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Take it away Thank you, Haley. Good morning. Everyone welcome to the last day of the olack conference. I'm autumn Faulkner from Michigan State University.

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This is our much anticipated panel on digital preservation of audio, visual materials for those of you who are on Twitter.

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For Facebook, please use our conference hashtag that you see down there at the bottom at 40 and we are going to do cover a few housekeeping things.

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So, we'll cover all of this really quickly. So before we begin the panel discussion, do note that the session is being recorded.

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The recording the slides, any other materials associated with this session will be posted on the conference Web site.

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Um, after the conference concludes.

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So, let me introduce our panelists Sarah, is the media preservation librarian at Michigan State University libraries.

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Sarah supports efforts to preserve both analog and digital media within the libraries, and she also develops policy around digital preservation.

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She received her from the University of Michigan School of information and after school, she was the registrar at a major audio visual digitization vendor.

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Her interests include digital preservation, advocacy, magnetic, take care and ethics and preservation.

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Michelle Han is assistant librarian and sound recordings catalog at Indiana University Bloomington.

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Michelle is responsible for description,

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arrangement,

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maintenance,

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management of audio and audio visual collections at the William and Gale cook music library and she also serves as a collection manager for Indiana media digitization and preservation initiative.

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She's also chairing the music. Oh, CLC user's group right now Luke and it's the assistant web editor for the International Association of music, libraries and documentation centers.

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And finally, Jeremy mentee is the interim associate dean for collections and scholarly communication at the University of Utah. J. Willard Maryann library.

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He previously served as head of digital library services and his research interests revolve around making library collections, more discoverable and accessible to our patrons. So, welcome to all 3 of you were really glad. You could join us.

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We're going to begin with a couple of prepared questions and I will let you guys decide exactly.

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What order or who wishes to speak up? 1st but the 1st topic that we have and Haley, I think you might need to.

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No, these are the right side. Sorry about that. So the 1st, topic we'd like to tackle is a brief description of the scope of your particular work, and how digital preservation works at your institution.

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I'm sorry and let me add 1 more thing. So, attendees, you will have time at the end for some more questions for our panelists.

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Okay, have at it.

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I can go 1st.

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Okay, so, as the media preservation library, and at Michigan State libraries.

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As was mentioned, we, my job is to collaboratively collaboratively, create procedures and policies for the long term preservation of our analog and digital media.

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This requires that I work with various stakeholders in our institution to ensure that these procedures can actually be put into action. So I'm working with people from our system's department, which is our, it.

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Uh, facilities, acquisitions, the digital repository team.

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In, which are now under our library system, and it's all extremely essential that I kind of understand what their workflow is.

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So that if I'm trying to implement a new thing that I'm not inadvertently creating more work for them or breaking something for them.

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I also oversee the digitization of our media through.

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The negotiation and communication with our vendors as well as managing a small team for in house digitization for more like boutique or a small 1 off projects.

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This means that I need to understand what the best practices around the digitization of media, as long as, as well, as the long term care of these digital assets preservation just doesn't stop with 1 action.

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It's like a whole host of continuous process of care.

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I also have a secondary appointment, which is 25% of my time.

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Within our special collections unit, where I work with other stakeholders to determine how best to provide access to our digital collections.

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If we don't have the rights to make them publically available, then we currently have a computer workstation in our reading room.

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Or pay patrons have read only access to the digital objects.

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We are currently working to solve the question of how to safely easily, consistently provide access when being physically present isn't an option as we see. Now.

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As you can imagine this requires collaboration across units to find that sweet spot of what works for everybody.

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I've also served as the chair and a current member of the digital preservation working group within the libraries.

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And that group is about 3 years old, it's an informal forum in which we can discuss digital preservation within a few libraries.

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So that we can coordinate projects, exchange ideas and keep abreast of news and initiatives happening, internationally, nationally and regionally.

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We create a digital preservation documentation such as our policy, which we just had accepted by our last year.

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We create workflows and resources for people in the library who are trying to understand digital preservation in their work.

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We also advise on the local implementation of digital preservation standards, best practices in tools.

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Membership of this group is represented across the library and includes library affiliated areas within that greater M. S. U. campus.

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We are currently working on outreach events for world digital preservation day.

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Getting approval for the creation of a digital curation lab in the library.

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And testing various digital preservation stores environments from vendored solutions to homegrown cloud based 1 and to a lock based regional network.

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This group covers diverse ground, because we currently don't have a dedicated full time position for digital preservation.

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So, we coordinate and commiserate about the work that we all. Do. We also have representatives from this group in the big 10 digital preservation working group.

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Which I'm also a part of and we meet once a month via zoom to discuss issues that pop up better institutions and whether others have similar experiences for which they can offer advice.

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Sometimes during these conversations, we all realize that we all have the same problem and that maybe we can work together to solve it as a team. And it's really been a great team to be a part of.

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Thank you.

