Those Who Forget the Past are Doomed to Delete It


Hundreds of thousands of hours of film and video archives are slowly deteriorating in vaults and storage containers around the world. Although numerous projects are underway worldwide to restore, preserve and protect these vast repositories of cultural heritage, it does little good if the rescued material isn’t catalogued, archived and managed. If it can’t be found or identified, it’s as good as gone, forever.
The National Film and Sound Archive (NFSA) of Australia, based in Canberra, is charged with preserving just such cultural assets and has undertaken an aggressive programme of doing so.
To cater for the increasing size of its collection of file-based material, the NFSA had modified its existing collection management system so that basic information about digital assets could be captured and managed. However this represented neither a comprehensive nor a satisfactory solution to the NFSA’s growing needs, so they decided to look for a new solution to be able to better manage the wide range of digitised film, video tape, still photos, scanned documents and audio assets, as well as pursue new business opportunities by making substantially more of those assets available via the web.
The NFSA wanted its new system to address growth from the acquisition of digital objects and the increasing use of digital preservation methodologies, while not forgetting the considerable holdings of analogue assets.
UK-based TransMedia Dynamics (TMD) was awarded a contract to implement its Mediaflex solution, enabling the NFSA to undertake its strategy of moving to a digital environment in order to maximise the exploitation of its media assets, while ensuring that both digital and physical artefacts were tightly managed.
The Mediaflex solution supports all of the primary collection management functions of the NFSA including acquisition, accessioning, rights management, preservation and access to collections that comprise over 1.5 million individual items.
Most of the requirements associated with the management of video and audio production and distribution already existed in Mediaflex and as such provided an immediate benefit to the NFSA. Mediaflex was then extended in a number of ways to cater for the unique requirements of such a large cultural media archive, including support for new object types, such as safety and nitrate film, documents, images and artefacts.
In the Mediaflex system both standard and modified workflows now manage processes including acquisition; accessioning and cataloguing; digitising; content restoration and repurposing; copyright clearance; distribution and archive.
This means that these essential processes are far more efficient and predictable as curators, archivists and others gain better visibility of items in the collections. The NFSA also has the flexibility to extend the TMD solution to suit the evolving nature of its requirements without disruption to ongoing work.

Tags: tmd mediaflex | iss045 | archive | storage | nfsa | TransMedia Dynamics | N/A
Contributing Author N/A

Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • TMD Mediaflex-UMS at IBC 2017

