Catherine Lacken Preservation in Television Archives Catherine Lacken, SWR

<> © SWR 2 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Overview Broadcast archives: Mandates Preservation management Formats in television archives Magnetic tapes DVDs Setting Preservation Priorities Preservation Projects Obsolescence Moving from the analogue to digital domain

<> © SWR 3 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Broadcast Archives 1. Department within broadcaster: Service department to support Production (and preserve cultural heritage) –Public service broadcasters –Commercial broadcasters –Small and or local community broadcasters 2. National audiovisual archives / National Broadcast Archives: Preserve cultural Heritage (and support production for external broadcasters)) –May be part of national archive or national library

<> © SWR 4 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Television Archives within Broadcasting Corporations Audiovisual archives One of many departments in a company –often lack of awareness of archival needs within company, competition for resources House programmes produced by the company usually after transmission High percentage of holdings are unique and are not available elsewhere Rights held on high percentage of programmes: Assets Professional tapes and recording equipment in house Technical infrastructure and know-how available

<> © SWR 5 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Mandates of Television Archives Preservation –Safeguard company assets: programmes produced by company –Preserve audiovisual cultural heritage (important where no legal deposit laws exist e.g. Germany) Access –Serve the needs of programme makers: provision of resources (stock footage) and information –Provide access to audiovisual cultural heritage

<> © SWR 6 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Aims of AV Preservation To ensure the long-term survival of audio-visual content and preserve its integrity To provide access to content in the present and in the future –unknown factor: access needs of the future Preservation and Access go hand in hand

<> © SWR 7 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Users of Television Archives In-house Programme planers –Repeat broadcasts –Re-versioning Programme Makers –Stock Footage PR Other departments –Financial, legal etc. External Programme exchange –Partners, TV networks Programme Sales Cultural Organisations Academic research General Public (public service broadcasters)

<> © SWR 8 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Access Descriptive metadata as means to find content that is sought Technical metadata with information on storage format: carrier Access to audiovisual content is only possible via replay equipment Logistics –Traffic - loan management –Copying facilities for external loans or where no access copy held –Satellite links for fast delivery

<> © SWR 9 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Tasks Slow down natural processes of decomposition by keeping physical carriers in optimal storage conditions Eliminate environmental hazards Protect originals by providing access copies Monitor physical condition of holdings Restore damaged carriers Maintain replay equipment for all formats held (especially for obsolete formats in collection) Migrate obsolete formats to newer formats to ensure continued accessibility

<> © SWR 10 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Passive –Preserving carriers for restoration/digitisation at a later stage –Storing in ideal environment (controlled temperature, relative humidity) to prevent or slow down decay Active –Transferring to newer formats –Restoration of carriers When financial resources are limited, emphasis on passive preservation measures

<> © SWR 11 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Formats in Television Archives Broadcast Masters –transmission tapes produced in advance of transmission (technical quality control), master for copies Production formats –post-production, news, current affairs; IT-sound track, clean feeds (important for stock footage) Viewing formats –to select footage or for general viewing; consumer formats

<> © SWR 12 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Common Formats in TV Archives 35mm Film (Negative and Positive) 16mm Film (Positive and Reversal) 16mm Negative Film 17,5 and 16mm separate magnetic sound tracks 16/35 mm Film with magnetic or optical sound track 2”, 1” tapes (B or C Format) U-Matic Low or High Band Betacam, Beta SP, Betamax D1, D2, D3, D5 …… DigiBeta Hi8 DVCpro25, DVCpro 50 IMX

<> © SWR 13 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken History of TV Formats at SWR Broadcast Masters – : 35mm Positive – : 16mm Positive – : 2” Quad tapes – : 1”B-Format – : Betacam SP – : D5 – DigiBeta – IMX –2005- Video Files

<> © SWR 14 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken History of TV Formats at SWR Production Formats – mm Negative/Positive – mm Negative/Positive – : 16mm Reversal Film – : U-Matic (3/4”) – Betacam SP – DigiBeta – DVCpro25, DVCpro50 –2002- IMX –2003- Video Files

<> © SWR 15 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken History of TV Formats at SWR Viewing Formats – mm Positive – mm Positive – mm reversal – : VCR – : VCC / V2000 – VHS – mpeg1/real video files – DVD

