{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/wh2d79619c/manifest","type":"Manifest","label":{"en":["Completing Large-Scale Digitization Projects"]},"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":["Kevin Bradley (Presenter)","Tom de Smet (Presenter)","Mike Casey (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-14 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThis session highlights the experiences of two institutions that have completed large-scale media digitization projects. In 2003 the National Library of Australia (NLA) calculated that it could maintain its small fleet of Studer tape machines for around 15 years. As we had the responsibility to preserve our nationally significant collection of oral histories and folklore recordings but were not eligible for external funding, we established a plan to complete the work within that timeframe using available staff and resources. The plan, which was endorsed at the highest level of NLA management, is nearing completion and well over 90% of our unique tapes have been preserved. The 15 year period has been marked by changes in capture and ingest technology, maintenance challenges, upgrades to the collection management system, data storage migrations and development of more sophisticated audio delivery systems. This paper describes some of the issues, and outlines our forward plans as the project nears completion. In 2014, the Netherlands Institute for Sound and Vision completed a 6-year project digitizing a large part of its analogue media collection. The project proved to be a constant search for a realistic 'sweet spot' between (preservation) standards, re-use expectations, and available resources. The almost 300,000 hours of digitized film, audio and video material must be preserved in a Trustworthy Digital Repository (TDR). The road to a TDR has been (and still is) a long one. The current presentation will focus on the search for the aforementioned 'sweet spot' in digitization as well as the challenges, risks and many opportunities that we have encountered on our way to a TDR.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eThis session highlights the experiences of two institutions that have completed large-scale media digitization projects. In 2003 the National Library of Australia (NLA) calculated that it could maintain its small fleet of Studer tape machines for around 15 years. As we had the responsibility to preserve our nationally significant collection of oral histories and folklore recordings but were not eligible for external funding, we established a plan to complete the work within that timeframe using available staff and resources. The plan, which was endorsed at the highest level of NLA management, is nearing completion and well over 90% of our unique tapes have been preserved. The 15 year period has been marked by changes in capture and ingest technology, maintenance challenges, upgrades to the collection management system, data storage migrations and development of more sophisticated audio delivery systems. This paper describes some of the issues, and outlines our forward plans as the project nears completion. In 2014, the Netherlands Institute for Sound and Vision completed a 6-year project digitizing a large part of its analogue media collection. The project proved to be a constant search for a realistic 'sweet spot' between (preservation) standards, re-use expectations, and available resources. The almost 300,000 hours of digitized film, audio and video material must be preserved in a Trustworthy Digital Repository (TDR). The road to a TDR has been (and still is) a long one. The current presentation will focus on the search for the aforementioned 'sweet spot' in digitization as well as the challenges, risks and many opportunities that we have encountered on our way to a TDR.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\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/000/097/517/small/open-uri20200922-6764-w0dk7w_1600816041.jpg?1600801662","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517","type":"Canvas","label":{"en":["Media File 1 of 3 - open-uri20200922-6764-w0dk7w.mp4"]},"duration":2171.456,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/517/small/open-uri20200922-6764-w0dk7w_1600816041.jpg?1600801662","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/517/original/open-uri20200922-6764-w0dk7w.mp4?1600801613","type":"Video","format":"video/mp4","duration":2171.456,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005","type":"AnnotationPage","label":{"en":["AUTO_TRINT_National Library of Australia [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"OK. Welcome back to large scale media digitization, part two. And let me tell you that I checked in with the program chair and there's a bit of a discrepancy in the program. This session runs until 1:00. So don't be alarmed. We'll get you out here right at one o'clock and headed towards lunch and then you can continue on with the rest of the afternoon. So we have we have four speakers in this session, starting with Kevin Bradley from the National Library of Australia, where he is the senior curator of special collections. Many of us know Kevin from his work in Yasa, including as editor of TCO four, which is the seminal document for audio preservation. You may not know that Kevin is also a very good traditional Irish fiddle player and guitar player as well. He recently shared his new C.D. with me from and he plays in in Australia called Huddle. And it's brilliant. It's really wonderful. Let's give a hand to Kevin Bradley. I should say, I know it's going the wrong way. I shared my seat with Mike after he shared his seat with me because he's in Footplate. So there you go. So thanks. Thanks very much, Mike, for this event, for being here, for finding the resources to bring me here on. I'm really pleased to be here and really excited over the past few days to see so much and hear so much and learn so much. It's been great. And it's also really an appropriate time for me because on the 10th of May. That was my vinyl anniversary as a sound archivist, 33 and a third years since I started working. Thank you. Urgers. But the reason I tell you that even though I'm waiting for somebody to throw me a party back to the National Library, I don't think any of them quite realize the significance.