{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/qn5z60cq44/manifest","type":"Manifest","label":{"en":["Managing Your Digital Assets "]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Tadic, Linda (Presenter)","Shimoda, Yuri (Moderator)","Hockstein, Dan (Moderator)"]}},{"label":{"en":["Date"]},"value":{"en":["2021-08-11 (Created)"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eArchives and collectors often have digital content requiring management for preservation and access. This webinar provides high-level guidance on how to organize, store, and manage digital assets, whether as part of a project to migrate to a digital asset management system or simply to store and manage the files manually.\u003c/p\u003e\r\n\u003cp\u003eAbout the speaker: Linda Tadic is Founder/CEO of Digital Bedrock, a managed digital preservation service that helps libraries, archives, museums, producers, studios, artists, and individuals preserve their digital content. She is also an adjunct professor in UCLA's Moving Image Archive Studies program, teaching a course on Digital Asset Management. She was previously an adjunct professor in NYU's Moving Image Archiving and Preservation program. Her over 35 years' experience includes positions at ARTstor, HBO, the Media Archives and Peabody Awards Collection at the University of Georgia, Pacific Film Archive, and the UCLA Film and Television Archive. Linda consults and lectures on digital asset management, audiovisual and digital preservation, copyright, metadata, and the impact of digital preservation on the environment. She is a founding member and former President of the Association of Moving Image Archivists (AMIA), and is currently on The National Digital Stewardship Alliance (NDSA) Coordinating Committee.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}}],"summary":{"en":["\u003cp\u003eArchives and collectors often have digital content requiring management for preservation and access. This webinar provides high-level guidance on how to organize, store, and manage digital assets, whether as part of a project to migrate to a digital asset management system or simply to store and manage the files manually.\u003c/p\u003e\r\n\u003cp\u003eAbout the speaker: Linda Tadic is Founder/CEO of Digital Bedrock, a managed digital preservation service that helps libraries, archives, museums, producers, studios, artists, and individuals preserve their digital content. She is also an adjunct professor in UCLA's Moving Image Archive Studies program, teaching a course on Digital Asset Management. She was previously an adjunct professor in NYU's Moving Image Archiving and Preservation program. Her over 35 years' experience includes positions at ARTstor, HBO, the Media Archives and Peabody Awards Collection at the University of Georgia, Pacific Film Archive, and the UCLA Film and Television Archive. Linda consults and lectures on digital asset management, audiovisual and digital preservation, copyright, metadata, and the impact of digital preservation on the environment. She is a founding member and former President of the Association of Moving Image Archivists (AMIA), and is currently on The National Digital Stewardship Alliance (NDSA) Coordinating Committee.\u003c/p\u003e"]},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/122/280/small/ARSC_webinar_series_Managing_Digital_Assets.jpg?1636646233","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_webinar_20210811_Tadic.mp4"]},"duration":3556.28,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/122/280/small/ARSC_webinar_series_Managing_Digital_Assets.jpg?1636646233","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/122/280/original/ARSC_webinar_20210811_Tadic.mp4?1630080820","type":"Video","format":"video/mp4","duration":3556.28,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264","type":"AnnotationPage","label":{"en":["ARSC_webinar_20210811_Tadic_transcript [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let's hit record right now. We're going to get a little thing that says recording in progress and it'll ask if you want to leave. I would say don't if you want to see this. And really great to see so many folks in the chat reporting in from various disciplines, domains, professions, what have you. My name is Dan Hockstein I'm an audio preservation engineer here for the special collections at UNC Chapel Hill and also a part time information science student. I'm one of the ARSC Webinar Series coordinators. Just wanted to also acknowledge that Chapel Hill, where I'm reporting from, sits on the land of the Occaneechi, Shakori, Sissipahaw peoples. I want recognize the land and sovereignty of those nations on which I'm fortunate enough to live and work. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=6.0,52.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I am very Yuri Shimoda coming to you from Tovangaar, the traditional, ancestral, and unceded territory of Gabrielino-Tongva peoples, also known as Los Angeles, California. I am an archivist at the UCLA Ethnomusicology Archive and with Dan, we are both the co-chairs of the ARSC Education and Training Committee and coordinate the Continuing Education Webinar Series. \n\nDan Hockstein","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=52.0,86.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So before we introduce our speaker and get going on the webinar, I just wanted to give you a bit of a primer on ARSC if you're new, since these webinars are open to the public beyond membership. The Association for Recorded Sound Collections is a non-profit organization dedicated to preservation and study of sound recordings, in all genres of music and speech, in all formats and from all periods. ARSC is unique in bringing together private individuals and institutional representatives-- everyone with a serious interest in recorded sound. I'll paste in the chat some benefits of becoming a member. And just also want to say that ARSC is supporting the Continue Education Webinar Series as a resource to the community. Please consider supporting ARSC if you have the resources available at ARSC-audio.org/donate. I'll also put that in the chat. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=86.0,144.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So today's events will consist of about approximately forty five minutes of presentation from our special guest, followed by a discussion period. Please type all of your questions into the Q\u0026A section of Zoom, and Dan and I will pose questions to the speaker at the end of the event. This event is being recorded and the recording will be available via ARSC's Aviary site in the next few weeks.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=144.0,177.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So without further ado, we would like to introduce Linda Tadic, the founder and CEO of Digital Bedrock, a managed digital preservation service that helps libraries, archives, museums, producers, stations, studios, artists and individuals preserve their digital content. She is also an adjunct professor in UCLA's Media Archival Studies Program, where she teaches a course on digital asset management. Welcome, Linda. \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=177.0,213.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thanks, Yuri. Thanks, Dan. Hi, everybody. So as Yuri mentioned, I teach a course at UCLA on digital asset management and that's a 10-week course and each class is three and a half hours long. I have 45 minutes right now to try to talk to you about digital asset management, so I will do my best to share with you at least some ideas. I hope that you'll find some of it useful. When I present some of it you might already know, but we don't have much time, so let's get going. Let me share my screen and get going here. So what I will be covering is high level guidance on how to organize, store, and manage your digital assets. Because before you even start thinking, I know some of you have questions about what digital asset management system should I get? What should I do? I'm not going to talk about systems at all, but what I will be discussing is what you need to do. You need to organize your files, your content, your digital content before you even start thinking about getting a digital asset management system, which is what I will be talking about today.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=213.0,278.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I will not be mentioning names, no names will pass my lips, no systems, no storage vendors at all. I won't be talking about metadata because it would be an insult to metadata if I even tried in this brief period of time, because that's a whole other course unto itself. Nor will I be discussing rights management around digital asset management, which I know some of you are interested in. There just isn't time to do it all, and I apologize for that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=278.0,303.