1	Preservation of Video: The Truth is Out There Rick Ochoa, rick@nyu.edu Melitte Buchman, melitte@nyu.edu New York University, Digital Library Program
2	Hemispheric Institute of Performance and Politics
3	Initial Goals Preservation and access for 250 hours per year of digital and analog multimedia material Build a scalable model for both the Digital Library and the Preservation Department Build in-house knowledge base
4	Video Preservation: Original Issues Architecture Building an efficient workflow Metadata - bibliographic and technical
5	Video Preservation: The Fundamental Issue What do we really mean when we use the words video and preservation together? What is the difference between preservation, restoration and recreation? Why are libraries different?
6	Digital Preservation of non-video items Common examples from 2 dimensional imaging and best practices developed and employed in the digital community
7	"” in au" ” in au
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10	Grounding Authenticity Primary goal of preserving images Primary goal of preserving multimedia material
11	Best 2D practices Careful characterizing and profiling of equipment to avoid machine fingerprinting Materials are never enhanced in master If derivative is enhanced due to loss content that is CLEARLY noted
12	Conservation Point-of-View Is it reversible Is it distinguishable Otherwise it’s a forgery
13	“Preservation” + “Video” Based on a commercial model (resale) Heavily reworked surrogates
14	"The following quotes from Film..." The following quotes from Film Festival Reporter, AFI/AFM Special, Focus on Restoration and Archiving, Fall 2005
15	"“Restoring Cinderella was a..." “Restoring Cinderella was a Ball; Interview w/ FFR and David Bossart” pg15
16	"“Higher" “Higher, Mightier; Chace restores John Wayne’s flight status after twenty-five years”, Bob Heiber, page 18
17	Is this restoration or actually recreation? Opens rationale for use of enhancing and destructive tools including audio filters, dramatic color changes, color saturation, frame by frame filtering Goal is almost always to produce an asset that is more salable
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21	NYU + “Preservation” Develop specific practices to uphold spirit of grounding video assets. Steer clear of all “restoration” Attempt to isolate character of video Correct only the flaws that are known
22	Video Preservation Workflow
23	Video Preservation Workflow
24	Video Preservation Workflow
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26	Characterizing and Profiling Using the time base corrector to correct a known loss Not correcting unknown loss Needing a programmatic rather than aesthetic approach
27	End Results Close-up Reference Signal, Red/Blue Boundary VHS Tape Signal VHS Tape Signal post-Time Base Correction
28	Preservation Results
29	Testing
30	Recent material Processed early 2006, uncataloged Native Dance - Mexican Collection Princess Talksalot - American Indian Community House Collection Political Play - Brazilian Collection Performance Piece - Mexican Collection
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