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=13.35,127.72"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The reason I tell you that it's about time. It's about the way our business has changed, the way things have moved through the life of the project we've been working on. So the I'm here to talk shows about completing large scale media digitization projects with the obsession. And maybe I'm something of a fraud because we're nearly complete. We're nearly complete. We'll be complete in a very short period of time. And we're nearly large scale, too. I mean, when you start looking at Indiana Uni and seeing 290000 things, you don't know, thousand hours, that's a lot of material. So we're a quarter of that size or a bit less so. And so that's. So leaving that aside, there's a bit to tell. Our project began nearly 15 years ago. They'd work leading up to it began some years before that. And then in the rabbit and the tortoise race where the tortoise we've had a 15 year start on the rabbits. And the nice thing about sand archiving as opposed to the story is that we all want to get to the finish line. It doesn't matter who comes first. Just as long as we will get to the finish line. And I think we're coming there at about the same time. Our project's different from most of the approaches you'll hear about today. It predates most of digitization and projects, though, fundamentally and fundamentally, and what we do in trying to produce it in no way different. We did it with within existing resources. We had no access to major funds apart from the ongoing budget. So the National Library did the work within existing resources. An approach that reflect that the financial situation of the time and maybe today and I'll talk a bit more of that as we go on.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=130.72,230.86"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it might be an approach whose time has passed. And I think we can learn much from what we're doing. And the reason I think it's passed, I think is partly I've heard over the past few days and partly the way technology has moved, the way the systems have moved. And certainly some of the issues that we thought we were facing fifteen years ago have become critical today. So, again, I'll talk about that a bit more. So I found it both really interesting and odd to go back to the beginning of this project where nearly at the end, when it began, when we began shaping the project, I was manager of sound preservation. By the time we had the project up, I was director of digital preservation. By the time we're working on and you say I moved on rolls as the project went along. So in some ways, I've never been far from this project because it's one of my very favorites. Been an otherwise. I've moved onto so many other projects as well that it was a regulatory for me to go back and say, why did we make the decisions we did? Why did we decide to do it the way we did? And that's where the results of then. So it made it a difficult paper to put together, and I had been rewriting it over the past three days. Every time I hear anybody here at all. And I think I'm rewriting as I speak now as well. So we'll see where we get to. But the lessons we probably get is about making solid decisions and careful planning. And I think that's what we did as part of the process. And that's why we're up to when something comes along.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=231.48,326.98"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Being able to adapt to it. If you found you were wrong or that things have changed, being able to adapt to it was part of the process. So in 2000, about 2000, outside 2003, our key motivation was fire hardware failure. And the reason I was worrying about what other resources we talked about, I was fairly certain sniffing the political wind that nobody was going to give us millions to do the work. And that's proved to be true and still is today. But the key motivation was hardware failure. We were fairly certain that the equipment wouldn't survive in its robust form for many years. And we were saying 15 years, 15 years ago. And I think that's still true. I'll talk to you about what I think are the key issues with equipment now and why it's becoming a bigger problem. But the problem, the time came because I'm a young engineer, young whippersnapper, maintenance engineer comes along. And I've been maintaining a lot of the library stuff for ages. And he goes there them old see must technology. These the. I won't last long. I want a seamless moss. What are you talking about? Old see most of them. I knew when I was studying. But in fact they were old and they had less shelf life. And in fact it became my key concern is actually how do we keep this thing going? How much of this stuff is is specific to the equipment? How much is general? What's happened to the technology over time? What will we have? So the short story and will expand as we go. We saw the problem. We calculated the size of the problem. We figured out how big the task was. We developed the proposal. We began the work simultaneous to getting permission to start the work.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=327.31,425.36"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we went to our corporate management group and said to him, We need fifteen years. We want 15 years of guaranteed funding. And we want 50 years support in these specific areas. So we want to we want to be able to put our head down for 15 years and do the work. They supported it. And now we're on track to being finished, nearly finished. We called it the 15 year plan. And the fact that doesn't quite fit on the screen might be symbolic of something. I'm not sure that was approved in November 2003. And the approval agreed to maintain equipment and staffing levels for the life of the project. And at the time, we had what we called BRIC bit preservation capability or the digital objects storage system. And at that time, we would began experimenting with digitizing materials and we had less than eight percent of our collection had been preserved at that point and was in digital form. We didn't have a proper collection