrades those sorts of things and software upgrades of course the other one that is suitable for some collections is cloud storage which is very popular and again you have upload costs you have download costs so what does it cost to get it from your digitization system up into the cloud and then again when you want that file back what does it cost to get it back down again in terms of i don't know dollars per gigabyte or however it's worked worked out um and then you also need to see what is covered in your cloud storage contracts what's called a service level agreement now cloud cost can be very expensive per terabyte and you look at and you go oh my goodness yeah this is this is a huge amount of money but in the service level agreement they may talk about doing all the preservation work so that means multiple copies it means data checking it means all the good stuff that needs to be done to keep your files intact so um we might just leave that one there and we'll just move on to the next next component mindful of time okay this is a really important thing this is the way that you organize your files in your storage system it's a digital asset management system sometimes they're called a media asset management system but regardless they're all the same thing it is in fact a virtual library inside your storage system it's a centralized digital library but it's a very very efficient library it's very good at organizing and knowing where it's put things and being able to retrieve things there's a lot of workflow automation that can also go on in a digital asset management system it can do checking of your files to make sure that they're still good but there haven't been any changes and whilst yes we acknowledge that a digital file is a digital file as a digital file things can change over time it's just in the laws of nature and the laws of thermodynamics these things can happen a few years ago there was a fashionable term called bit flipping when a one became a zero or a zero became a one or a whole block would somehow change for some way so having some sort of checking system some automated checking system is really good digital asset management system may also take care of some of the archiving tasks such as creating backups and so forth and also very very importantly it will look at how the files being used and this becomes important and i've got a little discussion about this right towards the end of my talk today so a digital asset management system is is crucial yes you could do it manually but wow that's a lot of work to do and you probably couldn't do it as well this thing is working for you 24 hours a day seven days a week 365 days a year so it's it's it's just a crucial you really can't imagine a digital archive without a proper digital asset management system installed and managing your collection there are many excuse me there are many many different products on the market um you basically have to choose one where you you get good um it will handle the demands that your system will put on it and it'll have support there are an awful lot of people out there that are selling systems may sound great but without support um you're really just buying into a bit of a bit of a problem because they're very complex to set up they're very complex to sort of get people trained in but once they're up and running they still need support they still need updates they still need maintenance so you support for a digital asset management system is really important let's move on okay so let's just think a little bit about the digitization basics [Music] there are two two key things to think about when we're talking about digitizing one is called quantization now i've put this sort of going up the access uh sorry up the um axis quantization is really just how many levels you decide to chop your waveform or your signal up into if you chop it into two yeah you'll get pretty rough results if you chop it into a million you'll probably find that there's more information than the system can manage so it nearly needs to be chopped up into a manageable amount manageable for the computer don't forget computers are actually very good at managing numbers so the more not the more levels you've got the um the more accurately you have represented the original curve okay or the original shape of the waveform and that's really what we want to do so we want to have enough levels that we can recreate that waveform to a good enough standard but not too many that we can't actually manage the size of the file at the end of it now the other half of thinking about this digitization is what's called sampling times or the number of times per second we work out what's happening with that particular waveform or that that signal and again more the better the greater uh the quantization uh oh sorry let's just run back a little bit um sampling is the um the number of times per second that you you would actually take that little snapshot so you take a snapshot and one part of the snapshot is the time the other part is exactly what is the level of the signal at that point in time and that's one little piece of information and then the next sample comes along and it's the time and the exact level of the waveform at that point in time and that's the second piece of information and it does that an awful lot of times um times per second is called hertz named after a gentleman who thought about it audio files use kilohertz or thousands of times per second okay so we're starting to talk about some really big numbers here already now video uses megahertz or millions of times per section per second as there is so much more information together [Music] although it talk about megahertz we tend to think about video digitization in kilobits per second because it's just an easier number for us to think about and of course the more kilobits per second we have the better it is so that means the more you know the finer the quantization the better um and the more sample times the better up to a point um i'll show you what i mean here in audio preservation um the standard for a mono track so this is what we're talking about a mono track is 24 bit which is 16 million 777 000 odd levels that we're going to chop our signal a signal up into i told you we're talking about some big numbers here um and we sample that for our preservation standard or a generally accepted preservation standard at 96 kilohertz that's 96 000 times a second so we have a huge amount of information that we have to deal