Session	Abandoning Analog: The Case for Digital Audio Archiving
Panel Coordinator Panelists	Robert Heiber President, Chace Productions Keith Watanabe Larry Blake John Spencer Gavin Schutz
Abstract .. .. Presentations.. ..Download Powerpoint Presentations... Download Presentation: Metadata Collection and Verification of Digital Assets. ..Download Presentation: Evolution, Availability & Longevity . .Speaker Bios

ABSTRACT

Abandoning Analog: The Case for Digital Audio Archiving
Panel Presentation Coordinated By Robert Heiber
President, Chace Productions

The archive world has hotly debated the concept of digital archiving of sound and picture assets for a number of years. Compression, a sore sticking point for image archiving, is fortunately not an issue for digital sound archiving, as the decreasing cost of digital storage has made high resolution audio, 48kHz – 96kHz at 24 bits a practical reality.

As more and more original and restored audio content is created digitally it becomes difficult to press the issue of making analog “archive” copies. Yet this continues to be standard practice in many quarters as part of a long experience in the reliability of analog recordings.  Perhaps the “just-in-case” analog copies may no longer be necessary with improvements and understanding of digital audio asset management.

Abandoning Analog: The Case for Digital Audio Archiving is a panel of leading industry experts with a representatives from motion picture post-production, the record industry, digital asset management enterprise, and digital storage technologies. Each will present, from their area of expertise, the key criteria and advantages of digital audio archiving that demonstrate archival analog assets are no longer required. 

Panel Speakers:

Digital Media: Advantages & Liabilities
By Keith Watanabe

Keith will compare and contrast archival performance characteristics of typical post-production analog and digital media. He will discuss the opposing interests of computer technology companies versus archivists needs. Keith will detail several industry instances that will aid in navigating this digital path forward.

Facing the Inevitable:
Waving Goodbye to Analog Tape and Hello to Digital Files
By Larry Blake

In spite of the fact that all indicators show that analog recording won't be around for much longer, major movie studios persist in the delusion that they are being responsible by backing up their film sound material to analog formats. This paper will outline the backup method utilizing hard drives and data tapes that is better, less expensive, and faster than current analog techniques. The presenter will be wearing a Kevlar vest.

Abandoning Analog in the Music Recording Industry:
From a Commercial Perspective
By John Spencer

Today, most commercial recording projects utilize some type of digital recording technology. It may be used in the creative process itself or in the creation of digital files that are distributed to the public. Analog tape is usually employed for its subjective sonic characteristics, sometimes referred to as "warm" or "less harsh than digital". For those projects that are born digital, an analog copy is NOT an exact copy. Many commercial record labels are in the process of changing delivery requirements to reflect the changing landscape of how recordings are made, also eliminating the need for analog "safeties". Institutions will have to follow this trend using Enterprise IT best practices as libraries increase their digital holdings. The eventual demise of analog tape manufacturing will only intensify the need for a digital infrastructure.

Requirements for Archiving of Digital Media Content
By Gavin Schutz

The proliferation of digital media content - and the ability to generate derivative works at will - represents a unique challenge for the archivist. In addition to rapidly developing standards for file and network based content, the archivist must deal with emerging technologies relating to versioning, encryption, watermarking and DRM as part of the overall effort in preserving the value and longevity of the asset. I will cover some of the issues that must be addressed as part of the preservation process and offer some solutions designed to accommodate migration to the new media platforms.

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PRESENTATION:
Metadata Collection and Verification of Digital Assets
A Real-World Approach

by John Spencer
Bridge Media Solutions Inc.

Introduction

As we move into an archival environment of digital objects, the need for structured metadata is more important than ever. While there are many current development paths and toolkits for metadata creation, there are no easy answers for many of those with limited funding, hardware, and software. The need to collect structured metadata at the point of migration is a critical function of both commercial and institutional asset holders. This presentation is an overview of how an evolving commercial metadata collection strategy can be re-used to support institutional migration projects.

Digital Recording is Pervasive

Digital technology is used in over 90% of new recordings created today. In the commercial recording industry, the percentage is probably closer to 100%.

However, less information (Metadata) is gathered during the recording process than ever. This is due to the explosion of Digital Audio Workstations (DAW), which unfortunately create little if any documentation associated with the recording itself.

Digital Recording is Pervasive

Mixed file types and formats create a formidable challenge to verify digital assets.