management system. What we had was the what we called the sound preservation database, which we built some time before. And I found a good way to work with I.T. guys. And I second everything everybody has said about unique teams to do this sort of thing. Good way to work with I.T. guys is to build something and have them build it better for you to tell you where you're wrong. And so I build a bit of a database and I went, oh, that's crap, Kevin. This is the way it should work and build a database, which we then input everything we knew about our collection into it. But it was all the stuff that wasn't in the catalog, what type it was, what formats, what we could tell about it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=425.96,520.34"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I had the hide to go around and beg. Two hours from every section in the National Library, they going to be one of their staff members for two hours a week. And I had about 40 of them. And they would come around with one manager and they would do this, build this database. And over a period of six months or so, we build a database which meant we knew everything that was in our collection by item. And we'll talk a bit more about that if we get the time. And we use it a bit like Dan Mike did Fassett, which is we know what the formats are. We know what ones are most at risk. We know which ones we need to do first. And we began to think about what we can do to preserve it, what we can do. So the collection. I should've gone to that slide first. The collection itself, it's around 50000 hours of unpublished material. It's all unique. It's all on tape formats or other formats. Recording formats from about the 1950s, which is 1950, is about when the tape recorder finds its way to Australia up to the present. Plus other sorts of formats. Were there some three parts? Mostly it's the oral history, social history and folklore collections, plus other associated ancillary collection of enviromental recordings. But the main point is it's all unpublished material and it's all old and it's all dependent on technology to play mean. It covered things like, as you know, DACs as well as cassettes and every sort of real tape you can imagine from paper through to players to hearing things and so on. Like much of the Australian collections, it was heavily affected by hydrolysis and degradation. So we had a clear sense that we needed to do something and we needed it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=520.789,630.74"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We had some technology. We had Student Twenty's, which are very sensibly bullett before and sensibly bought some more of. So we now have about half a dozen of those. We had studios because we were using them both to preserve the collection in analog and in digital form. And we were using it to to record stuff for the collection. So we had ongoing work as well, NACA meetings due to cassette decks at the time. Nowadays we use the task and it works with the system that replay machines. We had the Sony 70 forty's at the time we began the project. We were beginning to phase out that. So in 2003, we were using that by 2005. So we'd swapped all our DAT machines for this machines. There were in the process of doing that every year at a time. So the plan in the first place was to make sure we could maintain that. The thing we submitted, we says we have to maintain our equipment through time. We were motivated by the fear of equipment failure. And in the executive summary that we sent, we said the biggest risk to the analog collection over the 15 year period for the project would plan will be the maintenance of the analog replay equipment. The replay of the tape based audio collections they transfer for preservation to a digital mass storage system and ultimately continued access to their content is dependent on the availability of tape replay equipment. So that was in there upfront. This is was wearing us. So we said include a section which was retitled entitled Increasing the Reliable Working Life of Equipment to accomplish the Transfer. And we said it's not possible to predict when the library's existing equipment will fail. But without simple maintenance, it will fail.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=630.92,742.5"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, within the transfer period might mean maintaining a stock of suitable equipment for the transfer period will require an active maintenance program, including access to technical specifications for critical components, replacement parts, calibration tools and expertize in maintaining the equipment while long term maintenance of the equipment is not feasible. It should be feasible to obtain and make use of these elements of a maintenance program over a 50 period of 15 years, especially if the library can work in conjunction with other Australian cultural institutions, the industry and equipment manufacturers. So that's what went to the report and that's what we tried to do. We totally failed to get cooperation at the individual level, as in the people I worked with and from the institutions we were and continue to be enormously cooperative. We talk to each other. We manage it. But at the higher level of saying, let's put some money into a big pot and buy spare parts and then figure out how to divide it up. We couldn't do it partly because at the time I wouldn't have been the person doing the negotiations today. I might have been able to convince them. But in that day, I hadn't convinced my bosses with enough clarity to be able to negotiate that sort of that sort of thing. So nonetheless, the lobby was supported. And with my colleague from the National Film and Sound Archives, Greg Moss, we went off the studio. And that's me there. And Ragan's Dorf in 2003, three or. I traveled to the factory to find out about spare parts, documentation's manuals and try to get an idea of the plans of the company and providing support. So I said, what? What can we do to make sure we've got a stock of things to manage it? And we also gave a paper at Yasa called in 2004 called The Program to manage the biggest risk to Anawat collections equipment maintenance.