Engage Your Community to Celebrate Your History

Engage Your Community to Celebrate Your History

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  EngageYour Community to CelebrateYourHistory with the
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  Speakers •Karen Cariani, WGBH& AAPB •Casey Davis Kaufman, WGBH & AAPB •Franz Joachim, New Mexico PBS •Michael Kamins, New Mexico PBS
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  20+ years ago… Publictelevision has been responsible for the production, broadcast, and dissemination of some of the most important programs which in aggregate form the richest audiovisual source of cultural history in the United States. . . . [I]t is still not easy to overstate the immense cultural value of this unique audiovisual legacy, whose loss would symbolize one of the great conflagrations of our age, tantamount to the burning of Alexandria’s library in the age of antiquity. -Television andVideo Preservation (1997), a Library of Congress report
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  The Imperative Needfor Preservation • The audiovisual records of the 20th century are increasingly at risk. • The Library of Congress has estimated that there remains a 10 year window of opportunity for preservation of magnetic media. • CPB launched the American Archive with 40,000 hours of digital files and gave stewardship to Library of Congress and WGBH Can you guess who this is?
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  A collaboration betweenthe Library of Congress and WGBH to coordinate a national effort to preserve and make accessible historically significant public radio and television programming that has aired over the past 70+ years. Mission
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  Shared Responsibilities • Overallgovernance • Policy • Collection development • Ingest • Rights decisions Preservation Access and Outreach AAPB Collaboration Packard Campus for Audio Visual Conservation
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  • Coordinate anational effort to preserve and make accessible as much significant public broadcasting materials as possible • Become a focal point for discoverability • Provide standards and best practices for storing, processing, preserving, and making accessible historical content • Facilitate the use of archival content by scholars, educators, students, journalists, media producers, researchers, and the public • Increase public awareness of the significance of historical public media and the need to preserve it and make it accessible Goals
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  • More than100,000 items of digitized and born digital material from over 100 public broadcasting stations and organizations • >2.5 million inventory records from 120 stations • Public access to the full collection of video and audio on-site at WGBH and the Library of Congress • Website at www.americanarchive.org • Launched October 2015 • Features complete inventory records and >50,000 streaming video and audio files in an Online Reading Room (47% of full collection) Collection
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  1 - PreservationConsultation 2 – Access to AAPB’s Archival Management System (AMS) 3 – Ability to customize your organization’s landing page on americanarchive.org 4 - Grant Writing Assistance 5 – Access to preservation resources 6 – Communication toolkits 7 - Transcripts 8 – Digitization opportunities 9 – We refer licensing inquiries back to you directly Resources for Participating Organizations @amarchivepub
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  #PBSAM | @amarchivepub SpecialCollections • Featured notable collections • Finding aid provides detailed information about the content • Collection Summary • Collection Background • Recommended search strategies • Related resources americanarchive.org/special_collections
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  Exhibits • AAPB staffand guest curators create exhibits of selected recordings • Focus on cultural and historical significance • themes • topics • events • Curators contextualize digitized primary and secondary sources of public television and radio materials americanarchive.org/exhibits
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  Public Broadcasting PreservationFellowship (PBPF) Fall 2019 Fellowships Teaching the next generation of archivists to digitize and catalogue at-risk public media collections! • WCVE (Richmond,VA) • WSRE (Pensacola, FL) • Center for Public Television and Radio (University of Alabama)
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  The Challenge isSimple! George Blood will provide FREE DIGITIZATION to AAPB’s participating stations once they have corrected their computer-generated transcripts in AAPB’s FIX IT+ platform. – Goal: 20-100 corrected transcripts – Ends: December 2019
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  Community outreach!