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So let's jump in, though. So what is an asset? And basically, this definition is going to guide everything how you should be thinking about how to manage your assets and how you should be moving forward with your workflow. So an asset has three parts. If you don't have any one of these parts, you do not have an asset. There's the content. The content consists of the essence. That's your bits, you know, the zeros and ones, the file. Plus metadata about that asset. And that's both technical metadata about it so that, you know, what is this file? What are these bits? But also metadata about the content itself, what is represented in these bits in this file? So again, content that's your bits, the essence. And metadata about that essence. And you need to know your rights to use this. Can you use this file and in which context? So if you, so for example, you have a file, you don't have metadata, you don't know what it is. How can you use it? That's not an asset. You have a file, you have metadata, but you don't know what the rights are. Well, you don't know how you can use it, then it's not an asset. You need to have all three parts together to really have a functioning management workflow for digital assets, to be a good steward of your digital assets.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=303.0,373.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Asset types can be pretty much anything that's in a digital format, in zeros and ones, documents, images, videos, audio. We're going to focus on audio today because this is ARSC after all. Web pages, emails, code, applications. All of those are assets, digital assets. So digital asset management is a process, it is not a tool. The tool has the \"S\" at the end. The digital asset management system. But today I'm really talking about DAM, not DAMS. The tools are used to help that digital asset management process. So some of the processes around digital asset management is creation. That's critical. You are creating an asset or somebody is creating an asset and you are acquiring it. All of that involved in workflows to create, to manage it. You might collaborate with people. You need approvals for this asset. And of course, you're creating metadata about that asset. So creation is a big part of digital asset management.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=373.0,433.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Then you might have movement. Movement is sharing assets. You want to share it. You might be moving it also between storage tiers. And I'll be talking a little bit about storage tiers and what that means and why you need to know about that definition. A process, of course, is access. You might be publishing to social media, to a website. You might just be having access internally, so you need to provide access to these files internally to your users and your organization. You might want to repurpose and license your content if you have the rights to it, monetization. So again, you need to know the rights about that asset before you can provide access to it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=433.0,473.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then some of the processes can be archiving and preservation because of course, you want to preserve your content over time too now. Digital asset management systems don't do digital preservation, none of them do. So you tend to do separate processes for preservation of the digital assets, although there's at least a couple of things that maybe you can get the system to do for you. But anyway, we're not going to be talking about archiving and preservation, except in one area, which I'll get to later on.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=473.0,501.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So before you can even start thinking about the system, you need to know your assets, how they're created. You need to know how they're organized, you need to know your users, and you need to know your workflow, and your infrastructure for storing and managing these assets. Even before you begin considering a DAM. You want to think to yourself, what is the current state right now and then think in five years from now, how many assets will I have? How much storage, what kinds of assets, how many users will we have? Because then you want to think about today, what you have, what you're planning for the five years. So, for example, right now you have 100 gigabytes of data. In five years, you think you're going to have 100 terabytes of data. So what you should be planning for today is for what you will be having in five years so that you are at least then set for that five year period.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=501.0,555.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So ask yourself, what do I want to do with my assets? And how can a system help you do your work? So, for example, to manage, to find, to link related assets, to duplicate assets perhaps, to provide access, license, preserve? How can a system help you do all of that work? Ask yourself, who are your users? Because your users are going to define your functional requirements for a digital asset management system.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=555.0,581.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So what I'm getting at here with all these questions that I am posing to you, that you should be asking yourself, is helping you then to define your requirements for even getting into a system or defining your requirements for just how you will internally manage your assets. So different kinds of users, you have internal and external users. Every type of user should have a role or category because they have different rights. Some might be able to upload assets to a system, some might be able to download. Some will create metadata, some will approve all of these various roles or functions that you can do with assets. So this here just lists a variety of different types of users. You can have internal and external users, so be thinking also about external users. They can be anything from the people who are perhaps uploading outside your organization, maybe to a digital asset management system. Could be your researchers or scholars. It can even be the public. Those are users. How would they want to access your assets?","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=581.0,645.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So as you're asking yourself these questions and you're trying to identify what could be the functional requirements of a system and your workload, you're gathering information. And you should be creating use cases as you're interviewing your potential users or your current users. How do people want to use the assets? How would they search for them through metadata? What kind of assets will you have? And by asset, I mentioned here content type and format type. So a content type of an asset would be, say, oral histories, whereas an oral histories format could be an audio WAV file for a video file. So two different things you should be thinking about what should be in your system by content type and format type. Because different systems can excel in certain formats and not do so well in other formats. So you want to be sure that a system can support your format and also can help you manage a particular content type.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=645.0,700.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Metadata. What types of metadata should you be capturing about your assets? What is your infrastructure? What is your storage and your technology environment? What kind of security do you need to have over these assets to make sure that there is no unauthorized use? What are the user requirements? How do they want to manage these assets? How do they want to access them, search for them, use them? And what is the workflow around that?","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=700.0,726.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Governance. Now this is also important for policies. If you're in a larger organization, where is the management of your digital assets going to sit? Excuse me. Is it going to be a separate department? Who is in charge of that? And it can be separate departments. So for example, you might have one department that manages the system, if you have a system. There's another department that manages acquiring assets. There's another department that might be doing the metadata, creating metadata for the assets. And so who is in charge of all of these different parts of the workflow? Who's managing them?","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=726.0,761.