<> © SWR 16 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Television Formats: Carrier Categories Original recordings –Raw material / rough cuts / camera tapes –Off-air recordings of live broadcasts Transmission tapes Broadcast masters Different versions of programmes –With / without captions –With / without mixed commentary track (broadcast version) –With / without credits, title Copies –Loan for selection of footage or general viewing –Loan for broadcast (external users) All categories except copies are covered by preservation management

<> © SWR 17 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Formats in TV archives today Vast majority – Magnetic Tapes –Studio productions –Magazines –Recordings of live events, off-air recordings –Transmission tapes Film – high end productions – features, documentaries –Newsreels - reversal Files: news, current affairs; files for transmission

<> © SWR 18 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Magnetic Tapes Audio, video, analogue, digital Various band widths (<1/4” – 2”) Reel to reel, cassette Different recording techniques: helical scan, longitudinal scan Professional and consumer formats

<> © SWR 19 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Magnetic Tapes Physical composition –Base layer –Magnetic coating in which recorded signal is embedded –Adhesive holds two layers together

<> © SWR 20 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Magnetic tapes: storage Storage environment: 15 – 20° C, low humidity (35 – 55% RH) Production environment: often 20°+, acclimatisation Cassette: always rewind Store in upright position on shelf Keep away from magnets: danger of signal loss (= loss of content) Keep clean: tiny particles on surface interfere with interaction with heads on replay equipment

<> © SWR 21 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Threats to magnetic tapes Wear and tear – use in replay equiment, ejecting from player if not rewound Surface dirt / debris Binder degradition – hydrolisis Sticky shed syndrom Magnetism Obsolesence –Experience has shown that most magnetic tapes are obsolescent before the end of their natural life cycles (+/- 30 years)

<> © SWR 22 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken DVDs Consumer format designed for viewing Not archival format – data reduction Instability of medium: recording process –Dyes –Pressing Fragile – layer structure Compatibility issues

<> © SWR 23 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Management Metadata Tracking –Records of carrier loans – to whom, for what purpose Records of transferral from one format to another –Generation History: New carrier is copy of which old carrier Technical data –Machine / unit on which content recorded, used for transfers Condition monitoring –Records of checks and findings Brand names –Record with carrier information Digital tapes –Monitoring of BER (block error rates)

<> © SWR 24 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Strategy First Step: Assessment of Preservation Needs –Gain knowledge of general condition of collection –Define areas for active and passive preservation –Establish priority areas for active preservation

<> © SWR 25 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken A B C A: Carrier condition Chemical decay Physical decay Obsolete B: Carrier status Original/Master C: Content Unique High demand High value Setting Preservation Priorities

<> © SWR 26 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Television Archives SWR Stuttgart Format (approx. figures)Period of use 30,000 IMX tapes ,000 D5 tapes ,000 Digi-Beta tapes ,000 DVDs ,000 Beta SP tapes ,000 VHS tapes ,000 1“ MAZ open reel ,000 rolls 16mm Film + sep mag ,500 rolls 35mm Film + sep mag 1954 –1995 No 2“ MAZ open reel (migrated)1962 – 1986 No U-Matic cassettes (migrated)

<> © SWR 27 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Assessment of Collection: Problem areas SWR Television Archives Reversal film (news/current affairs 1962 – 1983) –original: held only on film (no copies, no rushes) –Degradation: bad splices, sticky shed, colour fade, wear and tear –Of long-term value/unique: depicts all aspects of society/no commercial broadcasters in Germany until 1980 –Obsolescent format within broadcaster: no duplication transfer facilities for short-term access needs –Restoration highly labour intensive: expensive

<> © SWR 28 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Assessment of Collection: Problem areas SWR Television Archives 35mm/16mm Film –Older b/w film: physical degradation: wear and tear, scratches etc. (in past used as viewing format) –Colour fading of earlier colour TV productions –Some evidence of chemical decomposition: Vinegar syndrome most noticeable for productions of 1960s, separate sound track especially vulnerable; not in danger zone yet –Transmission tapes and access formats available for most 16mm/35mm positive film: no more wear and tear of film likely

<> © SWR 29 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Assessment of Collection Condition: Problem areas 1“ tapes –Degradation of certain tape brands (mainly Agfa), oldest tapes in poor condition (1980s) –All tapes threatened by obsolescence: replay equipment within company being phased out –Part of collection original status: live recordings, original recording no longer exists –Inferior technical quality where 1“ represents 3rd archival generation (reflects technology limits of 60s/70s and not content integrity)

