Preservation Factory. Preserving, protecting and managing assets for future generations

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1 23603 Preservation factory GB 3/04/06 17:06 Page 1 Sony France S.A. Professional Media Marketing Dpt API : Paris Cedex 17 - France Fax : Preservation Factory Preserving, protecting and managing assets for future generations Printed using VOC (volatile organic compound) - free vegetable oil based ink.

2 23603 Preservation factory GB 3/04/06 17:06 Page 3 Contents Protecting precious archives Problem with video formats Problem with audio formats Taking action... Now or Never Introducing Sony Preservation Factory Sony DAX Sony DADC The world archive derives from the Latin archivum, denoting a public building and record, and the Greek archeion, literally place of the archon (superior magistrate). Both in turn derive from the word arche which has multiple meanings including origin, power and beginning. In Chinese the world for archive is zïliàoguan which could be rendered as asset - arrangement - hall. A unique service [...] the rewards for safeguarding and preserving our television and video heritage are immeasurable. No one can fully understand who we are as a people and what we have become as a society without having access to the recordings created by television and video production during the last 50 years. Protecting AV archives with Sony Preservation Factory A full range of services Our partners Contact details Glossary Personal service, personal solutions Simplified example of workflow James H. Billington, the Librarian of Congress March 26, 1996, Washington,DC

3 23603 Preservation factory GB 3/04/06 17:06 Page 5 Problems with Video Formats One of the main issues is the use of videotape as an archiving media. Videotape was invented for time shifting and short-term storage of pre-recorded material, rather than archiving for decades. A study by the US Library of Congress called videotape the single most unsuitable audiovisual format ever used for archive purposes. The basic problem with videotape is that technology has developed by squeezing the signal onto increasingly smaller amounts of tape. Despite tremendous advances in technology over the past fifty years, there has always been very little margin for error in the recording process a situation which is as true today with MiniDV as for the original 2 inch tape. Unlike 16mm and 35mm film, videotape suffers badly from format obsolescence and chemical decay. The drive to develop ever smaller videotape has created a series of format changes, making playback equipment redundant and causing a lack of spare parts and human expertise in older formats. While film can be held in cold storage for long periods of time, videotape is very susceptible to chemical deterioration. U-matic was used widely in the 1980 s and 1990 s for news broadcasting and other projects where people wanted higher quality recording than that offered by consumer VHS and BetaMax. Because U-matic was used so extensively during this period, there is now a huge amount of material in video collections around the world requiring urgent attention. In fact, U-matic has the highest preservation priority of all video formats. The 1 inch format, introduced in the 1970 s, was also used very extensively at this time in broadcasting and high-level medical imaging applications. According to PrestoSpace, about U-matic videotapes and just over inch videotapes are in archives, which means over twenty percent of all video collections require immediate top-priority attention. Neither of these formats are now in production and the universal and inexpensive nature of the media presents major challenges to those concerned with preserving our audiovisual heritage. Over the decades, more than 60 magnetic media formats have been introduced to the market, many of which have now disappeared. Protecting Precious Since the early days of television broadcasting in the mid Twentieth Century, audiovisual media has provided us with a unique and invaluable heritage of news, culture and history. But with ever-increasing technical obsolescence and physical deterioration, this irreplaceable record of modern life is in danger of being lost forever. Archives UNESCO first highlighted the need to preserve our audiovisual heritage in Eleven years later, the European Convention for the Protection of the Audiovisual Heritage was signed in Strasbourg in which the member States of the Council of Europe Resolved to co-operate and undertake joint action in order to safeguard and ensure the continuation of audiovisual cultural heritage. The challenge of preserving the past for the future has never been more critical. Problems with Audio Formats A workhorse of the audio industry for nearly half a century, 1/4 inch (6mm) tape has declined rapidly in recent years with the production of tape decks and blank tapes coming to an end. Because 1/4 inch tape was so successful for so long, audio archives across the world are filled with this format. Around 90% of one-ofa-kind material in audio collections and over 50% of total audio archives including commercial recordings are estimated to be on 1/4 inch tape. Some of this material is on notoriously unstable acetate and other recordings may have been archived for more than forty years ten years more than its life expectancy. Furthermore, with the decline in 1/4 inch (6mm) tape usage, playback equipment has become obsolete and numerous hours of material are now unplayable. Preserving and protecting these precious audio assets has become a major challenge for organisations all over the world.