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then change management, which is the hardest thing in implementing any digital asset management system or workflow, is people. Especially if you're working in a large organization and everybody's used to doing things their own way. It's very siloed, and so you bring in a digital asset management system that everybody has to use. Everybody has to contribute their content to and here they've been holding their content so close. Nobody can have it. It's mine. They have to share. This is the hardest thing about implementing any digital asset management system. It's change management. It's the people.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=761.0,794.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So digital asset management workflow involves from the top to the end, creation down to the end of preserving what's been created. So what I have here in red is what I'm going to try to discuss in the bit of time that we have. So about creating all of the decisions and policies you have to make about creating the assets, to the point of when you receive them and want to bring them into a system. And I'll talk a little bit about storage. And unfortunately don't have time to discuss these other topics.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=794.0,824.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So let's start with creation. And again, I'm talking about policies, so again, these are the policies you have to set at the beginning, before you even start thinking about going out, looking for a digital asset management system. What is going to be your target formats? I say in plural. And what will be their resolutions, because you're going to have more than one format. So your digital assets or your digital objects can be born digital. And that would be a digital, original file. It could be a transcode of a digital original to a target format. So let's say you receive you digital original is in a proprietary format, and then you for preservation purposes, you want to then transcode that into a different format that is more open and sustainable. So you have your born digital. You have that transcode of an original. And then you could have a digital representation of something that was an analog original. You have an original audio tape, you digitize it. You have that target format.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=824.0,884.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So these different formats that can be-- so a digital content can have what I call different file states, it's all the same content. It's just that it has different purposes. That file itself has a different function. So you have your original, let's say, if it's born digital content. So that's the original state, then you have your preservation copy and this would be the highest resolution you can make. As I mentioned in the previous slide, you can have a preservation copy, a digital copy of something that is born digital. Again, it can be put into a more open format, or it can be something that was analog and you've digitized it. That would be your highest resolution and in open format.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=884.0,926.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You can also have two versions of a preservation copy, which is why you have to be very careful and distinguish between these versions so you don't accidentally use the wrong one in some point. You can have, let's say you have an analog original that was digitized it's kind of poppy and it needs clean up, but you always want to digitize it and save it in its original state as dirty as it is. And then you can have a second copy where you cleaned it up. You might have an oral history, you have a preservation copy where it is the full interview, the full oral history. Then you might have another one that is redacted, but those would still be preservation masters, those two versions. Your mezzanine level, your mezzanine state, that would be the equivalent of a copy master. So that would be of a lower resolution than your preservation master. You can also then, of course, have two versions. If you have two versions of the preservation state, you might have two versions of the mezzanine. The mezzanine file, because it should be a smaller file size, usually people will store those locally, those files locally, so they have easy access because you'll be making your access copies off of the mezzanine.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=926.0,995.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The preservation files, especially if you're working with film or video files, which can be very large and take over your infrastructure pretty quickly, your storage infrastructure quickly. You might store those offline somewhere else, but your mezzanine you keep online so you can access it and then your access copies that you make for distribution, you know, for access. Now we're going to come back to the concept of file states when we talk about filenaming conventions. So we'll just leave that for now, but we'll return.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=995.0,1022.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now there can be some external influences on your format selection. It's one thing to think in theory, Oh, this is what I should do. Everything should be compressed 10 bit. Then you have this gigantic video file, for example, of this video. You can't do that if you don't have the storage to manage it. So you have to think about what is your total digital storage capacity now and again in five years and into the future? What can you really do? Should it be on premise? Can you do it in on premise? Should it be in the cloud? What can you afford to do? So you really have to think about that? Because that will influence then your target format?","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1022.0,1059.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What is your editing environment if you're working with video or audio files. Is it Final Cut Pro or Avid or Adobe Premiere or other tools, what do you use? Because then you want to make sure that whatever format you're creating, you can actually use it in with your existing editing platforms. What is your computing platform? Are you on a Mac or PC or Linux? Or is it a mix? So you need to make sure then that whatever format you're selecting and then ultimately what system you might go after and research, can support whatever your platform is. What's your staffing? Do you have staff who can even do this work? You know, who can do some of this management work. And you want to think about then the format sustainability of whatever you are selecting, which is pretty critical.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1059.0,1104.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So what is a format? We started out talking about a digital asset, but what's a format. So a format can be a singleton, a single file. It can also be a wrapper and container that can have within that format various codecs. So a singleton would be like a WAV, AIFF, MP3, a PDF. But a wrapper or a container would be a file format that holds essence, that holds codecs or essence streams. So, for example, MOV, AVI, MXF, MKV, those are all formats. I'm sure you're all familiar with MOV, at least. Those are all formats that have separate streams inside them for the video and the audio components of the file. And those two have different codecs. So for example, when somebody says, Oh, I have a bunch of MOVs, I say, Well, that really tells me nothing, I want to know what the codec is. Is it a proprietary prores? Is it uncompressed YUV, so it's open? What's inside that MOV? Because that is what's going to tell you if it's sustainable and that is what's going to tell you if you have the correct environment where you can actually render and play out these files. You need to know what's inside them, inside those formats.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1104.0,1173.