Tracks - Gebruikersbijdragen [nl]

Jobstudent werkt op archief bij KVS

2020-10-05T07:50:33Z

Noortje Lambrichts:

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[[Bestand:Archief KVS resized.jpg|thumb|Archief KVS (foto: Jonathan Sommereyns)]]
[[Bestand:VGC Archief KVS resized.jpg|thumb|Archief KVS (foto: Jonathan Sommereyns)]]


De KVS nam deel aan het archiefdoorlichtingsproject voor podiumkunstenorganisaties van PACKED en Het Firmament. Het hieruit resulterende evaluatierapport bevatte een takenlijst die bij uitvoering op korte termijn het archiefbeheer kon optimaliseren. Om enkele van deze taken uit te voeren stelde de KVS een jobstudent aan. Op een korte tijd werd de archiefruimte onder handen genomen, het aanwezige archief in kaart gebracht, een nieuwe overdracht naar het AMVB voorbereid en wanneer gepast archief vernietigd.

==Status== 


*Archiefdoorlichtingstraject doorlopen: eind 2017 – mei 2018
*Evaluatierapport en takenlijst opstellen: eind mei 2018
*Zoektocht jobstudent: juni en juli 2018
*Werkzaamheden jobstudent: augustus 2018

==Probleemstelling== 


Doorheen de jaren is de archiefruimte van de KVS door een gebrek aan systematiek en afsprakenopvolging chaotisch geworden. Het is hierdoor moeilijk om het overzicht te bewaren en aan te geven wat in de archiefruimte opgenomen is en waar het zich bevindt. Een chaotische archiefruimte verhindert bovendien vaak het ondernemen van concrete stappen om de archiefzorg te verbeteren. De archiefruimte van het KVS biedt door de aanwezige infrastructuur echter veel mogelijkheden en ze wilden hier dan ook werk van maken. Op zich was de nodige opruimactie vrij eenvoudig. De vereiste focus en de intensieve tijdsinvestering (zij het op een korte periode) was voor de personeelsleden die hier in hun agenda of functieomschrijving geen ruimte voor hebben evenwel niet evident. Daarom werd in overleg met PACKED en Het Firmament besloten om een jobstudent met deze taak te belasten.

==Methode== 

===Deelname archiefdoorlichtingstrajet PACKED en Het Firmament=== 


In het najaar van 2017 startten PACKED en Het Firmament een nieuw archiefdoorlichtingstraject voor podiumkunstenorganisaties op. De deelnemers van het traject 2017-2018 waren de Koninklijke Vlaamse Schouwburg (KVS), het Nieuwstedelijk, Voetvolk en Theater Utrecht. Dit praktijkvoorbeeld behandelt het traject van de KVS, waarbij naast PACKED en Het Firmament ook het AMVB betrokken was.


De betrachting van het traject was om wederom via plaatsbezoeken, (zelf)evaluatie aan de hand van de TRACKS-richtlijnen, een workshop archiefzorg en specifieke begeleiding het archiefbeheer van de deelnemende organisaties te optimaliseren.

===Opstellen evaluatierapport en takenlijst=== 


Door deze verschillende werkvormen te combineren ontstaat zowel voor de deelnemende als begeleidende organisaties een goed zicht op de historische en huidige situatie, de problemen en de mogelijke oplossingen.


Op basis van deze analyse werd een evaluatierapport van de archiefwerking opgesteld, waarin naast een situatieschets (opgesteld op basis van een vragenlijst en de plaatsbezoeken) voornamelijk doelstellingen en prioritaire acties opgenomen werden. Deze werden vertaald en gebundeld in een overzichtelijke takenlijst, waarmee de organisaties aan de slag kunnen.


Deze lijst probeert een zo exhaustief mogelijk beeld te geven van de werkpunten, met een beoordeling van het belang van de verschillende werkpunten (laag, hoog, gemiddeld). Het is nadien aan de organisaties zelf om de prioriteiten op te lijsten en deze te vertalen in concrete handelingen, zowel op korte als op lange termijn.

===Prioritaire acties op korte termijn identificeren en uitvoeren=== 


De KVS besliste om na het doorlopen van het traject op korte termijn werk te maken van de volgende punten: in-situ fysiek archief in kaart brengen, ordenen en opruimen van de archiefruimte (die tevens de stock huisvest) en sensibilisering van het personeel met betrekking tot het digitale archief.


Voor de opruiming van de archiefruimte en het verder in kaart brengen van de fysieke archieven betrok de KVS op aanraden van Het Firmament, PACKED en het AMVB een jobstudent. Zo bekommerde Lotte Vrancken zich gedurende een maand om het KVS-archief. De geboekte vooruitgang is aanzienlijk.

===Opruimen en plaatsingslijst opstellen van de archiefruimte=== 


In eerste instantie werd de bestemde archiefruimte zorgvuldig opgeruimd en voorzien van een plaatsingslijst. De archiefruimte dient bij de KVS zowel om de stock in onder te brengen als om een deel van het werkingsarchief centraal te bewaren. Voornamelijk het promotiemateriaal komt hier terecht. Door het ontbreken van een methodiek en afspraken was het echter niet duidelijk wat hier allemaal terecht was gekomen en waar het zich bevond. De ontstane rommel droeg daarnaast bij aan het uitstellen van concrete acties.


De opruimactie van Lotte resulteerde in een goed overzicht van het aanwezige materiaal (door middel van een plaatsingslijst) en een grondige selectie van overbodig materiaal (dubbels). De ruimtebesparing (een container vol oud promotiemateriaal) en het overzicht dragen bij aan een betere bewaring in de toekomst.

===In-situ archief verder in kaart brengen=== 


Niet al het archief komt in de archiefruimte terecht. Een aanzienlijk deel bevindt zich op de bureaus en in kasten in de kantoorruimtes. Bovendien bevond zich ook nog archief in een lokaal bovenin het gebouw. Het in kaart brengen van dit archief werd ook aangevat, maar nog niet afgerond. Er is wel reeds meer kennis over het materiaal dat zich in het gebouw bevindt. Door de samenwerking, de gesprekken en het evaluatierapport heeft de KVS ook meer kennis over de inhoud van het archief dat reeds door het AMVB bewaard wordt. Doorheen de jaren verliepen de overdrachten via verschillende personeelsleden en onder verschillende directies. De kennis over de overdrachten en de inhoud van het archief dreigt zo langzaam uit de organisatie te verdwijnen, wat na het traject terug minder het geval is.

===Overdracht naar het AMVB=== 


Het verkrijgen van een overzicht en het opruimen van de archiefruimte moest ook resulteren in een nieuwe overdracht aan het AMVB. Sinds de eerste overdracht in 2004 droeg de KVS regelmatig archief over. Het bestand dat door het AMVB bewaard wordt, kreeg een aanzienlijke aanvulling op vlak van affiches en ook op vlak van de Bottelarij-periode. Dit archief kan nu ontsloten worden en ingezet worden in allerhande projecten en onderzoeken.

==Resultaten== 

===Overzichtelijke archiefruimte=== 


De archiefruimte van de KVS is door de creatie van een plaatsingslijst en een grondige schoonmaak en selectie terug overzichtelijk. Hierdoor weet men beter wat er allemaal in de archiefruimte bewaard wordt, worden de nodige documenten eenvoudiger teruggevonden en is het gemakkelijker om op basis van de takenlijst vervolgstappen te zetten.

===Plaatswinst in de archiefruimte=== 


Door de overdracht aan het AMVB, het verplaatsen van archiefvreemde objecten en het vernietigen van overbodige documenten is er aanzienlijke plaatswinst geboekt in de archiefruimte. In totaal verdween meer dan een container aan materiaal dat de KVS niet langer moest bewaren. Hierdoor wordt de kans op ongecontroleerd en onwenselijk verlies door plaatstekort aanzienlijk kleiner. De vrijgekomen ruimte laat ook toe om de documenten beter en veiliger te bewaren.

===In-situ archief in kaart gebracht=== 


Het archief dat zich in de gebouwen van de KVS bevindt is in beeld gebracht. In de archiefruimte is dit helemaal gelukt, in de rest van het gebouw gedeeltelijk. Om acties in het kader van de archiefzorg te doen is dit een onontbeerlijke handeling en een grote stap vooruit.

===Overdracht aan het AMVB=== 


De overdracht van promotiemateriaal en archief met betrekking tot de Bottelarij-periode aan het AMVB zorgt ervoor dat belangrijk theatererfgoed, zonder bijkomende inspanningen voor de KVS, langdurig bewaard en verwerkt wordt ter documentering, hergebruik en onderzoek.


''Auteur: Jens Bertels (AMVB)''


[[Categorie:Praktijkvoorbeelden|Categorie:Praktijkvoorbeelden]]
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Creatie van een videokunstwerk met het archief van de Beursschouwburg

2020-10-05T07:49:12Z

Noortje Lambrichts:

In 2015 vierde de Brusselse kunstorganisatie Beursschouwburg haar vijftigste verjaardag. Voor die gelegenheid werden allerlei festiviteiten georganiseerd waarbij werd teruggekeken naar het verleden, maar ook een blik werd geworpen op de toekomst. Jonge kunstenaars kregen de kans om hun ding te doen met het verleden van de instelling. Zo kreeg Floris Vanhoof de opdracht om een videomuur te maken met het videoarchief. Maar hoe maak je een nieuw werk met video's uit het archief van een kunstenorganisatie?

Het volgende verslag gaat over de mogelijkheid om archief te hergebruiken voor nieuw werk. Er wordt niet dieper ingegaan op de duurzame bewaring van videokunst. Je vindt meer informatie over duurzame bewaring van video- en mediakunst op [http://www.scart.be SCART].

==Probleemstelling==
Om de vijftigste verjaardag van Beursschouwburg te vieren, werden vroegere voorstellingen hernomen, oude werken opnieuw getoond en acties in het voetlicht geplaatst. Een aantal jonge kunstenaars kreeg de opdracht om een nieuw werk te maken over (de geschiedenis van) het huis. Of zoals ze het zelf stelden: 'De expo The future = Beurssc50uwburg, brengt oude bekenden uit het 50-jarige verleden samen met (jonge) kunstenaars die aan de slag gaan met gebouw of geschiedenis.' [http://florisvanhoof.com Floris Vanhoof] was één van die jonge kunstenaars en hij ging aan de slag met het audiovisuele archief van Beursschouwburg.

==Methode==
[[Bestand:FVanhoof_Videomuur2015_BramTack_2.jpg|800px|class=align-center|Floris Vanhoof, Videomuur, 2015. Foto Copyright: Bram Tack]]

===Identificatie van video's===
Het audiovisuele archief van Beursschouwburg bevond zich op twee plaatsen:
# Bij [http://www.artosarts.org/nl/ ARGOS], ''Centrum voor audiovisuele kunsten'', aan wie Beursschouwburg haar videoarchief had overgedragen.
# Bij Beursschouwburg zelf: daar werden een winkelkar en een aantal dozen 'ontdekt' met daarin videobanden in diverse formaten zoals Betacam, U-matic, Betamax, VHS, MiniDV en DVCAM. Niemand wist nog wat de inhoud van deze videobanden was.

Floris voelde zich aangetrokken tot de geschiedenis van Beursschouwburg en de rol die de organisatie speelde in de ontwikkeling van de Belgische videokunst. Bij Beursschouwburg heeft experimenteel en jong werk altijd centraal gestaan, waardoor multimedia- en videokunst een belangrijke plaats innamen. Zo was er in de jaren 1980 ''de Videotheek'' waar bezoekers ten alle tijden kunstfilms konden bekijken. Floris had zelf les gekregen van Frank Vranckx die in de jaren 1980 verantwoordelijk was voor de Videotheek en voor De Nieuwe Workshop werkte, dat later is opgegaan in Beursschouwburg.

Omdat men niet wist wat er op de gevonden video's stond, moest Floris de banden één voor één afspelen en bekijken. Gelukkig bezat Beursschouwburg voor ieder videoformaat de juiste afspeelapparatuur.

Wat stond er op die videobanden?
* gefilmde jaarverslagen;
* opvoeringen;
* interviews;
* vergaderingen;
* performances;
* concerten;
* theatervoorstellingen;
* videokunst;
* lezingen.

Uit deze videoregistraties selecteerde Floris vervolgens de fragmenten die hij het meest interessant vond. Dit waren onder meer beelden van:
* Een lezing van Mark Pauline over Survival Research Laboratories gecombineerd met demonstraties van Luc Steels, oprichter en toenmalig hoofd van het Artificial Intelligence Laboratory van de Vrije Universiteit Brussel (VUB);
* een lezing over een nieuwe huisstijl van Beursschouwburg;
* ''Hollywood fragments'', een found footage film van Albert Pepermans en Frank Vranckx;
* interieuropnames van de nog niet verbouwde Beursschouwburg.

===Gebruik van video's bewaard bij ARGOS===
Na het opdoeken van De Nieuwe Workshop in 1985 werd ARGOS opgericht, dat zich vanaf dan toelegde op de distributie van videokunst. De video's van de Videotheek werden zo onderdeel van de collectie van ARGOS. In december 2000 - januari 2001 droeg ook Beursschouwburg haar videoarchief over aan ARGOS. Frank Vranckx was één van de bezielers van De Nieuwe Workshop en één van de drijvende krachten achter de videokunst in België. Hij was regisseur bij de Audiovisuele Dienst van KUL en maakte met verschillende performers video's. Daarnaast was hij zelf gestart met de Videotheek van Beursschouwburg, waar hij ook de programmatie van video en beeldende kunst verzorgde. Bezoekers konden in die Videotheek videokunst bekijken. Daarvoor had Beursschouwburg overeenkomsten met grote distributeurs zoals Montevideo en Electronic Arts Intermix. Een aantal van die tapes werden na afloop niet teruggestuurd naar de distributeurs en bleven bij Beursschouwburg.

Floris was van plan om ook de video's van Beursschouwburg die zich ondertussen in de collectie van ARGOS bevonden, te bekijken en te gebruiken voor zijn werk. Hier stootte hij echter op moeilijkheden. De video's die hij bij ARGOS uitkoos, waren nog niet gedigitaliseerd en mochten omwille van conserveringsredenen niet meer worden afgespeeld. Dergelijke oude videobanden zijn te kwetsbaar om ze ter raadpleging aan te bieden. Daarbij had men bij ARGOS begrepen dat Floris de videobanden zelf (en niet een gedigitaliseerde versie ervan) wou gebruiken voor zijn installatie. Dat kon ARGOS als collectiebeherende instelling niet goedkeuren. Floris kon wel ter plaatse de hoezen van de videobanden bekijken.

Daarop besloot Floris om Frank Vranckx te interviewen en te filmen terwijl ze de papieren catalogus van de Videotheek doorbladerden en de beelden van Beursschouwburg bekeken. Frank had in zijn periode bij de Videotheek immers zelf die catalogus samengesteld. Het boeide Floris om te zien welke herinneringen en associaties deze geschreven archiefstukken bij Frank naar boven brachten.

Ook deze nieuwe beelden werden gebruikt voor de videomuur.

===Bouwen van de videomuur===
[[Bestand:FVanhoof_Videomuur2015_BramTack_3.jpg|800px|class=align-center|Floris Vanhoof, Videomuur, 2015. Foto Copyright: Bram Tack]]

De videomuur werd gemaakt met 26 beeldbuismonitors. Floris koos voor beeldbuismonitors om verschillende redenen. Ten eerste zijn ze de weergaveapparatuur bij uitstek om vroege videokunst te bekijken. Daarnaast is deze apparatuur op zich obsoleet en verslijtend, net zoals de videobanden zelf obsoleet zijn en verslijten. Met een magnetische schakelaar verdeelde hij het videosignaal over alle monitors.

Om de montage te maken, werden de video's gedigitaliseerd en verder bewerkt. De digitalisering gebeurde bij Sint-Lukas Brussel. De beelden werden helderder gemaakt om een grote impact te geven op de beeldbuismonitors. Er werd niet gedigitaliseerd met het oog op lange termijnbewaring. Integendeel, het waren net de aspecten van verval die Floris interessant vond. Het was ook niet de bedoeling dat zijn kunstwerk voor de eeuwigheid mee gaat. Door de kracht van de magneetschakelaar die het videosignaal over alle monitors verdeelde, werd het signaal ook vervormd. Daarnaast verzwakte het videosignaal, waardoor de beelden steeds minder duidelijk werden, naarmate ze over meerdere monitors werden verdeeld.

===Opening van de videomuur===
De aftrap van de feestperiode van Beursschouwburg begon met een marathonfeest van vijftig uur, waarin vijftig activiteiten werden aangeboden. Eén ervan was de live scheepsdoop van de videomuur, waar Floris een performance hield.

==Resultaten==
* Er werd een videowerk gemaakt met het video-archief van Beursschouwburg. Floris is erin geslaagd om de video's die zich bij Beursschouwburg bevonden te bekijken en te identificeren en om de gewenste fragmenten te digitaliseren.
* Door het werk van Floris werden de video's bij ARGOS door de huidige medewerkers van Beursschouwburg 'herontdekt'. De achtergebleven videobanden bij Beursschouwburg werden geïnventariseerd en overgebracht naar ARGOS. Er worden stappen ondernomen om ze te laten digitaliseren zodat dit audiovisueel archief ook in de toekomst bewaard blijft.

''Auteur: Nastasia Vanderperren (meemoo)''

[[Categorie:Praktijkvoorbeelden]]

Maak een inventaris met beschrijvingen op reeksniveau (scenario 2)

2020-10-05T07:38:13Z

Noortje Lambrichts:

In deze tool beschrijven we hoe je een inventaris kunt maken voor je archief. Een inventaris is een instrument om je archief toegankelijk te maken. Voor meer info over archieftoegangen en de verschillende instrumenten die je hiervoor kunt gebruiken kun je terecht bij de tool [[Maak een archieftoegang en beschrijf je archief]].