4 23603 Preservation factory GB 3/04/06 17:07 Page 7 15% 13% 11% 21% 23% 10% 7% Format percentage split of European Film Archive holdings (Sourcing: Presto Survey mm print 16 mm reversal (all) 35 mm print 16 mm SEPMAG 35 mm SEPMAG 35 mm negative 16 mm negative Taking action... now or never The physical decline of audiovisual assets recorded on magnetic media poses considerable challenges for archivists. There are three main problems : Obsolescence At least two-thirds of archived material cannot easily be used in its existing form. No new playback equipment is available for 1 inch, 2 inch and U-matic videotape or 1/4 inch audiotape, while film is disappearing in post production. Deterioration Approximately one-third of material suffers deterioration. Adhesive decay is a big problem with 1 inch, 2 inch and U-matic videotape and 1/4 inch audiotape, depending on the brand. Magnetic tape and acetate can develop a build up of acetic acid known as the vinegar syndrome, while both film splices and polymer materials are liable to decay. Fragility Roughly a quarter of archived material cannot be released for access because the media is too fragile and easily damaged. This is particularly true of vinyl, shellac and film. Video and audiotape is also easily damaged by magnetic fields. Format percentage split of European Audio Archive holdings (Sourcing: Presto Survey /4 inch tapes Shellac & vinyl CD DAT 15% cassettes 16% 33% 72% Format percentage split of European Video Archive holdings (Sourcing: Presto Survey Betacam 20% D1 4% 3% 1% 1 This calculation is for audio and video tape, not for film. Some film can last for 400 years, but total resources for that form of preservation/conservation are also expensive, and only a few archives have adequate storage for a true 400 years conservation plan. 2 Calculation : nothing left of current material in 40 years, because of the 5% per year decay after another 20 years. 40 years of transfers at 1.5% per year = 60% transferred, 40% lost. 3 Calculation : 20 years at 1.5% = 30% saved, so 70% lost. After 20 years, all resources dedicated to rescuing what is now new material, but will then be 20 years old and needing urgent attention. Annual Report on Preservation Issues for European Audiovisual Collections, deliverable D22.4 DIS4. At current rates of preservation, assuming audio and video material begins to degrade after twenty years at 5% per year, around 40% of existing archived material will simply disappear by This is a best case estimation which assumes preservation always concentrates on the material most at risk and ignores new material coming into these collections 2. At worst, after twenty years, all preservation resources will be focused on trying to keep up with decay of new material (which will then be twenty years old) and so 70% of existing material could disappear by Time is of the essence if we are to preserve our archives. 11% 6% 6% 1% 1% 3/4 inch U-matic 1 inch Tape VHS Digital Betacam M2 2 inch Tape D2 DS CD-ROM It s now or never! 5% 3% 2%

