Introduction • the Ffmpeg Family • Other Open-Source Pieces Of

Total Page:16

File Type:pdf, Size:1020Kb

Introduction • the Ffmpeg Family • Other Open-Source Pieces Of Open-Source Tools and Resources Summary • introduction • the FFmpeg family Reto Kromer • AV Preservation by reto.ch • other open-source pieces of software conclusion Akademie der bildenden Künste • Medienkunst: Technologie und Erhaltungsstrategien III Wien, 7.–10. Jänner 2020 1 2 CLI and/or GUI MD5 Checksums • command-line interface (CLI) Windows comes with: graphical user interface (GUI) CertUtil • macOS and Linux come with: md5 md5deep shasum 3 4 FFmpeg Components • ffmpeg • libavutil • ffplay • libavcodec FFmpeg • ffprobe • libavformat • libavdevice • libavfilter • libswscale • libswresample 5 6 Data Transformations File Transformations ffmpeg (CLI) ffmpeg.org demultiplex: libavformat ➔ decode: libavcodec FFmpeg Cookbook for Archivists filter: libavfilter ➔ avpres.net/FFmpeg/ encode: libavcodec ffmprovisr multiplex: libavformat ➔ amiaopensource.github.io/ffmprovisr/ 7 8 Metadata Extraction Media Players MediaInfo (GUI, CLI) VLC (GUI) ➔ mediaarea.net/MediaInfo ➔ www.videolan.org/vlc/ ffprobe (CLI) mpv (CLI) ➔ ffmpeg.org ➔ mpv.io ffplay (CLI) ➔ ffmpeg.org 9 10 A Graphical User Interface FFCommand Engine (GUI) ➔ github.com/ColorlabMD/FFCommand_Engine Other Software 11 12 The Missing Piece of Software avantages disavantages RAWcooked (CLI) TIFF data easier ➔ mediaarea.net/RAWcooked DPX bigger files OpenEXR to process JPEG 2000 data complexer FFV1 smaller files to process 13 14 RAWcooked Quality Control • encoding into Matroska (.mkv) using FFV1 QCTools (GUI), qcli (CLI) video codec and FLAC audio codec ➔ bavc.org/preserve-media/preservation-tools • all metadata preserved • decoding with bit-by-bit reversibility QCTools Documentation possibility to embed sidecar files (e.g. ➔ bavc.github.io/qctools/ • MD5, LUT, XML) AV Artifact Atlas • compatibility with media players ➔ bavc.github.io/avaa/ 15 16 Optical Sound Extraction DCP Encoder (and Player) AEO-Light (GUI) DCP-o-matic (GUI) ➔ usc-imi.github.io/aeo-light/ ➔ dcpomatic.com AEO-Light Manual ➔ github.com/usc-imi/aeo-light/releases/ download/v2.2-beta/ AEO-Light-2.2-beta-Manual.pdf 17 18 AMIA Open Source (1) AMIA Open Source (2) vrecord (CLI) The Cable Bible ➔ github.com/amiaopensource/vrecord ➔ amiaopensource.github.io/cable-bible/ audiorecorder (CLI) Open Workflows and Resources ➔ github.com/amiaopensource/audiorecorder ➔ github.com/amiaopensource/open-workflows LTOpers (CLI) Time-Based Media Art Resources ➔ github.com/amiaopensource/ltopers ➔ github.com/amiaopensource/ ➔ time-based-media-art 19 20 AMIA Open Source (3) FADGI Analog Inspection Federal Agencies Digital Guidelines ➔ github.com/amiaopensource/ Initiative (USA) ➔ analog-inspection ➔ digitizationguidelines.gov AV Python Carpentry ➔ github.com/amiaopensource/ ➔ av-python-carpentry 21 22 IFI Irish Film Archive AV Preservation by reto.ch IFI Scripts (by Kieran O’Leary) chemin du Suchet 5 ➔ github.com/kieranjol/IFIscripts 1024 Écublens Switzerland Web: reto.ch Twitter: @retoch Email: [email protected] 23 24.