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So you could use again, we're talking about what is your creation, what's your target preservation file format that you want to look at. You could use more than one format across your collections. Don't get stuck into this idea that everything, especially for video, has to be all one format. It really depends, especially if you are digitizing from analog originals. What is your source format? What is the quality? Adopt more than one format for video, at least. Because basically, don't use a target format or codec that has a higher resolution than your source. Because then you're just going to generate large files for no good reason. Because it's just wasted bits inside it. So let's say, for example, you have a DV file, just a digital video file, shifting over to video for a second here. And that's just 8 bit color, and it's highly compressed. So why in the world would you take that DV file, which is already compressed and has low color bit and up convert that to being uncompressed 10 bit when there isn't information there to really warrant it, to support it? There's no need to do that. You keep it in its original resolution at that point. You don't up convert it. So basically, what I'm trying to really, really get across here is like you should not say everything's going to be 10 bit uncompressed because there is no reason to do that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1173.0,1252.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You should be using open, in other words, not proprietary formats, because you want to be thinking again about the future, the people who will come after you. They need to preserve these. They need to take care of these files, and they might need to migrate them into the future. So start from the very beginning by having as open a format as you can. So the basic rules of thumb, it should try to be an open standard, open standard doesn't mean open source, it just means it is supported by a standards body. You know, there is somebody, there is some entity, not just a proprietary owner, who is responsible for maintaining this format.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1252.0,1289.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Make sure it's well supported because sometimes there could be an example of a format that is owned by a vendor, is owned by a company that is supported or maintained by a standards body. But everybody uses it. It's so well supported. All software, all operating systems can use it. WAVe is like that. For example, we get to that in the second. WAV files are Microsoft formats, but everybody uses it. So it's considered to be really kind of an open standard, you know, and not proprietary, even though it was Microsoft that started it. And you want to have a format that is well documented. And so there's a link here for the Library of Congress sustainability of digital formats. Highly recommend site if you don't know it already. Wonderful documentation on many, many formats that you will find of interest, and it gives great guidance of the different factors that you should be considering as you're considering different formats to use, what could be a sustainable format.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1289.0,1342.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So again, this is ARSC, we're talking about audio. So a preservation file format could be WAV, which I know all of you use, I'm sure. Which again, is Microsoft. You have a PCM compression inside it. BWF is basically just WAV with embedded metadata, and the file extension is WAV. And WAV essentially is the de facto audio preservation standard. IASA, which is the International Association of Sound and Audiovisual Archives, their technical commission is highly respected, and they recommend that WAV or BWF at the resolution that you see here on the screen. So again, it also depends when we're talking about file formats, but also resolutions. You don't use the same for everything. So even though they recommend 96 or 192 kilohertz at 24 bit for archival files, the usual 96 24, minimum is 48 kilohertz.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1342.0,1396.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But spoken word that's what oral histories. Those can be at 48 24, those don't need to be at 96. Again, that's wasted data. You'll use 96 or 192 even for music, you know, for content that has that's very rich in being captured. But if it's just the spoken word, the human voice, you don't really need to have that high of a resolution. So that is the recommendation there. The GRAMMY Foundation, a totally different kind of entity than IASA, they basically recommend exactly the same thing as IASA does. So the fact that all of these organizations are all saying pretty much this is what you should be using and these are the recommended resolutions. This is what makes it should be the de facto audio preservation standard. Other audio formats could be AIFF, you know, Apple, but it's considered to be too proprietary for preservation use.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1396.0,1448.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Access formats MP3 and FLAC. FLAC is an open lossless codec. And so you'll find it within a Matroska wrapper, which is an open wrapper container also with an FFV1 video stream. FFV1 is the open video codec. So there's a big push in archives now to use these open codecs that are available again, not standards body based but more traditional standards body based. Although the IETF is now standardizing FFV1 at least Matroska. But these, you know, it hasn't really gotten to have wide adoptability yet, which is one of the sustainability factors. So definitely keep an eye out for that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1448.0,1493.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So moving past, we're still talking about creation, moving past formats. So then we have unique IDs and naming conventions, and these are the most basic and fundamental actions you can take in managing your digital assets because again, before you can even think about putting these into a system, regardless, you need to manage them. You have to organize them in some way anyway before it comes into a system. Once it goes into the system, it's too late. Do it before. All this prep work has to be done before. And I know some organizations that have managed hundreds of thousands of files just without a system, just by doing it through organization. So this is really critical.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1493.0,1530.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So two things, you want to assign unique identifiers to content and items and you need to create filenaming and directory conventions, directory or path or folder. So the purpose of the unique IDs is so that you can clearly and unambiguously identify content and also item. But content first, let's talk about that first. Titles can change over time. By having a unique identifier-- and they can have multiple titles. You get two titles in different, different versions of titles, different language titles. And so this unique identifier for content is how you would be able to unambiguously identify what the content is. You can link related elements, content and items. And that content ID can then form the basis for an item ID. So item IDs which are different from the content. The content is not related. It is just about, you know, if it's a sound recording, it's that oral history that can be manifest in the various file formats. But if that content of the oral history that we're talking about for the unique ID. The items themselves will have their own ID. Do not consider filenames to be unique IDs. Just as titles can change, filenames can change over time, as you well know. I know that every single one of you watching this have had to have endured that. You've changed your filenaming. So you want to have a unique ID for the item, for the file, that is not a filename.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1530.0,1616.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So looking at some unique ID examples for content, let's say that you have an oral history with Jane Doe. It was recorded in 1964 and it exists on a quarter-inch audio reel. So some examples here, these are all just three different examples, you can make up your own. This is just to get you thinking about it, is you could have it where it starts with the person's name and then underscore with 01, where 01 is a code, internal code, that you set in your policies for oral history. Or another example, it starts OH standing for oral history with the year followed by the person's name. Or you can follow more of like a museum accession number model where you start with the year that it was acquired or created in this case, not 01. So that's a donor code. If this was given to you by a donor, or was recorded by somebody, and then .234 where 234 is just a sequence, this was the two-hundred and thirty-fourth object that came into your repository in 1964. So again, these are just different examples. You really have to set your own policy for what makes sense with your organization.