In deze tekst gaan we nader in op het maken van een inventaris op '''reeksniveau'''.

[[Bestand:Vlaggenkar.JPG|300px]]

==Overzicht==
Een inventaris is een overzicht van de inhoud van het archief waarbij een bepaalde ordening wordt gehanteerd. Alle archiefstukken of objecten worden beschreven op basis van deze ordeningsstructuur. Dit in tegenstelling tot de plaatsingslijst, waarbij het archief wordt beschreven in de volgorde waarin het in het rek staat.

Een inventaris op reeksniveau groepeert alle stukken of objecten die gelijkaardig zijn of die zijn opgesteld vanuit dezelfde functie, in reeksen om ze op die manier te beschrijven. Een voorbeeld zijn de productiedossiers, die in één serie zijn samengebracht en als één geheel worden beschouwd.

'''''Voordelen:'''''
* Dankzij de ordening zijn de archiefstukken en objecten zeer makkelijk terug te vinden.
* De context van de stukken kan worden afgeleid uit de structuur van de ordening, wat een goede aanvulling is op de beschrijving van de stukken.
* Aan een geordende inventaris kunnen makkelijk nieuwe stukken worden toegevoegd zonder de rest te verstoren.
* Bij een fysieke herordening of verhuis van het archief hoef je de inventaris niet aan te passen.

'''''Nadelen:'''''
* Het opstellen van een inventaris is tijdrovend.
* Iemand moet nadien opvolgen dat aanvullingen aan de inventaris op de juiste plaats worden toegevoegd.

Het opstellen van een inventaris gaat al zeer ver en is eigenlijk gespecialiseerd werk voor de erfgoedsector. Als je van plan bent een inventaris te maken, contacteer dan een van de partners van TRACKS voor begeleiding.

==Werkwijze==
Er zijn twee mogelijke trajecten die gevolgd kunnen worden.

===Optie 1: Je archief is geordend, maar nog niet beschreven===
Als je archief fysiek al geordend is (alle bij elkaar horende stukken of objecten staan bij elkaar), hoef je enkel nog de reeksen te beschrijven.

''Stap 1''. Leg de structuur van het archief vast in de vorm van een archiefschema. Dit is een soort inhoudstafel. Je krijgt zo een overzicht van alle afdelingen en onderafdelingen die je voor je eigen archief hebt vastgelegd. Voor het digitale archief kan je een afdruk of overzicht maken van de mappenstructuur.

''Stap 2''. Maak voor elke reeks of deelverzameling een beschrijving met de onderstaande onderdelen:
* Inventarisnummer of doosnummer
* Redactionele vorm
* Inhoudelijke beschrijving van de stukken. Wees hierin beknopt maar probeer toch voldoende informatie te geven over de inhoud.
* Datering van de reeks: begin- en einddatum
* Omvang van de reeks: hoeveel mappen, dozen of dossiers?
* Vindplaats: waar wordt het bewaard?

Deze [[:Bestand:Inventarisfiche_Toelichting.doc|tabel]] geeft aan wat er met elk onderdeel bedoeld wordt, met als verschil dat je alles enkel op reeksniveau beschrijft. De vindplaats van de stukken is af te leiden uit de inventaris- of doosnummers.

===Optie 2: Je archief is beschreven, maar nog niet geordend===
In de meeste gevallen zal je archief nog niet geordend zijn, maar is er (van een deel) wel een beschrijving beschikbaar, doorgaans in de vorm van een plaatsingslijst. Door in deze lijsten een ordening aan te brengen, kan een plaatsingslijst makkelijk worden omgezet naar een volwaardige inventaris.

''Stap 1''. Maak een ordeningsplan of mappenstructuur voor je archief. Je kan hiervoor vertrekken vanuit de plaatsbeschrijving. Bekijk onze tool [[Maak een ordeningsplan/mappenstructuur]] voor het uitwerken van een goede structuur.

''Stap 2''. Verdeel de beschrijvingen over de afdelingen en onderafdelingen van de ordeningsstructuur. Breng ze hierbij zoveel mogelijk onder in coherente reeksen. Dit zal natuurlijk niet voor alle stukken en objecten lukken. Beschouw deze stukken als reeksen met één onderdeel.

Wanneer je de beschrijvingen bij de ordeningsstructuur onderbrengt, zal je merken dat de fysieke ordening van de stukken in de dozen afwijkt van de ‘intellectuele ordening’ die je in de inventaris zal hanteren. De dozen hebben immers een doorlopende nummering (1,2,3,...), terwijl in de inventaris de nummers elkaar niet per se opvolgen. De reflex in deze situatie is om het archief te willen hernummeren. Dit wordt om verschillende redenen sterk afgeraden:
* Via de inventaris kan je alle archiefdozen vlot terugvinden en maakt het niet uit dat dossiers uit dezelfde reeks fysiek niet naast elkaar staan. De inventarisnummers fungeren in feite als plaatsingscodes en vormen de verbinding tussen de abstracte beschrijving in de inventaris en het fysieke stuk. Een hernummering biedt hiervoor helemaal geen meerwaarde.
* Hernummeren is tijdrovend.
* De kans op het maken van fouten is groot.
* Bij elke aanvulling op het archief moet je alles opnieuw hernummeren. Het is dus niet alleen nutteloos, maar ook onbegonnen werk.

''Stap 3''. Indien nodig, kunnen de bestaande beschrijvingen nog worden aangepast of uitgebreid. De beschrijvingen in een plaatsingslijst zijn meestal te summier om rechtstreeks over te nemen in een inventaris. Maak van het moment gebruik om ze beter te maken.

''Auteur: Florian Daemen ([[AMVB - Archief en Museum voor het Vlaams Leven te Brussel|AMVB]]), Wim Lowet ([[Vlaams Architectuurinstituut|VAi]])''
[[Categorie:2. Ordenen en beschrijven]]

Maak een plaatsingslijst (scenario 1)

2020-10-05T07:37:10Z

Noortje Lambrichts:

In deze tool beschrijven we hoe je een plaatsingslijst kunt maken voor je archief. Een [[plaatsingslijst]] is een instrument om je archief toegankelijk te maken. Voor meer info over archieftoegangen en de verschillende instrumenten die je hiervoor kunt gebruiken, kan je terecht bij de tool [[Maak een archieftoegang en beschrijf je archief]].

[[Bestand:Bibliotheek.JPG|x300px]]

==Wat is een plaatsingslijst==
Een plaatsingslijst geeft een overzicht van alle verpakkingseenheden van het archief (per doos of map) in de volgorde waarin ze fysiek staan opgesteld. Per doos of map wordt er via een beknopte beschrijving aangegeven welke stukken er zich in die doos bevinden en wat de vindplaats ervan is in de bewaarruimte(s). Een plaatsingslijst is niet gebaseerd op een bepaalde ordening, maar geeft enkel summiere beschrijvingen van de dozen zoals ze fysiek in het rek staan. Het documenteert met andere woorden de situatie zoals ze is.

'''''Voordelen:'''''
* Een plaatsingslijst is de makkelijkste en snelste van de vier types toegangen om samen te stellen.
* De ordening op de lijst komt overeen met de fysieke ordening van de dozen.

'''''Nadelen:'''''
* Door het ontbreken van een inhoudelijke ordening is het vaak moeilijk om specifieke stukken in de lijst terug te vinden.
* Je krijgt geen gestructureerd overzicht van je archief of collectie(s).
* De context van de stukken en objecten is niet af te leiden uit de structuur van de lijst.
* Door te summiere beschrijvingen is het vaak moeilijk om te weten om welke stukken of objecten het gaat.
* Wanneer delen van het archief of de collectie(s) worden verhuisd, verplaatst of opnieuw geordend, klopt de lijst niet meer.

Een plaatsingslijst wordt het best gebruikt wanneer een archief snel in kaart moet worden gebracht en er geen tijd is om een meer gedetailleerde toegang samen te stellen. Plaatsingslijsten worden vaak opgesteld als voorbereiding op een verhuis of overdracht naar een archiefinstelling. Een plaatsingslijst is een goede hulp om bij te houden waar elk archiefstuk of object fysiek staat, maar door het gebrek aan een interne ordening is het eigenlijk niet geschikt om gebruikt te worden als een volwaardige inventaris van je archief of collectie(s). Een plaatsingslijst is doorgaans een ‘noodoplossing’ bij gebrek aan beter. In afwachting van en als voorbereiding op een volwaardige inventaris kan het wel dienen als voorlopige toegang.

Bij heel kleine archieven of collectie(s) is het gebrek aan een interne ordening bij plaatsingslijsten minder een probleem. Als je archief bestaat uit slechts een twintigtal dozen, is een plaatsingslijst vaak meer dan voldoende. Bij grotere archieven of collecties overweeg je het best om een meer uitgebreide toegang samen te stellen.

==Werkwijze==
''Stap 1.''
Geef alle mappen en dozen in je archief een oplopend volgnummer. Noteer dit nummer ook duidelijk op de dozen.

''Stap 2.''
Maak een plan van je bewaarruimte en geef elk rek/kast een uniek nummer. Eventueel ken je ook aan elk schap een eigen nummer toe. Zorg ervoor dat deze nummers een bepaalde logica volgen zodat je ze makkelijk kan terugvinden (vb. 24.5 is het vijfde schap in kast 24).

''Stap 3.''
Noteer voor elke doos de volgende basiselementen:
* doosnummer (inventarisnummer);
* redactionele vorm;
* inhoud;
* datering;
* vindplaats of locatie in je bewaarruimte, gebruik hiervoor het rek- of schapnummer.

Deze [[:Bestand:Toelichting_plaatsingslijst.doc|tabel]] licht toe wat de bovenstaande elementen precies inhouden. Zorg ervoor dat de beschrijvingen in de lijst in dezelfde volgorde staan als de dozen in het rek.

'''Tip:''' je kan Excel of een equivalent programma gebruiken om de beschrijvingen te noteren. Investeren in een duur archiefbeschrijvingsprogramma is helemaal niet nodig. Dit [[:Bestand:Sjabloon_plaatsingslijst.xlsx|sjabloon]] voor een plaatsingslijst, opgemaakt in Excel, kan in zijn eenvoud perfect dienen.

''Auteurs: Florian Daemen ([[AMVB - Archief en Museum voor het Vlaams Leven te Brussel|AMVB]]), Wim Lowet ([[Vlaams Architectuurinstituut|VAi]])''
[[Categorie:2. Ordenen en beschrijven]]

Maak een inventaris met beschrijvingen op reeksniveau (scenario 2)

2020-10-05T07:33:51Z

Noortje Lambrichts:

In deze tool beschrijven we hoe je een inventaris kunt maken voor je archief. Een inventaris is een instrument om je archief toegankelijk te maken. Voor meer info over archieftoegangen en de verschillende instrumenten die je hiervoor kunt gebruiken kun je terecht bij de tool [[Maak een archieftoegang en beschrijf je archief]].

In deze tekst gaan we nader in op het maken van een inventaris op '''reeksniveau'''.

[[Bestand:Vlaggenkar.JPG|300px]]

==Overzicht==
Een inventaris is een overzicht van de inhoud van het archief waarbij een bepaalde ordening wordt gehanteerd. Alle archiefstukken of objecten worden beschreven op basis van deze ordeningsstructuur. Dit in tegenstelling tot de plaatsingslijst, waarbij het archief wordt beschreven in de volgorde waarin het in het rek staat.

Een inventaris op reeksniveau groepeert alle stukken of objecten die gelijkaardig zijn of die zijn opgesteld vanuit dezelfde functie, in reeksen om ze op die manier te beschrijven. Een voorbeeld zijn de productiedossiers, die in één serie zijn samengebracht en als één geheel worden beschouwd.

'''''Voordelen:'''''
* Dankzij de ordening zijn de archiefstukken en objecten zeer makkelijk terug te vinden.
* De context van de stukken kan worden afgeleid uit de structuur van de ordening, wat een goede aanvulling is op de beschrijving van de stukken.
* Aan een geordende inventaris kunnen makkelijk nieuwe stukken worden toegevoegd zonder de rest te verstoren.
* Bij een fysieke herordening of verhuis van het archief hoef je de inventaris niet aan te passen.

'''''Nadelen:'''''
* Het opstellen van een inventaris is tijdrovend.
* Iemand moet nadien opvolgen dat aanvullingen aan de inventaris op de juiste plaats worden toegevoegd.

Het opstellen van een inventaris gaat al zeer ver en is eigenlijk gespecialiseerd werk voor de erfgoedsector. Als je van plan bent een inventaris te maken, contacteer dan een van de partners van TRACKS voor begeleiding.

==Werkwijze==
Er zijn twee mogelijke trajecten die gevolgd kunnen worden.

===Optie 1: Je archief is geordend, maar nog niet beschreven===
Als je archief fysiek al geordend is (alle bij elkaar horende stukken of objecten staan bij elkaar), hoef je enkel nog de reeksen te beschrijven.

''Stap 1'':
Leg de structuur van het archief vast in de vorm van een archiefschema. Dit is een soort inhoudstafel. Je krijgt zo een overzicht van alle afdelingen en onderafdelingen die je voor je eigen archief hebt vastgelegd. Voor het digitale archief kan je een afdruk of overzicht maken van de mappenstructuur.

''Stap 2'':
Maak voor elke reeks of deelverzameling een beschrijving met de onderstaande onderdelen:
* Inventarisnummer of doosnummer
* Redactionele vorm
* Inhoudelijke beschrijving van de stukken. Wees hierin beknopt maar probeer toch voldoende informatie te geven over de inhoud.
* Datering van de reeks: begin- en einddatum
* Omvang van de reeks: hoeveel mappen, dozen of dossiers?
* Vindplaats: waar wordt het bewaard?

Deze [[:Bestand:Inventarisfiche_Toelichting.doc|tabel]] geeft aan wat er met elk onderdeel bedoeld wordt, met als verschil dat je alles enkel op reeksniveau beschrijft. De vindplaats van de stukken is af te leiden uit de inventaris- of doosnummers.

===Optie 2: Je archief is beschreven, maar nog niet geordend===
In de meeste gevallen zal je archief nog niet geordend zijn, maar is er (van een deel) wel een beschrijving beschikbaar, doorgaans in de vorm van een plaatsingslijst. Door in deze lijsten een ordening aan te brengen, kan een plaatsingslijst makkelijk worden omgezet naar een volwaardige inventaris.

''Stap 1'':
Maak een ordeningsplan of mappenstructuur voor je archief. Je kan hiervoor vertrekken vanuit de plaatsbeschrijving. Bekijk onze tool [[Maak een ordeningsplan/mappenstructuur]] voor het uitwerken van een goede structuur.

''Stap 2'':
Verdeel de beschrijvingen over de afdelingen en onderafdelingen van de ordeningsstructuur. Breng ze hierbij zoveel mogelijk onder in coherente reeksen. Dit zal natuurlijk niet voor alle stukken en objecten lukken. Beschouw deze stukken als reeksen met één onderdeel.

Wanneer je de beschrijvingen bij de ordeningsstructuur onderbrengt, zal je merken dat de fysieke ordening van de stukken in de dozen afwijkt van de ‘intellectuele ordening’ die je in de inventaris zal hanteren. De dozen hebben immers een doorlopende nummering (1,2,3,...), terwijl in de inventaris de nummers elkaar niet per se opvolgen. De reflex in deze situatie is om het archief te willen hernummeren. Dit wordt om verschillende redenen sterk afgeraden:
* Via de inventaris kan je alle archiefdozen vlot terugvinden en maakt het niet uit dat dossiers uit dezelfde reeks fysiek niet naast elkaar staan. De inventarisnummers fungeren in feite als plaatsingscodes en vormen de verbinding tussen de abstracte beschrijving in de inventaris en het fysieke stuk. Een hernummering biedt hiervoor helemaal geen meerwaarde.
* Hernummeren is tijdrovend.
* De kans op het maken van fouten is groot.
* Bij elke aanvulling op het archief moet je alles opnieuw hernummeren. Het is dus niet alleen nutteloos, maar ook onbegonnen werk.

''Stap 3'':
Indien nodig, kunnen de bestaande beschrijvingen nog worden aangepast of uitgebreid. De beschrijvingen in een plaatsingslijst zijn meestal te summier om rechtstreeks over te nemen in een inventaris. Maak van het moment gebruik om ze beter te maken.

''Auteur: Florian Daemen ([[AMVB - Archief en Museum voor het Vlaams Leven te Brussel|AMVB]]), Wim Lowet ([[Vlaams Architectuurinstituut|VAi]])''
[[Categorie:2. Ordenen en beschrijven]]

Ingebedde metadata bij foto's

2020-10-05T07:30:31Z

Noortje Lambrichts:

Metadata zijn gestructureerde gegevens die informatie bevatten over de identificatie, het beheer, de aard, het gebruik en de bewaarplaats van fysieke of digitale bronnen. Het zijn in feite data over data. We onderscheiden twee types metadata :

* Descriptieve metadata: gegevens over de inhoud, die helpen bij het identificeren, contextualiseren en vinden van je foto’s;
* Administratieve metadata: leveren informatie over het beheer van de bron zoals rechtenbeheer, de relatie tussen individuele bronnen die samen een eenheid vormen, preservering en conservering, en technische kenmerken van je foto’s (resolutie, bitdiepte,...).

De metadata van digitale bronnen kunnen zowel buiten als binnen het beschreven bestand worden bewaard. Als de metadata buiten het beschreven bestand worden bewaard, gebeurt dat doorgaans in een apart rekenblad of in een databank.