Recommended publications
  • 'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + Housekeeping
    'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + housekeeping Part 1 (10:00am-10:50am) Part 2 (11:00am-11:45am) 10:00am-10:10am Intros and housekeeping 10:50am-11:00am [10-minute comfort break] 10:10am-10:30am Digital Preservation for audio 11:00am-11:15am Organise (Migrate) What material do you care 11:15am-11:45am Store, Maintain, Access about and hope to keep?_ Discussion & Questions 10:30am-10:50am Locate, Appraise, Identify What kind of files are you working with?_ Feel free to Using Zoom swap to ‘Grid View’ when slides are not in use, to gage ‘the room’. Please use the chat Please keep function to your mic on ask questions ‘mute’ when while slides not speaking. are in use. Who are we? • Bridging the Digital Gap traineeship scheme • UK National Archives (National Lottery Heritage Fund) • bringing ‘digital’ skills into the archives sector Why are we doing these workshops? • agitate the cultural record to reflect lived experience • embrace tools that support historical self-determination among non- specialists • raise awareness, share skills, share knowledge What is digital preservation? • digital material is vulnerable in different ways to analog material • digital preservation = “a series of managed activities undertaken to ensure continued access to digital materials for as long as necessary.” Audio practices and technological dependency Image credit: Tarje Sælen Lavik Image credit: Don Shall Image credit: Mk2010 Image credit: Stahlkocher Image credit: JuneAugust Digital preservation and ‘born-digital’ audio Bitstream File(s) Digital Content Rendered Content • codecs (e.g. LPCM) • formats and containers (e.g.
    [Show full text]
  • Making Speech Recognition Work on the Web Christopher J. Varenhorst
    Making Speech Recognition Work on the Web by Christopher J. Varenhorst Submitted to the Department of Electrical Engineering and Computer Science in partial fulfillment of the requirements for the degree of Masters of Engineering in Computer Science and Engineering at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 2011 c Massachusetts Institute of Technology 2011. All rights reserved. Author.................................................................... Department of Electrical Engineering and Computer Science May 20, 2011 Certified by . James R. Glass Principal Research Scientist Thesis Supervisor Certified by . Scott Cyphers Research Scientist Thesis Supervisor Accepted by . Christopher J. Terman Chairman, Department Committee on Graduate Students Making Speech Recognition Work on the Web by Christopher J. Varenhorst Submitted to the Department of Electrical Engineering and Computer Science on May 20, 2011, in partial fulfillment of the requirements for the degree of Masters of Engineering in Computer Science and Engineering Abstract We present an improved Audio Controller for Web-Accessible Multimodal Interface toolkit { a system that provides a simple way for developers to add speech recognition to web pages. Our improved system offers increased usability and performance for users and greater flexibility for developers. Tests performed showed a %36 increase in recognition response time in the best possible networking conditions. Preliminary tests shows a markedly improved users experience. The new Wowza platform also provides a means of upgrading other Audio Controllers easily. Thesis Supervisor: James R. Glass Title: Principal Research Scientist Thesis Supervisor: Scott Cyphers Title: Research Scientist 2 Contents 1 Introduction and Background 7 1.1 WAMI - Web Accessible Multimodal Toolkit . 8 1.1.1 Existing Java applet . 11 1.2 SALT .