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1616.0,1684.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, how can that be applied to an item? So now we're going to talk about item IDs. That was a content ID, going back see there's no filenaming, nothing. This is just for the content. OK, now let's talk about items. Okay, where you're using, and I'm just going to use, I just selected one of those examples to start with the OH oral history that's the content ID. So you can see here these underneath it are all these different file states. We're getting back to that whole concept of file state I mentioned before. So the first one has that content ID underscore ORIG for original. And that item ID then is what tells you that this represents, this is an item ID for that original quarter-inch audio reel. You can also have a barcode. Also, that could be another kind of ID for a physical object. But let's just follow this for now. Then you have that same content ID going up to the word, Jane underscore PRSV that could be representing the WAV preservation master, and you would set your policies internally to know that if it is PRSV, that means it is not redacted. If it's an oral history, it's not redacted. So the filenames and what's there in italics underneath that would have underscore PRSV.WAV. So that way, you know, that's the preservation file. So this is a filename that has meaning as self-referential.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1684.0,1764.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You could then go and say, then you want to have a preservation master that's redacted. So then you can. Again, I'm just making up these codes. You would do it for your own policies. What makes sense for you? RDCT underscore PRSV that would tell you, Oh, it's a preservation master. It's redacted. And again, you can see the filename example. You have the redacted mezzanine copy, or state, and then you can have an access copy that last one, that state. And so then you know it's redacted ACFS dot MP3, and you can extend that to have other different kinds of access copies, depending on what the meaning is. So anyway, this is just to give some ideas on how you can link content. It's all the same content that there's one version that's redacted all the same content, different file states that content that is manifest in different states.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1764.0,1814.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So file naming conventions, you'll notice here in the examples, I only use letters and numbers underscore. See, there's no space. There's no funky, you know, quote sign, quarter-inch, nothing. Filenames have to be unique. They can be meaningful stuff, which means as the example I gave you there, they are self referencing, or non descriptive. They should include the file state. So there it is clear to you and to your users what state or version is the file they're using. Very important, only alphanumeric characters, underscores, hyphens, as I just showed you. No illegal characters. All you math people, you love having spaces, and asterisks, and ampersands, exclamation points, if you really like something then star it. Please don't do it for preservation reasons. You don't want to do it. You don't want to put it into a system into the future. People who come after you will be really mad at you if you do this, because by using alphanumeric characters, underscores, hyphens, no spaces, it will ensure that it will be easier for any future system, an operating system, a storage system, to be able to index those files and find them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1814.0,1882.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Make sure or do your best to have those be under 31 characters, that include the extension. And that recommendation is again for like future operating and storage systems for indexing in the future, but also because there's usually going to be a path or a directory. You know, sometimes a very long path if there are many nested folders ahead of that filename. And so that's going to make a really, really, really long string. And so that's going to be far beyond 31 characters. And again, that can make it to be very difficult if you're importing this into another storage system. If you have a very complex directory structure and a long filename and illegal characters, you're kind of like dooming yourself and the people after you. Please don't do that. Try to keep it short, really clean, and set policies for how you will be naming them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1882.0,1931.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So if you use dates in your filenames or in your directory structures, they should be ISO formatted. Year, followed by month, followed by date. So you see a couple of examples there. 2021-08-11. Don't do 08-11-2021, which is what most people do, or at least that I've seen on most people, but a lot of people do that. But that will be confusing because in the future somebody might say, Well, wait a minute, is that in the U.S. convention? That would mean it's August 11th, 2021. You show that to somebody in France or in another country, they're going to say, Oh, it's November 8th, 2021, you know? So just if you have it following the ISO structure, that ISO format, everybody knows exactly what date it is. Make sure the filename then is linked to the metadata record. Make sure that your metadata record includes a filename in the past. Includes a unique ID for the original object and obviously the unique ID for the file itself.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1931.0,1994.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, the little bit of preservation that I want to mention is about checksums. Again we're still talking about creation. These are all of the policies you have to make. Choose your format, choose your resolution. What's your filename? What's your ID? What are all those conventions? Create a checksum. A checksum is a hash, or it is often called a hash, that is a unique fingerprint for a file. It's an alphanumeric string. And basically, if you want to verify that that checksum, that hash, is the same over time. Any time you move that asset to another location or if you're doing preservation, then according to a schedule over time, to make sure no bits have flipped. So if that checksum changes when you verify it in the future, then you'll know that something has happened to that file. Something has changed within it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=1994.0,2038.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so today there are four common hash algorithms that are used in archives and in communities starting at MD5 going down to SHA-512. And it's listed there in terms of complexity of the hash. Where the SHA-512 is the most complex and the least possible to hack or spoofed in the future. Anyway, create the checksum when that asset is created, when it is in its final state, and then that checksum, you should keep it in a place where you know you can verify that filename. And also that filename can change. If that filename changes, it's not going to change the checksum. The checksum will be the same, which is why that file ID is so important. You want to file ID, the filename, which can change, and that checksum so that you can verify that checksum in the future.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2038.0,2088.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So you're wondering, how do I create a checksum if you if you are not aware? So here is just two that I post up here, two checksum generator verification tools you can use to create checks and verify them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2088.0,2103.