Als metadata binnen het bestand zelf worden bewaard, gebeurt dat in de vorm van '''ingebedde metadata''' (embedded metadata). Omdat de metadata dan gekoppeld is aan het digitaal bestand in kwestie, kunnen de metadata en de beschreven inhoud niet meer van elkaar gescheiden worden. Het digitale bestand is als het ware zelfbeschrijvend geworden.

Ingebedde metadata worden veelvuldig gebruikt voor digitale fotobestanden. Het gaat in de eerste plaats om '''technische (administratieve) metadata''' zoals een tijdsaanduiding, gegevens over de gebruikte camera en camera-instellingen en gps-coördinaten. Deze metadata kunnen verder worden aangevuld met gegevens die de '''inhoud en context''' van de foto beschrijven. Denk bijvoorbeeld aan titel en jaar van het gefotografeerde kunstwerk, de titel van de productie, de naam van de fotograaf of de licentie die van toepassing is.

==Waarom metadata inbedden?==
Het toevoegen van ingebedde metadata aan digitale foto’s is belangrijk voor het beheer en de ontsluiting van de foto’s in kwestie. Ingebedde metadata verzekeren dat het digitale bestand en de bijhorende identificerende en beschrijvende informatie niet zomaar van elkaar gescheiden worden.

Bij fysieke foto’s en audiovisuele dragers is de beschrijvende informatie over een werk vaak materieel bevestigd aan de drager. Op de achterkant van een foto staat bijvoorbeeld geschreven wie of wat er op de foto staat, terwijl het label of de verpakking van een vinylplaat of een videocassette alle informatie geeft over de inhoud. Door deze materiële connectie, wordt de beschrijvende informatie altijd mee verplaatst met het fysieke object.

Het inbedden van metadata volgt hetzelfde principe en komt er in feite op neer dat de informatie op de ‘achterkant’ van de digitale foto wordt geschreven, zodat ze niet zomaar van elkaar gescheiden kunnen worden en de koppeling tussen bestand en beschrijvende informatie behouden blijft. Het inbedden van metadata verhoogt ook de doorzoekbaarheid van je fotocollectie, zeker wanneer je inhoudelijke gegevens hebt toegevoegd.

'''''Voordelen:'''''
* Ingebedde metadata verbeteren de vindbaarheid van digitale bestanden. Via zoekprogramma’s kan je bijvoorbeeld naar specifieke metadata zoeken.
* Wanneer je digitale bestanden verspreidt voor (her)gebruik, worden de ingebedde metadata vaak samen met de digitale bestanden verspreid. De (her)gebruiker kan op die manier achterhalen wie of wat er op de foto staat afgebeeld, wie de maker van de foto is en onder welke voorwaarden hij de foto mag (her)gebruiken.
* De ingebedde technische metadata worden steeds bijgewerkt wanneer het beschreven digitale bestand verandert en blijven bijgevolg actueel.
* De metadata die zijn toegevoegd door gebruikers van het digitaal bestand kunnen automatisch uitgelezen worden naar je eigen databank.

'''''Nadelen:'''''
* Wanneer er afgeleiden van een origineel bestand gemaakt worden, is het mogelijk dat de ingebedde metadata niet worden overgenomen. In zo’n gevallen moeten ze nadien manueel worden toegevoegd.
* Bij de migratie van digitale bestanden naar een ander formaat is het mogelijk dat bepaalde metadata overschreven of vervangen worden.
* Metadata die in een centrale databank worden beheerd kan je makkelijk in bulk aanvullen en bewerken. Ingebedde metadata moet je per bestand bewerken, of je moet hiervoor externe programma’s inschakelen.
* Wanneer bestanden met ingebedde metadata niet meer geopend kunnen worden, zal de metadata wellicht ook niet meer toegankelijk zijn.

==Praktische aanpak==
===Wanneer voeg je metadata toe?===
Om te voorkomen dat er belangrijke informatie verloren gaat, worden de metadata liefst zo snel mogelijk aan een digitaal fotobestand toegevoegd. Het moment dat je de digitale foto’s wil archiveren, is een goed moment om na te gaan welke metadata er reeds zijn ingebed bij de foto en welke informatie je nog nodig hebt om de foto verder te beschrijven (zie ook de tool [[Maak een archieftoegang en beschrijf je archief]]). Foto’s die van oorsprong digitaal zijn, bevatten meestal al ingebedde (technische) metadata, die verder kan worden aangevuld met inhoudelijke gegevens. De technische metadata van digitale foto’s worden doorgaans automatisch aangemaakt en hoeven alleen maar te worden gecontroleerd. Inhoudelijke metadata moet je echter zelf toevoegen.

Van oorsprong analoge foto’s die gedigitaliseerd zijn, moeten ook van de juiste metadata worden voorzien (zie ook de tool [[Kwaliteitsvol digitaliseren van tekst- en beeldmateriaal]]). In tegenstelling tot foto’s van digitale oorsprong moeten de technische metadata bij gedigitaliseerde analoge foto’s zelf worden aangemaakt en toegevoegd.

Problematisch is dat bij analoge foto’s de technische metadata doorgaans nooit zijn bijgehouden, waardoor ze ook niet aan het gedigitaliseerde bestand kunnen worden toegevoegd. Kijk welke gegevens je nog kan terugvinden en voeg deze toe. Sommige metadata, zoals bijvoorbeeld de resolutie, worden aangemaakt op het moment van digitalisering van een analoge foto.

Niet alle informatie moet per se als metadata bij de foto’s worden ingebed. Een duidelijke mappenstructuur voor je digitaal archief levert vaak al veel contextuele informatie op (zie hiervoor ook de tools [[Maak een ordeningsplan/mappenstructuur]] en [[Naamgeving van mappen en bestanden]]). Je hoeft bijvoorbeeld bij de foto’s in de map “Nieuwjaarsreceptie_2019” niet nog eens bij elke individuele foto inhoudelijke metadata inbedden die aangeeft dat het om die specifieke receptie gaat.

Inhoudelijke metadata wordt het best zo snel mogelijk toegevoegd, wanneer de informatie nog ‘vers’ in je geheugen zit. Hoe langer je wacht, hoe meer informatie er verloren zal gaan.

===Hoe kan je metadata toevoegen en bewerken?===
De meeste programma's waarmee je foto's opent of bewerkt, laten je toe om de ingebedde metadata van een bestand te zien.

[[Bestand:256px-Konqueror_Exif_data.jpg|300px|class=align-left]]

Online tools als [http://metapicz.com/#landing Metapicz] en [http://www.exifdata.com/ Exifdata] tonen je welke ingebedde metadata er bij een foto zijn opgeslagen. Fotobewerkingssoftwares als [https://www.gimp.org/ GIMP] (gratis en open source software) en [https://www.adobe.com/products/photoshop.html Adobe Photoshop] (betalende, propriëtaire software) laten je toe om (een vaak beperkte set aan) metadata van een digitaal fotobestand te raadplegen en om de metadatavelden te bewerken.

===Welke standaarden gebruik je?===
Bij het beheer van digitale bestanden komen allerlei soorten software kijken, die allemaal de ingebedde metadata nodig hebben om optimaal te kunnen functioneren. Het is daarom van belang dat de ingebedde metadata door al die verschillende software probleemloos gelezen kunnen worden. Dit wordt verzekerd door het gebruik van '''internationale standaarden'''. Deze zorgen ervoor dat de software weet waar en onder welke vorm ze bij een digitaal bestand de ingebedde gegevens kunnen terugvinden. Enkele veel gebruikte standaarden zijn: IPCT Photo Metadata Standard, Exif en XMP.

'''IPTC Photo Metadata Standard''' is een standaard voor het beschrijven van foto’s die wereldwijd wordt gebruikt door onder meer nieuwsagentschappen, fotografen, bibliotheken en musea. IPTC structureert en definieert metadata-eigenschappen zodat gebruikers precieze en betrouwbare gegevens kunnen toevoegen. Die gegevens hebben betrekking op de afgebeelde mensen, plekken en objecten. Ze bevatten data, namen, informatie over rechten en identificators met betrekking tot de creatie van de foto. De standaard kan gebruikt worden bij veelgebruikte formaten als JPEG, TIFF en PNG. Zie hiervoor ook de tool Aanbevolen bestandsformaten om je digitaal archief leesbaar te houden.

'''Exif''' ''(Exchangeable Image File Format)'' is een standaard voor ingebedde metadata die men vaak aantreft bij foto’s (vooral JPEG- en TIFF-bestanden), maar die ook wordt gebruikt voor audiobestanden (WAV-bestanden). De Exif-standaard is echter niet bruikbaar bij GIF-, JPEG2000- en PNG-bestanden. De standaard omvat gegevens betreffende de tijdsaanduiding, de camera-instellingen, gps-informatie, auteursrechtelijke informatie, beschrijvingen en een thumbnail voor voorvertoning.

Samen met de IPTC- en Exif-gegevens wordt meestal ook '''XMP'''-informatie (Extensible Markup Platform) opgenomen. Die standaard laat toe om bestaande metadataschema’s die er niet in passen naast het XMP-schema te behouden. XMP kan gebruikt worden voor AIFF-, GIF-, JPEG-, JPEG2000-, MP3-, MP4-, PDF-, PNG-, PSD-, TIFF- en WAV-bestanden.

''Auteur: Sam Donvil ([[Meemoo, Vlaams instituut voor het archief|meemoo]]), Bart Magnus ([[Meemoo, Vlaams instituut voor het archief|meemoo]]), Florian Daemen ([[AMVB]])''
[[Categorie:2. Ordenen en beschrijven]]

Het identificeren en beschrijven van audiovisueel materiaal

2020-10-05T07:28:04Z

Noortje Lambrichts:

Als kunstenaar of kunstenorganisatie heb je in de loop der jaren wellicht veel audiovisueel materiaal aangemaakt of verzameld. Sommige audiovisuele documenten hebben rechtstreeks te maken met je eigen activiteiten en ontstonden tijdens het creatieproces, of zijn het resultaat van een artistieke activiteit of productie. Anderen staan er iets verder van af en zijn mogelijk via derden in je archief terecht gekomen of hebben er zelfs helemaal niets mee te maken. Een collectie van audiovisueel materiaal is waardevol, maar niet elk stuk is even interessant of relevant.

In het beste geval bevinden het hele audiovisuele archief en collectie zich op dezelfde locatie en staan de inhoud en creatiedatum netjes genoteerd op de dragers. Zeer vaak is dat echter niet het geval en ligt de collectie verspreid over verschillende ruimtes of zijn de labels met de tijd losgeraakt.

En dan is er nog de grote diversiteit aan soorten audiovisuele dragers (het fysieke medium waarop het signaal of de opname is vastgelegd)<ref>Zie: R.Vissers, Verzeker de bewaring. Aflevering audiovisueel materiaal, 2014 (https://s3.amazonaws.com/verzekerdebewaring/aflevering_audiovisueel_materiaal.pdf), p.3.</ref>, en de verschillende toestellen die nodig zijn om ze af te kunnen spelen. Met een beetje geluk ken je iemand die nog werkende apparatuur bezit, maar je komt al te vaak dragers tegen waarvan je niet weet hoe je ze nog kan afspelen. Dit terwijl ze ongetwijfeld een erfgoedwaarde of een persoonlijk belang hebben. Audiovisuele stukken zijn kwetsbaarder dan papieren archiefstukken en vereisen dat je de juiste stappen neemt om ze toegankelijk en raadpleegbaar te houden. Digitalisering is doorgaans de meest aangewezen optie.

Voor het verdere behoud en beheer van je audiovisueel materiaal, ook als je het digitaliseert, is het belangrijk dat je het eerst beschrijft. Hierdoor krijg je een beter zicht op je audiovisuele collectie en welke delen het belangrijkste of meest waardevol zijn. Dit artikel maakt duidelijk hoe archief- en collectiebeheerders die niet gespecialiseerd zijn in audiovisuele materialen, dat op een eenvoudige manier kunnen doen. Zo kan je de persoonlijke waarde of erfgoedwaarde van delen van je archief en collectie(s) inschatten en geïnformeerd beslissen wat en hoe je iets wilt bewaren in de toekomst en wat je eventueel wilt (laten) digitaliseren.

[[Bestand:spoelbanden_01.jpg|300px|class=align-left]]

==Creëer een globaal overzicht==
De eerste stap is een overzicht krijgen van je audiovisueel materiaal. Idealiter staat je volledige collectie mooi bij elkaar, maar in de praktijk ligt het materiaal verspreid over verschillende kasten, dozen of zelfs lokalen. Het is ook mogelijk dat audiovisueel materiaal dat behoort tot het archief en/of de collectie(s) zich bij een medewerker thuis, bij vrijwilligers of elders bevindt. Het is dus niet altijd duidelijk wat de omvang of volledigheid is van je audiovisuele archief of collectie(s).

Een overzicht van de omvang, verspreiding en toestand van je audiovisueel archief en/of collectie(s) is nodig om een duidelijk zicht te krijgen op de toestand van het audiovisueel materiaal. Zo weet je waar al het materiaal zich bevindt, vermijd je dat je zaken vergeet of kwijtraakt, en spoor je makkelijker ontbrekende stukken op. Het overzicht is ook de basis voor alle volgende stappen en beslissingen in het beheer en de beschrijving van je audiovisuele collectie.

Het maken van zo’n overzicht hoeft niet ingewikkeld of tijdrovend te zijn. Het belangrijkste is dat je goed observeert en alles gestructureerd noteert. Je kan dit [[:Bestand:Werkblad.xlsx|modelwerkblad]] gebruiken om aan de slag te gaan. Het modelwerkblad is weliswaar opgesteld met de bedoeling om een heel archief in kaart te brengen – dus niet enkel het audiovisuele luik – maar je kan het ook gebruiken om enkel je audiovisuele materiaal in kaart te brengen. Voor meer informatie over het in kaart brengen van je archief en/of collectie(s), zie de tool [[Breng je archief en collectie(s) in kaart]].

Het eerste wat je noteert is de fysieke locatie waar (een deel van) je audiovisueel materiaal ligt, bv. “bovenste plank bruine kast in technische ruimte aan repetitielokaal”. Doe dit zo volledig en zo gedetailleerd mogelijk. Vergeet niet dat recenter audiovisueel materiaal niet altijd op een fysieke drager staat, maar ook digitaal kan zijn. Registreer in dat geval de fysieke locatie van de (externe) harde schijf waarop de bestanden staan.

Als titel noteer je een korte omschrijving (bv. “audio-opnames van live-uitvoeringen”). Vervolgens beschrijf je de omvang (bv. “18 cd’s”) en de datering (bv. “2002-2005”). Verder kan je de inhoud iets gedetailleerder beschrijven (bv. “onbewerkte liveopnames van verschillende programma's op tournee in Vlaamse cultuurcentra tussen 2002 en 2005”). Probeer ook een eerste zicht te krijgen op de fysieke staat van het materiaal en noteer dit (bv. “opgeborgen in plastic doosjes, waarvan sommige gebarsten”). Ten slotte kan je nagaan of en hoe een onderdeel geordend is (bv. “chronologisch”). Met deze stappen krijg je een goed overzicht van je audiovisueel archief en collectie(s).

Je overzicht brengt mogelijk een aantal problemen aan het licht die je eenvoudig en snel kan oplossen. Misschien is de kelder van de artistiek leider waar alle VHS-banden liggen toch te vochtig en kunnen ze beter in de technische ruimte aan het repetitielokaal staan? Misschien heeft iemand nog lege cd-doosjes liggen om de gebarsten exemplaren te vervangen? Of is die externe harde schijf de enige plek waar de recente audio-opnames worden bewaard en moet er een extra kopie worden gemaakt?

Met het overzicht heb je ook een belangrijke eerste aanzet om je audiovisuele archief en/of collectie(s) op stukniveau te beschrijven.

==Maak een beschrijving op stukniveau==
===Waarom registreren en beschrijven?===
Bij de start van een digitaliseringsproject is registratie of inventarisatie één van de eerste stappen die de beheerder van een audiovisuele collectie of archief moet ondernemen. Zie hiervoor ook de tool [[Digitaliseren van geluidsopnames en video's]]. Digitalisering van film, audio en video is erg duur. Het is niet haalbaar of zinvol om werkelijk elk audiovisueel document in je archief of collectie(s) te laten digitaliseren. Door alle stukken te registreren in een spreadsheet, kan je beter inschatten welke stukken belangrijk of waardevol zijn en welke niet. Zo kan je prioriteiten stellen over welke films, tapes en andere dragers zeker gedigitaliseerd moeten worden en een duidelijke selectie maken.

Met het oog op digitalisering is het van belang dat de '''technische kenmerken''' van de audiovisuele dragers worden geregistreerd, niet zozeer een uitgebreide beschrijving van de inhoud. De technische informatie laat immers toe om precies te bepalen voor welke dragers digitalisering het meest urgent is. Beschrijf dus in de eerste plaats de drager van het werk, niet de inhoud. Door afwezigheid van duidelijke labels kan bij sommige dragers de inhoud overigens pas geïdentificeerd worden nadat de drager gedigitaliseerd is.

De registratie van gegevens als het '''videotapeformaat''', de '''speelduur''' en de '''opnamestandaard''' zijn belangrijk bij het bepalen van de kwaliteit van het eindresultaat en de precieze eisen voor de digitaliseringsapparatuur die hiervoor nodig zal zijn. Ze laten ook toe om te bepalen welke afspeeltoestellen en reinigingsprocedures nodig zullen zijn om de dragers te digitaliseren. Deze gegevens zijn nodig om de kostprijs van de digitalisering in te schatten.

Wanneer de dragers terugkeren van het digitaliseringslabo, zal de geregistreerde informatie ook toelaten de dragers opnieuw te herkennen en hen terug op te bergen op hun vertrouwde plaats in het depot.