    [Show full text]
  • A Forensic Database for Digital Audio, Video, and Image Media
    THE “DENVER MULTIMEDIA DATABASE”: A FORENSIC DATABASE FOR DIGITAL AUDIO, VIDEO, AND IMAGE MEDIA by CRAIG ANDREW JANSON B.A., University of Richmond, 1997 A thesis submitted to the Faculty of the Graduate School of the University of Colorado Denver in partial fulfillment of the requirements for the degree of Master of Science Recording Arts Program 2019 This thesis for the Master of Science degree by Craig Andrew Janson has been approved for the Recording Arts Program by Catalin Grigoras, Chair Jeff M. Smith Cole Whitecotton Date: May 18, 2019 ii Janson, Craig Andrew (M.S., Recording Arts Program) The “Denver Multimedia Database”: A Forensic Database for Digital Audio, Video, and Image Media Thesis directed by Associate Professor Catalin Grigoras ABSTRACT To date, there have been multiple databases developed for use in many forensic disciplines. There are very large and well-known databases like CODIS (DNA), IAFIS (fingerprints), and IBIS (ballistics). There are databases for paint, shoeprint, glass, and even ink; all of which catalog and maintain information on all the variations of their specific subject matter. Somewhat recently there was introduced the “Dresden Image Database” which is designed to provide a digital image database for forensic study and contains images that are generic in nature, royalty free, and created specifically for this database. However, a central repository is needed for the collection and study of digital audios, videos, and images. This kind of database would permit researchers, students, and investigators to explore the data from various media and various sources, compare an unknown with knowns with the possibility of discovering the likely source of the unknown.
    [Show full text]
  • Ffmpeg Documentation Table of Contents
    ffmpeg Documentation Table of Contents 1 Synopsis 2 Description 3 Detailed description 3.1 Filtering 3.1.1 Simple filtergraphs 3.1.2 Complex filtergraphs 3.2 Stream copy 4 Stream selection 5 Options 5.1 Stream specifiers 5.2 Generic options 5.3 AVOptions 5.4 Main options 5.5 Video Options 5.6 Advanced Video options 5.7 Audio Options 5.8 Advanced Audio options 5.9 Subtitle options 5.10 Advanced Subtitle options 5.11 Advanced options 5.12 Preset files 6 Tips 7 Examples 7.1 Preset files 7.2 Video and Audio grabbing 7.3 X11 grabbing 7.4 Video and Audio file format conversion 8 Syntax 8.1 Quoting and escaping 8.1.1 Examples 8.2 Date 8.3 Time duration 8.3.1 Examples 8.4 Video size 8.5 Video rate 8.6 Ratio 8.7 Color 8.8 Channel Layout 9 Expression Evaluation 10 OpenCL Options 11 Codec Options 12 Decoders 13 Video Decoders 13.1 rawvideo 13.1.1 Options 14 Audio Decoders 14.1 ac3 14.1.1 AC-3 Decoder Options 14.2 ffwavesynth 14.3 libcelt 14.4 libgsm 14.5 libilbc 14.5.1 Options 14.6 libopencore-amrnb 14.7 libopencore-amrwb 14.8 libopus 15 Subtitles Decoders 15.1 dvdsub 15.1.1 Options 15.2 libzvbi-teletext 15.2.1 Options 16 Encoders 17 Audio Encoders 17.1 aac 17.1.1 Options 17.2 ac3 and ac3_fixed 17.2.1 AC-3 Metadata 17.2.1.1 Metadata Control Options 17.2.1.2 Downmix Levels 17.2.1.3 Audio Production Information 17.2.1.4 Other Metadata Options 17.2.2 Extended Bitstream Information 17.2.2.1 Extended Bitstream Information - Part 1 17.2.2.2 Extended Bitstream Information - Part 2 17.2.3 Other AC-3 Encoding Options 17.2.4 Floating-Point-Only AC-3 Encoding