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  Social Media Outreach KYUK(Bethel, AK) Louisiana Public Broadcasting Nashville Public Television PBS NewsHour KOPN Columbia Missouri Library of Congress
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  TheValue of AAPBParticipation • There is no cost to participating • Copies preserved long-term at the Library of Congress • No need to manage your own access platform and media servers • Access to the AAPB’s Archival Management System (metadata repository) to search, manage, update, and access your records and media • Your collection becomes part of a national initiative and has broader reach • AAPB archivists provide guidance and project management support during digitization project s • Collection could be included in AAPB initiatives such as transcript creation, crowdsourcing, automated metadata creation
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  How to getStarted • Start with an inventory spreadsheet • What formats do you have? • How many tapes per format? • What shape are they in? • Is there any information about them?
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  Core information tocapture, if possible • Unique identifier – make sure the media is clearly labeled! • Location (box number, shelf, storage unit, etc.) • Title • Date – aired or recorded • Physical Format • Duration • Ideal: duration of content • Good enough: length of tape • Condition of the tape • Is it a master? • Any other descriptive information you can glean from the tape label Inventory spreadsheet template: https://s3.amazonaws.com/americanarchive.org/resources/pbcore_excel_template.xls
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  Who can dothis work? • Undergraduate student interns • Archives/Information Science graduate student interns • Public Broadcasting Preservation Fellows • Station volunteers • Station alumni • Hired archivist
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  Once you havean inventory, then what? • Now you have the information you need to digitize • Benefits of doing the work in house • Tapes don’t have to leave the premises • Smaller collection - it’s probably cheaper • Helps build expertise internally • More control over the process • Considerations for having a vendor do the work • Bulk work that will be faster and possibly cheaper • Costs decrease with large collections • QC by vendor is generally better • But you have to pay them
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  Deciding what todigitize: What’s at risk? • Certain formats deteriorating quickly: • Video: 2 inch, ½ inch, 1 inch, ¾ inch (Umatic), D1, D3, DVC Pro, MiniDV • Audio: Cylinders, Lacquer and aluminum disks, open reel audio (1/4”) • Playback equipment for many formats becoming obsolete and hard to find Prioritization of audiovisual formats based on technical needs: https://www.nedcc.org/fundamentals-of-av-preservation-textbook/chapter-2-inventory-and-assessment/chapter-2-section-3
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  Deciding what todigitize: Historical Significance • Unique content • Content that has not been widely distributed or preserved elsewhere • Content created and owned by station • Content that documents events, topics, places, persons, opinions, or attitudes of historical, cultural, political, sociological, anthropological, scientific, educational, technological, or aesthetic significance • Content that reflects significant international, national, regional, state, or local culture, politics, or society; or presents the viewpoints of indigenous communities, subcultures, societal groups, or population segments • Content with a significant impact when first broadcast • Content that has received awards • Raw footage, including interviews, that are unique and represent significant historic events, or some unique aspect of the local community
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  Developing an RFPfor digitization • Explanation and goals of the project • Detailed breakdown of what will be digitized • Staffing expectations • Workspace and technical requirements • Expected quality control procedures • Shipping expectations • Inspection and cleaning protocols • Target audio/video formats • Naming conventions • Closed captioning • Technical metadata requirements • Required storage media and delivery • File package organization • Checksum requirements • Proposed schedule • Review windows • Replacement policy • Budget for extraordinary intervention • Other costs to include or exclude
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  Vendor Relations andthe RFP • AAPB can provide a template RFP for stations that want to preserve copies with AAPB. • We can work with you to review proposals submitted by vendors with quotes for your project. • We can recommend several service providers with whom we’ve worked on other projects.