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now storage. OK, this is unfortunately all I have time to do. I'm talking about very basics in creation and very basics in storage. So you want to analyze your current storage system. Bits have to sit somewhere, right? They sit on something. Even if they're in the cloud, they're sitting on something. So if you're doing it yourself, you need to think about this, how you're going to store them. Analyze your current storage for just one copy, multiply by three if you're making three copies of it, or two if you're making two, or four. Basically multiply by how many copies you want to make for disaster recovery. Each copy should be in a different location. Don't have all of them in your same building or in your same room. Estimate your future growth for five years then. So again, if you are buying storage now or planning for storage now, don't think about what you have today. Think about how that's going to multiply and increase in five years. Consider your existing and future capacity and infrastructure. That means both humans who will work on your storage, who's around to take care of your storage, and also the actual storage itself. Because all storage media has to be migrated or refreshed over time. It doesn't matter if it's a hard drive or a solid state or a data tape. It has to get moved from one storage device to another over time for a variety of reasons which I don't have time to go into. Cloud providers are doing that as well. You know, it's just that you're not aware of it. You know, they're just doing it behind the scenes.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2103.0,2188.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So your physical storage options for media, you have optical media CDs, DVDs, Blurays, spinning disks, which are external hard drives. Those can be sitting on your desktop. They can be in a server. You have data tape, which can be mainly is going to be LTO unless you're in an enterprise environment where maybe you have IBM, but LTO really has the majority market share. And solid state drive, that's another option.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2188.0,2214.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Cloud storage, because again, just using a spinning disk, solid state, and data tapes to store your data, it's just that it's on someone else's servers, on someone else's media. So if you're thinking about cloud storage, there are several cost areas so it's not just the storage itself. Think about the storage tiers. So there's a different price level for storage for each of these tiers, online storage, which is the fastest storage, you can access it right away. But that would be the most expensive. Cold storage and then colder. So the colder it gets here, that means it'll be cheaper for storage, but more expensive to actually download and access it because they're putting it most likely on data tape stored somewhere. So a robot has to go and get that tape, put it into a robot to restore the file and send it to you. So that takes more effort on the cloud storage providers, and so they charge more for the egress, or download costs, where the storage is cheaper.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2214.0,2269.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There could be a different cost by region. So when you go in, if you want to use cloud storage, you have to look to see, OK, what region do I want to store it in? Do not store it in your own region. So here I am in California. I'm not going to store it in the West region that's based in California. That would be really bad. You know, you want to store it somewhere else in the U.S. or anywhere, you know, that is not in your region, just again for disaster recovery. There are costs to egress. That's where they really get you to download, that's called an egress charge, to download it. What is that fee going to be? And then if you perform transactions, if you move a file, if you copy it. That's a transaction in the cloud, they will charge you for that as well.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2269.0,2310.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So 3-2-1 rule for storage. You want to have three copies, you know, two different storage platforms, ideally. You know, you could have it on hard drive, you can have on LTO, you can have it in the cloud, but try to have it on different storage platforms. One copy stored far away for disaster recovery and ideally offline as well. So there's no way, anything that is online is hackable. You know, you don't want to be held, your collection held for ransom, where you don't want to have somebody access your password, you know, your logon if it's in the cloud, you know. So just try to keep at least one copy offline. So tiered storage. And I'm going to be wrapping up here pretty quickly so we can get into the Q\u0026A.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2310.0,2354.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Tiered storage, which is released back to that 3-2-1 rule, is Hierarchical Storage Management, or HSM. So Tier 1 is online. That's the fastest storage. That's where you want to have immediate access that usually will be on spinning disk or solid state drive. Tier 2 would be near-line, which means it isn't as fast, but it's close enough where you can have, you know, somewhat fast access to it. That could be tape in a robotic system. It can be spinning disk if Tier 1 is solid state, because solid state drives spin a lot faster. I'm sorry, wrong word. They can retrieve data a lot faster than spinning disks and hard drives. So sometimes people will say I'm putting my critical files on solid state drives. It's really fast to get to. The files that I can just wait, like, two seconds more, you know, I'll put on a hard drives or you can put it into cloud. A lot of archives just do Tier 1 and Tier 3, and they skip Tier 2.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2354.0,2410.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, Tier 3 is offline storage. That could be on tape. It could be on a hard drive that is unplugged, sitting on a shelf and a wall. It's not using power, so Tier 3 is usually offline storage. Now, the vast majority of stored data in the world is archival storage. You don't need constant access to it. So why not store that in Tier 3, which is the cheapest storage? You know you have it, it's not thrown away as long as you can get access to it, it's not locked in any kind of proprietary backup system. It's sitting there waiting for you for when you need to use it. And only put up your money for the Tier 1 storage where you need to have constant access to it, which means you will be moving your files through these different tiers over time. Your different, your assets over time will be moved around. So I already went through this a bit about the different examples of how you could be storing files in the different tiers.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2410.0,2463.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, with tiered storage and redundancy. So again, this you can have copies of those different tiers. You want to sync the files across the storage tiers so some DAM systems can manage it for you. But most of them will only manage locations for the asset that is ingested. So you ingest an asset into a system and you are telling it, OK, copy it to this location, whether its in the cloud or on your servers or on premise, wherever, and it's only managing that one copy. You know you have to do any backup or movement to different tiers using different methodology.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2463.0,2498.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, there is some data storage systems that can manage the different locations, but then the thing is you're stuck with using that system because that system has index for where all those files are. And if you want to find them, then you're stuck with that system. Because it's always hard to migrate. The hardest thing, that's why you have to be so careful if you're thinking about getting a digital asset management system, because rule number one is you're going to migrate out of it. You're not going to save that same system for 100 years. You're going to migrate to another system. As you research digital asset management system the first question you should ask that vendor is how easy is it to leave you? How can I exit you, put my data into a different system, without losing the metadata, the links between assets, the locations where they are stored? They hate answering this question because they want you to use them forever, but you're not going to. It's just a rule of thumb. You're going to shift over time, you're going to migrate. So plan for that accordingly, which is why you want to try to store your files, have them in as open a system as you can, however you're accessing them, managing them, or moving them to different storage.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2498.0,2571.