    [Show full text]
  • Ffmpeg Codecs Documentation Table of Contents
    FFmpeg Codecs Documentation Table of Contents 1 Description 2 Codec Options 3 Decoders 4 Video Decoders 4.1 hevc 4.2 rawvideo 4.2.1 Options 5 Audio Decoders 5.1 ac3 5.1.1 AC-3 Decoder Options 5.2 flac 5.2.1 FLAC Decoder options 5.3 ffwavesynth 5.4 libcelt 5.5 libgsm 5.6 libilbc 5.6.1 Options 5.7 libopencore-amrnb 5.8 libopencore-amrwb 5.9 libopus 6 Subtitles Decoders 6.1 dvbsub 6.1.1 Options 6.2 dvdsub 6.2.1 Options 6.3 libzvbi-teletext 6.3.1 Options 7 Encoders 8 Audio Encoders 8.1 aac 8.1.1 Options 8.2 ac3 and ac3_fixed 8.2.1 AC-3 Metadata 8.2.1.1 Metadata Control Options 8.2.1.2 Downmix Levels 8.2.1.3 Audio Production Information 8.2.1.4 Other Metadata Options 8.2.2 Extended Bitstream Information 8.2.2.1 Extended Bitstream Information - Part 1 8.2.2.2 Extended Bitstream Information - Part 2 8.2.3 Other AC-3 Encoding Options 8.2.4 Floating-Point-Only AC-3 Encoding Options 8.3 flac 8.3.1 Options 8.4 opus 8.4.1 Options 8.5 libfdk_aac 8.5.1 Options 8.5.2 Examples 8.6 libmp3lame 8.6.1 Options 8.7 libopencore-amrnb 8.7.1 Options 8.8 libopus 8.8.1 Option Mapping 8.9 libshine 8.9.1 Options 8.10 libtwolame 8.10.1 Options 8.11 libvo-amrwbenc 8.11.1 Options 8.12 libvorbis 8.12.1 Options 8.13 libwavpack 8.13.1 Options 8.14 mjpeg 8.14.1 Options 8.15 wavpack 8.15.1 Options 8.15.1.1 Shared options 8.15.1.2 Private options 9 Video Encoders 9.1 Hap 9.1.1 Options 9.2 jpeg2000 9.2.1 Options 9.3 libkvazaar 9.3.1 Options 9.4 libopenh264 9.4.1 Options 9.5 libtheora 9.5.1 Options 9.5.2 Examples 9.6 libvpx 9.6.1 Options 9.7 libwebp 9.7.1 Pixel Format 9.7.2 Options 9.8 libx264, libx264rgb 9.8.1 Supported Pixel Formats 9.8.2 Options 9.9 libx265 9.9.1 Options 9.10 libxvid 9.10.1 Options 9.11 mpeg2 9.11.1 Options 9.12 png 9.12.1 Private options 9.13 ProRes 9.13.1 Private Options for prores-ks 9.13.2 Speed considerations 9.14 QSV encoders 9.15 snow 9.15.1 Options 9.16 vc2 9.16.1 Options 10 Subtitles Encoders 10.1 dvdsub 10.1.1 Options 11 See Also 12 Authors 1 Description# TOC This document describes the codecs (decoders and encoders) provided by the libavcodec library.
    [Show full text]
  • Ffsake: Further Fluff with Ffmpeg