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Thank you Sarah Jeremy or Michelle.

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And I guess I can go next so, since I'm currently an associate dean, and I was previously the head of digital library services, I've been thinking about these types of topics more from an administrator's point of view.

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So, I just want to start off by acknowledging the people that are really in our library that are really day to day working with digital preservation.

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We have Tonya Keller, who is our assistant head of digital preservation and perk Watson, who is the, our digital preservation software specialist so they're the ones actually doing the work and implementing the things that I'll talk about today.

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So,

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in our library,

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we have a pretty robust set of digitization equipment where we can pretty much digitize any type of physical medium that we want,

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including many different types of AV content we audio,

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because that's real,

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real audio vh as many 8 millimeter Super 816 millimeter.

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35 millimeter and others.

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And then not only does our library work on digitizing our own special collections but we also partner with a lot of other libraries archives and museums from around the state of Utah to help them.

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To provide to give them the resources that they need to be able to digitize their own collections and digitally preserve them.

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So, in our library, like many others, we started really digitizing in the nineties when scanners were becoming more affordable and people could just start scanning whatever they want. But at that time, we really weren't thinking too much about digital preservation.

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We were this is cool. New technology. Let's digitize whatever we can get our hands on.

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So, over the years, we built have quite a large set of digital items that we needed to figure out what to do with, to preserve these in the long term. So, about 12 years ago, I think it was about 2008.

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We really started diving into digital preservation. We, that's when we hired our 1st, digital preservation architects to help us develop our digital preservation policy and figure out what we want to do.

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I just posted a link in the chat there to our digital library services web page on there. If you go to the digital preservation tab, you can see our digital preservation policy. The latest version of that.

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As part of that policy, you'll notice there's an appraisal and selection guide, which helps us to ask some of the hard questions that we need to think about in order to figure out what types of collections actually need to be preserved.

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Some of those questions are like, is there a legal requirement or an archival mission to preserve the collection?

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Do we have the legal permission from the collection creators or collection owners to conduct the digital preservation activities necessarily on that collection?

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Is that collection available somewhere else and what is the risk of losing the physical media of that collection? So, while we have those questions in place to help us figure out what should be priority.

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We found that a lot of our archivist and curators suggesting collections to be digitized by the time it gets to that point. They've already made the decision. Yes, we need to preserve that in the long term.

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So, we're trying to use those kinds of questions to help us be able to say we don't need to and we can't preserve everything but the collections that are coming up for digitization are typically the ones that actually do need digital preservation.

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So, in theory, that kind of appraisal and selection guide is a great idea.

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In practice, it doesn't port the greatest.

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So once we have a collection identified for digitization and preservation, and we've digitize that collection, we have an internal workflow management tool that we call our simple to others just developed in house.

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Sam stands for the submission information and metadata, packaging tool.

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So, within that tool, we're able to ingest digital content and then the tool does several things on the back end to extract a lot of the technical meditative from that file.

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Then our metadata catalogs are able to go into the tool as kind of a Excel type spreadsheet editor where they can say to all of the descriptive meta data. And then the sent tool will package the digital file.

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All of the descriptive, the technical data.

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But it was able to extract including the security checks and to make sure that the file doesn't change packages all of that into a file.

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Which is then sent to our digital Preservation system and to our digital asset management system.

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So, yeah, that's basically how digital preservation is working at our library.

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Thank you Jeremy and Michelle. Okay, so you really are covering all the bases in this panel.

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I'm responsible for describing and arranging all of the audio and audio visual content in music library, Indiana University.

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The collection that I manage has several 100000 items in various physical format and over 80000 digital items.

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A large percentage of the physical content that we have is unique recordings produced by the school of music here,

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and all of which have now been digitized and are available via our open source streaming media platform called Avalon media systems,

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which.

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Is the extension of variations project, which Reggie is here?

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We've been digitizing,

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digitally,

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preserving audio,

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audio,

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visual content since the 19 nineties and then in 2015,

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the university as a whole undertook a mass digital preservation project to digitize approximately 300000 media objects.

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In the most valuable formats, primarily unique content that is part of the universities historical records. So beyond school music performances, we've got things like.

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Football practice videos from the athletics department. We've got a whole bunch of stuff in the Institute, just lots of lots of stuff and then.

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Um, that patient effort was the.

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Public private partnership between you and Sony.

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And then beyond.

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So, beyond the digital content that we've created, and the.

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Form physical digitized content that we've created.

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Add the school music continues to produce born digital audio and audio visual recording so also feeds into the streaming media platform. Like I said, I'd take care of the description arrangement part. I don't.

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I don't do the digitization myself because we have a whole group of people whole department that does that kind of stuff, but I take care of making sure that it's viable.

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And are you and beyond and.

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Yeah, making sure that we connect the digital, the digital circuits with the physical regionals.

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We have we're still wrapping up now that mass digitization for pretty standard.

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Audio and video.