===Hoe ga je te werk?===
Er zijn grosso modo drie manieren om een beschrijving op stukniveau aan te pakken. Het onderscheid tussen de drie methodes is gebaseerd op het feit dat bij audiovisueel materiaal het werk en de drager van elkaar worden onderscheiden, hoewel ze nooit fysiek van elkaar kunnen worden gescheiden. De meest basale registratie die je kan doen, is om alle dragers te registreren. Dit is in de meerderheid van de gevallen voldoende. Er zijn ook andere, meer gespecialiseerde benaderingen die vertrekken vanuit de inhoud van het stuk of vanuit een combinatie van drager en inhoud. Hieronder gaan we enkel in op de meest basale registratie. Gedetailleerde informatie over de methodes die gebaseerd zijn op de [https://www.projectcest.be/wiki/Publicatie:Hoe_beschrijf_ik_audiovisueel_materiaal%3F#Vertrekkend_van_het_werk_.28de_inhoud.29 inhoud van het stuk] en op de [https://www.projectcest.be/wiki/Publicatie:Hoe_beschrijf_ik_audiovisueel_materiaal%3F#Met_aandacht_voor_werk_en_drager combinatie van drager en inhoud] vind je terug op de CEST-website.

Als je de precieze inhoud van je audiovisuele archief en/of collectie(s) niet kent, is het raadzaam om te vertrekken van de dragers die je in je overzicht als gehelen hebt omschreven (bv. de hogervermelde 18 cd’s) en die één voor één te registreren aan de hand van de informatie die je wel kan terugvinden (bv. opschriften op de doos, papiertjes in de doos, labels van de fabrikant, enzovoort). Op deze manier kan je toch een goede beschrijving geven van de drager ondanks het ontbreken van inhoudelijke informatie.

Een eenvoudig model dat vandaag in Vlaanderen wordt gebruikt voor de beschrijving van audiovisuele dragers, is dat van meemoo, Vlaams instituut voor het archief. Dit model vertrekt niet vanuit de inhoud van de stukken, maar van de fysieke dragers.

Achterhalen welk audiovisueel formaat je in handen hebt, is een belangrijke eerste stap bij deze wijze van beschrijving. Meemoo heeft een fotogids ontworpen die je helpt om te bepalen of je met audio of video te maken hebt en om welk analoog of digitaal formaat het gaat.

Een ander handig hulpmiddel is de website [https://www.kenjedrager.be/ www.kenjedrager.be], die je door middel van een beslissingsboom helpt om te bepalen met welk type drager je te maken hebt. De website helpt je ook uitzoeken of de inhoud op de drager erfgoedwaarde heeft en of het dus de moeite waard is om het stuk te digitaliseren. Tot slot vind je er richtlijnen voor een goede bewaring en een sjabloon om gerichte vragen te stellen aan digitaliseringsfirma’s.

Een spreadsheet als Excel is niet alleen geschikt voor het opstellen van een overzicht van al je audiovisueel materiaal, maar laat ook toe om je audiovisuele archief en collectie(s) op basis van de dragers op stukniveau te beschrijven. Dit [[:Bestand:Registratiesjabloon_meemoo_2.xlsx|sjabloon]] geeft de belangrijkste elementen die je moet registeren, samen met een toelichting en een voorbeeld. De kolommen bevatten de types informatie die je wilt beschrijven. Voor elke drager vul je een nieuwe rij in.

====Dragerinformatie====
* '''Type''': audio, video of film;
* '''Formaat''': het is belangrijk om exact te weten welke dragerformaten je bewaart. Bepaalde types formaten lijken heel sterk op elkaar, maar zijn niet onderling inwisselbaar.
Enkele voorbeelden: compact audiocassette, 1/4” open reel audio, cd, DAT, Minidisc, VHS, Betamax, Video2000, Hi-8, Video8, MiniDV, ¾” U-matic, Betacam SP of digital Betacam;
* '''Oorspronkelijk dragernummer''': als je audiovisuele archief en/of collectie(s) al geordend en genummerd zijn, kan je aan elke drager een nummer toekennen. Dit helpt om de drager nadien makkelijker te identificeren;
* '''Standplaats drager''': de plaats waar je de drager bewaart. Als er geen plaatsingsnummer beschikbaar is, is de informatie over de fysieke locatie belangrijk om het stuk te kunnen terugvinden.

[[Bestand:spoelbanden_02.jpg|300px|class=align-left]]

====Inhoudelijke kenmerken====
* '''Titel''': in het titelveld beschrijf je kort wat je weet over de inhoud van de drager (d.i. het werk). Mogelijk is dat niet meer dan het opschrift op een etiket. Neem de beschrijvingen steeds exact over zoals ze je ze aantreft, zelfs als je niet meteen weet wat iets betekent (bv. onbeduidende afkortingen). Misschien krijgt de notitie terug betekenis wanneer je het materiaal kan bekijken of beluisteren, of kan iemand anders later op basis van de beschrijving opheldering brengen. Als er meerdere titels op het etiket staan, scheid deze door een punt-komma (“;”). Indien de titel onbekend is, vul je “Onbekend” in;
* '''Gerelateerde documenten in doos''': als de verpakking van de drager ook losse (papieren) documenten bevat, vul "1" in voor ja, en "0" voor neen;
* '''Bewaard bij een andere organisatie''': als je vermoedt dat het werk op de drager door een andere organisatie gepreserveerd wordt, vul een "1" in voor ja, een "0" voor neen;
* '''Preserveringsorganisatie''': indien je weet dat het werk op de drager door een andere organisatie gepreserveerd wordt, vul dan de naam van die organisatie in.

====Technische kenmerken====
* '''Merk''': het merk van de drager;
* '''Datum''': de datum van opname op de drager. Hoewel het vreemd lijkt om de datum te beschouwen als deel van de technische beschrijving, kan het in combinatie met het formaat en het merk belangrijke informatie bevatten voor latere digitalisering. Wanneer je niet kan achterhalen wanneer de inhoud (het werk) op de drager is gekopieerd, is de creatiedatum van de inhoud vaak een goed richtinggevend alternatief. Gebruik steeds dezelfde manier om een datum te noteren, bij voorkeur jjjj-mm-dd (jaar, maand, dag). Wanneer je enkel het jaar kan terugvinden, noteer je bijvoorbeeld “1998-xx-xx”;
* '''Duur''': de totale duurtijd van de drager. Het is raadzaam om steeds de totale speelduur van de drager te noteren en niet de duur van de inhoud. Het kan bijvoorbeeld zijn dat het opschrift vermeldt dat een lezing die werd opgenomen 30 minuten duurde, maar dat er voordien nog 15 minuten lege ruimte op de drager staat of dat de opname al was gestart toen het publiek nog binnenkwam. Het is zelfs mogelijk dat er na de opname een relevante opname volgt van een andere activiteit die niet staat vermeld op het opschrift. Wanneer je slechts de eerste 30 minuten zou digitaliseren, heb je dus een deel van de inhoud gemist. Gebruik steeds dezelfde manier om de duur te noteren, bij voorkeur uu:mm:ss (aantal uren:aantal minuten:aantal seconden). Een drager met een speelduur van anderhalf uur noteer je dus als “1:30:00”;
* '''Deterioratiefenomenen''': audiovisuele dragers vergaan, soms zelfs sneller dan papieren documenten. Noteer tekenen van verval zo veel mogelijk, want deze bepalen de prioriteit waarmee een stuk gedigitaliseerd moet worden. Veelvoorkomende problemen zijn schimmelvorming, barsten, scheuren, een azijngeur of de aanwezigheid van wit poeder op magnetische video- en audiotapes (dit zijn de eerste sporen van het zogenaamde “stick shed”-syndroom, de ontbinding van de bindlaag van deze tapes). Als er geen sprake lijkt te zijn van deterioratie, noteer dan “Geen”;
* '''Opnamesnelheid''': voor ¼” audiotape noteer je de snelheid waarmee de tape is opgenomen, in cm/s. Vb.: 2,38 cm/s, 4,76 cm/s, 9,53 cm/s, 19,05 cm/s, 38,1 cm/s, 76,2 cm/s, enzovoort;
* '''Kern/spoel''': voor ¼” audiotape duid je aan of de tape op een kern of op een spoel is gewonden;
* '''Ruisonderdrukking''': voor audiocassettes noteer je het type ruisonderdrukking dat gebruikt wordt. Vb.: Dolby A, Dolby, B, Dolby C of Dolby S;
* '''IEC type''': voor audiocassettes noteer je het type IEC. Vb.: EIC type I, II, III of IV.

''Auteur: Nastasia Vanderperren ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Rony Vissers ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Bart Magnus ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Florian Daemen ([[AMVB]])''
[[Categorie:2. Ordenen en beschrijven]]

Breng je archief en collectie(s) in kaart

2020-10-05T07:26:14Z

Noortje Lambrichts:

<languages /><translate>

Voor je iets met je archief of collectie kan doen, moet je eerst weten waar alle documenten zich bevinden en in welke omstandigheden ze bewaard worden. Deze informatie is een grote hulp bij het formuleren van doelstellingen in verband met de zorg voor het archief en de collectie(s), bij het afbakenen van prioriteiten en bij het opstellen van een concreet stappenplan. Zo vermijd je dat je het overzicht verliest en dat er delen van je collectie of archief verloren gaan.


Hoe je je eigen archief en/of collectie(s) in kaart brengt, vind je in dit stappenplan. Het omvat drie grote stappen en is bruikbaar voor zowel papieren als digitale archieven en collecties. Als bijlagen zijn een algemeen sjabloon voor de registratie van de archieven en collectie(s) en een sjabloon voor het in kaart brengen van digitaal materiaal toegevoegd.


[[Bestand:In_kaart_brengen.JPG|x300px]]

==Stap 1: Voorbereiding== 
De eerste vraag die je moet stellen is waar en door wie het archief en de collecties worden bewaard. In welke ruimte(s) kan het archief worden teruggevonden? Alles kan bij elkaar staan in één centrale ruimte, maar in de meeste gevallen zullen het archief en de collectie(s) verspreid liggen over de lokalen van je organisatie. Maak een overzicht van alle locaties waar je archiefstukken vindt.


Dit kan zowel om '''fysieke locaties''' gaan (bureauruimte x, repetitielokaal y, huis z, etc.), als om '''digitale dragers''' (een externe harde schijf, een doos diskettes, Google Drive, een gedeelde server, etc.). Kijk ook op de bureaus van je collega’s. Denk er aan om voorbij de eigen organisatie te kijken. Het is mogelijk dat sommige delen van het archief zich bij een heemkundige kring of in het gemeentearchief bevinden.
Naast de locaties van het archief, moet je ook nagaan welke acties je organisatie al heeft ondernomen om je archief toegankelijk te maken. Zijn delen van het archief of de collecties in het verleden geïnventariseerd, en zijn deze inventarissen terug te vinden? En welke informatie kan je hieruit halen? Is een deel van het archief aan een bewaarinstelling geschonken en zo ja, om welke documenten gaat het? Ook het beheer van de computers en de server is hier van belang. Wat is er bijvoorbeeld gebeurd met het materiaal dat op de lokale schijven stond wanneer jullie zijn overgeschakeld op een gedeelde server?


Idealiter maak je ook tijd om op zoek te gaan naar informatie over de geschiedenis van de organisatie:
* '''Wat doet en deed de organisatie?''' Maak een overzicht van de activiteiten van je organisatie. Hieronder vallen zowel de kerntaken van je werking als de ondersteunende taken die daarbij horen (bv. financiën, personeelsadministratie, beheer goederen en gebouwen, communicatie). Uit elk van deze activiteiten ontstaan archief en collectie(s). Op basis van dit overzicht krijg je een idee van de types documenten en objecten die je in het archief/de collectie(s) zal aantreffen. Wijzigingen in de werking van de organisatie kunnen de aan- of afwezigheid van bepaalde types archiefdocumenten verklaren.
* '''Wat zijn de sleutelmomenten in de geschiedenis van de organisatie?''' Noteer de data van de oprichting, fusies, splitsingen, naamsveranderingen en veranderingen in de organisatiestructuur (bijvoorbeeld de overgang van feitelijke vereniging naar vzw). Ga ook na of er gebeurtenissen zijn geweest waarbij erfgoed is verdwenen, zoals een brand, een ondergelopen kelder, een diefstal of een computercrash. Deze informatie helpt je om het archief en de collectie(s) die je straks in kaart brengt te contextualiseren en om informatie over oudere documenten of verdwenen dossiers op te sporen.
* '''Wie zijn en waren sleutelfiguren in de organisatie?''' De oprichter(s), bestuurders en bestuursorganen (raad van bestuur, algemene vergadering) hebben een grote invloed op het ontstaan van het archief. Welke andere personen droegen/dragen bij aan de verwezenlijking van jullie doelstellingen? Zijn ze als vaste medewerkers verbonden aan de organisatie of zijn het externen?


Betrek in je zoektocht (oud-)collega’s en (oud-)bestuurders of snuister in het archief: in beleidsplannen en jaarverslagen vind je doorgaans veel informatie over de geschiedenis, werking en structuur van je organisatie. Vzw’s zijn verplicht om een register van de leden van de algemene vergadering bij te houden en notulen van vergaderingen bevatten eveneens heel veel namen en relevante data. Ook de statuten of een publicatie over de geschiedenis van de organisatie zijn een grote hulp.


Het verzamelen van deze informatie mag een work in progress zijn. De informatie die je vindt, brengt je op het spoor van archief en collectie(s), die op hun beurt nieuwe informatie opleveren over de geschiedenis van de organisatie. Vertrek vanuit je eigen kennis en werk van daaruit stapsgewijs verder. Vul het overzicht van fysieke locaties en digitale dragers telkens aan. Denk er ook aan om op minder evidente plaatsen te gaan zoeken, want archief kan op de meest onverwachte plaatsen opduiken.

==Stap 2: Noteer basisgegevens over het archief en de collectie(s)== 
Eens je voldoende contextinformatie over het archief hebt verzameld en weet waar alles te vinden is, kan je naar de ruimte(s) gaan waar het archief en de collectie(s) bewaard worden om ter plekke een aantal basisgegevens te registreren. Je kan hiervoor het schema in de [[:Bestand:Werkblad.xlsx|bijlage]] (tabblad ‘Uitleg’) als leidraad gebruiken. De meest overzichtelijke werkwijze is om per lokaal en per kast (eventueel ook per legplank) de informatie over het archief te noteren. Maak eventueel foto’s van wat je aantreft. Om nauwkeurig en systematisch te werk te kunnen gaan, is het belangrijk dat je hiervoor voldoende tijd voorziet.


Voor digitale archieven ga je op dezelfde manier te werk. Je kan de locatie van de digitale documenten opnemen in dezelfde lijst, of je kan gebruik maken van het [[:Bestand:20180316_Sjabloon_In_Kaart_Brengen_Digitaal_Materiaal.xlsx|sjabloon]] voor het in kaart brengen van digitaal materiaal.


Het is zeker niet de bedoeling dat je elk afzonderlijk document of object beschrijft. Het gaat immers om het verkrijgen van een algemeen overzicht, niet om de samenstelling van een gedetailleerde inventaris. Ga dus op zoek naar afgebakende gehelen en focus op datgene wat de documenten of objecten met elkaar gemeenschappelijk hebben en waarin ze verschillen met andere ‘gehelen’. Je beschrijft in je overzicht bijvoorbeeld niet de afzonderlijke persartikels, maar wel de mappen of classeur(s) waarin ze opgeborgen zijn.


Complete chaos komt nauwelijks voor. Mensen hebben doorgaans wel hun redenen om bepaalde documenten of objecten op een bepaalde plaats te bewaren, of om bepaalde documenten of objecten bij elkaar (of net niet bij elkaar) te zetten:
* Documenten of objecten van hetzelfde type worden vaak bij elkaar bewaard, bijvoorbeeld een doos programmaboekjes.
* Documenten of objecten waarvan eenzelfde persoon, activiteit of gebeurtenis aan de oorsprong ligt. Een doos met documenten die een oud-bestuurder binnenbracht ga je bijvoorbeeld als een geheel bewaren, ook al bevat(ten) ze misschien zeer verschillende types documenten.
* De staat of ordening van de documenten of objecten is vaak bepalend. Nieuw aangekochte boeken worden apart gehouden van de oudere collectie, of de oudere exemplaren zijn in een dusdanig slechte staat dat ze klaarstaan om weggegooid te worden
* Documenten die ‘bij elkaar horen’ worden meestal ook in dezelfde map of doos gebundeld. Neem dit idee als uitgangspunt en beschrijf je archief en collectie(s) op het niveau van de ‘verpakkingseenheid’.


In sommige gevallen volstaat het om het archief en de collectie(s) op een algemener niveau te beschrijven. Als meerdere verpakkingseenheden samen een groter, logisch geheel vormen, dan kan je op dit niveau een beschrijving maken. Wanneer opeenvolgende mappen of dozen bijvoorbeeld uitsluitend productiedossiers bevatten, volstaat het om in je beschrijving te spreken van “x dozen productiedossiers”. Geef wel duidelijk aan om hoeveel mappen of dozen het gaat, desnoods uitgedrukt in strekkende meter.


Een ander voorbeeld is om in plaats van vier aparte fotoalbums te beschrijven, de gedeelde beschrijving “Foto’s concerten - 1960-1980 - 4 albums” te gebruiken. Onthoud wel dat de locatie waar je het materiaal aantreft de insteek blijft bij het in kaart brengen. Een map administratie die wat ‘verloren’ staat tussen dozen affiches, krijgt altijd een individuele beschrijving, zelfs als de overige mappen met administratief materiaal wel als één reeks bij elkaar staan. Je beschrijft de situatie zoals ze is, niet de gewenste situatie.