    ffsake: further fluff with ffmpeg Talking Tech, Spring 2017 2/5/17 Ethan Gates What is ffmpeg? ● Leading open-source framework for processing and manipulating audiovisual material ● Aims to decode, encode, transcode, mux, demux, stream, filter and play “anything that humans and machines have created” ● A combination of tools and libraries ○ ffmpeg - media conversion ○ ffprobe - metadata analysis/extraction ○ ffplay - playback ■ libavutil - various utilities (e.g. math equations) ■ libavcodec - codec library ■ libavformat - format (wrapper/container) library ■ libavdevice - device library (drivers for common/open hardware) ■ libavfilter - filter library ■ libswscale - scaling library ■ libswresample - audio sampling library Who’s using it? ● VLC Media Player ● YouTube ● Media Player Classic ● Chromium/Google Chrome ● Handbrake ● Facebook ● Audacity ● DaVinci Resolve ● DCP-o-matic ● Axle But what can it do? ● Make derivative copies ● Re-wrap files ● Edit files ● Generate checksums ● Create test files/streams ● Extract/insert metadata ● Generate informative (or just plain cool) audio/video effects ● Livestream video/screencapture * Thanks for this slide, Andrew Weaver Installation All about that configuration! $ brew info ffmpeg $ brew install ffmpeg --with-sdl2 --with-freetype --with-openjpeg --with-x265 --with-rubberband --with-tesseract Translation: with ffplay (playback), with added text/titles support, with JPEG 2000 codec, with H.265 (HEVC) codec, with extra audio filters, with OCR support Tasks to Cover I. Making a test file/signal
    [Show full text]
  • 1 Last Date Modified: 30 April 2015 BAE SYSTEMS INFORMATION
    BAE SYSTEMS INFORMATION SOLUTIONS INC. GEOSPATIAL EXPLOITATION PRODUCTS® PLATFORM SOFTWARE LICENSE AGREEMENT THIS SOFTWARE LICENSE AGREEMENT (“AGREEMENT”) APPLIES TO ANY SOFTWARE PRODUCT(S) THAT MAY BE PROVIDED BY BAE SYSTEMS INFORMATION SOLUTIONS INC. (“LICENSOR”) TO YOU (“LICENSEE”), INCLUDING BUT NOT LIMITED TO GXP XPLORER®, SOCET GXP ®, SOCET SET®, GXP WEBVIEWTM, GXP INMOTIONTM, GXP INMOTIONTM SERVER GXP JPIP SERVER AND IF APPLICABLE (AS SPECIFICALLY IDENTIFIED IN THE APPLICABLE ORDERING DOCUMENT OR CONTRACT) THE GXP XPLORER SERVER JPIP CONNECTOR FOR EXELIS IAS AND/OR THE GXP XPLORER SERVER TO DIB CONNECTOR (EACH SEPARATELY REFERRED TO BELOW AS “GXP SOFTWARE”). READ THE TERMS AND CONDITIONS OF THIS AGREEMENT CAREFULLY BEFORE (1) OPENING THE PACKAGE OR DOWNLOADING THE FILE CONTAINING THE GXP SOFTWARE, OR (2) CLICKING THE “I ACCEPT” BUTTON. THE GXP SOFTWARE AND THE ACCOMPANYING USER DOCUMENTATION (EACH REFERRED TO AS THE “PROGRAM”) ARE COPYRIGHTED AND LICENSED - NOT SOLD. BY OPENING THE SOFTWARE PACKAGE, OR CLICKING “I ACCEPT”, YOU ARE ACCEPTING AND AGREEING TO THE TERMS OF THIS AGREEMENT. IF YOU DO NOT ACCEPT THE TERMS AND CONDITIONS OF THIS AGREEMENT PROMPTLY RETURN THE UNOPENED PACKAGE TO THE PARTY FROM WHOM IT WAS ACQUIRED, CANCEL THE DOWNLOAD OR CANCEL THE INSTALLATION. IF YOU ARE A UNITED STATES (“U.S”) GOVERNMENT CUSTOMER, ACCEPTANCE OF THESE TERMS ARE EFFECTUATED BY ACCEPTANCE OF A PROPOSAL, QUOTE, OR OTHER ORDERING DOCUMENT OR CONTRACT INCORPORATING THIS AGREEMENT BY REFERENCE OR OTHERWISE OR BY CONTRACTING OFFICER EXECUTION OF THIS AGREEMENT. THIS AGREEMENT REPRESENTS THE ENTIRE AGREEMENT CONCERNING THE LICENSING OF THE PROGRAM BETWEEN LICENSEE AND LICENSOR, AND IT SUPERSEDES AND REPLACES IN ITS ENTIRETY ANY PRIOR PROPOSAL, REPRESENTATION, OR UNDERSTANDING BETWEEN THE PARTIES.
