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Curating Digital Video - Manage

Q. What resources are available to support a digital video collection over time?

Because the landscape of digital content is continually shifting, it requires constant, active management.  Being responsible for a collection of digital content involves the continued management of not just the technology used to store, preserve, and provide access, but also the monetary and human resources.  Managing digital collections requires strong project management skills.  It requires the ability to manage relationships with all of your stakeholders including your user base, those within your department, across departments, your institutional leaders, among other institutions.  As technology changes, it is important to stay abreast of these changes and to be able to adopt new approaches and workflows as necessary.

 

Take action

  • Independent Media Arts Preservation (IMAP)  http://www.imappreserve.org/
    Offering video preservation workshops and online training to archivists and curators, Independent Media Arts Preservation, Inc. (IMAP) is a nonprofit service, education, and advocacy organization committed to the preservation of non-commercial electronic media.

 

Read

  • Dance Heritage Coalition  http://www.danceheritage.org/index.html
    A useful case study of an organization that has engaged in extensive digitization programs with video collections, the DHC "is a national alliance of institutions holding significant collections of materials documenting the history of dance.  Its mission is to preserve, make accessible, enhance and augment the materials that document the artistic accomplishments in dance of the past, present, and future."
  • JISC Digital Media.  "Moving images: Managing your digital resources."  http://www.jiscdigitalmedia.ac.uk/movingimages/docs/category/managing-your-digital-resources/
    This section covers all aspects of organising and managing a sustainable digital video collection.  These papers are aimed at staff who will provide support for managing digital collections but also provide valuable advice to small collection owners so they can manage their digital assets.
  • JISC Digital Media.  'Systems for Managing Digital Media Collections."  http://www.jiscdigitalmedia.ac.uk/crossmedia/advice/systems-for-managing-digital-media-collections
    Everyone's collection and context is unique, so your choice of a system (or systems) for managing your media will require a careful assessment of your needs and resources and an evaluation of the available options. This paper provides an overview of a number of different approaches to digital media management: from some very cheap and 'low-tech' approaches to much more complex and specialised solutions. 
  • Shahmohammadi, Andrea.  "Born Digital Video Preservation: A Final Report."  Washington, DC: Smithsonian Institution Archives, February 2011.  https://siarchives.si.edu/sites/default/files/pdfs/bornDigitalVideoPreservation2011_0.pdf
    Born‐digital videos bring about a number of multifaceted and still unanswered questions amongst archivists when discussing best‐preservation practices.  While digital audio files have gradually evolved some accepted standards from which to build a framework for preservation, this is unfortunately not the case with digital video.  Moving images are now primarily made in digital formats, and, as such, the archival community needs to better address how to preserve and make accessible incoming collections for future generations.
  • Wilson, Andrew, et al.  "Digital Moving Images and Sound Archiving Study".  Arts and Humanities Data Service, August 2006.  http://www.jisc.ac.uk/media/documents/programmes/preservation/movingpicturesandsoundarchivingfinalversion.pdf
    The way in which materials are created, particularly the technologies used, will determine how conducive the materials are to long-term preservation, and will present varied challenges to curators charged with the subsequent management and preservation of the materials.  This report include analysis and recommendations for further research.
  • University of North Carolina at Chapel Hill.  VidArch at SILS  http://www.ils.unc.edu/vidarch/
    The VidArch project built on earlier work with digital video files and their surrogates, seeking ways in which to preserve a video work's context and highlighting its essence, thus making it more understandable and accessible to future generations. This project focused on developing a preservation framework for digital video context by applying it to two important digital video collections: the complete series of NASA broadcast educational videos and the complete set of juried ACM SIGCHI videos presented at annual conferences from 1983 to the present. The project addressed the important context aspect of digital preservation on both theoretical and practical fronts, which should improve archival decision-making and finding-aid creation and suggest ways to leverage technology further to make them more efficient and effective.  This site includes links to related papers, reports and demos.
  • Gray, Stephen and Angus Whyte.  "Managing Digital Video Research Data across the Curation Lifecycle."  Digital Curation Centre.  http://www.dcc.ac.uk/resources/curation-reference-manual/chapters-production/video-data
    Large scale digitisation efforts have broadened the range of historical collections open for educational use.  Now however these are joined by a massive increase in born-digital material.  Video as a simple digital object is increasingly challenged, as video data is tagged and augmented with interactive features.  Video raises preservation issues and unique curation challenges that will be new to many researchers.  In this chapter we consider the DCC Curation Lifecycle as a framework for managing video data through the life of a project and beyond. 
  • Lacinak, Chris.  "Accessioning & Managing File-Based Born Digital Video."  November 5, 2009. http://www.avpreserve.com/wp-content/uploads/2009/11/AMIA_2009_Born_Digital_Video_Post_Final.pdf
    This presentation was given at the 2009 Conference for the Association of Moving Image
    Archivists in St. Louis, Missouri on November 5th.  It takes the audience through the process of acquiring, assessing, ingesting, and managing born-digital moving image assets.  Lacinak advocates for a model of "preservation oriented production and moving from this process, where content ends up in the archive in a haphazard way to this process where the Archive is integral to the production process."

 


Last updated on 08/27/13, 11:58 am by callee

 

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