Je kan je bij het identificeren van gehelen laten leiden door het opschrift van de verpakkingseenheden. Hou er rekening mee dat een opschrift niet altijd overeenstemt met de inhoud. Soms worden oudere dozen hergebruikt zonder dat de opschriften worden geschrapt of verwijderd. Controleer via een steekproef of de inhoud en opschriften met elkaar overeenkomen.


Gebruik je buikgevoel om te bepalen tot welk niveau je in deze fase best afdaalt en blijf vooral pragmatisch.


De bevindingen van deze operatie worden bijgehouden in een centraal register, bijvoorbeeld een Excel-bestand. Als bijlage bij deze richtlijn is er een [[:Bestand:Werkblad.xlsx|voorbeeldregister]] uitgewerkt dat rechtstreeks gebruikt kan worden, of dat kan dienen als inspiratie voor het opstellen van een eigen register.


Voor digitale archieven kan je hetzelfde register gebruiken, maar is er ook een [[:Bestand:20180316_Sjabloon_In_Kaart_Brengen_Digitaal_Materiaal.xlsx|apart sjabloon]] opgesteld.

==Stap 3: Analyseer de informatie en beschrijf eventuele problemen== 
Nadat je alle informatie over je archief en collectie(s) hebt verzameld, is het van belang dat je deze op een duurzame manier vastlegt. Zo vermijd je dat je op een later moment al het werk opnieuw moet doen.


De verzamelde informatie vormt de basis voor een goed beheer van het archief en de collectie(s). Het is daarom belangrijk dat je alles goed analyseert en de problemen in kaart brengt. Om hoeveel materiaal gaat het? Hoe is het archief er fysiek aan toe? Welke stukken ontbreken? Waar kan er verder opgeruimd worden? Welke afspraken moeten er gemaakt worden? Welke pistes kunnen nog verder onderzocht worden? Besteed ook voldoende aandacht aan het digitale materiaal met alle mogelijke problemen rond back-up, verouderde bestanden of te complexe mappenstructuur.


Je conclusies helpen bij het formuleren van een beleid voor het beheer van je archief of collectie(s) en bij het bepalen van de prioriteiten.


''Auteur: [[Het Firmament]], Resonant, Bart Magnus (Packed vzw), Florian Daemen ([[AMVB]])''


[[Categorie:2. Ordenen en beschrijven]]
[[Categorie: Primaire Tools]]
</translate>

Archief opruimen met Tristero/en

2020-10-02T13:29:30Z

Noortje Lambrichts:

<languages />This practical example illustrates how a clean-up day was organised for the physical archive at the Brussels theatre company Tristero, in order to make it more accessible and more user-friendly, and to address the problem of lack of storage space.

==Status==
* Finished: documents of predecessors and printed matter.
* Still to be done: work folders of the business manager still have to be looked at and classified; there were not enough archive boxes, which means that some parts of the archive still have to be repacked.

==Problem definition==
There is not enough space in Tristero’s current office. The current business manager has only been working with the company since 2010. He and his predecessor were confronted with unorganised archive material from the earlier period of the company. The company may soon have to relocate to another premises. A clean-up day should ensure that there is extra space and should make the archive more accessible and more user-friendly.

==Method==
# Documenting
# Localising the archive: identifying documents; deciding which documents to keep and which to get rid of; putting the documents to be kept in archive boxes; getting rid of documents no longer needed
# Cleaning up
# Documenting the actions carried out: creating an archive description; drafting a localisation list; making a destruction list

[[Bestand:TRISTERO_20140403_Archief_lokaliseren.jpg|300px|class=align-left]]

===Localising the archive===
The first step was to localise the archive to provide an overview of its contents and where it was kept. Manu Devriendt, business and archive manager of Tristero, gave us a guided tour of the archive with some explanations here and there.

The archive contains business documents (personnel management, finances etc.), correspondence, production files, press folders, printed matter, audiovisual material and promotional material. There were also documents whose content was unknown: piles of documents from the previous business manager and work folders from the current business manager. The material is kept in various cupboards and in desks in the Tristero office.

===Cleaning up===
The cleaning-up process could now begin. The documents of unknown content were identified and classified within the archive. Superfluous documents were also removed from the archive. A number of selection lists were used in order to implement this selection process: Selectielijst voor het archief van een theatergezelschap van Els Michielsen <ref>E. MICHIELSEN, Achter de coulissen: Selectielijst voor het archief van een theatergezelschap en inventaris van het KNS-archief, onuitgegeven verhandeling, Brussel, 2003, p. 150-184. Only in Dutch</ref> and Een selectielijst voor de dienst dramaturgie van Charis Verbelen <ref>C. VERBELEN, De kunst van het bewaren, vernietigen is de kunst: Hedendaags documentbeheer in de Vlaamse Opera. Richtlijnen en advies voor de dienst dramaturgie, onuitgegeven verhandeling, Brussel, 2010, p. 170-203. Only in Dutch</ref>. These selection lists contain guidelines for the preservation and destruction of the various documents that may be created and received by a theatre company. The documents that have to be kept were put in acid-free boxes, while the documents to be removed were immediately taken out of the archive.

The piles of unidentified documents and the documents already classified by the predecessors of the business manager were dealt with first. Then the printed matter and work folders of the current business manager were tackled.

====Predecessors’ documents====
* '''Press articles''': A great many press cuttings were found. After a thorough examination of the press folder, we discovered that these were duplicates. They were removed from the archive.
* '''Subsidy applications''': Subsidy applications are important documents. They reflect the company’s vision, mission, history and projects. It was decided to classify subsidy applications in two sections: operational and project subsidies. The operational subsidies were subsequently subdivided according to the institute from which the subsidy was requested (VGC and Flemish Government). The project subsidies were put with the production files; projects that were not implemented were kept together. There appeared to be copies of the subsidy application already in the production files. The duplicates could therefore be removed.
* '''Documentation''': Relevant documentation was put in the library area. Other documentation was removed from the archive.
* '''Productions''': Documents from various productions were found. These were put in the correct production file. Preliminary documents were also kept and put in the production files.
* '''Finances''': Various ‘finance’ folders were stored in a cupboard. These contained accounting items. It was decided to store them according to the old order.
* '''‘Post in’ box''': These are the incoming letters of Tristero from the period 1993-2007. The outgoing letters might be in the production files and with the subsidy applications. It was decided to keep these documents according to the old arrangement because there was not enough time to re-classify the documents.
* '''Personnel folder''': The previous business manager classified these documents in a different way from the current business manager. The documents were put into two boxes marked ‘Tristero personnel’ and supplemented with personnel documents from the current business manager.

====Promotion material and printed matter====
* '''Tristero’s own promotion material and printed matter''': A few copies of each publication were kept and put together in a box. The remaining copies were removed from the archive.
* '''Programme sheets and printed matter from external parties''': These documents were arranged under the titles ‘Brussels’, ‘Belgium’ and ‘International’. Duplicates and programme sheets in which Tristero was not mentioned were removed from the archive.

[[Bestand:TRISTERO_20140403_Documenten_archiefdozen.jpg|300px|class=align-left]]

====Current business manager’s work folders====
The folders consist mainly of work documents which during a certain period were taken all over the place. Definitive documents are kept in digital format in a classified folder structure. Since the work documents contain no extra information as regards content, they could be removed from the archive. Press cuttings and reports of staff meetings were also found in these folders. These were put in the correct box or folder.

====E-mails====
There is a concern about how e-mails are to be stored. E-mails are an interesting source because they record the process of how a production starts. However, the simplicity and speed of this medium means that an inbox quickly fills up and it requires some discipline to keep order in a mailbox. Manu Devriendt’s mailbox contains all mails going back to 2002, and consists of Tristero’s electronic correspondence, but also mails from periods at other employers and private mails. Due to an error, all the messages from one year have already been lost.

The question was therefore how to preserve the mails in the long term. Should all Tristero mails be put on the communal server? Too much time is required to clean up the mailbox and reclassify mails retroactively. No immediate solution was found for this problem, but it was suggested that after every production all mails are put in a folder and a minor clean-up process is carried out.

===Documenting===
After the clean-up it is important that the actions taken are documented and a list is made of the documents that have been removed from the archive. Now that the Tristero archive has been classified and brought together, it was an ideal moment to describe the archive and draft a new localisation list.

==Results==
[[Bestand:TRISTERO_20140403_Verwijderd_archiefmateriaal.jpg|300px|class=align-left]]

* Duplicates and superfluous work documents were removed. Tristero now has more space in the cupboards and on the shelves.
* Documents whose content was unknown were identified and put in the correct box or folder.
* The documents were put in acid-free boxes, so that they can be sustainably preserved and remain accessible.
* The joint clean-up action made people think about which documents should be kept or removed and how they should be classified.
* The archive was described. The ISAD(G) description will be published in Archiefbank Vlaanderen.
* A [[:Bestand:20140403_Vernietigingslijst_Tristero.xlsx|concise list]] was drawn up to include all the documents that were destroyed.
* A start was made on a localisation list, but this remains incomplete because of a lack of time. The archive was not completely checked by the business manager.

''Author'': Nastasia Vanderperren ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Eline De Lepeleire ([[Het Firmament]])

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Archief opruimen met Tristero/17/en

2020-10-02T13:29:30Z

Noortje Lambrichts:

==Results==
[[Bestand:TRISTERO_20140403_Verwijderd_archiefmateriaal.jpg|300px|class=align-left]]

Archief opruimen met Tristero/en

2020-10-02T13:29:22Z

Noortje Lambrichts:

<languages />This practical example illustrates how a clean-up day was organised for the physical archive at the Brussels theatre company Tristero, in order to make it more accessible and more user-friendly, and to address the problem of lack of storage space.

==Status==
* Finished: documents of predecessors and printed matter.
* Still to be done: work folders of the business manager still have to be looked at and classified; there were not enough archive boxes, which means that some parts of the archive still have to be repacked.

==Problem definition==
There is not enough space in Tristero’s current office. The current business manager has only been working with the company since 2010. He and his predecessor were confronted with unorganised archive material from the earlier period of the company. The company may soon have to relocate to another premises. A clean-up day should ensure that there is extra space and should make the archive more accessible and more user-friendly.

==Method==
# Documenting
# Localising the archive: identifying documents; deciding which documents to keep and which to get rid of; putting the documents to be kept in archive boxes; getting rid of documents no longer needed
# Cleaning up
# Documenting the actions carried out: creating an archive description; drafting a localisation list; making a destruction list

[[Bestand:TRISTERO_20140403_Archief_lokaliseren.jpg|300px|class=align-left]]

===Localising the archive===
The first step was to localise the archive to provide an overview of its contents and where it was kept. Manu Devriendt, business and archive manager of Tristero, gave us a guided tour of the archive with some explanations here and there.

The archive contains business documents (personnel management, finances etc.), correspondence, production files, press folders, printed matter, audiovisual material and promotional material. There were also documents whose content was unknown: piles of documents from the previous business manager and work folders from the current business manager. The material is kept in various cupboards and in desks in the Tristero office.

===Cleaning up===
The cleaning-up process could now begin. The documents of unknown content were identified and classified within the archive. Superfluous documents were also removed from the archive. A number of selection lists were used in order to implement this selection process: Selectielijst voor het archief van een theatergezelschap van Els Michielsen <ref>E. MICHIELSEN, Achter de coulissen: Selectielijst voor het archief van een theatergezelschap en inventaris van het KNS-archief, onuitgegeven verhandeling, Brussel, 2003, p. 150-184. Only in Dutch</ref> and Een selectielijst voor de dienst dramaturgie van Charis Verbelen <ref>C. VERBELEN, De kunst van het bewaren, vernietigen is de kunst: Hedendaags documentbeheer in de Vlaamse Opera. Richtlijnen en advies voor de dienst dramaturgie, onuitgegeven verhandeling, Brussel, 2010, p. 170-203. Only in Dutch</ref>. These selection lists contain guidelines for the preservation and destruction of the various documents that may be created and received by a theatre company. The documents that have to be kept were put in acid-free boxes, while the documents to be removed were immediately taken out of the archive.

The piles of unidentified documents and the documents already classified by the predecessors of the business manager were dealt with first. Then the printed matter and work folders of the current business manager were tackled.

====Predecessors’ documents====
* '''Press articles''': A great many press cuttings were found. After a thorough examination of the press folder, we discovered that these were duplicates. They were removed from the archive.
* '''Subsidy applications''': Subsidy applications are important documents. They reflect the company’s vision, mission, history and projects. It was decided to classify subsidy applications in two sections: operational and project subsidies. The operational subsidies were subsequently subdivided according to the institute from which the subsidy was requested (VGC and Flemish Government). The project subsidies were put with the production files; projects that were not implemented were kept together. There appeared to be copies of the subsidy application already in the production files. The duplicates could therefore be removed.
* '''Documentation''': Relevant documentation was put in the library area. Other documentation was removed from the archive.
* '''Productions''': Documents from various productions were found. These were put in the correct production file. Preliminary documents were also kept and put in the production files.
* '''Finances''': Various ‘finance’ folders were stored in a cupboard. These contained accounting items. It was decided to store them according to the old order.
* '''‘Post in’ box''': These are the incoming letters of Tristero from the period 1993-2007. The outgoing letters might be in the production files and with the subsidy applications. It was decided to keep these documents according to the old arrangement because there was not enough time to re-classify the documents.
* '''Personnel folder''': The previous business manager classified these documents in a different way from the current business manager. The documents were put into two boxes marked ‘Tristero personnel’ and supplemented with personnel documents from the current business manager.

====Promotion material and printed matter====
* '''Tristero’s own promotion material and printed matter''': A few copies of each publication were kept and put together in a box. The remaining copies were removed from the archive.
* '''Programme sheets and printed matter from external parties''': These documents were arranged under the titles ‘Brussels’, ‘Belgium’ and ‘International’. Duplicates and programme sheets in which Tristero was not mentioned were removed from the archive.

[[Bestand:TRISTERO_20140403_Documenten_archiefdozen.jpg|300px|class=align-left]]

====Current business manager’s work folders====
The folders consist mainly of work documents which during a certain period were taken all over the place. Definitive documents are kept in digital format in a classified folder structure. Since the work documents contain no extra information as regards content, they could be removed from the archive. Press cuttings and reports of staff meetings were also found in these folders. These were put in the correct box or folder.

====E-mails====
There is a concern about how e-mails are to be stored. E-mails are an interesting source because they record the process of how a production starts. However, the simplicity and speed of this medium means that an inbox quickly fills up and it requires some discipline to keep order in a mailbox. Manu Devriendt’s mailbox contains all mails going back to 2002, and consists of Tristero’s electronic correspondence, but also mails from periods at other employers and private mails. Due to an error, all the messages from one year have already been lost.

The question was therefore how to preserve the mails in the long term. Should all Tristero mails be put on the communal server? Too much time is required to clean up the mailbox and reclassify mails retroactively. No immediate solution was found for this problem, but it was suggested that after every production all mails are put in a folder and a minor clean-up process is carried out.

===Documenting===
After the clean-up it is important that the actions taken are documented and a list is made of the documents that have been removed from the archive. Now that the Tristero archive has been classified and brought together, it was an ideal moment to describe the archive and draft a new localisation list.

==Results==
[[Bestand:TRISTERO_20140403_Verwijderd_archiefmateriaal.jpg|600px|class=align-left]]

* Duplicates and superfluous work documents were removed. Tristero now has more space in the cupboards and on the shelves.
* Documents whose content was unknown were identified and put in the correct box or folder.
* The documents were put in acid-free boxes, so that they can be sustainably preserved and remain accessible.
* The joint clean-up action made people think about which documents should be kept or removed and how they should be classified.
* The archive was described. The ISAD(G) description will be published in Archiefbank Vlaanderen.
* A [[:Bestand:20140403_Vernietigingslijst_Tristero.xlsx|concise list]] was drawn up to include all the documents that were destroyed.
* A start was made on a localisation list, but this remains incomplete because of a lack of time. The archive was not completely checked by the business manager.

''Author'': Nastasia Vanderperren ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Eline De Lepeleire ([[Het Firmament]])

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Archief opruimen met Tristero/12/en

2020-10-02T13:29:21Z

Noortje Lambrichts:

[[Bestand:TRISTERO_20140403_Documenten_archiefdozen.jpg|300px|class=align-left]]

Archief opruimen met Tristero/en

2020-10-02T13:29:06Z

Noortje Lambrichts:

<languages />This practical example illustrates how a clean-up day was organised for the physical archive at the Brussels theatre company Tristero, in order to make it more accessible and more user-friendly, and to address the problem of lack of storage space.

==Status==
* Finished: documents of predecessors and printed matter.
* Still to be done: work folders of the business manager still have to be looked at and classified; there were not enough archive boxes, which means that some parts of the archive still have to be repacked.

==Problem definition==
There is not enough space in Tristero’s current office. The current business manager has only been working with the company since 2010. He and his predecessor were confronted with unorganised archive material from the earlier period of the company. The company may soon have to relocate to another premises. A clean-up day should ensure that there is extra space and should make the archive more accessible and more user-friendly.

==Method==
# Documenting
# Localising the archive: identifying documents; deciding which documents to keep and which to get rid of; putting the documents to be kept in archive boxes; getting rid of documents no longer needed
# Cleaning up
# Documenting the actions carried out: creating an archive description; drafting a localisation list; making a destruction list

[[Bestand:TRISTERO_20140403_Archief_lokaliseren.jpg|300px|class=align-left]]

===Localising the archive===
The first step was to localise the archive to provide an overview of its contents and where it was kept. Manu Devriendt, business and archive manager of Tristero, gave us a guided tour of the archive with some explanations here and there.