    [Show full text]
  • Open Source Licenses Applicable to Hitachi's Products Earlier Versions
    Open Source Licenses Applicable to Hitachi’s Products EARLIER VERSIONS Several products are listed below together with certain open source licenses applicable to the particular product. The open source software licenses are included at the end of this document. If the open source package has been modified, an asterisk (*) appears next to the name of the package. Note that the source code for packages licensed under the GNU General Public License or similar type of license that requires the licensor to make the source code publicly available (“GPL Software”) may be available for download as indicated below. If the source code for GPL Software is not included in the software or available for download, please send requests for source code for GPL Software to the contact person listed for the applicable product. The materials below are provided “AS IS,” without warranty of any kind, including, but not limited to, the implied warranties of merchantability, fitness for a particular purpose, and non-infringement. Access to this material grants you no right or license, express or implied, statutorily or otherwise, under any patent, trade secret, copyright, or any other intellectual property right of Hitachi Vantara Corporation (“Hitachi”). Hitachi reserves the right to change any material in this document, and any information and products on which this material is based, at any time, without notice. Hitachi shall have no responsibility or liability to any person or entity with respect to any damages, losses, or costs arising from the materials
    [Show full text]
  • VIDEO DIGITIZATION at the AUSTRIAN MEDIATHEK Chives Obtain a Quality Assurance Instrument for the Recording of Their Media
    ARTICLE 8LIIQTPS]QIRXSJWYGLERSRPMRIGIVXM½GEXMSRWIVZMGITVSZMHIWFIRI½XWJSVFSXLTEVXMIWEV- VIDEO DIGITIZATION AT THE AUSTRIAN MEDIATHEK chives obtain a quality assurance instrument for the recording of their media. In the past, sound Herman Lewetz, Austian Mediathek9 carrier owners had to implement quality control by means of a cost-intensive strategy: mul- tiple recording of a single sound medium and time-consuming comparative analysis. The avail- In September 2009 the Austrian Mediathek started a project called “Österreich am Wort“. EFMPMX]SJSFNIGXMZIQIEWYVIQIRXVIWYPXWEPPS[WJSVEHVEWXMGEPP]WMQTPM½IHUYEPMX]QSRMXSVMRK Its goal is to digitize and publish via the web about 10,000 full-length recordings within three years. The misfortune for me personally was that in the proposal for this project someone had For companies or organisations dealing with the process of mass migration of analogue media, claimed 2,000 of these to be video recordings. This meant I had to start what we so far suc- long-term evaluation is an important tool for supporting the continuous internal improve- cessfully had postponed: Video digitization. ment process. For example, slow deterioration over time can be made visible. Besides the cost savings due to precise situation assessment, there is another advantage for service providers: Requirements [LIRYWMRKTPE]FEGOHIZMGIWSJHMJJIVIRXUYEPMX]MXQE]LEZIFIIRHMJ½GYPXXSEVKYIXLILMKLIV costs for recording with high-quality machines to their clients. With the help of the automatic, %WE½VWXWXIT[ISYXPMRIHXLIVIUYMVIQIRXW[IXLSYKLXMQTSVXERXJSVEHMKMXM^EXMSRWGLIQE reference-based analysis, quality differences between average and high-class playback devices that best supported long-term preservation. Unlike audio digitization there is still no widely become easily measurable. By documenting the measurement results, the client can easily see accepted archive format for video.
    [Show full text]
  • A Complete End-To-End Open Source Toolchain for the Versatile Video Coding (VVC) Standard
    A Complete End-To-End Open Source Toolchain for the Versatile Video Coding (VVC) Standard Adam Wieckowski*, Christian Lehmann*, Benjamin Bross*, Detlev Marpe*, Thibaud Biatek+, Mickael Raulet+, Jean Le Feuvre$ *Video Communication and Applications Department, Fraunhofer HHI, Berlin, Germany +ATEME, Vélizy-Villacoublay, France $LTCI, Telecom Paris, Institut Polytechnique de Paris, France {firstname.lastname}@hhi.fraunhofer.de, {t.biatek,m.raulet}@ateme.com, [email protected] ABSTRACT Standard. In Proceedings of the 29th ACM International Conference on Multimedia (MM’21). ACM, Chengdu, China, 4 pages. Versatile Video Coding (VVC) is the most recent international https://doi.org/10.1145/1234567890 video coding standard jointly developed by ITU-T and ISO/IEC, which has been finalized in July 2020. VVC allows for significant bit-rate reductions around 50% for the same subjective video 1 Introduction quality compared to its predecessor, High Efficiency Video In July 2021, the Versatile Video Coding (VVC) standard has Coding (HEVC). One year after finalization, VVC support in been finalized by the Joint Video Experts Team (JVET) of ITU-T devices and chipsets is still under development, which is aligned VCEG and ISO/IEC MPEG [1][2]. VVC was designed with two with the typical development cycles of new video coding main objectives: significant bit-rate reduction over its predecessor standards. This paper presents open-source software packages that High Efficiency Video Coding (HEVC) for the same perceived allow building a complete VVC end-to-end toolchain already one video quality and versatility to facilitate coding and transport for a year after its finalization. This includes the Fraunhofer HHI wide range of applications and content types.
