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DigiCULT
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Info
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PrestoSpace could reduce digital preserva-
tion cost to, on average, 50 Euros per hour
of material. But where is a small archive
of say 10,000 hours going to get the half-
million Euros? PrestoSpace has a plan: the
increase in funding comes from an increase
in access. It is the prospect of new servic-
es, new audiences, new products that leads
to an increase in grants, donations and sales,
or any other new or enlarged funding. In
order to provide new access, PrestoSpace
has taken a comprehensive view of `the dig-
ital archive': all the ingredients necessary to
exchange deteriorating media on shelves
for accessible and refreshable media on dig-
ital storage.
T
he project intends to provide deliv-
erables (devices, software, reports and
recommendations) for preservation process-
es and management.
Preservation: a fast and affordable data
-
cine, a contact-less playback tool for audio
disks, an automated audio preservation
tool, an automated video preservation tool,
a manual tape condition assessment tool
and an information system for preservation
management.
Restoration: a restoration management
tool, a defect analysis and description infra-
structure, a set of high-level restoration
algorithms, a disk-to-disk real-time restora-
tion tool, a film restoration software tool.
Storage and Archive Management:
a
Web-guide and software tool for stor-
age planning for audiovisual preservation,
a guide and software tool for business-case
planning for audiovisual preservation and
organisation, a logistics and quality assur-
ance system for audiovisual preservation.
Metadata, Delivery and Access: a semi-
automatic description tool, an export sys-
tem for delivering preservation results to
medium and large archives, a turnkey sys-
tem for delivering preservation results to
small archives.
F
or all this work, the first stage is clarifi-
cation and ratification against genuine
user requirements. The workshop and the
questionnaire are the method for determin-
ing those requirements.
T
he work of PrestoSpace is shown in
the following diagram:
THE FILMS
T
he following morning we had a
programme of films, including an
early silent animation about the processes
involved (80 years ago) in making and dis-
tributing film. One of the machines showed
the name of a current PrestoSpace partner:
Debrie, from Paris. There were also exam-
ples of film restored using digital and ana-
logue processes, at projects in France, The
Netherlands and Denmark.
CONCLUSION
I
t was a very packed day, representing a
wide range of interests and views. There
was agreement that:
We all have preservation problems.
Digital processing has an important role.
Film is here to stay (providing the manu-
facture and processing of film can also be
maintained).
PrestoSpace can provide a significant,
even vital, service if it listens properly
to user requirements, and if it provides
a structure for comprehensive European
co-operation.
F
inally, we all agreed the problems were
larger than any one sector, viewpoint
or institution. It was very encouraging to
have such a breadth of experience and
interests gathered under one roof, especial-
ly such a distinguished roof. The strong co-
operation between archives, research and
the commercial services sector is the hope
of PrestoSpace, and the hope for a brighter
future for audiovisual preservation.
T
his reviewer would like to give special
thanks to Brigit Hoomans and Karin
Westerink of the Netherlands Institute of
Sound and Vision, who were the princi-
pal organisers not only of the conference
but also of the questionnaire and who put
enormous effort into making this a produc-
tive meeting.
P
RESTO
S
PACE
CORE
PARTNERS
:
Institut National de l`Audiovisuel
(INA), France (co-ordinator)
British Broadcasting Corporation
(BBC), UK
Radiotelevisione Italiana (RAI), Italy
Joanneum Research (JRS), Austria
Netherlands Institute of Sound and
Vision _ Beeld en Geluid (B&G), The
Netherlands
Oesterreichischer Rundfunk (ORF),
Austria
University of Sheffield, Computer
Science Dept, UK