    TMD Mediaflex-UMS at IBC 2017

  • TMD Mediaflex-UMS at IBC 2016

    TMD Mediaflex-UMS at IBC 2016

  • TMD Mediaflex at NAB 2016

    TMD Mediaflex at NAB 2016

  • TMD Mediaflex at IBC 2015

    TMD Mediaflex at IBC 2015

  • TMD Mediaflex at NAB 2015

    TMD Mediaflex at NAB 2015

  • TMD Mediaflex at IBC 2014

    TMD Mediaflex at IBC 2014

  • NOA Archive Solutions at IBC 2014

    NOA Archive Solutions at IBC 2014

  • Object Based Storage Solutions from Object Matrix at NAB 2017

    Object Based Storage Solutions from Object Matrix at NAB 2017

  • New CEO and news update from TMD at NAB 2017

    New CEO and news update from TMD at NAB 2017

  • SGL Broadcast at IBC 2015

    SGL Broadcast at IBC 2015

  • NOA Audio Solutions at IBC 2013

    NOA Audio Solutions at IBC 2013

  • SGL at NAB 2013

    SGL at NAB 2013

  • Facilis Technology at BVE 2013

    Facilis Technology at BVE 2013

  • Editshare at NAB 2012

    Editshare at NAB 2012

  • Nexsan at NAB 2012

    Nexsan at NAB 2012

  • Arkivum at BVE 2012

    Arkivum at BVE 2012

  • ERA - Cloud Services - at BVE 2015

    ERA - Cloud Services - at BVE 2015

  • SGL at NAB 2014

    SGL at NAB 2014

  • Primestream on BroadcastShow LIVE at IBC 2013

    Primestream on BroadcastShow LIVE at IBC 2013

  • Softron Media Services on BroadcastShow LIVE at IBC 2013

    Softron Media Services on BroadcastShow LIVE at IBC 2013

  • TMD talk asset management solutions on BroadcastShow LIVE at IBC 2013

    TMD talk asset management solutions on BroadcastShow LIVE at IBC 2013

  • Digital Vision on BroadcastShow LIVE at IBC 2013

    Digital Vision on BroadcastShow LIVE at IBC 2013

  • Cinegy at IBC 2013

    Cinegy at IBC 2013

  • Cinegy: Multiviewer at NAB 2013

    Cinegy: Multiviewer at NAB 2013

  • SGL at NAB 2012

    SGL at NAB 2012

  • TMD at BVE 2012

    TMD at BVE 2012

  • FOR-A at IBC2011

    FOR-A at IBC2011

  • Netia at IBC2011

    Netia at IBC2011

  • Facilis Technology Shared Storage at IBC 2018

    Facilis Technology Shared Storage at IBC 2018

  • All IP Workflow from Quantum with Xcellis Workflow Storage solutions at NAB 2018

    All IP Workflow from Quantum with Xcellis Workflow Storage solutions at NAB 2018

  • Object based Storage Solution from Object Matrix at IBC 2017

    Object based Storage Solution from Object Matrix at IBC 2017

  • Glyph External Storage including the Studio and Atom raid at IBC 2017

    Glyph External Storage including the Studio and Atom raid at IBC 2017

  • Storage DNA at BVE 2016

    Storage DNA at BVE 2016

  • Fibrenetix with StorageDNA at IBC 2014

    Fibrenetix with StorageDNA at IBC 2014

  • Tiger Technology at BVE 2015

    Tiger Technology at BVE 2015

  • Fibrenetix with Quadrus at IBC 2014

    Fibrenetix with Quadrus at IBC 2014

  • Facilis at NAB 2014

    Facilis at NAB 2014

  • GB Labs Space at NAB 2014

    GB Labs Space at NAB 2014

  • ERA at BVE 2014

    ERA at BVE 2014

  • ERA Avere at BVE 2014

    ERA Avere at BVE 2014

  • Front Porch Digital on BroadcastShow LIVE at IBC 2013

    Front Porch Digital on BroadcastShow LIVE at IBC 2013

  • Sonnet Technologies on BroadcastShow LIVE at IBC 2013

    Sonnet Technologies on BroadcastShow LIVE at IBC 2013

  • EditShare on BroadcastShow LIVE at IBC 2013

    EditShare on BroadcastShow LIVE at IBC 2013

  • Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

    Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Global Distribution with mLogic at IBC 2013

    Global Distribution with mLogic at IBC 2013

  • Facilis at NAB 2013

    Facilis at NAB 2013

  • Object Matrix at BVE 2013

    Object Matrix at BVE 2013

  • Facilis at BVE 2012

    Facilis at BVE 2012

  • Real Life Kit at ProVideo2011

    Real Life Kit at ProVideo2011

  • Suitcase TV at IBC2011

    Suitcase TV at IBC2011

  • Sonnet Technology at IBC2011

    Sonnet Technology at IBC2011

  • ATTO Technology at IBC2011

    ATTO Technology at IBC2011


Related Shows
  • StorageDNA LIVE at BVE 2016

    StorageDNA LIVE at BVE 2016


Articles
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
Protecting the continuity of transmission
Lorna Garrett Your viewers love you. You consistently bring them their preferred channels 24/7. They’ve come to rely on you for their viewing pleasure. They never miss cheering on their beloved sports teams. They’re the envy of their friends as they watch live concerts of their favourite bands. They gather the family around and catch up on their must-see shows. They don’t have a bad word to say about you.
Tags: iss134 | garland | gpl | streaming | artel | disaster recovery | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
AI in Media and Entertainment
David Candler Artificial Intelligence (AI) is a term appearing everywhere these days. What is happening in media and entertainment (M&E) that makes the industry ripe for AI? In other words, why does the M&E industry need AI?
Tags: iss134 | AI | wazee | David Candler
Contributing Author David Candler Click to read or download PDF
Keeping it remotely real
Reuben Such Everyone wants to do more with less. Always have, although it could be argued that doing more with more is something to aspire to, not many have that luxury. So let’s stick with the prevailing winds of doing more with less, and not just doing more, but doing it remotely, particularly in terms of production. Remote production, in particular, is getting a lot of attention in the field these days, but not so much in terms of the remote operation of fixed studios.
Tags: iss134 | remote control | IPE | IDS | Reuben Such
Contributing Author Reuben Such Click to read or download PDF