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=743.52,852.0"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the individuals that Studer you can see the theme and this were fantastic. They were enormously generous with their time. Helpful nullifier, now knowledgeable, clarified a lot of parts and maintenance issues, which we hadn't understood at that point and helped us to identify the parts we couldn't or wouldn't be able to find substitutes for. Studer agreed to provide access to maintenance records supplier, complete parts list, identify likely failures, support our request for access to technical drawings with their board of directors. So they had to get support to see if I could do that. I noticed fires of any change in their parts policy and would provide necessary training when we can flip. The paper at Yasa was well received. Soon after a major European broadcaster and I don't know if they were motivated by my paper or they just was in the ether and they thought the same thing went out and spent a couple of million euro and parts and just about wiped out part market. The studio changed a lot of the way its management structure work, and the people we'd been dealing with were on different projects. The parts disappeared off to other people. And so a lot of those things we'd negotiated never came to pass in the way we'd imagined. However, that expertize is still out there because other people are bringing little bits of it together on various lists. So I'm just looking at all the notes I know in effect, and this goes for studio in the things we were convinced and convincing at an individual level. And it's a question we want to ask ourselves. Why haven't we been as effective as we might be in communicating this impending catastrophe with our leaders at an individual level? We were convinced and we were convincing an individual level, but failed at the highest level to convince people of the upcoming disasters.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=854.34,967.68"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So before I leave maintenance alone, has equipment maintenance been the problem? Weeks. Now, fifteen years along in the project, well, 13 and a half years alone in the project, the amount of time spent on equipment, my maintenance is now much, much greater than when we began. So when we began the project, the technology worked pretty well. We could maintain it with just line up equipment and suitable test equipment. As we've moved along with spending, increasing amount of time having to swap machines and maintain it there, but we're having to maintain it for minor failures, not the major failure. So we'd predicted major failures and bought up parts like motors and and spindles and all sorts of things that you couldn't possibly replace anywhere else. But not the things that failed. Minor things were failing, know minor complaint failures, things like those sorts of chips we're talking about. We had to go and find a substitute forum or somebody who understood it, all the idiosyncrasies of the machine. And we weren't quite sure how to align up some sort of the detector that that managed to piece of technology. So it's minor failures that's causing the problem, not minor major. And that has increased significantly over the life of the project and at the beginning was only a minor part of our concerns. And at the end, there's basically the manager of the sound preservation area spends most of his time swapping machines out and sending them off to be maintained. This applies to all the replay technology, not just students. And in fact, it's probably the dark. So have been the biggest. So we've finished all out. That's I'm very grateful for. And so would I do anything in terms of maintenance differently? Would I now have done anything differently to what I did then, which is continually what I've tried to ask myself in this paper.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=968.88,1069.93"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I might have refined my parts list or perhaps I could have saved money on the parts. But there's still a future after this project's finished and I keeping that equipment going, we'll still be part of that and there'll still be other collections and there'll still be things to do. So having that small but useful set of motors and and machines I think is a good thing. And we standardized on equipment very much so. We didn't buy lots of different types because we couldn't maintain lots of different types or a small team. I should say the preservation team that we have consists of a preservation manager and three operators. We have three studios. And I'll tell you a bit more about those as we go now. When we started talking about workflows, knowledge, technology, how the notion of what a workflow is has changed over 15 years could be a subject of a whole paper, because what we call workflows, what we call workflows now, different things. Our increasing involvement in with I.T. department sees us using BPO men and other things to manage our workflows where in the past we didn't quite call it by those things and different in different ways. And I think most of what we were concerned with was not workflow, but flow. What we really worried about at beginning with the project is how we going to manage the data that we're preserving with the collection. So we used Quadriga Workstations at the beginning of the project and still continue to use them now. We had our sound preservation database. This is copied from my slide of a van 13 or 14 or 15 years ago. So the graphics have a very sort of period looked at and done. And I like the blue stripy thing that was very fond with Microsoft at the time in the bank.