with um so for a mono track we're talking about uh 2304 kilobits per second and if we're talking about stereo track we double that so that's what 4608 something like that thinking back to our storage requirement if we're thinking about analog video and how we can generally tend to want to digitize our analog video we're talking about 105 gigabytes of storage per hour of uncompressed analog video now that's a single copy now we want multiple copies so you can see whilst we can start doing some sums as to how much storage we're going to need we're going to end up needing an awful lot of storage which is why we also need a digital asset management system to help us keep things under control okay excuse me once we have digitized our files we have the whole quality checking and a thing called checksums now quality checking i think you can understand it's does does the audio sound good are there any missing bits is there a lot of noise you know crackly stuff that shouldn't have been in there wasn't in the original but now has found its way into the um into the copy which is a good thing so rigorous quality checking for errors now a lot of digitization systems will actually track errors during digitization and will create a report at the end which is very nice it's nice to be told yes it didn't work so you can go back and perhaps have another go at it do it a bit better now comes something which i think is super important in managing a digital collection of any of anything and that's a creature called a checksum now i've got the little uh definition here which i pulled off google so it must be true and a checksum is a digit representing the sum of the correct digits in a piece of stored or transmitted digital data against which later comparisons can be made so what it really does a checksum is just a little a little bit of software that adds up all the ones and zeros believe it or not in a file and it comes up with a number it's mathematical it comes up with a number and it gives that number a code that's code is then an important piece of the metadata that ray was talking about of your file you need to hold on to that because that is your benchmark now if you're happy with your file you give it a checksum and that checksum becomes part of the metadata so every time you do something with that file like you move it from one server to another or whatever you can use that number to check what it should be and then you check the file after you've done whatever it is you're going to do to it and as long as those two numbers line up you know your file hasn't been corrupted and it's still good so what i'm going to try and do now hopefully this will work i want to show you how i check some works so fingers crossed this all works it worked when i tried it earlier okay yes we know that uh let's browse for a file okay make sure i get the right file i think that's the good one okay now is it box showing up on the screens out there anyone can just sort of wave if there's a hopefully you can see what i've done there is a number given in this down here current file md5 checksum value is that visible ray can you nod your head if it's visible thank you okay so we were happy with the file we put it into our little little bit of software it's a tiny little bit of software and it's added up all the numbers and it's given us this this thing here so um i think we can do this control c control v sorry [Music] should have done that okay now let's try a file which we know has a little bit of a problem and hopefully you can see it's an entirely different number okay so the first one started with 8 d and then the number 9 and the good file was c82 so we can see that the second file there was a problem it doesn't match the original so i'll just get rid of that and hopefully you can see on the screen if i sort of wave my pointer around you can see there's a dropout a video dropout has occurred on the second image and that's what upset the md5 system it said no no that information isn't the same that's different and so we've picked it up before the problem becomes an even bigger problem okay so now let's move on a little bit we'll talk a little bit about compression and format status and we've we are working up to um to access i can assure you but we're still going through the whole digitization setup how we make our choices for what we put into our digitization setup so we'll talk about compression and ray spoke about lossless and lossy and so we'll talk about that and we'll also talk about format status so excuse me again our preservation file is the highest possible resolution that's all those amazing sixteen million seven hundred and seventy seven thousand dollar levels that we've chopped our file up into going one way and the 96 000 um samples per second that we've done on our time base for for an audio track so we want high resolution and we want no compression or there is an option a thing called um [Music] lossless compression now less compression is it's kind of okay because what it does it's a it's a mathematical and a statistical analysis of the ones and zeros it's not looking at the content at all lossy compression looks at making the original content simpler to digitize easier to digitize and that's where it starts throwing away things that it thinks you don't really need but in terms of preservation we do need it we we need everything we can't afford to throw anything away it's it's unethical apart from anything else okay so lossless is a purely mathematical system so we can compress it using lossless compression and because we've only compressed the data not the content there's a difference there we can actually recover that 100 every time and you can see why our checksum becomes important now because the checksum will let us know whether the files match okay when we put it through this loss less compression format and brought it back out again it should be 100 or 99.9 recurring percent of the original hopefully within the parameters of the checksum anyway so that's preservation and there are a whole heap of file types that we would use for that that use either no compression or lossless then we have mezzanine which is high resolution so it's got all the original information in it you know that we would want but this one we can actually put some compression into because it's it's not our preservation it's going to be used uh as part of the whole duplication process for new content or something like that prores is an example of this uh in final cut pro