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And the things that were, they were able to do.

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At scale, we're done primarily by the Sony side, and then I use side, we did the boutique stuff for the things or the hardest, or had some problems that couldn't be mitigated.

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And they take care of all of that and then I get to play with the.

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I get to play with the results, I guess so.

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I think that's that.

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Great, thank you. I think we covered a lot of really interesting territory there.

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Let's change our focus a little bit and I'm not sure if everybody needs to speak to this or please feel free to do. So, if you'd like, but the next question we wanted to explore was preservation meta data.

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And what might that involve you see, I've got.

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Just sort of a laundry list of questions here feel free to address any parts of that.

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That you like, let's start, let's just preserve the order that we've been going in so everybody has time to breathe and take a drink of water. So, Sarah, if you could go 1st, that would be great.

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Sure, thanks. So I'd like to preface my answer 1st with the fact that I'm adopting the standard for preservation that a data is still underway and I'm with you.

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So, rather than speaking from my experiences there, I'm just going to kind of discuss it more from a meta viewpoint.

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And a resource that I found really helpful is the digital preservation coalition,

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digital preservation handbook,

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which breaks down preservation metadata basically into a data model model with 5 entities,

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which were then kind of taken from the premise.

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Model of the standard, which is an international standard for metadata for objects, digital objects and I found this particularly useful because I don't come from a cataloging or a metadata background.

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I come more from a preservation like conservation background and when I go to llc's premise page, I sometimes get lost and all the details. So it's nice to kind of have more of a wider view.

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So I'm just gonna walk through basically those 5 entities. And then discuss a little bit more of that. So the 1st, 1 that the digital preservation handbook.

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Talks about is the intellectual entity, which is like, a coherent that excuse me a coherent set of content that is described as a unit. So, for example, a book.

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Um, and then the next 1 would be an object so that's like the discreet unit of information in a digital form.

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So, for example, you have like, a, a, maybe a radio show and then you have the MP 3 for that that show.

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And then you have an event, so this is a preservation action. So, for example, maybe you need to migrate that item from 1 format to another. Because maybe it was a real media file before and those are no longer really?

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Being supportive anywhere. So, you have to migrate that over to, let's say, an MP 3, then the 4th field entity is a.

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Agent this is the person or an organization, or the software program that's associated with the event.

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So, for example, it could be the vendor, it could be the institution that's doing it. It could be the transfer engineer. Any of these things could go into that. And then the specific 1 that they focus on is right.

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So this is more of like, 1 or more of the missions pertaining to that object.

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So,

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is there a,

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whose decision is to provide access to this,

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um,

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what levels of access you might talk about in this 1 and I found this to be really a give me a really good landing ground for what we should be thinking about what we should include,

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um,

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so for.

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Uh, the minimal preservation metadata that we are creating and maintaining right now there is no 1 answered.

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To who creates it, or where it is stored at our institution. Um, currently, we have our AV collection um.

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The preservation that it is created by our vendor.

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And we request a mods X amount.

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File that has TB core elements included into that.

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Because I would like us to move towards more adoption of the TV core standard. This has got a lot of.

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Kind of a very active community working on that standard. So.

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Each of the 5 entities can be found, and then more in the 5 in the fields of this XML file.

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1, that I read while. I'm conducting. Quality control is the transfer comments. That field is the, what? We would consider an event field, right?

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If there's, it talks about preservation actions that the vendor may have taken in order to get a particular tape to play, or maybe if they're viewing it and they are noticing that there's issues with it. For example.

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1, that we had recently was there was damage the tape, which was leading to this artifact in the digital file. And, so when I was conducting quality control, that looked like.

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Initially, a question of it was this on the original tape, or was this something that was introduced during the transfer of that tape. Maybe an error in the signal chain. So I could go to that field and look and say oh, no, there's damage.

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That's why this is behaving that way and that's why I'm teams artifact.

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This is just 1 example of why this kind of information is important to follow this thing through, um, its preservation lifecycle.

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These files are oftentimes stored alongside the preservation access and many files, but because we don't have a.

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Preservation platform a digital preservation storage platform right now we're testing these out. They're just sitting on the server in the same folder as the actual, the preservation files, and the, the mezzanine and access.

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Um, and hopefully we will adapt 1 of these platforms soon, and we'll have it in a much more robust and safely stored environment.

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I think that's all I have to say about that.

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Thank you. Thank you. Sarah. Jeremy, do you have anything to add? Yeah. So, Sarah covered it pretty well therefore, what? Preservation? medidate is just to give a little idea of how it works within our system.

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So I mentioned that we have this tool. That does a lot of our workflow management. There are creating the descriptive meta data in the same tool, which goes along with the preservation metadata.

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So, you know what the file is? What the descriptive information.

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So, when we 1st, implemented our digital Preservation system, and it was in 2012.