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1071.03,1170.41"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So it was data flow that we were really concerned about, not workflows when we were thinking about it is how can we will? The thing we identified as our biggest risk was how we can get the data into the systems. If we had to key it in, it would kill us. We knew that. And so we began to work with our our I.T. team to build our collection management system, which was a library wide collection management system, and find ways of ingesting and exporting content. So in the end, we would export all the data directly from our database into the ingest engine digital audio workstation. It would populate the BWF files and headers. All the information about the process, including all the coding history and those things, was export it out. It came out as an accidental document. We imported a subset of that into the database and kept the Ximo document to preserve it. So that was that was what we thought workflow was when we started. This is what we wrote when we began it. Before we built this, I wrote in a paper saying automatic metadata population is possible with the right records of optimism. The BWF file and some preservation work them stations lend themselves to this process. Individually stored Ximo documents can be used as interim management systems. A full scale management system will eventually incorporate the database and the external documents. It's sort of come true. We have a full scale collection management system, a digital collection management system. I continue to be the bane of the I.T. department because of all the things we put in there. Makes it a very complicated system to rebuild. And we're in our third iteration at the moment of that. But what was important is we.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1173.01,1272.7"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Used open and available standard metadata exchange capability. And so what we did them is still accessible now or is relatively simply able to be turned into something that's accessible now. Certainly, our audio standards haven't changed, but our metadata stand schemers have shifted slightly, but not in a way that we couldn't manage easily. We built our own collection management system. Let me just say, I think I've got some slides about that earlier. That was the thing we read. So the collection management system, which is now the third iteration of it, incorporates everything from delivery of collections to management of the digital information. And in the case of sound management of the physical items as well. And you can see that's a work level record that tells you what's in there, shows you the link to the examples. So you can get to all that information that's going to details record from that. You can look at the copy of the master file copy and you see there's a bunch of tags up there. So you can look at sound detail, general details, you know, digital collection, management system, which is the previous system, the one we have now and history and so on. And you'll see the check sons and all that sort of stuff is embedded in them as well. That's the copy record as a transfer. A 1954 recording tells you about the MP 3s would give to people to use. And then the related metadata records that tells us what other metadata and then the obligatory, complicated, unreadable slide to show you, which really complicated. But you can't read it from down there. And if you think you can change it quickly, what it has in it, it's just that simple. And I can see you are looking at the example and noting the creative way in which we've used coding history.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1272.99,1378.45"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Keep serial numbers and operators and all all sorts of things that we do now. So when we started multiple ingest or parallel ingest or whatever term we want to call it was a total dream that didn't exist. One machine, one operator, one station was the norm. One to one was the process of multiple ingest burst. Happened with us was with the multiple ingested DACs. Now I. I was deeply suspicious of the automatic systems that were doing for checking the quality of audio. This is digital. I thought it's digital. I can measure the errors by getting that information from the back of the machine that's playing. The error that comes out relates to the error that's going onto the copy. It's very clear to me. We can set the standards in order to determine what's what's happening. So we we encouraged Quadriga and I think we were the first user of the multiple ingest that system which we put in place. The issues with long term projects like this are somewhat different to the workflow issues that we've heard about with Memnon and Indiana University in the when trying Choying, we're driven to draw to try and get balance, I suppose, over a long time. So we don't want to go let's do all of that and finish the next week, because, in fact, if you only do a few of them a day, it doesn't take up much time. So an operator can just walk out into the central technical area lined up for that, go back to the studio and work through the studio window. I can see things are still going and if anything goes wrong, can go and deal with it. So it takes up no time at all. And so with balance, that was driving us to get the workflow rather than the most quick and efficient way to finish each target material.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1379.17,1489.57"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And throughout the life of the project, we've been thinking about balance. Balance also includes demand and content. So over that period, we got the stuff that people wanted to use as well as the stuff. But we were concerned about. So it was a whole bunch of things with a balance, which was workflow, technical and physical condition. And the way it would match with other parts of the sorts of work we were doing as we changed to over a more efficient studio work. And we began to look at some of the analog multiple systems and we put those in place. We became is my next line. We became more interested in thinking about the workflows, how the workflows worked. Midway through the project, we wrote maintaining the flow of audio recordings ready to be preserved and so ensure that all playback machines are operating at any one time is a challenge. And then we got a bit more sophisticated again with the workflow and so on now. That statement I wrote then. But all playback machines are operating at any one time was the critical thing we're going for I think was a mistake at the time, would seem to us common sense, but done, as Mike mentioned, theories of constraints and Galbraith's work on about workflows. It could be the wrong thing. If you're looking at the project, actually, what's important is that the end to end flow of the process needs to be managed. And that's one of the things we learned through the process. It's not about making sure all the machines work all the time. It's making sure that a constant flow at the level you want of tapes or audio goes through, the system comes off and is completed. And that might mean that sometimes machines are not doing anything while people are doing other things, at least in the long term plan that we used, different material, different maximize long term in different ways.