5 23603 Preservation factory GB 3/04/06 17:07 Page 9 Types of Preservation Projects Introducing Sony Preservation Factory To safeguard archives, we recommend three core preservation processes: Conservation This process improves storage s to make existing material last longer and is the preferred approach for preserving master material in film collections. Migration The favoured option for preserving audio and video material and decaying film, migration involves transferring master material from old formats to new digital media. Sony Preservation Factory ensures this process is as cost effective as possible, wherever you are in the world. The Preservation Factory is an archive preservation initiative that aims to be the guardian of our audiovisual heritage. By providing technical solutions for restoring and managing archives in today s digital age, Preservation Factory offers institutions, broadcasters, corporations, libraries, museums and many other organisations a way of safeguarding precious material for future generations. This comprehensive new service will repair archives with physical or chemical deterioration, restoring them to the best possible before conversion to digital media. It s an easy way to ensure long-term preservation, fast access and efficient distribution of essential audiovisual assets in the Twenty-First Century. Sony is the first company in the world to offer such a wide-ranging service. Clients can choose the level of support they need to protect precious archives from simple digitalization to a full package including restoration, conversion to digital media, storage, distribution and even asset sales. Located at both the SONY DAX Technology Centre production factory and the SONY DADC optical media plant, Preservation Factory bases its business approach around 3 factors: Productivity The manufacturing industry model developed by Sony offers many lessons on increased productivity and the effective use of both financial and direct labour resources. By combining and streamlining processes, creating efficient modular systems, monitoring quality control and focusing on automation wherever possible, productivity is maximised. In the case of traditional labour-intensive audiovisual migration, processes do not scale because the labour required to inspect, clean, restore, and migrate each tape does not decrease with increased numbers of tapes. Exchangeability Technology changes rapidly so it s very important to adapt to change without having to re-train your workforce or make large capital investments in new equipment. Minimisation of Labour Manpower is one of the most expensive elements in any production process. In the right circumstances, reducing labour significantly lowers overheads, improves output quality and increases consistency. With the latest automated processes, Preservation Factory can operate 24 hours a day, 7 days a week, compared to the forty hour working week of traditional labour. Customer satisfaction lies at the heart of Preservation Factory. We are committed to providing high quality cleaning to enhance media quality and ensure authenticity of the original content, fast transfer through latest automated preservation processes and excellent cost efficiency to meet criteria set by the broadcast industry, IFTA and of course the client s budget Restoration Archive media varies in quality and digital restoration can significantly improve the result of a migration process. Restoration has tended to be seen as too expensive to incorporate in cost-effective transfers but some of the data necessary for restoration is calculated during digitisation. One of the goals of the Preservation Factory is to use this data to make digital restoration more cost effective. A succes case : RAI A notable success is the digitization effort by RAI, Italy. While the digitization of the archives has been a top priority of the last several years, the use of archives has dramatically increased. The increase came partly through the strategic positioning of the new digital channels of RAI as archive based channels

6 23603 Preservation factory GB 3/04/06 17:07 Page 11 Sony DADC Our optical media plant is based in Anif, near Salzburg, Austria. SONY DADC is one of the world s major optical media producers and part of Sony's global CD manufacturing network including facilities in Japan, Hong Kong, Australia, USA, Canada, Brazil, Mexico, India and China. Manufacturing activities at SONY DADC include extensive pre-mastering and highvolume mastering of CD s and DVD s, precision replication of discs for worldwide distribution and high-speed disc printing. A dedicated fulfilment centre handles highly automated and flexible disc packaging, warehousing and direct product shipment. By investing heavily in research and development, SONY DADC features up-to-the-minute technology for optimum product quality, production efficiency and customer service. This commitment to progress ensures that Sony DADC remains the leading one-stop-shop service provider for a wide range of customers in Europe. One of the latest developments is a new content-based initiative called Digital Asset Management (DAM), designed to improve the archiving and processing of digital data including text documents, illustrations, images and AV files. DAM is a flexible service that allows for the creation, modification, retrieval and easy distribution of digital assets. Its Digital Production Library enables you to concentrate on your core business while significantly reducing your overheads, thereby decreasing the risk and increasing the efficiency of doing business online. Currently controlling more than one million digital assets, SONY DADC offers a variety of digital content services, including Mastering, Replication, Printing, Quality Control and Assembly. Our invaluable expertise, tops quality standards and professional project management allows us to provide a range of leadingedge professional solutions. Sony DAX Our tape production plant, based in the south west of France, produces consumer cassettes in all formats for the European market and professional media for Europe, North America and South America. With decades of experience in video tape manufacture, Sony DAX has developed a world-leading Chemical Research Centre capable of analyzing the chemical structure of any brand of tape and the composition of tape contamination. This allows Sony to produce unique cleaning solutions for all tapes which removes contamination prior to migration and ensures significantly better results than with simple mechanical cleaning. Because there are fewer deposits on the video heads, the need to clean heads is drastically reduced too. Extremely poor quality tapes can additionally be coated with a new protection layer after cleaning to protect them against destruction during the transfer process. As an optional service, we also offer de-noising. The sheer capacity of Sony DAX means we can meet the tightest of time schedules. There are two production units at the Sony DAX plant. The Magnetic Tape Unit handles the main processes of tape manufacture, including mixing of magnetic and back coating paints, coating of the paint on the base film, calendaring and slitting of magnetic tape rolls. The Cassette Unit focuses on winding the tape into cassette shells and packaging of the final product prior to delivery. Throughout the manufacturing process, automatic inspection procedures guarantee the quality of the tape surface and cassette mechanism. Before the finished product is despatched, our Quality Control Department double-checks quality using exceptionally high specification measuring equipment to ensure only the highest quality media is released to customers.