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  Preservation considerations • Targetfile format for preservation • 10-bit JPEG2000 reversible 5/3 in a .MXF Op1a wrapper • Library of Congress recommended format • JPEG 2000 is an international standard (ISO 15444) • MXF developed and supported by SMPTE • FFv1 Matroska file Version 3 • Open source, non-proprietary, and hardware independent • Roughly 65% less data than uncompressed V210 codec • Aligned with FFmpeg, a well established, widely used and open source cross-platform solution to record, convert and stream audio and video • Offers rich and flexible support for embedded metadata • Target file formats for production • Lots of Copies Keep Stuff Safe • Store locally and at two other geographically distributed locations on different media
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  Storage
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  NDSA Levels ofDigital Preservation • National Digital Stewardship Alliance (NDSA) Levels of Digital Preservation provide a tiered set of recommendations for organizations to build or enhance preservation activities. • Preservation isn’t all or nothing https://ndsa.org/activities/levels-of-digital-preservation/
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  Creating preservation policies •What metadata is important to capture and manage? • What are your target digital formats? • How will you store your digital files? • What are your plans for quality control? • How will you ensure security and integrity of files? • Who is responsible for decision making? • What are your plans for professional development of staff? • How will you provide access to your archive? • What is your plan for evaluation and updating of your policies? • Who can you partner with to ensure that you can achieve your goals?
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  Cataloging: making yourcollection more searchable • Once digitized, you can further catalog your collection, or enhance the descriptive information of each item. • We recommend following PBCore cataloging best practices: http://pbcore.org • Cataloging may include: • Verifying existing inventory data (titles, dates, etc.) • Adding creator and contributor information • Writing short descriptions • Adding topics and genres • Adding copyright information • AAPB PBCore Cataloging Guidelines: https://americanarchivepb.wordpress.com/2015/03/05/aapb-cataloging- guidelines-available/
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  How to storeyour catalog records? • Spreadsheets • Databases/Content Management Systems • FileMaker, Access • ProTrack • PBCore Cataloging Tool: http://pbcore.org/catalogin g-tool • Collective Access • Omeka
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  Grant programs • Councilon Library and Information Resources Recordings at Risk • https://www.clir.org/recordings-at-risk/ • Next call for proposals opens Nov. 1, proposals due Jan. 31! • Council on Library and Information Resources Digitizing Hidden Collections • https://www.clir.org/hiddencollections/ • National Endowment for the Humanities’ Humanities Collections and Reference Resources (HCRR) • https://www.neh.gov/grants/preservation/humanities-collections-and- reference-resources • National Historical Publications and Records Commission (NHPRC) • https://www.archives.gov/nhprc/announcement • Local foundations or donors
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  AAPB Grant ProposalToolkit & Support • Digital preservation plan • Discoverability plan • Project plan and timeline • Digitization RFP • Technical plan • Draft job description for Archivist/Project Manager position • Letter of support • Help with writing narratives
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  FAQ Q: Will mystation be able to retain copyright ownership to our collection? A: Yes, though you are donating the digital copies to AAPB, you can retain copyright ownership. Q: Will we automatically make all of your content available online? A: No, we need your permission first. Then, we will follow our policies to determine what we are comfortable making available online. We do prioritize collections that are more likely to go in the Online Reading Room. Q: What happens if a researcher or producer wants to license my content? A: We refer them back to you.
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  Why get involvedin the AAPB? • So that your station can begin to identify, manage and preserve your collection So that other producers can find and potentially license your content So that scholars can refer to your content in their research So that educators and students can access your content as primary source material So that lifelong learners can watch and listen to the programs they remember from the past Your station has created an archival record of your community and our shared cultural heritage. Making this historic content available fulfills public media’s core mission to educate, inspire, and enlighten.
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  Get involved inthe archiving community! Association of Moving Image Archivists 2019 Conference: Nov. 13-16, Baltimore Website: amianet.org Association for Recorded Sound Collections Website: arsc-audio.org Radio Preservation Task Force Website: radiopreservation.org
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  The need isimminent
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  Additional Resources • Lotsof resources available on the AAPB website! • https://americanarchive.org/resources • ARSC Guide to Audio Preservation • https://www.clir.org/pubs/reports/pub164 • NDSA Levels of Digital Preservation • http://ndsa.org/activities/levels-of-digital-preservation
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  Thank you! Karen Cariani– [email protected] Casey Davis Kaufman – [email protected] Franz Joachim – [email protected] Michael Kamins – [email protected]