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1490.41,1606.57"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I've told you about that. Tapes we did to that tape runs a day to get through our eight and a half thousand deaths. And I had to constantly restrain the staff who was just going. But we could do more. I said, no, go and do the analog and then just do your tapes. You know, that that's just run in the background. And that was the idea has been the most most efficient over the long term we could do. We mixed cassette tape formats in the studio so we can match swap over time. So we we we started to match the sort of material so that we had things that changed quickly next to things that changed once every hour. All those sorts of things. Of course, we had the database with the data on it before, so we had done the precondition work five minutes. I'll get there. And we we saw multiple black types of formats going studio set up. As I said, two studios were set up for multiple in just one studio was for specialist or for problem materials. Anything digital was done outside of a studio. So if it if it required a data interface, I didn't need a studio. What I needed was an interface to upload it and then a studio to check how it went. We also had ongoing work. I should point out we also still continue to aquisition project in which the teams involved. We had one studio also records from an interview studio. So in some of the interviews were done in-house, we would do that. We had one from the larger music studio for our folklore recordings. That would happen occasionally. And it also keeps the engineers sane to be able to have jobs that are both interesting and challenging, as well as the ongoing work.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1607.11,1706.46"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We developed a work commission, probably 20000 hours worth of work since then. So we continue to do so, and that's directly invested as it comes in. We developed an imperial entered an audio delivery system that allows search ability of the content so you can search into the content of the audio and find your way to individual points of that which I'll happily demonstrate. And it's hooked to Trove, which is our sort of national well search system that allows you to search through across collections in the way Europeana and other sorts of system. DPL I am always one to doing and without source to manage the digitized generation of several thousand hours of videotape. So we've preserved the entire video collection. And I didn't use this model at all. I outsource the whole thing for the video collection because we didn't have the facility or the capability to maintain both of them. And the video was where we had the least expertize contract copying. Let me get the contract copying when we began this fifteen years ago. Contract is necessary to undertake this work had not developed the knowledge, knowledge and expertize necessary to take on large scale work, at least not in Australia. They certainly haven't developed the technical infrastructure that so many have had in the day. And as part of a 15 year project, we began using companies and individuals to undertake preservation work we were doing with a small contract budget. So we use that to, again, a small amount of work every year to offset the work we're doing. We are obliged to meet the same technical standards as we did, which led us to develop specifications for the work we were doing. So we develop the specifications, what we're doing so that we could go to tender to employ the contractors.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1708.62,1805.19"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Almost all our standard ended up in TCO four. That's where the work came from for doing it. So if we would define what we're doing, would share, it was a great way to get it reviewed. Thank you, guys. So we ensured that it was applicable and of course, it goes on with being reviewed. Chris is doing work on reviewing some of that as we as we speak. We mostly drew on the excess time of many of the recording studios that were downsizing at the time and saved them from tearing up their tape recorders because there was a downturn in the recording industry, as you know, changes in the way we do things. And it's something that that a number of those people still work, work with us. We developed our systems and you have seen me show you some of the systems that we've been part of the systems and as part of my role in the library on the business owner. So the specification and sign off for all the digital systems that happen for these sorts of things have to come through in need, of which audio is one small part, a part near and dear to my heart. But only one small part of the whole thing. So the lessons the conclusion part to reexamine our fifteen year plans was in some ways really difficult because much has happened since and much has changed that would influence the sort of decisions we made. One of the ways you've heard a lot about scrummy using scrum, our I.T. team use Scrum and Agile and we're using Scrum as part of our project management systems. Are people working? And I've been picking Mike's brains for all these good ideas to make it work better.