7 23603 Preservation factory GB 3/04/06 17:07 Page 13 Industrial conversion of Analogue Assets & Archive Migration Protecting AV archives with Sony Preservation Factory A world-leader in magnetic tape and playback equipment, Sony is well placed to repair tape media suffering from physical and chemical damage. Our Tape Restoration Centre, located at the Sony DAX Factory, is an innovative and fully equipped site of 800 square meters dedicated to cleaning, restoring and digitalizing a wide range of audiovisual material. Experienced staff and state-of-the-art facilities ensure the preservation and protection of valuable archives for generations to come. As well as being at the leading edge of tape restoration, this important new centre is well protected against any kind of internal or external threat. Special emergency sprinkler systems, fireproof safe cabinets and a twenty-four hour video and human surveillance system combine with controlled restricted access to guarantee the safety of your precious archives. A Full Range of Services Protecting valuable audiovisual archives has to be one of the most important tasks facing today s organisations and institutions. Preservation Factory offers a complete range of digitalisation, restoration and management services designed to preserve precious material for future generations. Tape Cleaning With the latest chemical cleaning tools and agents specifically developed by the in-house Chemical Research Centre, Preservation Factory offers a first class tape cleaning service. Our specialities includes standard physical cleaning before playback to avoid head clog, real time mechanical tape surface cleaning and damage-free chemical tape surface cleaning using custom made cleaning agents. One of the most popular ways of protecting archives is to convert original analogue material to a digital format. This process of digitalization captures only the original analogue content, copying it to a digital form. Preservation Factory can handle a variety of formats including 1 inch, 2 inch, U-matic and Betacam SP, restoring them onto a wide range of digital media such as Digital Betacam, DVCAM, Betacam SX, MPEG IMX, HDCAM or even LTO and S-AIT. Once the job is completed, we send you the new digital product and keep the original until we receive confirmation that the job has met all your expectations. If required, cassette labels can be created including bar codes, numbers and TeleFile data in exact compliance with your originals. This allows easy integration of new digital material into your archive management system. Because Preservation Factory operates around the clock and utilizes the latest industrial operational methods and techniques, cost is minimized. Media Restoration For older archives, Preservation Factory offers a chemical or physical restoration service. Chemical restoration involves rebuilding the tape structure to prevent damage during the copying or digitalization process. The goal of restoration is to bring the physical, mechanical and magnetic characteristics of the tape as close as possible to the original specification. This will produce a dramatic improvement in tape quality and ensure the best possible results from digitalization. Onsite Restoration Where it is impossible for archives to leave a certain location, we can arrange for equipment to be sent to your premises for onsite restoration. A prior inspection is highly recommended and any restoration must be carried out in accordance with local Customs and Environmental regulations and overseen by our engineers.