    [Show full text]
  • JPEG 2000 and FFV1
    Campbell1 Savannah Campbell December 16, 2016 Digital Preservation Nicole Martin The Great Video Codec Debate: JPEG 2000 and FFV1 “I think that too much ink is being spilled over the issue of JPEG 2000 vs FFV1” – George Blood1 As analog video formats become increasingly obsolete and magnetic media degrades over time, video tapes will need to undergo digitization so that their content can be preserved. Through this process, the images and sounds encapsulated in the tape’s magnetic particles will be transformed into a series of 0s and 1s: a representation of the video stream that a computer can read and play back. When a cultural heritage institution decides to digitize its video collection for preservation purposes, it becomes necessary for the institution to consider which format should be used for the resulting files. While an uncompressed format would capture all of the data in the video as is, uncompressed encoding results in large files that rapidly fill precious storage space on hard drives and servers. On the other hand, lossy compressed formats like Apple ProRes make digital video files easy to work with in production environments due to their efficient encoding and smaller file sizes, but they compress the image irreversibly—a loss of information that conflicts with the goal of preserving the original content as it was. There is another video codec option for audiovisual archivists: mathematically lossless. With lossless video codecs, the resulting files are still compressed, but in a way that preserves all of the 1 George Blood. Personal interview by Savannah Campbell. 28 Nov. 2016.
    [Show full text]
  • Repository Design Report with Attached Metadata Plan
    National Digital Information Infrastructure and Preservation Program Preserving Digital Public Television Project REPOSITORY DESIGN REPORT WITH ATTACHED METADATA PLAN Prepared by Joseph Pawletko, Software Systems Architect, New York University With contributions by Nan Rubin, Project Director, Thirteen/WNET-TV Kara van Malssen, Senior Research Scholar, New York University 2010-03-19 Table of Contents Executive Summary ………………………………………………………………………………………… 2 1. Background ……………………………………………………………………………………………..... 3 2. OAIS Reference Model and Terms …………………………………………………………………… 3 3. Preservation Repository Design ……………………………………………………………………….. 3 4. Core Archival Information Package Structure …………………………………………………….. 11 5. PDPTV Archival Information Package Structure …………………………………………………... 14 6. PDPTV Submission Information Packages …………………………………………………………... 17 7. PDPTV Archival Information Package Generation and Metadata Plan ……………………... 18 8. Content Transfer to the Library of Congress .……………………………………………………….. 22 9. Summary …………………………………………………………………………………………………… 23 10. Remaining Work …………………………………………………………………………………………. 30 11. Acknowledgements ……………………………………………………………………………………. 31 Appendix 1 Glossary and OAIS Operation ……………………………………………...…………… 32 Appendix 2 WNET NAAT 002405 METS File ……………………………………………………………. 37 Appendix 3 WNET NAAT 002405 PBCore File …………………………………………………………. 41 Appendix 4 WNET NAAT 002405 SD Broadcast Master PREMIS File ...……………………………. 46 Appendix 5 WNET NAAT 002405 SD Broadcast Master METSRights File …………………………. 48 Appendix 6 WGBH
    [Show full text]