video editors they love prores it's compressed format but it it's kind of compressed in a very clever way so it doesn't look too terrible at the end of it but it's not a preservation format because it does throw things away but the things that it throws away are less important perhaps to the final outlook okay also then sorry then we come to access now these are low resolution low bandwidth so that means they they're very small files which means they're throwing stuff away they're designed to be small and the only way you can really make these things small is to throw stuff away now what i've got here are two samples of a of the same same part of the file one i've used completely uncompressed wav wave file and this is our preservation file and on the other side hopefully you can see it i've got all the little pictures sort of dotted down the screen on that side there but you can see i've drawn a red line down at the two 20 000 hertz mark the 20k line and if you look at the wav and then you look at the mp3 you can see exactly what's been thrown away all that top end that's really high frequency information has just gone there are some other issues as well if you look at the the x-axis and you can see that the whole thing has been shifted and so that's all contributed to to a change in the file and and loss of information so there there we have basically the concept of compression and format stasis the the higher the format status the preservation file compression is right out of it we do not want compression in in that or if we do have compression it is what's called lossless where it's a mathematical um a mathematical calculation on the data the digitized data the ones and zeros whereas lossy would look at the original signal and say well the high frequency stuff uses big numbers we don't want that we don't want big numbers because that's difficult to digitize that makes a lot of a lot of expense in terms of data so it throws it away because it may not be important you know we may not notice it but in a preservation file we do notice it okay then there's the mezzanine which is the sort of the i suppose you call it a copying a copying step and then access which is the it's kind of like the vhs used to be you know you you had a motion picture film on 35 millimeter on the big screen it was beautiful it was fantastic but then for a lot of access to that image of that that picture they'd be quite happy to put it on a vhs cassette and there's a huge difference between a vhs and motion picture projected on the big screen i think you can agree with that um so we're talking about low resolution low bandwidth okay let's move on um here i wanted to talk about the migration and how we might consider where we migrate and our timeline how we might start thinking about this and ray went and discussed this a little bit i'm going to discuss it a bit more because i want to include the whole concept of where we put the checksums so we start off with a file or in terms of preservation we have three files first thing we would look at is the format what's what's the format of the file and the media that it's stored on and how how well supported that is is it still current um if it's not then we need to duplicate or transcode the file once we've done that we do a quality check and once we're happy with the quality we put a checksum in because we've changed some of the metadata around around the file we actually have to update our metadata that goes with that file this is the information about the information so to speak then we what they call ingest which puts it into the server into our digital asset management system or our media asset management system once it's in there we check it again we check that checksum and make sure that nothing has happened between this quality check stage and it actually sitting inside our server now because we've got a new file inside our server we update our database to make sure that we know that it's the most current form and so there's a whole heap more sort of metadata that gets updated there and then we're back to where we started from and we check the currency of the format and the media and so on and so on and so on of course if we have a problem here if our uh asset management system picks up that there's a problem then we can skip this bit here and we just go straight to duplicate and transcode to make sure that we actually have the best possible quality check sorry best possible quality which we then check and add through that way so it's it's the roundabout and you're stuck with it there's nothing you can do about it to a certain extent this is analogous to the problem that we had with analog media if you can imagine two inch video tape as soon as that was not supported we had to duplicate it onto a new format quality check we didn't have checksums back then we just had to do it by eye and hope for the best but of course we had to update the media because it was on two inch it's now on one inch or it was on bvu three quarter inch whatever you want to call it which we then put back into our collection which is analogous to ingesting we had to update our database and then come back around the format and we say well one inch is no longer supported or three quarter inch is no longer supported what are we going to do we'll move it to beta cam or whatever so there are some analogies there just it becomes a lot more pressing and a lot more urgent to get it right when we're talking about digital okay so i'll just briefly touch on the security this is the diagram i said we would talk about this is kind of what's happening inside our system okay so we have the original object we digitize it create metadata we check summit we verify it and we end up with three files three preservation files because that's really important and we verify those we then create our access files and we move that outside into a separate server so this is only a one-way travel from inside our system to our access server and that means that basically there's no way that people can get from the web or whatever and hack into this system here because this is only a one-way link likewise if we have an external file that we're bringing in and don't forget that once once our collection is digitized it's not just going to be the videotape the audio tape that was in our collection we're going to be bringing in new born digital content into our collection as well so external files need to go into quarantine and they're there for a couple of weeks and what