Our company (Bridge Media Solutions Inc.) sees mixed media types (CD-R, DVD, Exabyte, AIT, HDD) on virtually every project we are involved in. Institutions will face the same issues when preserving assets that were “born digital”.

No “real world” data collection strategy in place.

In the commercial recording landscape, documentation has actually decreased by a significant factor due to the fact that Digital Audio Workstations generate little if any usable documentation independent of the audio files.

Small archival collections that now find the need to migrate as inexpensively as possible are faced with the same dilemma.

Digital Recording = A New Challenge to Archival Storage

The unexpected consequences of digital technology have created storage issues that directly conflict with established analog archiving procedures.

The “shelf-life” debate is of little use in a digital era. The consequence of digital archiving requires a strategy of periodic migration to maintain accessibility.

Verification of Digital Assets

The verification of digital assets is a daunting challenge - traditional methodologies regarding inspection/ cleaning/ playback/ cataloging/ etc. are of little use in a digital environment.

Verification of commercial recordings is difficult, as one must support each version of the different software and hardware involved during the creation of the recording. This process is made somewhat easier by file interchange standards such as BWF and the NARAS Deliverables document.

It is imperative that all sub-elements (multitrack files, production mixes, etc.) be verified at the point of delivery if the asset is to be reused to create additional product (DVD-A, SACD, 5.1).

This is of particular concern to asset holders and royalty participants, in that subsequent reuse and reissue of previously recorded material is forever lost without the capture of these files.

Metadata Creation and Capture Issues

Metadata creation is “dynamic” and becomes more complete over time.

For various reasons, it is important to add additional information to the metadata related to a specific project (i.e. performer information, ISRC codes, change of publishing company) that only becomes known after the recording has occurred.

Concise Metadata is too large to be attached with the audio file itself.

The BWF header is too small for rich metadata storage. Additionally, the current cost of online storage is still too excessive for most asset holders. The use of data storage tapes (LTO, DLT, AIT) essentially forces the metadata to exist independently for search queries.

These premises are consistent with the current NDIIPP Technical Architecture draft (version 0.2)

A New Toolset: What Do We Need?

A dynamic approach to metadata capture that allows for conformity with existing (and future) standards.

Currently, there is an initial effort within AES and NARAS to begin the creation of an open-source collection tool to be used during the recording process. Other relative organizations are invited to work with the various committees to provide this major step forward.

A proactive verification process to ensure the assets actually exist today.

Digital audio files should be opened up and inspected as soon as one takes possession (i.e. delivery of recording project to record label). Without this vital step, any missing files (that most likely could be collected within the first 24-48 hours after delivery) will be difficult if not impossible to locate.

“Traditional” IT skills to navigate the migration and management of large amounts of data.

The archival community must lead in the dissemination of information regarding Information Technology best practices. Ultimately, the role of the archivist will begin to assume issues regarding storage, backup, and migration of digital files.

Example of Dynamic Metadata Collection for Commercial Recordings
What is a UMID and Why Would I Want One?

It is a string of digits that are written inside the data header of a BWF file. This links the associated metadata record with the object itself.

It is of sufficient length that it will allow for worldwide use in the foreseeable future. The definition of the UMID structure is subject to debate, but of a similar nature as the USID as outlined by the EBU

Technical Recommendation R99-1999.

It allows the digital asset to be stored effectively while providing complete access to the metadata about the asset. This enables cost-effective storage of the digital assets.

It allows for updates to the metadata record as additional information is made available without having to retrieve the asset itself.

The Crisis of Small Archives

Many small archives have little or no budget for digital migration. A sound card, an external CD-R burner and limited (if any) database tools for metadata capture.

Some archives are not affiliated with IT departments. This places the burden of digital file management on the archivist.

Some are intimidated by Dublin Core/ XML/ METS/ etc. However, it is important for the metadata created to easily translate to these initiatives without additional manual data entry.

Yet many have begun to make transfers to CD-R, without a long-term plan as to how subsequent migrations will take place.

The Crisis of Small Archives

Current concerns are focused on shelf life of optical media. As echoed by many, these debates are misplaced with respect to the long-term viability of the asset.

History has proven that digital formats can become obsolete (no more 25-year lifespan).

Some archivists do not have easy access to database tools to create consistent metadata.

Many migration projects have little research value due to the lack of searchable metadata collected during the migration process.