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The committee that implemented that decided that we shouldn't manage our descriptive metadata in the same system as we're managing all of the preservation metadata, which in hindsight, that was a terrible decision that was made.

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So, for a few years, we were only putting the descriptive information into our digital asset management system and not having it with our preservation metadata.

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So, we've been working to resolve that over the last few years. 1 issue that that has brought up is that when you're in the digital Preservation system, and you need to find an item, it's difficult to find it without your descriptive information.

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The thought process for leaving that out in the beginning was that there could be some issues with the systems thinking that type of information from a changes made in 1. how do we sync it into our other system?

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So, there's some word, but still needs to be done with that, but we're getting closer.

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We use actually versus Rosetta for our digital Preservation system, and we found that for most things, it's able to take care of a lot of the technical and preservation metadata for us.

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It's able to extract the majority of technical data directly from the files that we ingest into it.

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For preservation, metadata Sarah was talking about with different events that happens to the file.

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For 1, since ingested into Rosetta, it's able to create that type of event metadata for when things happen. For instance, if a fix city check is run on the file, it's able to tell us if it was able to verify that.

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The file is the same today as it was 5 years ago.

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Or is able to record the events for when anybody accesses the files, or creates a duplicate copy or when the file not need to be migrated to a newer format. That would be more stable.

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And is more the standard that's used today.

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So, yeah, with our metadata, for the most part, it's able to be managed within our system and we only really have to touch the descriptive meta data for all of these digital items.

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We've been reviewing the system the last few years to make sure that it meets the premise standard. And that.

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And I know Tonya that I mentioned before has been working with actually risks is user group to be able to make sure that Rosetta does do what it's supposed to with premise. So it's getting better.

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It's still not perfect, but it's a fairly decent solution and working for us.

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Thank you Jeremy and Michelle.

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Do you want to tack on anything? Well, like I said, we just digitize the whole bunch of stuff from a lot of different people so.

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A lot of it depends on who owns the original content as to what.

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What gets included where.

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All of our digital files lives in our scholarly data archives.

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Which is ironically to me stored on high density, magnetic tapes.

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And it's redundant list data lives here. It also lives in a place.

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An hour from here, and then we're also exploring additional redundancy, different geographical locations.

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We have 3 levels of files, preservation master, which is the truest to the original.

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Messy or not and then we have the streaming file, which is maximized for online enjoyment without offering delays and things like that.

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And in the mid level production master file that can be used without endangering the preservation file.

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And then, so, but the only thing that I can really talk about is music library stuff, because that's my stuff that I am responsible for.

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So I do the descriptive part of it and sort of serve as a field for the structural meditative part of it structural money is run and created by a separate group in our

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library.

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And then I take care of the descriptive many, which we consider our library catalog to be the data record. So.

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The full description goes there, no matter what it always goes there and then it's cross locked from Mark through the 350 into mods with Dublin corps to.

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Display in the streaming platform.

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And then that structural is created using XML and the descriptive entity just starts as Mark. Obviously. And then.

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So, I like I said, I take care of all the descriptive parts of it. And if there are things, if they're missing missing content or.

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Severe problems that will affect playback.

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Or affect the content in any way it's marked, it's noted by the digitizes. And then I can add that.

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If needed to the descriptive made meta data in the library catalog and then.

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That transfers over to the streaming platforms.

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I think I think that's pretty much it.

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Thank you I'm getting a sense of.

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Extraordinary complexity from all of these workflows. It's really fascinating. The last question that we have for you deals with.

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You know, probably probably many of us.

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Has a service of this work, right? But it is certainly likely like Michelle is a great example. We're cataloguing also. Overlaps.

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With digital preservation work, so, for those of us who are beginning some work here, or perhaps may need to, we'd love to hear from you about good resources best practices.

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You've mentioned some standards already like PB corps and premise and I've heard Mets and some other standards.

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But, yeah, so let's begin with Sarah on this topic.

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All right,

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so,

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as you can imagine digital preservation is wide and diverse so I think depending on what,

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what,

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where your work overlaps with it,

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you will want to find very specific ones and I didn't want to dive into that.

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Both means today. So, instead I am starting ahead of a beginner level and 1 book that I actually have in my possession today is the theory and craft additional preservation by Trevor Owens.

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And I found this to be a really great, um, kind of overview of it. And, you know why digital preservation is important but also what makes it so challenging to actually to do it and to do it. Well, um.

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And it talks about it from a theoretical point of view, but then also just gets down into, um, very.

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Tangible ways, and Matt, it manages to explain the foundation of digital preservation without getting too far in the reads while simultaneously acknowledging the complexities that autumn just mentioned.

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I would also recommend looking around your institution or region for digital preservation or curation groups to join. And I know this isn't like a.

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A resource necessarily,

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but they're,

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they're out there and they are,

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it's such an important group to be a part of because they may have the same questions of you and to be honest,

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like,

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it's nice to have a team that are searching for the answers together because.