we're doing in that quarantine period is we're letting all the clever people out there in the world who know about such things working out what viruses are new and working out ways of vaccinating against them i guess is the best way to think about it so we so that just gives us by some time to make sure that anything that we now put into our digital collection is clean it's not going to cause the whole system to fall apart at the seams and lose everything which could very easily happen okay so that's really important and this is the section i like here is to keep the access server quite different to your mass storage system and have no back chat basically so things can only move from here to there they can't nothing can really talk back again the other way okay right now we get onto access which is probably what you've all been waiting for i'll excuse me just give the coral translators a rest just for a few moments because i'm sure they're working overtime with australian accents okay so we know what we want with access we want our files the content rather of our collection to go where it's needed to go where people are want to see it to go where you want people to see it okay so that's really what access is all about um there's a little definition that that i quite like i hope it translates into indonesian reasonably well and it basically says that preservation without access is called hoarding in other words you're just holding it on and keeping it to yourself and that's not what the archives are about archives are about making sure that information remains accessible now there can be restrictions on that access for all sorts of legal reasons um but basically it is accessible if you have the right to access it okay and i'll talk about some examples about this perhaps as we we go through okay so here are the basics again the basic factors that we want to consider when we're talking about access intellectual property management this is this is copyright basically now there's legal obligations we all know about that there's the um whatever they call themselves the world uh intellectual property organization international covenants covering all these sorts of things and basically if people get access to something that they don't have a right to it's an infringement or maybe an infringement on copyright and there are strict penalties involved around that now there are also in some areas what you might call non-legal consequences and this this could be what you might consider moral rights or objections when i talk about this in australia i talk particularly about uh indigenous australians who have very strong cultural beliefs that need to be respected now unfortunately there is no law in fact i don't think there are any laws anywhere in the world that actually protect what's called isip or in digital in sorry indigenous cultural intellectual property now this is this is intellectual property just as much as a disney film or anything like that it is intellectual property it's just the way that the legal systems throughout the world have decided they can manage ownership ownership can only exist in a single entity whereas if you have a group of people who have a communal ownership that's not considered a single entity under the law and it's a problem however if your organization just starts to hand out this uh content which is very very important to some people for all sorts of cultural reasons and that this this knowledge should not be shared outside that particular cultural group it can bring the organization into disrepute and quite strong disrepute which will have impacts in the future for the way you can collect information or who you can collect information from and it's about trust now archives really rely heavily on trust we go through all this we go through all this incredibly complex and expensive preservation work so people can trust what we do if you then lose trust for whatever reason it can it can have an impact back on your organization into the future so it's always good just to keep this in the back of your mind that the even though there may not be a legal imperative it's always good to be fully aware of any any moral rights that may exist around any of the content that you want to provide access to certainly in indigenous australia there is information which should not be seen even by people within that particular cultural group it should only be seen by by the elders the the the the um the people responsible for the um maintenance of the cultural knowledge so so non-legal consequences hard to explain but they do exist and you do have to be a bit wary about it okay so other ways that we can deal with our intellectual property is watermarking which we can put something on the actual image or into the file to make sure that it's it's acknowledged as where it came from and then we need piracy and fraud control and race spoke about this in terms of only authorized people who are allowed to sort of get into your collection okay so let's move on just quickly access formats the degree of compression and the delivery method will it be online offline online is obviously the web offline could be you just put something onto a usb stick or a drive and you actually physically move it to someone which you might do with a very very big file like a a big video file or something like that which would just take days to download okay system bandwidths how much your internal infrastructure and the anticipated network capacity now the network i'm thinking of here is the national network so if you've got a broadband system what can the broadband manage especially out to some of the more remote areas you know do they have 100 megabits a second or do they have 12 megabits a second and those are the sorts of things you need to think about so when you're thinking about having some access files you might need to have them in several flavors if you like of various bit rates just to so that the people in the more remote regions can still gain access without having to wait for buffering and all sorts of things um okay uh delivery there's kind of push which is like the old broadcast model where a tv station would push and you had to sit there and watch it at a certain time uh then there's on demand such that's a straight download someone just pulls the file off off your server or there's a streaming service like youtube where where the file is actually sent out a little bit of the time and then access statistics and advocacy which is the