Example of Dynamic Metadata Collection for Institutional Audio Files

This example shows how the commercial metadata collection model discussed earlier can be overlaid to an institutional environment. With the use of a robust SQL environment, data collection tools can be modified to a specific format (disc, cylinder, 1/4” tape), and the resultant metadata generated can be readily migrated to the appropriate platform.

The need to collect metadata exists TODAY. There is still much to do before there is universal implementation of the infrastructure needed to support the vast amounts of data (and the associated metadata) that will be created in the future. There is a need for a metadata “way station”, so that migration projects that are underway will stand the test of time regarding their accessibility.

Summary

Both institutional and commercial collections need a robust Metadata collection and capture environment. This is one example where hopefully the efforts of some will support others.

Analog-to-Digital migration projects without structured and deployable Metadata are of questionable research value. It is imperative for the first generation of Analog to Digital transfers to be created with comprehensive metadata.

Verification of digital assets will take on a new level of importance (and require new skills by the archivist). Timely verification is critical for the validity of any digital asset.

Data management expertise will be required of archivists in the future. Education and training are the keys to a successful digital archive.

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PRESENTATION:
Evolution, Availability & Longevity

by Keith Watanabe
FPC Inc., A Kodak Compan

I have three concepts to explore concerning the replacement of analog elements by digital solutions for archive purposes.

1. Evolution: What is occurring in the motion picture industry follows a pattern similar to other artistic craft industries that are being impacted by technology.
2. Availability: A look at the key companies that produce analog materials.
3. Longevity: What are the “life expectancies” of analog & digital materials?
   

Evolution
Craft industries impacted by technology

–Similar cycles:
printing, photography & motion picture

I have observed a common pattern in the printing/publishing, photography and motion picture industries as they contend with their primary production processes impacted by technology.

This pattern is:

1. Unique, dedicated machines & materials for a production process that is stable for 40 to 50 years.
2. Custom, closed, expensive software & computers designed for specific task
3. Desktop hardware & software that can complete the task
   

Examples apply in Motion picture editorial

1925-1995	1989 - Present	2002 - Present
Moviola	AVID Film Composer	Apple Final Cut Pro
$10K (~1980)	$70K (no storage)	$5,000
Media	Media	Media
35mm Film	AVID SCSI Hard Drives	Firewire Drives
Magnetic stripe		DVD-R

Evolution
Motion Pictures Industry & Computer Industry at odds in some key areas.

•Archivist prefers:
Stable, Robust, Long Life Expectancy

•Computer Industry:
Price, Power, Rapid Change

Computer industry

This industry is subject to ‘Moore’s Law’. It contends that computer performance or storage density doubles in 18 months at the same price. Idea originally linked to Intel Co-Founder Gordon Moore. This idea is at the root of their company philosophy: innovate or die. Computer companies drive revenue through updates & next generations that outdate what the customer currently owns.

As computer industry products are adopted as ‘motion picture elements’ we gain in pricing, competitive sourcing, and the productivity of being linked to a large, well financed industry. The other result is less influence on these suppliers as the motion picture portion is small when compared to other industries they serve.

Availability
The event of supply availability (key factories ceasing operations) will force the transition from analog to digital archiving.

From this point forward only digital solutions will be available. Organizations responsible for the preservation of audio elements can expect:

- Digital media formats and media to evolve faster than before in history.
- Resulting in less compatibility regionally and worldwide.

Your challenge is to choose archive strategies that compensate for these two dynamics.

Availability
EMTEC Magnetics applied for insolvency protection early in 2003 and has been operated by court appointed insolvency management since April 2003. The EMTEC Munich factory makes their analog audio tape. Several groups are bidding on the factory; the transition should be settled Mid-Summer. Analog tape availability has been erratic according to Hollywood customers and suppliers. Unfavorable Euro exchange to USD has driven US prices dramatically higher over the last 18 months according to US distributor, Inner Circle Marketing.

Pyral Factory (formerly owned by EMTEC) in Avanche, FRA is the last major manufacturing facility for magnetic film. This factory was purchased earlier this year by a wealthy German businessman, Mr. Peter M. Schmidt. FPC, my organization, has been the exclusive North American Distributor Pyral magnetic films for over 25 years. Demand for magnetic film has dropped each year since 1997. Shrinking demand with fixed factory costs and unfavorable Euro exchange has driven prices higher over the last 36 mos.

