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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.
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
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:
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.
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.
he work of PrestoSpace is shown in
the following diagram:
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.
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
PrestoSpace can provide a significant,
even vital, service if it listens properly
to user requirements, and if it provides
a structure for comprehensive European
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.
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.
Institut National de l`Audiovisuel
(INA), France (co-ordinator)
British Broadcasting Corporation
Radiotelevisione Italiana (RAI), Italy
Joanneum Research (JRS), Austria
Netherlands Institute of Sound and
Vision _ Beeld en Geluid (B&G), The
Oesterreichischer Rundfunk (ORF),
University of Sheffield, Computer
Science Dept, UK