The archive contains business documents (personnel management, finances etc.), correspondence, production files, press folders, printed matter, audiovisual material and promotional material. There were also documents whose content was unknown: piles of documents from the previous business manager and work folders from the current business manager. The material is kept in various cupboards and in desks in the Tristero office.

===Cleaning up===
The cleaning-up process could now begin. The documents of unknown content were identified and classified within the archive. Superfluous documents were also removed from the archive. A number of selection lists were used in order to implement this selection process: Selectielijst voor het archief van een theatergezelschap van Els Michielsen <ref>E. MICHIELSEN, Achter de coulissen: Selectielijst voor het archief van een theatergezelschap en inventaris van het KNS-archief, onuitgegeven verhandeling, Brussel, 2003, p. 150-184. Only in Dutch</ref> and Een selectielijst voor de dienst dramaturgie van Charis Verbelen <ref>C. VERBELEN, De kunst van het bewaren, vernietigen is de kunst: Hedendaags documentbeheer in de Vlaamse Opera. Richtlijnen en advies voor de dienst dramaturgie, onuitgegeven verhandeling, Brussel, 2010, p. 170-203. Only in Dutch</ref>. These selection lists contain guidelines for the preservation and destruction of the various documents that may be created and received by a theatre company. The documents that have to be kept were put in acid-free boxes, while the documents to be removed were immediately taken out of the archive.

The piles of unidentified documents and the documents already classified by the predecessors of the business manager were dealt with first. Then the printed matter and work folders of the current business manager were tackled.

====Predecessors’ documents====
* '''Press articles''': A great many press cuttings were found. After a thorough examination of the press folder, we discovered that these were duplicates. They were removed from the archive.
* '''Subsidy applications''': Subsidy applications are important documents. They reflect the company’s vision, mission, history and projects. It was decided to classify subsidy applications in two sections: operational and project subsidies. The operational subsidies were subsequently subdivided according to the institute from which the subsidy was requested (VGC and Flemish Government). The project subsidies were put with the production files; projects that were not implemented were kept together. There appeared to be copies of the subsidy application already in the production files. The duplicates could therefore be removed.
* '''Documentation''': Relevant documentation was put in the library area. Other documentation was removed from the archive.
* '''Productions''': Documents from various productions were found. These were put in the correct production file. Preliminary documents were also kept and put in the production files.
* '''Finances''': Various ‘finance’ folders were stored in a cupboard. These contained accounting items. It was decided to store them according to the old order.
* '''‘Post in’ box''': These are the incoming letters of Tristero from the period 1993-2007. The outgoing letters might be in the production files and with the subsidy applications. It was decided to keep these documents according to the old arrangement because there was not enough time to re-classify the documents.
* '''Personnel folder''': The previous business manager classified these documents in a different way from the current business manager. The documents were put into two boxes marked ‘Tristero personnel’ and supplemented with personnel documents from the current business manager.

====Promotion material and printed matter====
* '''Tristero’s own promotion material and printed matter''': A few copies of each publication were kept and put together in a box. The remaining copies were removed from the archive.
* '''Programme sheets and printed matter from external parties''': These documents were arranged under the titles ‘Brussels’, ‘Belgium’ and ‘International’. Duplicates and programme sheets in which Tristero was not mentioned were removed from the archive.

[[Bestand:TRISTERO_20140403_Documenten_archiefdozen.jpg|600px|class=align-left]]

====Current business manager’s work folders====
The folders consist mainly of work documents which during a certain period were taken all over the place. Definitive documents are kept in digital format in a classified folder structure. Since the work documents contain no extra information as regards content, they could be removed from the archive. Press cuttings and reports of staff meetings were also found in these folders. These were put in the correct box or folder.

====E-mails====
There is a concern about how e-mails are to be stored. E-mails are an interesting source because they record the process of how a production starts. However, the simplicity and speed of this medium means that an inbox quickly fills up and it requires some discipline to keep order in a mailbox. Manu Devriendt’s mailbox contains all mails going back to 2002, and consists of Tristero’s electronic correspondence, but also mails from periods at other employers and private mails. Due to an error, all the messages from one year have already been lost.

The question was therefore how to preserve the mails in the long term. Should all Tristero mails be put on the communal server? Too much time is required to clean up the mailbox and reclassify mails retroactively. No immediate solution was found for this problem, but it was suggested that after every production all mails are put in a folder and a minor clean-up process is carried out.

===Documenting===
After the clean-up it is important that the actions taken are documented and a list is made of the documents that have been removed from the archive. Now that the Tristero archive has been classified and brought together, it was an ideal moment to describe the archive and draft a new localisation list.

==Results==
[[Bestand:TRISTERO_20140403_Verwijderd_archiefmateriaal.jpg|600px|class=align-left]]

* Duplicates and superfluous work documents were removed. Tristero now has more space in the cupboards and on the shelves.
* Documents whose content was unknown were identified and put in the correct box or folder.
* The documents were put in acid-free boxes, so that they can be sustainably preserved and remain accessible.
* The joint clean-up action made people think about which documents should be kept or removed and how they should be classified.
* The archive was described. The ISAD(G) description will be published in Archiefbank Vlaanderen.
* A [[:Bestand:20140403_Vernietigingslijst_Tristero.xlsx|concise list]] was drawn up to include all the documents that were destroyed.
* A start was made on a localisation list, but this remains incomplete because of a lack of time. The archive was not completely checked by the business manager.

''Author'': Nastasia Vanderperren ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Eline De Lepeleire ([[Het Firmament]])

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Archief opruimen met Tristero/5/en

2020-10-02T13:29:06Z

Noortje Lambrichts:

[[Bestand:TRISTERO_20140403_Archief_lokaliseren.jpg|300px|class=align-left]]

Archief opruimen met Tristero

2020-10-02T13:28:28Z

Noortje Lambrichts:

<languages /><translate>

Dit praktijkvoorbeeld licht toe hoe bij het Brusselse theatergezelschap Tristero een opruimdag voor het fysieke archief georganiseerd werd om een toegankelijker en overzichtelijker archief te verkrijgen en het gebrek aan opslagruimte op te vangen.

==Status== 
* Afgewerkt: documenten van voorgangers en drukwerk.
* Nog te doen: de werkmappen van de zakelijk leider moeten verder doorgenomen en geordend worden; er waren te weinig archiefdozen waardoor sommige delen van het archief nog herverpakt moeten worden.

==Probleemstelling== 
Het huidige kantoor van Tristero is klein waardoor ze met plaatsgebrek kampen. De huidige zakelijke leider werkt pas sinds 2010 bij het gezelschap. Hij en zijn voorganger werden geconfronteerd met ongeordend archiefmateriaal uit de vroegere periode van het gezelschap. Binnenkort moet het gezelschap misschien verhuizen naar een nieuwe locatie. Een opruimdag zou voor extra ruimte en een toegankelijker en overzichtelijker archief kunnen zorgen.

==Methode== 
# Documenteren
# Het archief lokaliseren: documenten identificeren; bepalen welke documenten te bewaren of te verwijderen zijn; te bewaren documenten in archiefdozen plaatsen; te vernietigen documenten verwijderen
# Opruimen
# Uitgevoerde acties documenteren: archiefbeschrijving maken; lokalisatielijst maken; vernietigingslijst maken


[[Bestand:TRISTERO_20140403_Archief_lokaliseren.jpg|300px|class=align-left]]

===Lokaliseren van het archief=== 
De eerste stap was het archief lokaliseren zodat er een overzicht verkregen wordt uit wat het archief bestaat en waar het archief bewaard wordt. Manu Devriendt, zakelijk leider en archiefverantwoordelijke van Tristero, leidde ons rond in het archief en lichtte hier en daar wat zaken toe.


Het archief bestaat uit zakelijke documenten (personeelsbeheer, financiën…), briefwisseling, productiedossiers, persmappen, drukwerk, audiovisueel materiaal en promotiemateriaal. Daarnaast waren er documenten waarvan de inhoud niet gekend was: stapels documenten van de vorige zakelijke leider en werkmapjes van de huidige zakelijke leider. Het materiaal wordt bewaard in verschillende kasten en op de bureaus in het kantoor van Tristero.

===Opruimen=== 
Daarna kon het opruimen beginnen. De documenten waarvan de inhoud niet gekend was, werden geïdentificeerd en geordend binnen het archief. Overbodige documenten werden daarbij uit het archief verwijderd. Om deze selectie door te voeren werd er gebruik gemaakt van een aantal selectielijsten: Selectielijst voor het archief van een theatergezelschap van Els Michielsen<ref>E. MICHIELSEN, Achter de coulissen: Selectielijst voor het archief van een theatergezelschap en inventaris van het KNS-archief, onuitgegeven verhandeling, Brussel, 2003, p. 150-184.<ref> en Een selectielijst voor de dienst dramaturgie van Charis Verbelen<ref>C. VERBELEN, De kunst van het bewaren, vernietigen is de kunst: Hedendaags documentbeheer in de Vlaamse Opera. Richtlijnen en advies voor de dienst dramaturgie, onuitgegeven verhandeling, Brussel, 2010, p. 170-203<ref>. In deze selectielijsten staan richtlijnen voor de bewaring en vernietiging van de verschillende documenten die door een theatergezelschap gecreëerd en ontvangen kunnen worden. De documenten die bewaard moeten blijven werden in zuurvrije dozen gestoken, de te verwijderen documenten werden onmiddellijk uit het archief gehaald.


Er werd gestart met de hoopjes onbekende documenten en de reeds geordende documenten van de voorgangers van de zakelijke leider. Daarna werd het drukwerk en de werkmapjes van de huidige zakelijk leider aangepakt.

====Documenten voorgangers==== 
* '''Persartikels''': Er werd een grote hoeveelheid persartikels gevonden. Na een grondige controle met de persmap ontdekten we dat dit dubbels zijn. De dubbels konden verwijderd worden uit het archief.
* '''Subsidieaanvragen''': Subsidieaanvragen zijn belangrijke documenten. Ze reflecteren de visie, missie, geschiedenis en projecten van het gezelschap. Er werd besloten om de subsidieaanvragen te ordenen volgens werkingssubsidies en projectsubsidies. De werkingssubsidies werden nog eens onderverdeeld volgens de instantie waaraan de subsidie gevraagd werd (VGC en Vlaamse Overheid). De projectsubsidies werden bij de productiedossiers gestoken; projecten die niet gerealiseerd werden, werden samen bewaard. In de productiedossiers bleken reeds exemplaren van de subsidieaanvraag te zitten. De dubbels konden bijgevolg verwijderd worden.
* '''Documentatie''': Relevante documentatie werd in de bibliotheekruimte geplaatst. Andere documentatie werd verwijderd uit het archief.
* '''Producties''': Er werden documenten van verschillende producties teruggevonden. Deze documenten werden in het correcte productiedossier geplaatst. Ook de voorbereidende documenten werden bewaard en in de productiedossiers gestoken.
* '''Financiën''': In een kast stonden verschillende mappen ‘financiën’. Deze bevatten boekhoudkundige stukken. Er werd besloten om ze volgens de oude orde te bewaren.
* Doos ‘post in’: Dit zijn de inkomende brieven van Tristero uit de periode 1993-2007. De uitgaande brieven zitten mogelijk in de productiedossiers en bij de subsidieaanvragen. Er werd besloten om deze documenten volgens de oude orde te bewaren omdat het te veel tijd zou kosten om de documenten opnieuw te ordenen.
* '''Map personeel''': De vorige zakelijke leider ordende deze documenten volgens een andere manier dan de huidige zakelijke leider. De documenten werden in twee dozen ‘personeel Tristero’ geplaatst en aangevuld met de personeelsdocumenten van de huidige zakelijke leider.

====Promotiemateriaal en drukwerk==== 
* '''Promotiemateriaal en drukwerk van Tristero''': Van iedere uitgave werd een kleine hoeveelheid exemplaren bijgehouden en samen in een doos geplaatst. De overige exemplaren werden verwijderd uit het archief
* '''Programmablaadjes en drukwerk van externen''': Deze documenten werden gesorteerd op ‘Brussel’, ‘België’ en ‘Internationaal’. Dubbels en programmablaadjes waar Tristero niet in vermeld werd, werden verwijderd uit het archief.


[[Bestand:TRISTERO_20140403_Documenten_archiefdozen.jpg|300px|class=align-left]]

====Werkmappen van de huidige zakelijke leider==== 
De mappen bestaan hoofdzakelijk uit werkdocumenten die voor een bepaalde periode overal mee naartoe genomen worden. Definitieve documenten worden digitaal bewaard in een geordende mappenstructuur. Omdat de werkdocumenten geen extra inhoudelijke informatie bevatten, konden ze uit het archief verwijderd worden. Er bevonden zich ook persartikels en verslagen van stafvergaderingen in deze mapjes. Deze werden in de correcte doos of map bijgevoegd.

====E-mails==== 
De bezorgdheid over de zorg voor e-mails is groot. E-mails zijn een interessante bron omdat ze het ontstaansproces van een productie tonen. Door de eenvoud en snelheid van het medium zit een inbox echter al vlug onoverzichtelijk vol en het vraagt enige discipline om een mailbox op orde te houden. De mailbox van Manu Devriendt bevat alle mails sinds 2002 en bestaat uit elektronische briefwisseling van Tristero, maar ook van periodes bij andere werkgevers en privémails. Door een fout zijn alle berichten van één jaar al eens kwijtgeraakt.


De vraag was dan ook hoe de mails duurzaam te bewaren? Alle mails van Tristero op de gemeenschappelijke server plaatsen? Het vraagt te veel tijd om retroactief de mailbox op te kuisen en de mails te ordenen. Hier werd niet meteen een oplossing voor gevonden, maar er werd voorgesteld dat na iedere productie alle mails in een map gestoken worden en een kleine opruimactie uitgevoerd wordt.

===Documenteren=== 
Na het opruimen is het belangrijk dat de uitgevoerde acties gedocumenteerd worden en dat er een lijst gemaakt wordt van de documenten die uit het archief verwijderd werden. Nu het archief van Tristero geordend en samengebracht werd, was het ook het uitgelezen moment om het [[Maak een archieftoegang en beschrijf je archief|archief te beschrijven]] en een nieuwe [[Breng je archief en collectie(s) in kaart|lokalisatielijst]] op te maken.

==Resultaten== 
[[Bestand:TRISTERO_20140403_Verwijderd_archiefmateriaal.jpg|300px|class=align-left]]


* Dubbels en overbodige werkdocumenten werden verwijderd. Tristero heeft nu meer plaats in de kasten en rekken.
* Documenten waarvan de inhoud niet gekend was, werden geïdentificeerd en in de correcte doos of map geplaatst.
* De documenten werden in zuurvrije dozen gestoken, zodat ze duurzaam bewaard worden en raadpleegbaar blijven.
* Samen opruimen leidde tot nadenken over welke documenten bewaard of verwijderd mogen worden en hoe er geordend moet worden.
* Het archief werd beschreven. De ISAD(G)-beschrijving zal op Archiefbank Vlaanderen gepubliceerd worden.
* Er werd een [[:Bestand:20140403_Vernietigingslijst_Tristero.xlsx|beknopte lijst]] opgesteld met alle documenten die werden vernietigd.
* Er werd een aanzet gemaakt van een lokalisatielijst, maar wegens tijdsgebrek werd deze niet afgewerkt. Het archief werd wel volledig met de zakelijke leider doorgenomen.


''Auteur'': Nastasia Vanderperren ([[Meemoo, Vlaams instituut voor het archief|Meemoo]]), Eline De Lepeleire ([[Het Firmament]])


[[Categorie:Praktijkvoorbeelden]]
</translate>

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:53:15Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company [http://www.damagedgoods.be/EN/about], Damaged Goods, in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.<ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation [http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager], (only in Dutch). This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this. In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/14/en

2020-09-25T14:53:14Z

Noortje Lambrichts:

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this. In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:51:57Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company [http://www.damagedgoods.be/EN/about], Damaged Goods, in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.<ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation [http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager], (only in Dutch). This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this. <ref>In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.<ref>

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/14/en

2020-09-25T14:51:57Z

Noortje Lambrichts:

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this. <ref>In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.<ref>

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:50:53Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company [http://www.damagedgoods.be/EN/about], Damaged Goods, in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.<ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation [http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager], (only in Dutch). This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/8/en

2020-09-25T14:50:53Z

Noortje Lambrichts:

The best solution for preserving the content of the tapes and keeping them accessible is digitisation [http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager], (only in Dutch). This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:49:13Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company [http://www.damagedgoods.be/EN/about], Damaged Goods, in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.<ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.<ref>http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch</ref> This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/4/en

2020-09-25T14:49:13Z

Noortje Lambrichts:

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.<ref>

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:46:21Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company [http://www.damagedgoods.be/EN/about], Damaged Goods, in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.<ref>http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch</ref> This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/3/en

2020-09-25T14:46:21Z

Noortje Lambrichts:

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company [http://www.damagedgoods.be/EN/about], Damaged Goods, in Brussels.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:45:05Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'Categorie:Praktijkvoorbeelden/en'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.<ref>http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch</ref> This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden/en]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/32/en

2020-09-25T14:45:05Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'Categorie:Praktijkvoorbeelden/en'

[[Categorie:Praktijkvoorbeelden/en]]

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:44:46Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met '''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.<ref>http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch</ref> This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/31/en

2020-09-25T14:44:46Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met '''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)'

''Author'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:44:35Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met '==Results== * Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.<ref>http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch</ref> This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|600px|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/30/en

2020-09-25T14:44:34Z

==Results==
* Damaged Goods’ audiovisual archive has already been partially inventoried. Damaged Goods now has a clear overview of the total number of tapes, the number of tapes per production and the different tape formats in their possession. Every tape has been given a unique number. Furthermore, the inventory has now made it possible to find a video quickly.
* Damaged Goods’ audiovisual archive will be digitised so that it is preserved for the future, and will continue to be available for consultation. The Betacam SPs can already be digitised by VIAA via VTi.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:43:52Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.<ref>http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch</ref> This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/29/en

2020-09-25T14:43:52Z

If for the digitisation of certain material it is not possible to wait for VIAA, Damaged Goods must find its own solution. One possibility might be to make contact with other organisations, create a pool and thus reduce costs by means of economies of scale.