justification ongoing support for what it is you're doing very important okay so here we go the um where are we up to oh here we go actually we've discussed this in fair fair amount of detail already so we have wipo world intellectual property organization we have international agreements uh moral rights spiritual rights now i did say there's no law protecting isip indigenous cultural intellectual property but there are various unesco um i've got to get the terminology right there's declarations and there's conventions and things like that um and and there are conventions or declarations i forget which uh from unesco that countries sign up to in just about every country in the world except a couple of notable ones like australia have signed up to to to try and protect indigenous intellectual property and then there's the whole idea of contractual arrangements with the owners now if you're a national archive and you're basically just dealing with government type stuff well that's probably not too hard because there will be various layers of accessibility written into every document that you receive [Music] but if it's material coming in from outside then someone will need to be responsible to say yes this can be accessed freely or this can be accessed with permissions or this can only be accessed by paying money some organizations don't clear the copyright but they insist that the person requesting access clears the copyright with the owner [Music] and then they somehow prove to the to the archive yes the owner says it's okay look i've got this email from him saying it's all good thank you very much so we can do it that way access formats okay so we're just talking purely access here no preservation so let's start at the bottom web browsing so we're talking about really high compression we're talking about very low bit rate this might be the things that the people out in the regional areas the remote areas with poor internet connectivity they're the files that they will appreciate it will not be as good a quality as perhaps others may get who have more access to digital to good quality internet but they'll still get something at least okay so let me move up a bit this is the high quality browsing now you've probably seen this in youtube and you might have some options for various files that you can access so it starts off at the very low compression rates and then it goes higher and higher so we would use a medium or maybe even a lossless compression if we're talking about audio we given that a lot of broadband systems are actually very capable they can they can pretty much deal with uncompressed files certainly for audio not not so much for for video perhaps but certainly for audio now this would not be necessarily streaming this could be a download um so we're talking about a moderate bit rate here we're talking about something that we would really need broadband to be able to deal with and then we come to this this funny mezzanine thing now i'm not the world's biggest fan of having a mezzanine file mainly because formats change so regularly that i think it's probably best that if you do get a request for a mezzanine type file is that you go back to the preservation master and you create exactly what the client wants rather than just creating a mezzanine file and hoping that's what the client wants yes it takes a little bit more effort um but it uses a lot less storage um excuse me again uh but at least they're they're going to get exactly what they want and it's kind of an unspoken fact that 95 percent of a collection will never be accessed how's that for a terrible fact we're keeping all this wonderful stuff and most of it will never be accessed but when it is accessed we want to make sure that people get the right access the best possible quality access so let's move on and see what some of these things might be okay so for audio uh low bit rate browsing we've got good old mp3 which unfortunately is now an obsolete format it hasn't been supported for a number of years but there is just so much mp3 stuff out there and so many players that will access it people are still creating mp3 but the actual technological support that was developing it and keeping it going has now stopped we have mp4 mp4a which are newer formats um mp4s you might recognize as video file as well just the audio layer that comes off an mpeg file uh 3gp which is what's very popularly used for mobile phones and this thing called og which most people have never heard of but it's actually quite good for your high quality browsing when you can put your mp3 and you just increase the bit rate so instead of at a 128 it's 320 kilobits a second or something like that it makes quite a bit of difference then you've got mp4 for a 3gp again og now you can also have wave you can put some compression into wave would be fine then if you're going to create a mezzanine file then perhaps wav sometimes bwf which is web with a bit more metadata and flac which is actually quite a good format as well for video again you've got pretty much you know the old favorites you've got mp4 which is also called h.264 then you have this newer format h.265 which is slowly replacing 264 sometimes it's called high efficiency high video encoding something or other efficiency coding high video efficiency coding something like that anyway and then you've got 3gp which is a very versatile format because remember we said it was also an audio format if you're high quality browsing you tend to just drop that back to mp4 or the h.265 mezzanine level well mauve which is the prores format it's very popular um jpeg 2000 and it's one of its lossless formats is is quite good and this ffmpeg-1 uh ffv-1 which is ffmpeg which is a gaining a lot of popularity for all sorts of things including preservation in one of its flavors okay so let's look at the system bandwidth when we're thinking about our servers we need to think of the capacity to deliver now that's the um how big is the pipe that we can put things out through and the number of ports so the number of of discrete why um what's the word i'm looking for here trails perhaps or lines but just the number of requests that we can service at any one time then you have your internet connection which is the size of the pipe from your internal system to the big wide world of the wide web that's goes without saying it's really being important and then we talk about our predicted network speed so average speed over the internet um will people get the files that they want