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Sometimes you need to be reminded to do that kind of work that you can put in the back burner and it's like, oh, yeah, I meant to do that. But now that you're here asking me about it, let's just do it right now together.

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From my experience, these are usually really welcoming spaces for people of diverse experiences and levels of expertise. So not only will your expertise and digital preservation grow, but also your network of support will grow to.

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The digital library federation and did you press are great national networks to have a specific working groups for all different facets of digital preservation work. Their annual conference has been moved virtually.

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And the registration is a fee is a donation base this year, and it's coming up in November. So I would highly recommend looking into that.

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I mentioned earlier the digital preservation coalition, this is a good research, a resource for an international more based perspective. They can be found at the link that was put in the chat.

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And you, they have a very active mailing list. So if you want to have those kind of weekly reminders, or to see what's going on in the field, that, that would be a really great place to look.

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And finally, I would recommend for people just starting out or wanting to strengthen their foundation to check out the, and which is the North Eastern document conservation coalition their digital directions.

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Annual Conference is really great. I attended as a students when I was getting my masters and this is a conference for practitioners of digital preservation.

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So there's a diverse element of the work that's discussed and also has online resources and classes, which are offered around digital preservation. Some are free.

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Some have fee based, but I would look out for those sessions and see, maybe what suits your needs there. They are very helpful.

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Thank you. Thank you Sarah. I especially like the assigned your people part of your advice. Exactly.

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That's how I ended up in olack when I started out with some AV cataloging Jeremy, what would you like to add? So, I'm glad that Sarah showed a copy of their, whichever ones as but that was 1 of the resources that I wanted to point out.

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That's a great bug to beginners and more advanced people in the profession can take a look at and kind of starts from the very basics and weren't sure way through to some of the more difficult topics.

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So, if you're interested in this, I would highly recommend Trevor Owens is going to paste a couple of other resources here in the chat.

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I'll just briefly touch on these so the 1st, 1, there is the, the National digital stewardship alliance.

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On their site, they have a chart that they call their levels of preservation where they look at different areas of digital preservation, like storage, integrity, control, metadata and content.

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And then they have different levels that you can sync through your data, your system with, to be able to see where you really fall within their levels of preservation. So, I just like that as a way to.

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Kind of think through your program to see where you are right now and what steps you might be able to take in the future to learn more and to improve the digital preservation program.

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The 2nd, 1, I listed there the 166 3 standard.

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So that when I would not recommend that if you're a beginner to really dive into that, it's more.

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It can be challenging to read.

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I have a hard time looking through a lot of it,

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but I know with that standard,

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if you want to really find ways to improve your digital preservation program,

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they have a way to kind of audit your program to see how trustworthy it as they call it.

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The trustworthy digital repositories to be able to find what ways you might be able to improve the program there and just to learn about the basic concepts of digital preservation earlier. Sarah had mentioned the intellectual entity.

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The Heidi.

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Other terminology like that. So that's a good resource to be able to learn what all of that means. And then Sarah also mentioned the digital preservation coalition.

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I just wanted to mention them on November 5th so in about 3 weeks, they're having their world digital preservation date. So if you follow them on Twitter.

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And look for hashtag 2020, you'll be able to see a lot of people around the world who are working in digital preservation and see some of the some highlights of projects that they're working on. Just to get an idea of what is going on in the world of digital preservation.

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Thank you for sharing that info, Jeremy and Michelle.

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So, I'm in sort of a sea of digital preservation privilege.

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The answer that question is the resources and best practices. We write them, we'll make that, but.

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I'm going to add a little link here too, to have a list of some of those resources. Also there's the National recording preservation board.

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That is a library of Congress project.

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With experts from all over the country about and the.

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I know they do really cool stuff.

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But, yeah, I, you know.

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Like I said, we built our system, so.

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And it's open source on media system, so that's always a good 1, but it does require that the.

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I T, know how at your institution that.

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Can can handle the open source part of it, but I'm sure it's.

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You know, I like it I've been helping.

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Sort of informing building it.

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But.

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Yeah, there are definitely some links there in that link that I sent, but.

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Will help us with what we do and how we do it and.

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Suggestions and information from our experts.

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But, like I said, we're in a C of digital preservation privilege, almost.

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Not not not an infinite amount of money or resources obviously, but.

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You know, we've been doing this for 20 years, so.

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We kind of we know what we're doing, I guess, but.

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Yeah, thank you Michelle.

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That is the end of our prepared questions and I've been tracking a few questions from the chat and the 1st, 1 is actually for you does the coke library do any digital preservation of music scores?

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Yes, and no.

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When we were starting well, when we started there, our original.

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Digital preservation for audio, we were also scanning musical scores to go with those recording and had programmed it. So that.

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You could, you could watch this early, early, early you could watch the music go by on the page, as you heard it.

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Come out of the stream we don't do that as actively. Now, at least that level with that with the live live view, but we do.

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Uh, scam things now for.