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So now I said that I can't talk about digital asset management systems, but I am providing, though some resources for you to search for yourself as you really start thinking about here are my assets, here are my users, here's my workflow. What do I want to do, what's my storage like? A lot of questions you need to answer and think about before you even start looking at a system. But this first one, and I think that they're going to be putting in the chat the links I gave it to Yuri and Dan in advance. So the first link up there, it's just a list you click on. It is a long list of vendors with links you can go and do your own research. The second one is the Henry Stewart Digital Asset Management event. So these are great events to attend. The first link there is just for a general like here are the courses they have or conferences. They are having one September 1st or 2nd that is free to end users. Some really good presentations from a wide variety of organizations, from cultural heritage to corporations. It's really, really a great event and is online and it's free to you, if you sign up as being an end user who could potentially, you know, license or purchase a DAM system. I highly recommend signing up for this.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2571.0,2640.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then if you really want to get into the weeds and study digital asset management, if you're not attending UCLA, you can't take my class. Anyway you can go to, Rutgers has a certificate in digital asset management, and I believe it's a four-week course, I think. It's asynchronous, it's all online. So you can look there to see about getting a certificate so would you learn more about digital asset management systems and processes. So that is, well, that's my address, email address. So I'll leave this up here for a while, as well, and that's the end of the presentation. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2640.0,2677.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you so much. I think you did such a tremendous job of really laying the foundation for digital asset management for folks from all different kinds of levels and collections, whether it's private or public, individual or an institutional collection. The first question that has been submitted kind of correlates to something that was posed by a registrant before the webinar. In terms of getting your advice on some clear and tangible ways to really explain this process to donors. I would also add administrators, executives. And the question we have here in the Zoom is really focused on staffing. So staffing is a crucial element of any successful digital asset management program. How do you recommend solo DAM managers make the case for additional staff and training? \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2677.0,2745.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You need to scare them. You need to give them the worst. Talk about use cases. Narrative is going to tell them, give them examples of losing content, you know, of not being able to find it. You know, because you don't have a system, it's not organized correctly, you're not preserving it. It's not being stored correctly. You know, you have to, they can lose it. And what would happen if they lost specific content. You know, give them just horror stories about that. I mean, that's my best piece of advice, you know, make it personal. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2745.0,2778.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yeah. Thank you so much, and just to attendees. Any questions that are in the question and answer area, you can also upvote them, give them a little thumbs up if you really want that question answered. I think Dan has the next question. \n\nDan Hockstein","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2778.0,2795.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yeah, I just I wanted to ask, you know, preservation in particular, digitization is sort of a do it once task and the ideal. But you know, you were talking about DV and I think about DAT, you know, advances in technology might leave room for improvement. So, you know, how might we optimize our asset management and naming conventions for potentially doing something again in the future? \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2795.0,2823.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Right, well, that's why I strongly encourage using conventions like I gave the examples of file state. So let's say that you've done, you've performed one digitization. You pull the file off of DAT or whatever, and you think that in the future you might want to do it again. Just make sure that it's included somehow in the filename. You know, the version of every attempt. But that's why the policies are so important. So your organization needs to know how to interpret that filenaming convention. If it says V1 for version one, does that mean, Oh, this was a first pass, you know, on this date? And then there's a second version, or is it a different edit version? So you have to just really make sure that your policies are clear.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2823.0,2866.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Sometimes what you'll see also in some environments, you know, the studios and whatnot, is where they're going to include within the filename, this is the resolution that we digitized something at. You know, what's the frame rate? What's the bit rate? You know, what is it? And so that means it's going to be a really long filename, you know, but as long as you're really clear in the policies and what all of it means, or if you're using codes for shorthand that you understand what that is. You know, if you're really concerned, in that case then you might want to have those meaningful filenames where it really just says this is 96 24 or is whatever you know it is. So it's clear to folks who come after you. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2866.0,2908.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Our next question is a really interesting one. How might the DAM community leverage blockchain to secure digital assets, i.e. ensure they remain unchanged. Hmm, blockchain. Okay, so you can do that. I mean, people use that now for contractual, you know, purposes, reasons. I personally have an ethical and moral problem with blockchain to tell you the truth. I mean, I you know what it's doing to the environment. And with this, you know, because of all this data processing that's involved in doing it, it's just like, I cannot promote blockchain at all. But I mean, it definitely can be used because it's being used in the for-profit industry, you know, and community. And obviously, look at these, you know, NFTs, nonfungible tokens that are being created. I just find it horrible that that I just happen, especially with the report that came out this week, you know, from the IPCC, you know, on the environment. Really, I mean, people want to keep destroying it because we think it's kind of cool, I mean, you know, to do blockchain, you know, and cryptocurrency, you know. So anyway, yes, sure, you can do that. But there are other ways if you want to make sure that it's protected, that your content is protected over time. You don't need to use blockchain to do it. You store it off-line. You put it in a secure place where nobody can touch it and you can prove, and you can do audit practices, to prove that nobody has touched it over time. You know you can lock it down. There's no need for you to have to do blockchain. \n\nDan Hockstein","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=2908.0,3009.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A question just came in. Do you have any experience with using DNA storage approaches for digital preservation? Well, no, because nobody has experience doing it, really. You know, I've given several presentations actually on DNA storage and the requirements for it. I actually, if you go to Digital Bedrock's website, there's resources there and I think there might be a link on it anyway. There is, it's not ready for prime time. I am thinking in my lifetime it will be ready. Before I'm dead we'll be using DNA storage. And I know that as far as our work here at Digital Bedrock right now, we use LTO tape and I am thinking that we'll migrate to DNA storage at some point in the future. It's just not there yet. Give it 15 years. I think it'll get mature. There's a lot of action. There's a lot of R\u0026D work. It is accelerating really quickly to getting to that maturity level, but it isn't there yet. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3009.0,3066.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We do have a question about, you know, creating digital surrogates and kind of the importance of intermediate mezzanine files. Why create a massive new file? Why not create your access file directly from the preservation master? \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3066.0,3084.