<> © SWR 30 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Implementation Steps Funding –Create awareness of value of assets at top management level: support + money What are the expected benefits, return on investment? How much has to be invested? Proposed plan of action –Lobby users –Publicity Collection gems Service provided by archive

<> © SWR 31 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Business Plan Putting a figure on the costs Assessment of collection –Volume –Condition –Content Assessment of Requisites for Project Realisation –Technical Personnel –Archival personnel (logistics, cataloguing backlog and deficits) –Equipment –Time Prioritisation –Selection criteria

<> © SWR 32 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Strategy: Concept Passive preservation where no immediate danger to content Transfer high priority film and 1“ tapes to digital format Active transfer when there is access demand Provision of optimal storage conditions for film and tapes before and after transfer to digital access format

<> © SWR 33 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Implementation: Priorities SWR Preservation Project High priority –Transfer 1” tapes with sticky shed to IMX tape Medium priority –Transfer remaining 1” originals to IMX 1” will not be supported by broadcaster after 2007 –16mm newsreels that have not been transferred to tape Later –Transfer remaining film to digital carrier –Create browsing files for legacy holdings –Transfer to high-res video mass storage system

<> © SWR 34 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation and Digitisation Projects 2002 – 2003 –1“ tapes with sticky shed (approximately 1500 tapes) 2004 – 2012 –28,000 1” tapes –5,200 hours of Film (newsreel + features, documentaries on negative/positive) –From 2008: files gradually to replace physical carriers as target format 2012 – 2018 ? –5,000 hours film (productions on negative/positive, remaining newsreel) ? –Content on other obsolete formats (D5, Beta SP) to be transferred to digital archival storage system

<> © SWR 35 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Project and Archival Personnel Logistics – moving material, tracking records etc. Parallel to the transfer to new carrier cataloguing input –technical metadata on carriers that was not recorded in database in the past –Missing content description –Updating, additional information, correction of entries etc.

<> © SWR 36 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation strategy today Cost conscious –Avoid large-scale format transfers –Balance between active and passive preservation measures –Application of selection criteria for active preservation Reflect digitisation policy of broadcaster –Help archive meet new production requirements: integration in digital workflows Lay foundation for video mass storage system

<> © SWR 37 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Criteria for digital archival preservation formats –Uncompressed, no data reduction –Standards based –Independent of storage media –Robust format –Non-proprietary systems –Affordable

<> © SWR 38 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Disdvantages of data reduction for archives Present day bandwidth constraints and prohibitive cost of uncompressed video storage likely to be resolved in not too distant future Today’s limitations should not become tomorrow’s handicap Transfers involving different systems of encoding and decoding within the production workflow lead to artifacts Data reduction does not preserve content integrity

<> © SWR 39 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Preservation Formats: Guidelines Broadcast archives must be involved in the decision-making process when new formats are being introduced Formats that do not meet the criteria of archival preservation formats should be avoided Loss of quality is the result of every transfer involving analogue recordings and when migrating from one digital encoding/decoding system and/or compression format to another Every format migration incurs enormous expense: if unsure about format, wait!

<> © SWR 40 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Obsolesence When new technology for production, transmission is introduced: Survival of content not necessarily endangered Access to content a problem when replay equipment becomes unavailable Access for production purposes problematical, especially for news and current affaires where there is demand for fast / instant access (copying takes time) Particular format information on carrier becomes important: –Old

<> © SWR 41 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Metadata TV formats - Film 35mm or 16mm Negative, Positive, Reversal Original, Copy Version: Complete production with or without titles and credits; short item for magazine programme, rushes, edited or unedited Separate sound track, optical or magnetic track on film, separate IT sound track

<> © SWR 42 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Metadata TV formats: Video - magnetic video Tape width: 2 inch, 1 inch, ¾ inch, ½ inch, ¼ inch Type: Quad, Betamax, U-Matic, Betacam Digibeta, VHS, V2000, IMX, DVCpro, D1, D2…….. Version: Off-air recording, broadcast master, take Original, copy, telecine Sound track information