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Course reserves situations.

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And then more privilege here, we have a conservation preservation lab.

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So, if anything needs physical preservation, it goes there if we, if it has a level of.

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Prominence or important, it can be digitized by our digital library systems that have a program that has the.

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The better scanners, but.

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Nothing nothing as large and wide scale.

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As our audio and video.

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Thank you Michelle and then a general question for the panel.

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We have perpetual access to videos. We are hosting using Microsoft. Silverlight. This has problems with many browsers. We are looking to migrate to another host. Do you have tips best practices on what we should be looking for?

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I guess once hip, I can share that. We've tried to implement in the systems that we've developed in house, is that we always try to find the open standards. That can be used rather than using something. Like you mentioned from Microsoft.

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That's a proprietary software to look for something that's more open that people can work within any system rather than tying yourself to 1 type of system or 1 particular vendor or.

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Product.

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Thank you Jeremy, anyone else want to add anything.

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We do our own, so I.

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I feel like I've heard that Silverlight doesn't work in some browsers, but.

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We host our own in our own. It's a really cool building. It has no windows and it can survive enough 5 tornadoes but.

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You know, if you have the ability to host locally.

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It's a, it's a good way to go.

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But, if not really sure the recommendation.

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Thank you and then we have a question from Emily who is working on a project and you can,

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we're going to save the transcript of this chat folks just so you can return to to see all of these valuable links and things that have been shared.

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So, Emily has some details to share about a project that she's working on writing her own manual and workflow for convert tape sets to CD using audacity.

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She wants to write a project proposal and present it to upper management and the music library, and she was hoping she could reach out to panelists at some point to get a little advice at this stage of her project.

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But if anything occurs to you right now.

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About that kind of work I'm sure she'd love to hear from you.

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I will say I'm curious as to why CD and not digital file.

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But that could be an internal need.

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But, yeah.

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And I would say to that.

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Since you're, you're having to make a digital file anyway, to make it a CD that you do both.

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Maybe you need the CD for access reasons that if you have a drive, then maybe thinking of getting 2 or 3 drives or something just to kind of broaden that. So that you don't have.

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The fear of something happening to that CD and then having to go back to the because maybe it worked well this time, but it's.

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Yeah, I'm guaranteeing it's not gonna work well, sometime in the future and.

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And it's best to kind of has your bets now since you're doing it already once,

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just do the,

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the full work and then,

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if you have the ability to save the digital files somewhere,

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and I'd be happy to chat with you at a different time about where that somewhere might be and what works for your specific situation.

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Yeah, I would agree with Sarah there where you want to hopefully be able to do the project once and not have to worry about it down the road.

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I mentioned earlier that we started digitizing in the nineties, but didn't think about preservation until 2008. so we had a lot of content on random CDs. These hard drives different servers that were kind of all over the place.

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So the last several years we've been working to bring all of that, all of those files into 1 place. So that we can ingest them into our digital Preservation system. So, whatever you can do to do the project once and not have to think about it again.

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I would also be willing to review anything that you want to talk through any issues as you read the proposal.

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Thanks yeah,

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and then questions maybe for Jeremy,

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but maybe for everybody,

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so Jeremy mentioned the problem of splitting descriptive metadata from preservation metadata,

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how does preservation relate to institutional repositories?

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Can panelists comment on use of AI are platforms that do a good job of supporting this dual requirement.

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So that's a good question and something that I've struggled with as well when I.

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5 or 6 years ago, when we decided to create our own digital asset management system, we were reviewing a lot of different systems that could work for different types of content, including AV content. And also, including our content.

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From that project, we decided that it would be easier for us to have 1 system to manage everything.

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The 1 system isn't perfect for anything, but it works mostly for everything.

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So, with having 1 system to manage all, we're able to treat our our content. Exactly. Like, we do any other content.

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So all of our content gets preserved in Rosetta and our digital Preservation system as well as being made available in our digital asset management system,

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having the metadata split there cause the exact same issues in the beginning as we were having with other content,

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where it could be difficult to find items in the digital Preservation system with how all of our descriptive metadata.

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So, keeping as much meditated together as you can as highly recommended.

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Interesting question like I said, we have privilege here.

366
00:48:19.110 --> 00:48:22.170
We keep.

367
00:48:22.170 --> 00:48:29.190
Well, we keep the preservation limited data with the files in the archive.

368
00:48:29.190 --> 00:48:32.340
Scott the day. Okay.

369
00:48:32.340 --> 00:48:38.849
And then we keep a descriptive metadata in the library catalog.

370
00:48:38.849 --> 00:48:44.940
Separately and.

371
00:48:44.940 --> 00:48:48.329
So, the.

372
00:48:48.329 --> 00:48:52.170
The just the description gets.

373
00:48:52.170 --> 00:48:59.400
Mirrored kind of are applicated in the streaming platform.

374
00:48:59.400 --> 00:49:02.699
But.