Quantegy, is a US based (Opelika, Alabama) maker of video & audio tape. According to their National Sales Manager, volumes & pricing have been stable the past two years. They observe shrinking choices of suppliers but not in way that has affected manufacturing.

Life Expectancy
Analog Media

•Magnetic Film

* 25-50 years acetate
* 40-75 years polyester

•Analog Tape

* 30-50 years

Analog Materials

• Magnetic audio elements, analog & digital typically contain these materials: magnetic oxide, polyurethane binder, polyester base & carbon back-coating.

• Early magnetic films used acetate as base instead of polyester. Acetate base magnetic elements are subject to ‘vinegar syndrome’ or deacetylation, the progressive chemical process that results in the elements becoming brittle & shrunken. This process can be stalled with the use of ‘molecular sieves’. The following web sites detail the proper use: http://www.fpchollywood.com/support-molecular-sieves.html http://www.kodak.com/US/en/motion/support/technical/vinegar.shtml

• Polyester base is considered very stable under typical storage conditions. The binder in the magnetic film is subject to hydrolysis. The result is sticky syndrome or sticky shed. Ampex makes some “baking guidelines” to reduce the stickiness enough for a good transfer: www.clir.org/pubs/reportspub54/2what_wrong.html

• National Bureau of Standards publication, “Care and Handling of Computer Magnetic Storage Media” recommends:

Temperature: 65 +/- 3 degrees Fahrenheit
Relative Humidity 40% +/- 5%

• Analog tends to fail in ‘degrees’, on an analog failure curve.

• Jim Linder – “never found an analog tape so bad he couldn’t get something off…”

Life Expectancy
Analog Systems

• Technology expertise available
• Manufacturers still offer analog systems

Analog technology is well documented.

Operators and engineering expertise are still available. Over time this will diminish as the younger people in the industry are not using analog as the primary recording method.

Two manufacturers, Sondor and Albrecht still make magnetic film recorder/players. Studer still manufactures two inch, twenty four track recorder/players.


Longevity Comparisons
Digital Media

• Silver CD-R/ DVD-R ................................................ 100/200 years
• DVD-R A – NIST...................................................... 25 years
• Magneto Optical Discs..............................................40-57 Years
• Digital Magnetic Tapes .............................................10-20 years
AIT-SAIT-DTRS-DAT-HDCAM-HI8-DLT -SDLT -LTO-LTO2

Digital Formats

• CD-R and DVD-R both use organic dyes that respond similarly to temperature and humidity over time. Manufactures have conducted “accelerated aging” tests by subjecting discs to higher temperature/humidity then extrapolating the future failure point.

• Using, a similar methods, National Institute of Standards & Technology (NIST) found DVD-R Authoring discs to last 25 years.

• Replicated discs, DVD Video & audio CDs use aluminum as the reflective layer (CD-R/DVD-R use a more stable Silver) that can be subject to “rot” as the metal oxidizes if not properly sealed during manufacturing.

• All DVD discs are constructed by gluing two polycarbonate discs together. There are two methods, one is the UV cured lacquer (considered more stable) and thermal melt glue. Separation of the discs can cause failure.

• MO Discs use heat and magnetism to mark the disc. A NIST study concluded with 95% confidence that an MO disc will last 57 years at room temperature at 90% humidity.

•Helical scan data recording formats for digital tape (AIT-SAIT-DTRS-DAT-HDCAM-Hi8) are considered higher risk because mis-alignment of the recording heads or warp-age of the media base can cause data retrieval failure. Sony quotes 30 years life expectancy under proper storage conditions (from Sony web site).

•Linear recording formats for digital tape (DLT-SDLT-LTO-LTO2) are considered more reliable because of the fixed position recording head.

•Analog and digital tape formats share many of the physical attributes as it relates to aging and life expectancy. Digital’s greatest advantage is each duplicate matches the quality of the original. The risk is, when failure occurs, it is complete failure.

•MP or ME tape both do not use binders for extra thin coating providing better wrap & signal performance but at a price of being more fragile.


Life Expectancy
Digital Systems
• Moore’s Law – 18 mos.
........ –Race to obsolescence
• Larger industry enables finding legacy hardware
........ There is always EBAY.