in a reasonable amount of time or will they have to wait far too long okay now there are two ways again that we can kind of think of how we are going to provide access one is push and that i said this is analogous to the original tv broadcast style of doing things it uses curatorial input from your organization and there's very limited interactivity so for example well what's happening today this is a push system you know it's happening in real time it's pushing out people don't really have the opportunity to sort of run forward run back uh over what we've been doing this morning so it's it's very much one-way traffic then we have two ways i said there's download and the streaming as they download the whole file and they can have a timer on it that permits a single play or a date by which the um the file is no longer workable or streaming which sends data out in packets at a rate that will permit um uninterrupted or as close to uninterrupted as possible so you don't get that horrible little buffering logo that sort of a noise that annoys you very much when you're trying to watch a movie or something on on the internet and this of course depends on the speed of the internet that may be cost effective to to outsource at this point whatever you do in terms of this delivery this this sort of pull model if you will the issues are discoverability how easily can people find what they want so this is high quality metadata you know the searchability of your asset manager access server uh management system how quickly people can find what they want based on metadata searches and you can also still nudge people along the things that you think they might be interested in and again this is one of the things that perhaps youtube does it comes up as like recommendations those sorts of things so it's still completely interactive but you're actually pushing people a little bit in the direction you want to go so i've got about one minute left or two minutes left um and finally statistics i just want to remind her for five minutes again sorry yep got that danny thank you so we have it's really important that we keep statistics regarding our access requests because this this is how you demonstrate to the people that have the money to keep you going that yes what you're doing is really worthwhile okay so whatever you do you need to keep those access statistics as accurate and as up-to-date as possible and it also helps you understand what people are interested in so you can actually feed that back into the digitization prioritizations within your collection so if you find that a lot of people are really interested in surfing movies or surfing information then you can look through and say okay well we've got all this stuff that we were going to talk about with surfing and but it wasn't very high on our priority list but people seem to want it so we can move that up the priority and start satisfying the demand and when you satisfy demand people are happy which is good advocacy for your organization uh so by getting the marketing right um upstream for upstream i'd be basically talking about the bosses making sure they're happy that that what you're doing is value for money and by encouraging more users by demonstrating the viability because you've got lots of users the bosses are happy again so i think that's my allocated time within a second or two so i will stop sharing my screen and hopefully i will come back to the real world and uh i guess if anyone's got any questions perhaps the moderator can point them in our direction thank you okay uh thank you very much [Music] [Music] [Music] [Music] what do you think about the close storage security for digitizing artists storage in [Music] [Music] foreign standard conversion devices uh for example master standard for hs player or workman and some video cards and standard application be said that we have digital collision according to international standards we already have storage uh sun yeah and nas is the device suitable for storing audio visual files for one's question again yes this is for ray edmondson from altildeo in central jaffa what's your advice about how to begin preservation archive in limited facilities uh what your interesting experience during participation in the art of archives and that's for three first question i hope ray will answer first and after that make please you continue my answer is you start very small um with what you can do and and you and you make time you you try to build built in um time for the future so uh i'm i think in my experience with film originally but with but with tate first of all you you need to accumulate your collection um what is it what is it you want to preserve and and you you begin by having a um a physical collection stored properly as i mentioned earlier in my presentation and organized properly and you you build gradually you select the machinery you want you work to try to increase your budget you have to make a case to people who give you your money if you're part of a government body then there's a process by which you do that um but it's also important as soon as you can to provide some some sort of access to your collection um because it it affirms the value of you being there and the value of you having your archive um and once people see what you can do then you have better chance of persuading your funding authorities to give you money so uh if we go back to the beginnings of um the archive webinar and i have both worked which is the national film and sound archive originally it was part of the national library of australia that's going back 50 years or so and the facilities were extremely limited uh even the storage was not very good but the important thing was to start to make aspects of the collection accessible so people could see the value of what you were doing and then gradually things changed mick could you add to that um well i can't really add to that but i always use the case study of our friend bun chao in laos and the establishment of the the lao film archive and video center of the national film archive and video center in laos and they started with almost nothing i think it was bunchow and one or two others and not even shelves not even shelves not even shelves so to begin with they they had to work out how to get boxes off the floor um to give them that first level of protection and they got bricks and planks from building sites and they built it up from there and today i always use the example of the lao film archive because