375
00:49:02.699 --> 00:49:06.000
The streaming that.

376
00:49:06.000 --> 00:49:12.059
Public, the public version of the platform is separate from a.

377
00:49:12.059 --> 00:49:21.210
Dark archive, version of the platform, which holds, which continues to hold the preservation related with the stuff and then we can move.

378
00:49:21.210 --> 00:49:30.179
We can replicate the preservation stuff from the dark archive into the light archive and then.

379
00:49:30.179 --> 00:49:33.750
Manipulate the descriptive stuff there.

380
00:49:33.750 --> 00:49:37.380
And the structural stuff there is, we need to.

381
00:49:37.380 --> 00:49:42.000
And when and all this stuff was get a good digitized.

382
00:49:42.000 --> 00:49:45.719
Went with got.

383
00:49:45.719 --> 00:49:57.030
If it was available, the library catalogue, metadata was attached to it copied into that system when it wasn't available, it was.

384
00:49:57.030 --> 00:50:00.869
Created on the fly by.

385
00:50:00.869 --> 00:50:06.300
Students trying their best.

386
00:50:06.300 --> 00:50:09.809
But so that that.

387
00:50:09.809 --> 00:50:13.199
Good or bad links with the the.

388
00:50:13.199 --> 00:50:18.090
The preservation files, and then we can.

389
00:50:18.090 --> 00:50:21.630
We can overlay it with the.

390
00:50:21.630 --> 00:50:28.199
For the good metadata, but not necessarily replace it very easily but.

391
00:50:28.199 --> 00:50:33.449
Our our institutional repository is separate.

392
00:50:33.449 --> 00:50:37.469
And it holds it's on our data with it.

393
00:50:37.469 --> 00:50:42.449
But it's not usually catalogued in the library system to.

394
00:50:53.280 --> 00:51:02.550
All right, well, thank you. We still have a a little bit of time for questions. I am watching the chat if anyone has anything else to submit.

395
00:51:11.574 --> 00:51:18.864
I will keep an eye on that, but I did have just a question that arose for me as we're talking.

396
00:51:19.199 --> 00:51:26.820
I can't someone mentioned volatile formats and I wondered.

397
00:51:26.820 --> 00:51:35.005
Maybe this is a institution by institution thing, but what is the format that you are most concerned about right now?

398
00:51:35.005 --> 00:51:42.594
Like, what is at the top of your list that has to get taken care of soon before serious degradation occurs?

399
00:51:43.110 --> 00:51:54.000
I'm curious to what Sarah has to say, but I would say magnetic.

400
00:51:54.000 --> 00:51:57.269
Because that was our biggest priority because that stuff is.

401
00:51:57.269 --> 00:52:03.869
And we don't expect it to last more than 10 more years.

402
00:52:03.869 --> 00:52:10.139
But there's really in that link that I sent, there's a link to a really great story.

403
00:52:10.139 --> 00:52:23.159
About degradation and absolescence with decline term Debra lessons I love it. And then, of course, anything that's fragile. Can break.

404
00:52:23.159 --> 00:52:27.090
Yeah.

405
00:52:27.090 --> 00:52:32.909
This question is really interesting and I think it comes up a lot and.

406
00:52:32.909 --> 00:52:41.369
It's difficult to think to say that there's 1, because there's so many different elements that come into.

407
00:52:41.369 --> 00:52:44.429
Why a format degrades.

408
00:52:44.429 --> 00:52:51.659
And, you know, so, like, storage environment, how it was used all these things right? So, I just want to preface it.

409
00:52:51.659 --> 00:53:01.800
With my answer with that, for me, the things that are top on my list are open real video. So we're talking 2 inch quad.

410
00:53:01.800 --> 00:53:15.090
Videotape 1 inch VIDEOTAPE, which for both like broadcasting standards. So you may not have these in your question. And so they're not a big deal to you but for people who do so, like, for example.

411
00:53:15.090 --> 00:53:20.280
The archive that Michigan State got a lot of our local PBS.

412
00:53:20.280 --> 00:53:25.920
Station tape, so we need to take care of those.

413
00:53:25.920 --> 00:53:36.474
I think also nitrate if it's been stored and properly have got to be addressed right away, whether that's still images or moving image. Yes please, please take care of that.

414
00:53:38.034 --> 00:53:49.344
We also have a think it happens open real video. It's also that was problematic for a lot of reasons, but please take care of it.

415
00:53:49.344 --> 00:53:58.554
It was an early seventies consumer, like, used by artists and news people, but like more grassroots.

416
00:53:58.980 --> 00:54:08.969
There's a lot of really create archival footage on there, but it also, depending on how it was recorded may not be the best.

417
00:54:08.969 --> 00:54:12.989
Images or audio that comes out of it, but still, um, um.

418
00:54:12.989 --> 00:54:25.494
Very volatile. I also think that digital audio tape and many DVDs are should be very high on that list and because they are extremely fragile tape. They're very, very thin.