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Mm-Hmm. Sure, you can do that. It's just, absolutely. That would be a great way to go once you're actually creating all the files at once. Sure, create all of your states. The only reason why, it would be in the future that if your preservation file is so large and it's set off to the side and it's in cold storage or whatever, it's just a lot easier to make future access copies off the mezzanine at that time. So it really depends on your own workflow, you know, and how you're storing files. \n\nDan Hockstein","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3084.0,3117.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Another question about sort of unifying workflows. So you have file naming conventions in place across an organization. But some folks might have disparate approaches to, you know, how they organize their storage, you know, on their personal workstation. At what level should, you know, as a sort of asset manager, should you care? And at what level should it go to a certain level of comfort per sort of person contributing to the data pool? \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3117.0,3149.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Mm-Hmm. Yeah, that's why when I mentioned change management is the hardest thing in digital asset management in an organization because people like to do things your own way. The only thing is like if you're working in a shared environment, you know, using, you know, an enterprise system or you have to work all together. That's why the policies that it can take like two years to figure out what's going to be our file naming convention, what's going to be are unique IDs, our folder structures, all of that because people will fight over what they think is best. And that's fine. It should be interactive. It should be a discussion. But ultimately a decision has to be made and the policies have to be created and people will have to follow it. You know, if they want to actually be able to share assets and in a way so that so that what they're creating makes sense to other people as well. You know, based on the name, not just to what it means to them internally. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3149.0,3202.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let's see, there's a couple questions about file naming. filenames can easily surpass the thirty one character limit, one approach may be to use codes such as the OH code you suggest for oral histories, but may impact readability. How human readable does a filename need to be to users? \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3202.0,3224.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That totally is dependent on an organization, you know, and your your internal policies. Again, you know, if let's say that some, you know, if people have another system to keep track of all of their various IDs, you know, that can be just be the alphanumeric. And they know like, okay, this one code, you know, sk equals something else, a very long string. And that way you can just use sk within a filename. And you know, the sk represents something a lot longer. But that means you have to be really clear and have that guide. You know, that mapping, you know, so that people can use it and use it clearly. You know, this is how when I mentioned before that I know some organizations that have managed hundreds of thousands, I mean, major corporations, hundreds of thousands of files just by folders and file naming convention.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3224.0,3277.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that's exactly what they did. And they had this one person in charge of it all who would just like go after people if they didn't follow that convention, you know? So that's again, why you need have somebody really managing it, maintaining it. So it is possible. You just need to have that dictionary, that guide, to know what the code is so you can keep your filenames to be short and manageable. Just make sure you have the underscore between each of those different parts. Oh, I'm looking at that, so. So you all have a guide for file storage and preservation. Cool. Nice. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3277.0,3315.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you to Brad McCoy, the chair of our technical committee for pointing out that link there in the chat for anyone who wants to save the chat, there have been some great links shared in addition to the ones that Linda had provided at the end of her presentation. There's one more question on file naming in terms of keeping standards manageable for items that are accepted by outside contributors, especially when there are thousands of files and many subfolders. How much intervention should be taken to manage donor named files? \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3315.0,3360.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Mm-Hmm. Well, the donor is probably going to give you or the creator is going to give it to you in however they're creating it. And probably, you know, with your donor relationships, it depends on how friendly you are with them, or what kind of relationship you have. You might not be able to ask them, please, pretty please, name them this way. They might just say, No, I'm just going to name them whatever. That's fine. But then that means that when you receive it, you then have to change it into a way that makes meaning for you or for your collection. If you do that, though, then you need to keep track of that original filename because that shows that is how it was received. You have to retain that provenance and then know that, OK, this is the archived filename that we've changed it for archival preservation purposes, but this is how we received it. But then you have to be extremely careful whenever you change filenames, especially if they're coming from a creator. Because sometimes those filenames, those files are looking for related files and they have to work together. They have to play together in order to be able to render an entire work. And so there could be another file later on down the road, and it's looking for a file that you just change the filename and now that link is broken. So you have to be really careful before you just go willy nilly, mass changing filenames. You have to understand them. Which is why I keep really stressing all the policies, all the work that has to take place in advance before even going into a real system. There's a lot of work that has to be done before then. \n\nDan Hockstein","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3360.0,3449.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, thank you so much, Linda. I think we're out of time for now, but just some final thoughts to wrap up here. Again, thank you so much for speaking and answering questions for us. We'd also like to thank the ARSC Board for sponsoring these education and training committee webinars and the outreach committee for getting the word out for us to various lists, herbs and corners of the cultural heritage holding community that may not be familiar with ARSC. We also just want to, as co-chairs of the Education and Training Committee, plug the Education and Training Committee. If you are an ARSC member, we're always accepting new members.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3449.0,3495.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We also wanted to say that as part of the funding model we're moving forward with, we do have space for a promoter and that's in the volunteer opportunities section of the ARSC website. It is a paid position, so please feel free to reach out to us after reading the description there. And I'll pass it on to Yuri to close us out. \n\nYuri Shimoda","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3495.0,3521.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we do have more webinars coming your way in the fall, one in September and centered around collecting. And in November, we will be presenting a webinar on digital audio tape, co-sponsored by the ARSC Technical Committee. So thank you all for attending today, and we will see you next time. \n\nDan Hockstein","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3521.0,3547.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thanks, y'all. \n\nLinda Tadic","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3547.0,3548.0"},{"id":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280/transcript/34264/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thanks. Thanks, Yuri. Thanks, Dan.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1249/collection_resources/48975/file/122280#t=3548.0,3556.28"}]}]}]}