Plenary I: Preserving Things That Talk and Move

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Session Moderator: Oya Rieger, Director, Digital Library and Information Technologies, Cornell University Library.

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    The Norwegian Digital Radio Archive - 8 years later, what happened?
    Brygfjeld, Svein Arne (2006-10-27T16:59:11Z)
    The Norwegian Digital Radio Archive -- The Norwegian Broadcast Corporation (NRK, www.nrk.no) and the National Library of Norway has for six years been working together to digitise the historical radio archive of NRK. The project aims at preservation, professional re-use, and general access. More than 50.000 hrs (170.000 programs) have now been digitised in high quality. The archive is built within the National Library of Norway, but serves as the every-day radio archive for NRK with their headquarters 1000 kms away. The archive is also now the repository where the National Library of Norway stores copies of the daily radio broadcast in Norway, enabling the archive to be updated on a daily basis. The archive is also integrated with FEIDE (www.feide.no), a federated authentication regime for the research and education sector in Norway. Based on the use of FEIDE, the National Library of Norway has established a role-based access control for the archive.
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    Audio-Visual Archiving: Comparing Memory Institutions and Commercial Industries
    Fleischhauer, Carl (2006-10-27T15:56:40Z)
    This presentation will compare and contrast the audio-visual reformatting carried out in memory institutions with the production, distribution, and archiving of born digital content by record labels, television broadcasters, and motion picture producers. For sound recordings, digital practices have been established in both memory institutions and the industry, although issues regarding multi-track productions are troublesome for the industry. For video, digital approaches are widely used for reformatting by libraries and for new broadcast production, but most video masters continue to be recorded on conventional digital videotape rather than as media-independent digital file formats. For theatrical films, most memory institutions continue to reformat using proven photo-chemical approaches. Meanwhile, the production of new theatrical films is genuinely hybrid: Hollywood's current workflow mixes digital and film-based stages and elements. It is also the case, however, that high costs and the lack of relevant standards prevent motion picture producers from identifying and implementing a clear-cut digital solution for the long-term archiving of their valuable production assets. In all three areas--sound, video, and cinema--memory institutions and the industry face similar problems. Will they find ways to share their investigations and develop common solutions?