419
00:54:26.215 --> 00:54:32.215
So they get mangled very easily in playback machines and they're no longer being produced.

420
00:54:32.215 --> 00:54:46.914
So there is some level of absolescence in the manufacturing of the playback machines, and they're notoriously finicky and you can transfer at once and get 1 type of transfer and then do it again and get totally different issues the 2nd time.

421
00:54:46.914 --> 00:54:52.585
And there's just there's a really great project right now.

422
00:54:54.114 --> 00:54:56.094
I've been seen a lot of it through a MIA,

423
00:54:56.094 --> 00:55:10.284
which is the association of moving image archivist and it's Dave rice and I'm forgetting the other woman's name and I apologize to her but basically they're trying to figure out a way to safely transfer that tapes.

424
00:55:10.974 --> 00:55:23.094
And by safe, I mean, both that you get a transfer, but also that is consistent and it's just, it's a really interesting project. And so it highlighted to me. Oh, yeah.

425
00:55:23.094 --> 00:55:37.344
That this format really is not great and has a host of issues and should be addressed pretty early, especially because it was 1 of those early digital, but on magnetic tape.

426
00:55:37.344 --> 00:55:40.494
And so it's a real doozy of a format.

427
00:55:43.554 --> 00:55:55.824
My situation, it's the same thing. Those are the types of formats that we're focusing on for so many years. We mostly focused on the easy formats that you could do on your flatbed slide scanners overhead cameras.

428
00:55:56.184 --> 00:56:04.255
The last couple of years we've been putting quite a bit more of our resources towards umatic tapes 81635 millimeter film and others like that.

429
00:56:04.255 --> 00:56:17.244
The 1 issue we have now, we can easily digitize all that content, but the more you digitize these file sizes can be huge in some cases. So now, how are we going to deal with that? How are we going to deal with all?

430
00:56:17.244 --> 00:56:29.514
This service is to really be able to digitally preserve these formats. It is a high priority for us. So, again, we just need to find ways to reallocate resources to be able to do all of that work to be able to save it for the future.

431
00:56:33.744 --> 00:56:48.025
Thank you all, there's so much more there that we could talk about. We only have a few minutes left, and I wanted to note in the chat that some folks brought up lacquered discs, cylinders, magnetic tape nitrate film footage.

432
00:56:48.025 --> 00:56:48.954
Like, Sarah mentioned.

433
00:56:50.099 --> 00:57:01.380
And then Wendy has a big collection of transcription discs and glass based disks, which I have never even heard of. She calls them truly E.

434
00:57:01.380 --> 00:57:11.429
Any final questions for our experts here before we conclude.

435
00:57:11.429 --> 00:57:21.630
Any final thoughts from you all.

436
00:57:21.630 --> 00:57:25.650
About digital preservation work that you would like to send us out with.

437
00:57:31.045 --> 00:57:40.195
I'll just see if this was a lot of information that was shared in this session. There's a lot of resources. You can look at feel free to contact us. If you have other questions where.

438
00:57:41.039 --> 00:57:47.219
Well, I'm speaking for myself, but willing and able to talk and Michelle and Sarah is hopefully as well. There.

439
00:57:47.219 --> 00:57:51.900
Definitely, yes, and I also just be kind to yourself like.

440
00:57:51.900 --> 00:58:06.780
It can't be an expert in all of, like, this is not fair. So, like, figure out why you have to learn this stuff and how you can make the most impact in, in your work with these things and focus on that.

441
00:58:06.780 --> 00:58:18.869
Um, and then just, that's where the network part comes in, you find the other people who can speak to the more, I don't know, um, deeper things or more, you know, the other elements of this field.

442
00:58:18.869 --> 00:58:30.000
You can't learn at all. So yeah, take advantage of of the people that you have access to that are experts and.

443
00:58:30.000 --> 00:58:37.199
Mutual reliance on each other for the parts that you.

444
00:58:37.199 --> 00:58:40.230
Can't do, or don't know how to do. They can do. And.

445
00:58:40.230 --> 00:58:44.219
The price that they can't do, you can do work together.

446
00:58:44.219 --> 00:58:48.449
I love that Michelle mutual reliance.

447
00:58:48.449 --> 00:58:59.699
It's like a catalog model I want to. Thank you all for being here. Thank you so much. I know our attendees join us in taking Sarah and Jeremy and Michelle for offering this great info.

448
00:58:59.699 --> 00:59:03.510
Enjoy the rest of the conference.

449
00:59:03.510 --> 00:59:07.139
Hello.

450
00:59:07.139 --> 00:59:11.639
Just quickly then, and now there was a question from email.

451
00:59:11.639 --> 00:59:18.059
It's just what file are we going to be saving these impact for video platform and Ethan so there you go.

452
00:59:18.059 --> 00:59:23.760
That's a good preservation question.