it is one of the most impressive archives in the region today and it's all done by as ray said building a little bit at a time you you can't start off with the taj mahal you have to start off with something small and then you just incrementally build on that and certainly all the archives that i can think of have all started that way um the trick is not to get disheartened the thing is not to look at the library of congress in america and go oh well that's what it should be you know it should be what you can what you can achieve you have the basic principles that you know about and you just work to those principles because what you're achieving is more than would happen if you were not doing what you were doing and in the case of the vlau an important step for them and this is a gets into areas of advocacy um during a c parva conference the people from lao and the people from vietnam talked to each other and they worked out that they could um use a mechanism that existed between the two countries where vietnam provided government to government access to allow to use the that mechanism for vietnam to fund the building of the lao building the archive building and it was um that sounds very simple it's not simple uh but that was the mechanism so they met in a in a mutual place where they could talk about these things which was a the sipava conference then they were able to follow it up with the with each government to achieve that result so that's advocates one aspect of advocacy where you're always looking out for opportunities um to increase your resource space to get someone else to help you uh either with skills or with money or with equipment um and i know that bunchao did the rounds of the embassies in bien tien uh to see if any of them would fund equipment and he was successful so these are this is sort of using your head to see what are the connections that you can um you can tap to get resources and everybody's situation is different so um uh you you look around and you see which avenues you can try to push okay maybe uh it's enough from right and me okay we will continue for the next question [Music] what are the most significant obstacles in the sustainability the preservation that have been running and plans for the year okay well as as as i think we've said that preservation is roundabout and then for the next uh question from hidayah from university university borneo so far we haven't found any archives of access or magnetic table but in the future if we do with them what is the first thing we should do or what so do we do organize your collection so it's not a big mess bring some order to it so that you know what you have for the next question okay from ahmadi devouzi from angry from norway what do you explain time-based type of or do visual and what complicated tests are most expensive okay um well [Music] uh to explain first and then after that right after that okay okay the um as as both ray and i have mentioned yep the preservation is the roundabout that you you that you are stuck there's no way off not not if you want to keep your archive going so the sustainability really is that you have the resources to keep the roundabout going and the way that you get those resources is through as ray and i both both agree on very strongly is advocacy demonstrating the value of your organization demonstrating the worth of what it is that you're doing and that is through access and it's also through as we might say in australia happy customers people who um are happy with with the way that your organization has dealt with their request and are willing to basically tell their friends and hopefully eventually word of mouth gets back up to to the people who have the money and they will keep giving you the money to keep going with your preservation roundabout the sustainability issue is that it doesn't get cheaper to do it because at a certain point you're going to have to do some fairly major migrations which are very expensive in terms of time materials people and things like that although a lot of it is automated these days um but they are very expensive to do these migrations so you can keep your collection accessible out there and that's money which comes back to advocacy so yeah it's a simple answer but um [Music] unfortunately uh how you achieve that simple answer is is is a lot of hard work yeah so much comes back to advocacy in one form or another and you you do something you build on what you've achieved you let people know about it i've got with me i'm just kind of if i if it's possible to see this okay this is a book and it's called australia's lost films then it was published in about 1983. i'm the joint author it's a book about what's missing uh in australian australia's audiovisual history it's sold out very quickly now why would anybody want to buy such a book people are curious about their their own film history their tv history their audio visual history and they don't know that it's all missing or how much it's missing um and that just become that was just one element in steps we took to increase awareness and therefore to get more money to go to government to go to parliament and say we need we need more money but you won't get more money unless people know what you need to have and why you need to have it unless they feel that it matters and so if there's a sentiment for what is missing and for the work you're doing you will one way or another eventually get the support but you have to work at it and you have to have the i guess the personal conviction to say well it matters i'm going to keep at it and eventually it comes not sure if that's the that's a sufficient answer um for your lala but um uh it it is it's a long road but it works over time um ah thank you very much for and for the last i have uh one question for me from me uh what what are the standard facilities for digital storage is there a minimum data center tire procurement uh some level of the tire data center or are there any recommendations especially for digital outdoor as well yeah that's special my question that we have any problem in in the digital storage uh maybe you have any uh procurement or any standard for the digital storage okay i'll jump in on that one um i don't think there's an actual standard i mean there's certainly a lot of recommendations and there might even be a standard but i'm just not aware of it but the basic recommendations would be um that you use a system which is not completely proprietary okay so um most dam systems