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1806.42,1897.26"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of the things that it has is a thing called the definition of dumb, and that's an important part of your ongoing scrum workers is, you know, what you're doing and you know when it's done. We need a better definition of done 15 years later. I can say, because there are more things to do as a result of getting where we have, but where we're sticking to what we originally specified and saying that's where it's going to be done. And then we'll begin to look at other things. I should start by saying it was successful. We've achieved our aims to preserve the National Library's oral history and folklore collection. It would be hard to argue that the 15 year plan wasn't an appropriate plan when we're standing here saying we've done it. The library senior management support the ongoing funding, the dedication of a team and a fair balance of other parts of the library who were undergoing resource cuts because we're being continually cut over the past 15 years as well. And so our four staff should probably have gone down to three. If the cuts were spread. But they preserve. For staff who were doing the work when we all started, we were motivated by fear. Technology would become unusable alongside the expectation that we wouldn't get funding. As I said, this has happened. The fact that we are trained that within the existing budget and the timeline is is impressive and with how in hindsight appears to have been a necessity. How are the question when apply to this same approach, taking into account all we know now and considering all the things that we had happened in technology and otherwise since? Was it appropriate? Well, the question is no. Oh, yes.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1897.92,1987.22"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And perhaps it depends a bit. I don't believe, in spite of what we've heard, that there's really fifteen years left in most of our machines. I think we will be pushing it to keep the stuff going. Doesn't mean that every machine will fail. As we've heard, there will be machines working in fifteen years time. I'm sure there will be in the same way there a number of vintage cars that still run. So as an analogy, if we were starting up a transport business and we went out to find out our car that we needed our truck, our you to set a term anyone knows in the US. Yes. Good for Dale pickups. I'd tell the difference between utes and pickups as utes. What would develop in Australia. Pickups in America. And it's the size of the cabins. Different because they were bigger hats in America and the shorter hats in Australia. So this is where we are now. We're buying our old machines and we're going to start a business that we want reliability on. We've got to do a map a bit on the cost of erm restoring them so we get them to where they work like they used to work in the past. And I still see bits of Flex Aralsk or we could move to the next stage, which is let's really do it up and turn it into something good. You see the inset slide, there is all the cars it takes to make one car that works and that's where we're heading and that's where we're going. Is anybody in the Weld County? So one, two, three. Do you know the term? A trailer princess trailer and princess is a car that's been so restored and beautifully done at the end and put on the road.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=1988.18,2072.239"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's our only ever goes to shows in a trailer. It doesn't drive there. And it's looked upon disparagingly by people who drive their cars. And we don't want to get to the stage or trailer princesses. We need technology that works and works reliably, which is why things are more urgent than they were and why we're moving towards a point at which that will become more and more critical and I think a much closer than we imagined. So. The approach of undertaking what we can with the resources we have is the very best preparation for moving. So I think we should be doing things now. Doing nothing is not an option. So even though which is critical, even though it's a problem, everybody should be starting, because the best way to learn and to be able to engage with the contractors that we have here and the people you're dealing with is by having the experience. One of our technical staff is always dedicated to quality control and they should have as much expertize as the technical team would be getting in-house expertize is really, really important to being able to do outsource the work that you're doing. But the fact remains, even though that's the case. Time is running out and we need to do all that we can to ensure the very significant sound and audio visual content stored on these obsolete carriers is made available for future generations, generations who may or may not think of us if we do, but will curse us and our negligence if we don't make it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517#t=2073.44,2156.47"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97517/transcript/19005/annotation/22","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/005/original/open-uri20200924-1397-zudqhe?1600953133","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/005/original/open-uri20200924-1397-zudqhe?1600953133"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97782","type":"Canvas","label":{"en":["Media File 2 of 3 - 1600953521_ARSC_conf_2016_DeSmet_video.mp4"]},"duration":1723.62667,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/782/small/1600953521_ARSC_conf_2016_DeSmet_video.mp4_1600953544.jpg?1600939148","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97782/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97782/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/782/original/1600953521_ARSC_conf_2016_DeSmet_video.mp4?1600939140","type":"Video","format":"video/mp4","duration":1723.62667,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/97782","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/255744","type":"Canvas","label":{"en":["Media File 3 of 3 - ARSC_conf_2016_Bradley_deSmet_audio.mp3"]},"duration":3864.82431,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/255744/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/255744/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/744/original/ARSC_conf_2016_Bradley_deSmet_audio.mp3?1730749335","type":"Audio","format":"audio/mpeg","duration":3864.82431,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29697/file/255744","metadata":[]}]}],"annotations":[]}]}