Final Thoughts

• Inevitable transition
........ – Accelerating pace

• Analog Factories
........ – Life dependant on demand

• Digital Silver Bullet
........ – Systems that can assess health of digital elements

References
• Abbott, Denise – Moviola – Enrepreneur Mark Serrier – www.moivaloa.com/Mov_history.html
• Van Bogart, Dr. John - National Media Labs – Scientific American June 1995
• Van Bogart, Dr. John - National Media Labs
........ – Magnetic Tape Storage and Handling June 95
• Wheeler, Jim - Videotape Preservation Handbook 2002
• Byers, Fred R. – National Institute of Standards & Technology
• NIST Special Publication 500-252 Care and Handling of CDs and DVDs
........ – A Guide for Librarians and Archivists 10/03
• Linder, Jim & Wheeler, Jim – Answers to FAQ on Video Formats & Preservation
• AP – CDs, DVDs not so immortal www.cnn.com/2004/TECH/ptech/05/06/06/disc.rot.ap/
• Vvinegar syndrome’ -http://www.kodak.com/US/en/motion/support/technical/vinegar.shtml
• Ampex “baking guidelines” http://www.clir.org/pubs/reportspub54/2what_wrong.html

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DOWNLOAD POWERPOINT PRESENTATIONS

Digital Media: Advantages & Liabilities
By Keith Watanabe

Abandoning Analog in the Music Recording Industry:
From a Commercial Perspective
By John Spencer

Requirements for Archiving of Digital Media Content
By Gavin Schutz

_______________________________

SPEAKER BIOS

Bob Heiber

Bob has been involved in film sound preservation since 1990 when he joined Chace Productions. A member of AMIA since 1991, SMPTE, the Academy of Motion Pictures Arts and Sciences and ACVL, Bob has served on the National Film Preservation Board Advisory Task Force and the Library of Congress panel for the State of American Television and Video Preservation. He has spoken on film sound preservation, restoration and re-mastering at AMIA, ACVL, SMPTE and ARSC conferences. Prior to joining Chace, Bob was the Manager of Technical Operations at Warner Hollywood Studios and an award winning documentary/industrial filmmaker in Chicago, Illinois. Bob graduated from Purdue University in 1973 with a Bachelor of Arts in Radio-TV-Film.

Larry Blake

Larry Blake, sound editor/re-recording mixer/post-production supervisor: Erin Brockovich, Traffic, Ocean's Eleven; owner: Swelltone Labs, New Orleans; film sound editor, Mix magazine; Author (work-in progress) of a comprehensive specification for the archiving, restoration, and delivery of film sound elements.

Gavin Schutz

Gavin Schutz is Executive Vice President and Chief Technology Officer of Ascent Media Group, a Liberty Media Company. He is responsible for providing leadership and strategic direction with respect to technology throughout the Ascent media Group companies in London, Singapore, Mexico, New York, New Jersey, Santa Monica, Burbank, and Hollywood. This includes applied strategies for emerging technologies, and guidance regarding how they can be used to further the strategic and tactical goals of the Corporation. Gavin is responsible for administering capital expenditures and is involved in the strategic planning and execution of all technical aspects of Ascent Media operating entities.

Prior to Ascent Media Company, Gavin was a founder, Executive Vice President and Chief Technology Officer of Four Media Company, and has over twenty years of experience with Media and Entertainment sector technologies.

Gavin is President and a Fellow of the Society of Motion Picture and Television Engineers (SMPTE), an Honorary Fellow of the BKSTS, a member of the Audio Engineering Society (AES), the IEEE and the Society of Photographic and Instrumentation Engineers (SPIE). He is a Past President of the Society of Television Engineers, has published numerous papers and holds several Patents on Television and Motion Picture Technology.

John Spencer

Bridge Media Solutions, Inc. President John Spencer has widespread experience in the music production industry as well as the fields of archival preservation and enterprise class data management. Mr. Spencer is a contributing member of several industry-related committees including the NARAS P&E Wing Deliverables Committee, AES Studio Practices and Production Technical Committee, and the Digital Audio Subcommittee of AMIA. Previously Vice-President of Sales and Marketing for Otari Corporation, Mr. Spencer is a 1982 honors graduate of Middle Tennessee State University.

Keith Watanabe

Keith Watanabe - Sales Manager FPC Inc., A Kodak Company. He is a Hollywood supplier of digital & analog technologies. Keith is a member of AMIA, SMPTE, and a Board Member Long Beach Film Festival. Introduced Kodak’s first digital cameras, printers & CD-R discs.