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/28/en

2020-09-25T14:43:43Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'class=align-left'

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:43:13Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cult...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/27/en

2020-09-25T14:43:12Z

VIAA has its own list of priorities for digitisation. This was drawn up on the basis of media/formats, their obsolescence and dispersal in the broadcasting and cultural sector. In the case of film, the state of the medium is also taken into account.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:43:06Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met '===Determining priorities=== After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.<ref>In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.</ref>

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/26/en

2020-09-25T14:43:06Z

===Determining priorities===
After drawing up the inventory, a decision needs to be made as to which material should take priority for digitisation. Priorities are determined on the basis of the following criteria:
* '''medium/format''': is this a medium that is known to be prone to deterioration (e.g. video tape formats for non-professional use because the tape is narrower)? Is it a medium/format that has fallen into disuse (and for which playback devices are hard to find or no longer available)?
* '''contents''': are the contents essential for the organisation (e.g. a performance that has only been recorded once, and of which there are not multiple copies)?
* '''state of the medium''': does a superficial inspection already detect deterioration?

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:42:09Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers....'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, [http://www.damagedgoods.be/EN/about Damaged Goods], in Brussels.

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.[[footnote|In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.]]

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

===Prioriteiten bepalen===
Na het opmaken van de inventaris moet bepaald worden welk materiaal prioritair is bij digitalisering. Prioriteiten worden op basis van volgende criteria vastgelegd:
* '''drager/formaat''': is het een drager waarvan het geweten is dat het kwetsbaar is voor verval (bv. videotapeformaten voor niet-professioneel gebruik zijn meestal kwetsbaarder dan videotapeformaten voor professioneel gebruik omdat de tape smaller is)? Is het een drager/formaat die in onbruik is geraakt (en waarvoor afspeelapparatuur zeldzaam is of niet langer beschikbaar is)?
* '''inhoud''': is de inhoud essentieel voor de organisatie (bv. een voorstelling die maar één keer is vastgelegd en waarvan geen meerdere kopieën bestaan)?
* '''staat van de drager''': is er door een oppervlakkige inspectie al verval vast te stellen?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/25/en

2020-09-25T14:42:09Z

In November 2014, Damaged Goods recruited volunteers to register the remaining video tapes. PACKED vzw will help to follow this up and will support the volunteers. Based on the temporary, current inventory, model descriptions will be drawn up on which the volunteers can base their work.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:24:41Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'The template was filled in as follows: * '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, Damaged Goods, in Brussels.[[footnote|http://www.damagedgoods.be/EN/about]]

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.[[footnote|In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.]]

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In november 2014 heeft Damaged Goods vrijwilligers aangetrokken om de overige videobanden te registreren. PACKED vzw zal dit mee opvolgen en de vrijwilligers begeleiden. Op basis van de voorlopige, huidige inventaris zullen modelbeschrijvingen gemaakt worden waarop de vrijwilligers zich kunnen baseren.

===Prioriteiten bepalen===
Na het opmaken van de inventaris moet bepaald worden welk materiaal prioritair is bij digitalisering. Prioriteiten worden op basis van volgende criteria vastgelegd:
* '''drager/formaat''': is het een drager waarvan het geweten is dat het kwetsbaar is voor verval (bv. videotapeformaten voor niet-professioneel gebruik zijn meestal kwetsbaarder dan videotapeformaten voor professioneel gebruik omdat de tape smaller is)? Is het een drager/formaat die in onbruik is geraakt (en waarvoor afspeelapparatuur zeldzaam is of niet langer beschikbaar is)?
* '''inhoud''': is de inhoud essentieel voor de organisatie (bv. een voorstelling die maar één keer is vastgelegd en waarvan geen meerdere kopieën bestaan)?
* '''staat van de drager''': is er door een oppervlakkige inspectie al verval vast te stellen?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/23/en

2020-09-25T14:24:41Z

The template was filled in as follows:
* '''CP (content provider)''': This is the person or organisation managing the audiovisual archive. The official name of the organisation (in this case Damaged Goods) is filled in here.
* '''Type''': This field indicates whether the medium is audio or visual.
* '''Format''': The format of the medium, e.g. CD-R, compact audio cassette, Betacam SP of MiniDV.
* '''Original_medium_id''': The number or code of the medium. Damaged Goods had not yet numbered and inventoried the audiovisual archive, meaning that we have been able to use continuous numbers starting from 1. Should the tapes and discs in the audiovisual archive have already had a number, then we would have filled in this code or number in this field.
* '''Original_location''': In this field, a highly specific location for the audio or video tape should be given, namely the organisation (in this case Damaged Goods) at which it is being stored, the room in which the video is being kept and the number of the box in which the tape is stored.
* '''Title''': The title of the video. For this, we have copied verbatim the inscriptions and labels on the tapes and boxes. If there were no inscriptions, the term ‘unknown’ was used.
* '''Brand''': Brand and type of tape, e.g. Sony DT-120, Maxell B-30ML BQ or TDK DVM60.
* '''Date''': The date on which the video was made. This is filled in according to the template yyyy-mm-dd. If one element was not known, an ‘x’ was inserted. E.g. 2001-12-14, 2001-12-xx or xxxx-xx-xx.
* '''Duration''': The total length of the tape or disc. This is usually mentioned in the product name, e.g. a Sony DT-120 has a total length of 120 minutes. The length is filled in according to the template h:mm:ss. 120 minutes is therefore 2:00:00.
* '''Comments''': In this field, extra information is added that can be relevant to the digitisation, such as the recording standards (PAL, NTSC, SECAM). This technical information is important when playing and digitising the tapes.[[footnote|http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam, only in Dutch]]
* '''To be digitised through the VTi''': In this field, we indicate which cassettes are already being sent off to the VTi to be digitised in the first phase.

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/22/en

2020-09-25T14:22:42Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'class=align-left'

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:22:13Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tap...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, Damaged Goods, in Brussels.[[footnote|http://www.damagedgoods.be/EN/about]]

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.[[footnote|In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.]]

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

De sjabloon werd als volgt ingevuld:
* '''CP (content provider)''': Dit is de persoon of organisatie die het audiovisuele archief beheert. Hier werd de officiële naam van de organisatie (dus hier Damaged Goods) ingevuld.
* '''Type''': In dit veld werd aangeduid of het om een video- of audiodrager ging.
* '''Format''': Het formaat van de drager, bv. cd-r, compact audiocassette, Betacam SP of MiniDV.
* '''Original_carrier_id''': De nummer of code van de drager. Damaged Goods had het audiovisuele archief nog niet genummerd en geïnventariseerd, waardoor we een doorlopend cijfer vanaf 1 gebruikt hebben. Indien de tapes en schijven van het audiovisuele archief al een code of nummer gehad zouden hebben, zouden we deze code of nummer in dit veld hebben ingevuld.
* '''Original_location''': In dit veld werd zeer specifiek de locatie van de audio- of videoband beschreven, nl. de organisatie (dus hier Damaged Goods) bij wie het bewaard wordt, de ruimte waar de video zich bevindt en de nummer van de doos waarin de band opgeborgen wordt.
* '''Title''': De titel van de video. Hiervoor hebben we de opschriften en etiketten die op de tapes en de doosjes stonden letterlijk overgenomen. Als er geen opschriften waren, werd er ‘onbekend’ gebruikt.
* '''Brand''': Merk en type van de tape, bv. Sony DT-120, Maxell B-30ML BQ of TDK DVM60.
* '''Date''': De datum waarop de video gemaakt werd. Dit werd ingevuld volgens het sjabloon jjjj-mm-dd. Als er een element niet gekend was, werd er een ‘x’ ingevuld. Bv. 2001-12-14, 2001-12-xx of xxxx-xx-xx…
* '''Duration''': De totale duur van de tape of schijf. Dit kan je meestal ook zien in de productnaam, bv. een Sony DT-120 cassette heeft een totale duur van 120 minuten. De duur werd volgens het sjabloon u:mm:ss ingevuld. 120 minuten is dus 2:00:00.
* '''Opmerkingen''': In dit veld werd extra informatie toegevoegd die relevant kan zijn bij het digitaliseren, zoals de opnamestandaarden (PAL, NTSC, SECAM). Die technische informatie is belangrijk bij het afspelen en digitaliseren van de tapes.<ref>http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam<ref>
* '''To be digitised through VTi''': In dit veld werd aangeduid welke cassettes al met VTi meegaan om te digitaliseren in de eerste golf.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In november 2014 heeft Damaged Goods vrijwilligers aangetrokken om de overige videobanden te registreren. PACKED vzw zal dit mee opvolgen en de vrijwilligers begeleiden. Op basis van de voorlopige, huidige inventaris zullen modelbeschrijvingen gemaakt worden waarop de vrijwilligers zich kunnen baseren.

===Prioriteiten bepalen===
Na het opmaken van de inventaris moet bepaald worden welk materiaal prioritair is bij digitalisering. Prioriteiten worden op basis van volgende criteria vastgelegd:
* '''drager/formaat''': is het een drager waarvan het geweten is dat het kwetsbaar is voor verval (bv. videotapeformaten voor niet-professioneel gebruik zijn meestal kwetsbaarder dan videotapeformaten voor professioneel gebruik omdat de tape smaller is)? Is het een drager/formaat die in onbruik is geraakt (en waarvoor afspeelapparatuur zeldzaam is of niet langer beschikbaar is)?
* '''inhoud''': is de inhoud essentieel voor de organisatie (bv. een voorstelling die maar één keer is vastgelegd en waarvan geen meerdere kopieën bestaan)?
* '''staat van de drager''': is er door een oppervlakkige inspectie al verval vast te stellen?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/21/en

2020-09-25T14:22:13Z

Damaged Goods had made an advance selection of the audiovisual material that should take priority and should definitely be digitised. They had also arranged the tapes per production, per performance and per tape format.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:22:07Z

Noortje Lambrichts: Nieuwe pagina aangemaakt met 'On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and ident...'

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, Damaged Goods, in Brussels.[[footnote|http://www.damagedgoods.be/EN/about]]

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.[[footnote|In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.]]

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Damaged Goods had op voorhand een selectie gemaakt van het audiovisuele materiaal dat prioritair was en zeker gedigitaliseerd moest worden. De tapes werden door hen ook geordend per productie, per voorstelling en per tapeformaat.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

De sjabloon werd als volgt ingevuld:
* '''CP (content provider)''': Dit is de persoon of organisatie die het audiovisuele archief beheert. Hier werd de officiële naam van de organisatie (dus hier Damaged Goods) ingevuld.
* '''Type''': In dit veld werd aangeduid of het om een video- of audiodrager ging.
* '''Format''': Het formaat van de drager, bv. cd-r, compact audiocassette, Betacam SP of MiniDV.
* '''Original_carrier_id''': De nummer of code van de drager. Damaged Goods had het audiovisuele archief nog niet genummerd en geïnventariseerd, waardoor we een doorlopend cijfer vanaf 1 gebruikt hebben. Indien de tapes en schijven van het audiovisuele archief al een code of nummer gehad zouden hebben, zouden we deze code of nummer in dit veld hebben ingevuld.
* '''Original_location''': In dit veld werd zeer specifiek de locatie van de audio- of videoband beschreven, nl. de organisatie (dus hier Damaged Goods) bij wie het bewaard wordt, de ruimte waar de video zich bevindt en de nummer van de doos waarin de band opgeborgen wordt.
* '''Title''': De titel van de video. Hiervoor hebben we de opschriften en etiketten die op de tapes en de doosjes stonden letterlijk overgenomen. Als er geen opschriften waren, werd er ‘onbekend’ gebruikt.
* '''Brand''': Merk en type van de tape, bv. Sony DT-120, Maxell B-30ML BQ of TDK DVM60.
* '''Date''': De datum waarop de video gemaakt werd. Dit werd ingevuld volgens het sjabloon jjjj-mm-dd. Als er een element niet gekend was, werd er een ‘x’ ingevuld. Bv. 2001-12-14, 2001-12-xx of xxxx-xx-xx…
* '''Duration''': De totale duur van de tape of schijf. Dit kan je meestal ook zien in de productnaam, bv. een Sony DT-120 cassette heeft een totale duur van 120 minuten. De duur werd volgens het sjabloon u:mm:ss ingevuld. 120 minuten is dus 2:00:00.
* '''Opmerkingen''': In dit veld werd extra informatie toegevoegd die relevant kan zijn bij het digitaliseren, zoals de opnamestandaarden (PAL, NTSC, SECAM). Die technische informatie is belangrijk bij het afspelen en digitaliseren van de tapes.<ref>http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam<ref>
* '''To be digitised through VTi''': In dit veld werd aangeduid welke cassettes al met VTi meegaan om te digitaliseren in de eerste golf.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In november 2014 heeft Damaged Goods vrijwilligers aangetrokken om de overige videobanden te registreren. PACKED vzw zal dit mee opvolgen en de vrijwilligers begeleiden. Op basis van de voorlopige, huidige inventaris zullen modelbeschrijvingen gemaakt worden waarop de vrijwilligers zich kunnen baseren.

===Prioriteiten bepalen===
Na het opmaken van de inventaris moet bepaald worden welk materiaal prioritair is bij digitalisering. Prioriteiten worden op basis van volgende criteria vastgelegd:
* '''drager/formaat''': is het een drager waarvan het geweten is dat het kwetsbaar is voor verval (bv. videotapeformaten voor niet-professioneel gebruik zijn meestal kwetsbaarder dan videotapeformaten voor professioneel gebruik omdat de tape smaller is)? Is het een drager/formaat die in onbruik is geraakt (en waarvoor afspeelapparatuur zeldzaam is of niet langer beschikbaar is)?
* '''inhoud''': is de inhoud essentieel voor de organisatie (bv. een voorstelling die maar één keer is vastgelegd en waarvan geen meerdere kopieën bestaan)?
* '''staat van de drager''': is er door een oppervlakkige inspectie al verval vast te stellen?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/20/en

2020-09-25T14:22:07Z

On 16 and 18 July 2014, PACKED vzw and Het Firmament spent a day and a half compiling the inventory. A member of staff from Damaged Goods helped to number and identify the tapes. In this period of time, 436 video and audio carriers were inventoried:
* VHS: 8 items;
* Betacam SP: 24 items;
* Digital Betacam: 1 item;
* S-VHS-C: 6 items;
* U-matic: 1 item;
* DVCAM: 8 item;
* Hi8: 58 items;
* Video8: 26 items;
* MiniDV: 268 items;
* compact audio cassette: 1 item;
* DAT: 21 items;
* DVD-R: 10 items;
* CD-R: 4 items.

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:20:28Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, Damaged Goods, in Brussels.[[footnote|http://www.damagedgoods.be/EN/about]]

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.[[footnote|In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.]]

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

Op 16 en 18 juli 2014 hebben PACKED vzw en Het Firmament anderhalve dag geïnventariseerd. Een staflid van Damaged Goods hielp met het nummeren en identificeren van de tapes. In die tijdsperiode werden 436 video- en audiodragers geïnventariseerd:
* VHS: 8 stuks;
* Betacam SP: 24 stuks;
* Digital Betacam: 1 stuk;
* S-VHS-C: 6 stuks;
* U-matic: 1 stuk;
* DVCAM: 8 stuks;
* Hi8: 58 stuks;
* Video8: 26 stuks;
* MiniDV: 268 stuks;
* compact audiocassette: 1 stuk;
* DAT: 21 stuks;
* dvd-r: 10 stuks;
* cd-r: 4 stuks.

Damaged Goods had op voorhand een selectie gemaakt van het audiovisuele materiaal dat prioritair was en zeker gedigitaliseerd moest worden. De tapes werden door hen ook geordend per productie, per voorstelling en per tapeformaat.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

De sjabloon werd als volgt ingevuld:
* '''CP (content provider)''': Dit is de persoon of organisatie die het audiovisuele archief beheert. Hier werd de officiële naam van de organisatie (dus hier Damaged Goods) ingevuld.
* '''Type''': In dit veld werd aangeduid of het om een video- of audiodrager ging.
* '''Format''': Het formaat van de drager, bv. cd-r, compact audiocassette, Betacam SP of MiniDV.
* '''Original_carrier_id''': De nummer of code van de drager. Damaged Goods had het audiovisuele archief nog niet genummerd en geïnventariseerd, waardoor we een doorlopend cijfer vanaf 1 gebruikt hebben. Indien de tapes en schijven van het audiovisuele archief al een code of nummer gehad zouden hebben, zouden we deze code of nummer in dit veld hebben ingevuld.
* '''Original_location''': In dit veld werd zeer specifiek de locatie van de audio- of videoband beschreven, nl. de organisatie (dus hier Damaged Goods) bij wie het bewaard wordt, de ruimte waar de video zich bevindt en de nummer van de doos waarin de band opgeborgen wordt.
* '''Title''': De titel van de video. Hiervoor hebben we de opschriften en etiketten die op de tapes en de doosjes stonden letterlijk overgenomen. Als er geen opschriften waren, werd er ‘onbekend’ gebruikt.
* '''Brand''': Merk en type van de tape, bv. Sony DT-120, Maxell B-30ML BQ of TDK DVM60.
* '''Date''': De datum waarop de video gemaakt werd. Dit werd ingevuld volgens het sjabloon jjjj-mm-dd. Als er een element niet gekend was, werd er een ‘x’ ingevuld. Bv. 2001-12-14, 2001-12-xx of xxxx-xx-xx…
* '''Duration''': De totale duur van de tape of schijf. Dit kan je meestal ook zien in de productnaam, bv. een Sony DT-120 cassette heeft een totale duur van 120 minuten. De duur werd volgens het sjabloon u:mm:ss ingevuld. 120 minuten is dus 2:00:00.
* '''Opmerkingen''': In dit veld werd extra informatie toegevoegd die relevant kan zijn bij het digitaliseren, zoals de opnamestandaarden (PAL, NTSC, SECAM). Die technische informatie is belangrijk bij het afspelen en digitaliseren van de tapes.<ref>http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam<ref>
* '''To be digitised through VTi''': In dit veld werd aangeduid welke cassettes al met VTi meegaan om te digitaliseren in de eerste golf.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In november 2014 heeft Damaged Goods vrijwilligers aangetrokken om de overige videobanden te registreren. PACKED vzw zal dit mee opvolgen en de vrijwilligers begeleiden. Op basis van de voorlopige, huidige inventaris zullen modelbeschrijvingen gemaakt worden waarop de vrijwilligers zich kunnen baseren.