are a little bit proprietary but they still use things that will enable them to talk to other systems okay so you don't want a completely closed system the second thing of course is that you really need to make sure that you have support from the the manufacturer or the installer make sure that if something goes wrong you can get the the help you need as quickly as absolutely possible you're not waiting six months for a for a plug to come from the united states or from germany you know that that they've got the supplies and the know-how to put it together at that time similarly for any software that um that you might have is that you can get training and support for that software and that you can get upgrades and that you apply the upgrades to the software and and these are sort of the the very the basic things then there's the whole issue of security around making sure that nothing goes into your collection that can that can do it any harm or in your collection can not be illegally or accessed without authorization so good firewall security around there limited number of people that can access it and what they can do to access it so to a large extent i guess it means sort of not really having your um and i guess this is not strictly possible but it would be having your collection so there's no way that it's attached to the internet in any shape manner or form and that's not always feasible i guess for all sorts of reasons but that would be an ideal but if you do have to have it connected which i think you probably would if you do if you do have to have it connected then you make sure that you've got the absolute best possible security there uh firewalls and etc etc etc my son is very clever at i.t security he that's his job basically and he just tells me so many stories about organizations that shouldn't have known better um and it's pretty much like having um all your windows barred up with great big bars and a huge lock on the front door and you leave the back door open and so many organizations are guilty of that and certainly in in a a collection which we haven't really spoken about the monetary value of a collection um but the monetary value of a collection to a nation is massive it is huge it's just really difficult to actually calculate it so people tend not to but it is in terms of the value to culture the value to creative industries it is a massive massive massive resource financial resource to a company so you want to protect that resource which means that you do everything that you possibly can to to do that which means you don't leave the back door open so when you when you build your system you get people to check it to make sure it is secure um because hackers are very clever i mean they really are they may be evil but they are very very very clever and a lot of the time they don't have any evil intent but they yeah they shouldn't be there and and if the if the hackers without evil intent can get in there then the hackers with evil intent can certainly get in there so yeah you really really really want to make sure that your security is good um to protect that incredibly precious resource not only in terms of culture but also in terms of actual dollar value or repair value or however you want to call it okay uh thank you very much uh i think uh the discussion still uh very much a question in in the q and a and in the chat room but i think uh limited time and if any question uh mr ray and also mr mick maybe still open yeah if any any that if people have specific questions they can email me or email me we're quite happy to try to um respond to them in real time because it's very hard to do it in the course of a webinar but um and you could send an email around with our our email addresses we're very happy to respond to questions that people have yeah okay absolutely feel free feel free to send email to mr ray and mr mick and i think to offer the expert mr ray and make i think uh still open to answer uh any question and i think this because this is technically and also about the uh policy also and also the recommendation very useful for us i think it [Music] will be advantage for us and for the last i hope uh mr ray and mick uh can give a final remarks uh maybe some suggestion for us or any recommendation uh just uh one or two sentences that can be suggestion for our activity please mister mick first and after that ray will be continuing okay just a couple of just a couple of sentences about things um archives even national archives tend to be viewed as kind of government or or something else but they're not archives are about people it's the story of people now whether those people are in government or whether they're musicians or filmmakers or people just recording family events um it's about people uh the national archives solomon islands have a have a a little theme song that they they they they sing and it's it's got a beautiful chorus line which says archive me archive you and that says it all about an archive it's about people okay it's the content but it's about people being able to access that content so yeah that's that's my that's my thoughts about it anyway and perhaps ray has some some additional ones but um yeah you're right because i think archives not only about people very but passionate people uh once you get into this field you feel very strongly about it and it's why you stay there and you persist with it and so if this if there's a word i would like to leave it is persistence don't give up you will always be working with fewer people less money and less equipment than you need that's always true so you're always working out how best to use what you've got and how to get more of it and what keeps you going um is the fact that yes it is about people it's about what we keep it's about understanding the the the crucial importance of keeping our memory um and uh not letting it disappear and that takes um the persistence of people like us globally if you look at the people who are involved in audio visual archiving around the world there's not many of us actually and we have a vast international responsibility so we actually hold all these things in our hands so we we keep with it we don't give up we persist thank you very much for rey and me for [Music] [Music] [Music] then foreign thank you thank you mix to you okay thank you danny thank you thank you see you later bye [Music] you

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Length: 162min 45sec (9765 seconds)

Published: Tue Sep 21 2021