<> © SWR 43 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Milestones in Television Development Film -> Magnetic tape B/w television -> colour television Linear editing (film) -> non-linear editing 4:3 aspect ratio ->16:9 aspect ration Analogue -> Digital broadcasting Content storage on physical carrier -> file Standard Definition -> High definition Year SWR (approx.) –

<> © SWR 44 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken TV Archives and New Formats: 1967 –1969 Introduction of colour TV In beginning colour productions denoted as such; no information = b/w production When b/w became the exception to the rule, no information = colour Transfer of information in paper catalogues to electronic database: information on all productions b/w or colour or colour with b/w

<> © SWR 45 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Attributes not recorded in earlier information systems Black-and-white Mono Analogue Aspect ratio 4:3 Standard definition As long as there is no alternative to such systems, this information of minor relevance

<> © SWR 46 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken TV Archives and New Formats: 2006 Introduction of 16:9 aspect ration Standardisation with introduction of new format: –Regulation of Technical Department that all new tapes must be labelled as one of the following: 4:3 4:3 letterbox 16:9 Full format 16:9 full format Letterbox This information entered in Archive Info System –Tapes prior to 2006 are not labelled 4:3 –Some older carriers are labelled “Letterbox”, usually meaning 4:3 letterbox; occasionally “16:9” as additional carrier information in free text data field Next step: High Definition TV –Necessity to distinguish between 16:9 SD – and 16:9 HD

<> © SWR 47 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Parallels between introduction of colour TV and 16:9 aspect ratio Improved image quality immediately obvious to viewer with “new technology” TV set – i.e. colour TV in late 1960’s, widescreen TV set today In changeover period problems with re-use of recent archive footage in “old” format (b/w – 4:3) Necessity to distinguish between old and new formats in archive information systems Problem: deficit in catalogue information for carriers deposited in archives before introduction of new technology –Not of major relevance to present, possibly to future

<> © SWR 48 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Differences Colour TV / aspect ration B/w cannot be converted to colour Colour viewed on b/w TV set looks like b/w production; no irritation on part of viewer 4:3 can be converted to 16:9 16:9 can be converted to 4:3 –However, the conversion methods entail loss of information (top, bottom or side of image), distortion of image (stretching, squeezing) or distracting black bars, non screen-filling image Conversion / reconversion increases the loss of picture quality

<> © SWR 49 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Metadata on TV formats in TV archive information systems: SWR Paper based catalogues –free text, more or less standardised carrier descriptions Databases introduced in late 1970’s, 1980’s –Standardised text fields, e.g. FESAD 1985: lists of carrier attributes to chose from, only listed terms allowed; one text field for additional non- standardised information Database updates, new data bases: 1990’s, 2000’s Increased standardisation; e.g. New FESAD 2004: enlarged list of carrier attributes to reflect new technology – pop-up lists, tick-box options Databases with video files (content) and metadata on both content and file format –Video files and metadata generated during production are linked with descriptive in archival cataloguing database

<> © SWR 50 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Film, Tapes, One item user at a time Heavy tape traffic Lossy format migration Tapes, Files Multiple, simultaneous and remote Access = reduced tape traffic, Lossless and automatic migration Bridge On the way from analogue to digital TV-archives today

<> © SWR 51 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Expectations for digital archives No loss of information in copying/migration process Automatic migration to new format generations Automatic quality control No external loans of carriers: – wear and tear minimised – no loss of carriers Savings in storage costs

<> © SWR 52 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Why digitise? To combat format obsolescence? For Access? –To provide a better service? –To meet new demands? –To reach new user groups? To save costs in long run? –Labour, storage, migration To make money? –Exploit new digital dissemination possibilities For preservation? Combination of some or all of the above?

<> © SWR 53 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Going Digital Definition of Digitisation To transfer content from analogue formats to digital carriers? Access for viewing/selection purposes using browsing files? Integration of TV archives in tapeless production environment? (high resolution files) Long-term storage of content in video mass storage systems instead of on shelf?

<> © SWR 54 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken Digitisation Policy Combine aims of provision of access with those of preservation Cost-conscious –Avoid large-scale manual format transfers –Balance between active and passive preservation measures –Application of selection criteria for active preservation Reflect new production requirements –Facilitate integration of archive within new digital production workflows Lay foundation for future digital archive system –Long-term perspective – now just the here and now

<> © SWR 55 Preservation Television Archives Tape Workshop, Glasgow 12 –16 May 2008, Catherine Lacken