===Prioriteiten bepalen===
Na het opmaken van de inventaris moet bepaald worden welk materiaal prioritair is bij digitalisering. Prioriteiten worden op basis van volgende criteria vastgelegd:
* '''drager/formaat''': is het een drager waarvan het geweten is dat het kwetsbaar is voor verval (bv. videotapeformaten voor niet-professioneel gebruik zijn meestal kwetsbaarder dan videotapeformaten voor professioneel gebruik omdat de tape smaller is)? Is het een drager/formaat die in onbruik is geraakt (en waarvoor afspeelapparatuur zeldzaam is of niet langer beschikbaar is)?
* '''inhoud''': is de inhoud essentieel voor de organisatie (bv. een voorstelling die maar één keer is vastgelegd en waarvan geen meerdere kopieën bestaan)?
* '''staat van de drager''': is er door een oppervlakkige inspectie al verval vast te stellen?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]

Translations:Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/19/en

2020-09-25T14:20:28Z

Noortje Lambrichts:

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template [[Bestand:Registratiesjabloon_DG.xlsx|here]] (only in Dutch).

Registratie en identificatie van video- en audiotapes bij Damaged Goods voor digitalisering/en

2020-09-25T14:19:43Z

Noortje Lambrichts:

<languages />The dance company Damaged Goods wishes to have its audiovisual archive digitised to preserve it for the future, and for reference purposes. In an initial phase, the material was inventoried according to the registration model of the Flemish Institute for Archiving (VIAA). You can read in this pilot project about how the registration was managed.

==Status==
* Definition of problem: May – June 2014
* Determining the method: June 2014
* Registration of video tapes by PACKED vzw: July 2014
* Registration of video tapes by volunteers: November 2014

==Definition of the problem==
Meg Stuart is an American choreographer and dancer who lives and works in Brussels and Berlin. In 1991, she was invited by the international dance festival Klapstuk in Leuven to create her first full-length performance, Disfigure Study, with which she launched her artistic career in Europe. In 1994, she set up her own dance company, Damaged Goods, in Brussels.[[footnote|http://www.damagedgoods.be/EN/about]]

Over the years, the dance company has produced a large number of video and audio tapes with recordings of rehearsals, improvisations, performances, music etc. The videos, which have significant heritage value, were recorded on various analogue and digital devices, e.g. VHS, Hi8, Betacam SP, Video8, DAT and MiniDV. Of some performances, such as Disfigure Study, Damaged Goods only has a single recording.[[footnote|In 2002 a remake of Disfigure Study was made under the supervision of Damaged Goods. The dance company has multiple copies of this performance on DVD. However, the company only has one single VHS copy of the original 1991 performance.]]

In the audiovisual archive, there is often no distinction made between archive and reference copies. This means that some archive copies are not only used for long-term storage, but also for reference. Use for reference purposes increases the likelihood that the medium will become worn or damaged. In addition, the quality of the media deteriorates because of changes in their chemical composition. This is particularly true of audio and videotapes, but also of CD-Rs and DVD-Rs. This deterioration is accelerated by the lack of optimal storage space (an attic room with fluctuating temperatures and relative humidity). Furthermore, Damaged Goods does not possess playback devices for all the different types of analogue and digital media in its audiovisual archive. Technological evolution also means that playback devices and the accompanying media can become obsolete.

A member of staff at Damaged Goods noticed that the quality of the videos was declining. The MiniDVs were still playable, but the fear was that on some tapes, the image and/or sound were missing. In 2014, Damaged Goods contacted PACKED vzw for advice. It became clear that steps needed to be taken both to keep the material safe for the future, and to make sure that it remained available for reference. To achieve this, digitalisation seemed to be the most appropriate option.

==Method==
===Determining the problem===
Damaged Goods wants to preserve its digital archive for the future. Threats to this preservation are:
* the deterioration of the digital and analogue video and audio tapes;
* the disappearance of the necessary playback devices;
* the far from ideal storage, which accelerates the deterioration of the media in the audiovisual archive, namely in an attic space that gets extremely hot in summer.

The best solution for preserving the content of the tapes and keeping them accessible is digitisation.[[footnote|http://www.scart.be/?q=nl/content/wat-telt-de-inhoud-en-meestal-niet-de-plastic-drager, only in Dutch]] This involves producing first archive files, and then reference files. An archive file is a digital copy of the highest possible quality – preferably of a high enough quality to replace the original should it be destroyed or damaged; a reference copy is a digital copy that is used to make a video or audio recording available digitally (online). In addition to this, there is sometimes a reproduction file. This is an intermediary/archive file that is used to make different sorts of reference files. Due to economic considerations, the decision is often made to use the same specifications for the different types of files. This saves not only storage space, but also transcoding time and infrastructure.

Damaged Goods contacted PACKED vzw in May 2014 requesting contact details for digitisation labs. Damaged Goods wanted to digitise the performance recordings in order to have a readable recording of every performance, with a sound and image quality that is close to the original. PACKED vzw provided Damaged Goods with the requested information about digitisation labs. Damaged Goods then requested quotes from two labs. A joint consultation revealed that it was difficult for the organisation to request good quotes due to their lack of expertise and knowhow about quality requirements. The quality requirements that they had drawn up were insufficiently specific, meaning that the resulting request for a quote was too open to interpretation. In consequence, Damaged Goods was unable to compare the quotes they received properly in terms of the suggested price and of quality.

As a centre of expertise for the digital heritage, PACKED vzw does have the necessary knowledge to set out the specific quality requirements needed for a sustainable accessibility of the audiovisual material. Requirements still need to be determined with regard to:
* the container format;
* the video codec;
* the compression of the video signal;
* the bit depth of the video signal;
* the frame rate;
* the image aspect ratio;
* the pixel aspect ratio;
* the frame size;
* the chroma subsampling;
* the interlacing;
* the audio codec;
* the compression of the audio signal;
* the bit depth of the audio signal;
* the sampling frequency of the audio signal;
* the number of audio channels.

Agreements also need to be made about the quality control.

[[Bestand:20140618_DamagedGoods_01.jpg|class=align-left]]

===Determining the method===
PACKED vzw contacted VIAA to see whether Damaged Goods’ audiovisual archive would fit into VIAA’s digitisation projects.

VIAA is an institution that was set up in late 2012 by the Flemish government. The goal of VIAA is to digitise heritage, to create sustainable digital archives and make them available for education, research and the wider public via public libraries. Today, VIAA does this in the first instance for the audiovisual heritage, but its task not limited to this.[[footnote|In practice, one of the things that this means is that VIAA coordinates large-scale digitisation projects of material from both the broadcasting and the cultural sectors, and also bears the costs of this. The resulting files are stored in its own digital depot. The content partners can manage and use their digitised material via an online system made available to them by VIAA. VIAA itself can make the material available (in a non-exclusive manner) for educational and research purposes, and in public libraries.]]

It is not possible for arts organisations to work directly with VIAA as a partner concerned with content, but VIAA does enter into partnerships with collection managing institutions. Because it is not in principle part of arts organisations’ mission to guarantee the sustainable accessibility of their audiovisual archive, VIAA prefers collaborations with arts organisations to take place via a collection managing institution, which then takes on the intermediary role, and also commits to preserving the digitised material in the long term. For the Damaged Goods archive, VTi is taking on this role. Also, VTi is not a collection managing institution like the museums, cultural archives or heritage libraries that operate within the cultural heritage sector, but one of its missions is to fulfil the role of documentation centre for the performing arts.

VIAA’s digitisation projects are organised in separate phases and are always concentrate on a particular type of medium. The aim of this is an increase in scale that yields economic advantages. The first phase, which began in 2013, concentrates on ¾” U-matic, Betacam SP, compact audio cassettes and open-reel audiotapes. The second phase, which began in 2014, concentrates on audio CD-R, wax cylinders, wire recorder reels, Betamax, VCR and open reel videotapes.

This means that thanks to VTi’s involvement, the Betacam SP-cassettes have already been digitised by VIAA. For the other formats, it is currently a question of waiting for the next phases of digitisation. Another option is for the company to go ahead and task digitisation labs with the digitisation of the images. Damaged Goods suspects that some of its MiniDVs are already damaged, but this format is included in neither the first nor the second digitisation phase.[[footnote|During the course of 2015, VIAA and PACKED vzw are setting up schemes in collaboration with the collection management institutions to acquire and digitise the audiovisual heritage recorded in amateur formats. http://viaa.be/en/digitisation/amateur-recording-formats/]]

The subsequent action plan was agreed by PACKED vzw with Damaged Goods:
# Inventory of the audiovisual archive: this provides an overview of the number of tapes and other media, the media formats that make up the archive and the content that is being stored on the media (recordings, rehearsals, improvisations, video material used during a performance, inspirational material, etc.).
# Setting priorities: priorities can be set on the basis of factors including the state and content of the media. This makes it possible to look at whether or not the digitisation of particular media is urgent. If the material is already in bad condition or is urgently required for particular reference purposes, it may not be possible to wait for VIAA.
# Establishing contacts: Digitisation is expensive. If certain material does need to be digitised outside VIAA, one option would be to make contacts with other (dance) organisations and to create a pool of work to be digitised in order to cut down the costs.
# Establishing quality requirements (if the digitisation takes place outside VIAA).
# Requesting and evaluating quotes (if the digitisation takes place outside VIAA).

[[Bestand:20140618_DamagedGoods_02.jpg|600px|class=align-left]]

===Inventorying the audiovisual archive===
The first step was to create an inventory of the audiovisual material at Damaged Goods in order to create an overview of the archive. This was done using the template that PACKED vzw and the VIAA have created to collect information for the digitisation of video and audio. For the registration with Damaged Goods, we restricted ourselves to the fields that were relevant to the company’s audiovisual archive. You can see the adapted template here (only in Dutch) [[Bestand:Registratiesjabloon_DG.xlsx]]

Op 16 en 18 juli 2014 hebben PACKED vzw en Het Firmament anderhalve dag geïnventariseerd. Een staflid van Damaged Goods hielp met het nummeren en identificeren van de tapes. In die tijdsperiode werden 436 video- en audiodragers geïnventariseerd:
* VHS: 8 stuks;
* Betacam SP: 24 stuks;
* Digital Betacam: 1 stuk;
* S-VHS-C: 6 stuks;
* U-matic: 1 stuk;
* DVCAM: 8 stuks;
* Hi8: 58 stuks;
* Video8: 26 stuks;
* MiniDV: 268 stuks;
* compact audiocassette: 1 stuk;
* DAT: 21 stuks;
* dvd-r: 10 stuks;
* cd-r: 4 stuks.

Damaged Goods had op voorhand een selectie gemaakt van het audiovisuele materiaal dat prioritair was en zeker gedigitaliseerd moest worden. De tapes werden door hen ook geordend per productie, per voorstelling en per tapeformaat.

[[Bestand:20140618_DamagedGoods_03.jpg|600px|class=align-left]]

De sjabloon werd als volgt ingevuld:
* '''CP (content provider)''': Dit is de persoon of organisatie die het audiovisuele archief beheert. Hier werd de officiële naam van de organisatie (dus hier Damaged Goods) ingevuld.
* '''Type''': In dit veld werd aangeduid of het om een video- of audiodrager ging.
* '''Format''': Het formaat van de drager, bv. cd-r, compact audiocassette, Betacam SP of MiniDV.
* '''Original_carrier_id''': De nummer of code van de drager. Damaged Goods had het audiovisuele archief nog niet genummerd en geïnventariseerd, waardoor we een doorlopend cijfer vanaf 1 gebruikt hebben. Indien de tapes en schijven van het audiovisuele archief al een code of nummer gehad zouden hebben, zouden we deze code of nummer in dit veld hebben ingevuld.
* '''Original_location''': In dit veld werd zeer specifiek de locatie van de audio- of videoband beschreven, nl. de organisatie (dus hier Damaged Goods) bij wie het bewaard wordt, de ruimte waar de video zich bevindt en de nummer van de doos waarin de band opgeborgen wordt.
* '''Title''': De titel van de video. Hiervoor hebben we de opschriften en etiketten die op de tapes en de doosjes stonden letterlijk overgenomen. Als er geen opschriften waren, werd er ‘onbekend’ gebruikt.
* '''Brand''': Merk en type van de tape, bv. Sony DT-120, Maxell B-30ML BQ of TDK DVM60.
* '''Date''': De datum waarop de video gemaakt werd. Dit werd ingevuld volgens het sjabloon jjjj-mm-dd. Als er een element niet gekend was, werd er een ‘x’ ingevuld. Bv. 2001-12-14, 2001-12-xx of xxxx-xx-xx…
* '''Duration''': De totale duur van de tape of schijf. Dit kan je meestal ook zien in de productnaam, bv. een Sony DT-120 cassette heeft een totale duur van 120 minuten. De duur werd volgens het sjabloon u:mm:ss ingevuld. 120 minuten is dus 2:00:00.
* '''Opmerkingen''': In dit veld werd extra informatie toegevoegd die relevant kan zijn bij het digitaliseren, zoals de opnamestandaarden (PAL, NTSC, SECAM). Die technische informatie is belangrijk bij het afspelen en digitaliseren van de tapes.<ref>http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam<ref>
* '''To be digitised through VTi''': In dit veld werd aangeduid welke cassettes al met VTi meegaan om te digitaliseren in de eerste golf.

Voor meer informatie over het identificeren van film, audio- en videocassettes kan je volgende links raadplegen:
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-u-matic-en-betacam U-matic en Betacam];
* [https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf videotapes];
* [https://www.fonoteca.ch/index_it.htm geluidsdragers];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-analoge-audiotapeformaten analoge audiotapeformaten];
* [http://www.scart.be/?q=nl/content/beknopte-handleiding-voor-het-identificeren-van-nitraatfilms-en-verval-ten-gevolge-het (nitraat)film];
* [http://www.nfsa.gov.au/preservation/handbook/film-identification-and-handling/film-identification/ film].

In november 2014 heeft Damaged Goods vrijwilligers aangetrokken om de overige videobanden te registreren. PACKED vzw zal dit mee opvolgen en de vrijwilligers begeleiden. Op basis van de voorlopige, huidige inventaris zullen modelbeschrijvingen gemaakt worden waarop de vrijwilligers zich kunnen baseren.

===Prioriteiten bepalen===
Na het opmaken van de inventaris moet bepaald worden welk materiaal prioritair is bij digitalisering. Prioriteiten worden op basis van volgende criteria vastgelegd:
* '''drager/formaat''': is het een drager waarvan het geweten is dat het kwetsbaar is voor verval (bv. videotapeformaten voor niet-professioneel gebruik zijn meestal kwetsbaarder dan videotapeformaten voor professioneel gebruik omdat de tape smaller is)? Is het een drager/formaat die in onbruik is geraakt (en waarvoor afspeelapparatuur zeldzaam is of niet langer beschikbaar is)?
* '''inhoud''': is de inhoud essentieel voor de organisatie (bv. een voorstelling die maar één keer is vastgelegd en waarvan geen meerdere kopieën bestaan)?
* '''staat van de drager''': is er door een oppervlakkige inspectie al verval vast te stellen?

VIAA heeft een eigen prioritering voor digitalisering. Deze is gemaakt op basis van de dragers / formaten, hun obsoletie en verspreidheid in de omroep- en cultuursector. Voor film wordt er ook rekening gehouden met de staat van de drager.

[[Bestand:20140618_DamagedGoods_04.jpg|600px|class=align-left]]

Indien er voor de digitalisering van bepaald materiaal niet op VIAA gewacht kan worden moet Damaged Goods zelf een oplossing zoeken. Een mogelijkheid kan zijn om contacten te leggen met andere organisaties, een pool te maken en zo door schaalvergroting de kosten te drukken.

==Resultaten==
* Het audiovisueel archief van Damaged Goods werd reeds gedeeltelijk geïnventariseerd. Damaged Goods heeft nu een duidelijk zicht op het totaal aantal tapes, de hoeveelheid tapes per productie en de verschillende tapeformaten die ze bezitten. Iedere tape kreeg een uniek nummer. Met de inventaris is het nu ook mogelijk om snel een video terug te vinden.
* Het audiovisuele archief van Damaged Goods zal gedigitaliseerd worden om voor de toekomst bewaard en raadpleegbaar te blijven. De Betacam SP’s kunnen al via VTi door VIAA gedigitaliseerd worden.
* De resultaten van deze registratie werden mee opgenomen in de Inventarisatie van audiovisuele en digitale archieven in de podiumkunstensector.

''Auteur'': Rony Vissers (PACKED vzw), Nastasia Vanderperren (PACKED vzw)

[[Categorie:Praktijkvoorbeelden]]