8 23603 Preservation factory GB 3/04/06 17:07 Page 15 Film Processing A wide range of film management services are available including film transfer onto digital tape, processing of 16mm to 35mm positives or negatives and wet gate processing to remove film surface scratches. These services are designed to protect and preserve your material well into the future. Digital Audio & Video Processing Sony is a world-leader in digital AV and can capture assets onto computer networks, develop Quality Reports and create customized ID data including title, duration and flags. Preservation Factory is also able to provide digital audio restoration services such as Declick, Decrackle, Dehiss and Compression plus digital video restoration techniques including filtering, scratch removal and single frame retouching. Customers have the option of requesting data reduction to save storage capacity. Digital Assets Management Controlling and managing digital assets in today s technology-driven world is essential. AV files, artwork, logos, photos, presentations, documents and s all need to be securely stored in archives that are easy to find and access. Preservation Factory offers a comprehensive data management service and currently controls over one million digital assets on behalf of its clients. We handle all major asset types such as audio, video and graphics. The service includes a configurable system for multiple applications, various metadata source feeds and a range of background processes for format conversion. Automated delivery, security management and backup capability are also important elements in the service. Secure Storage & Transport Archives are extremely precious and Sony takes the utmost care in ensuring they remain safe and secure while in our possession. Preservation Factory uses the latest climate controlled facilities for ultra safe storage of your assets and a specialist transport company renowned for transporting high value items such as works of art. This special transport arrangement guarantees: Exclusive transport of your tapes with no other products sharing the vehicle Air-ed load bays with temperature and humidity control Electronically secured locking systems and sealed doors Carefully selected drivers with long experience of Sony Safe, secure parking locations for road stops GPS monitoring of truck Waste Management Sony respects the environment and always follows strict waste management procedures. We can take responsibility for disposing of surplus or outdated originals at the end of the restoration process. This is completed in the presence of legal and environmental officials with full documentation which is sent on to you in writing.

9 23603 Preservation factory GB 3/04/06 17:08 Page 17 Tape incoming VIDEO TAPE TRANSFER Physical Restoration Required PHYSICAL RESTORATION Visual Check Tape Slack,Step wind Dirst shell Rewinding Cleaning Visual inspection Tape in good Tape in good Tape in no good Personal service Personal solutions Every organisation has individual needs. At Preservation Factory, we evaluate your specific requirements and recommend the most suitable technical solutions. This way we can be sure that your precious audiovisual archive is preserved for posterity. The Migration Process The only way to preserve content recorded on magnetic media is to migrate data to new tape or, due to recent advances in compression and declining storage prices, to digital media. Customers select their archive for migration and ship tapes to the Preservation Factory. Each tape is then inspected and cleaned. Most tapes will exhibit some form of deterioration and the cleaning process will reveal the extent of the damage. Tapes requiring little or no restoration continue through to the migration process, while those tapes in need of extensive restoration are referred to specialists who use a variety of techniques to restore the tape to a point where it can be played back and recorded onto a new master. Manual processes limit the preservation of our audiovisual heritage due to the sheer volume of magnetic media stored in the world s archives. Sony is consistently developing faster automated processes to tackle this problem. Pricing & Timing Because each project is unique, our team of highly professional specialists will study your requirements carefully before providing an initial estimate. By sending us written details of your case, we can then carry out a full assessment of your needs and give you a firm quotation within 72 hours. In specific instances, our specialists can visit your premises to provide detailed on-site assistance and an extensive technical consultation on the tape restoration solutions available. Pricing and timing will depend on variables such as volume of restoration and technical complexity of the project. Contracts Following preliminary discussions and feasibility studies, you will be sent a definitive quotation including costs, monthly productivity and timing for commencement and finishing of the project. Upon receipt of your written agreement, we will send you the Contract including full terms and s, delivery details and contractor obligations. In order to protect our mutual interests, a Non-Disclosure Agreement (NDA) will be required to make sure confidentiality is respected. Video & Audio Signal Adjustment Tape Transfer Quality control Case Card and Label Printing Cassette Finalising Quality control Shipping Transfer to Storage Media Tape identification vs Data Base VTR Adjustment vs Colour Bar Signal Tape playback - RF & Dropout Check Copy onto Digital Video Format or/and Start Encoding No good RF or Dropout results Meta Data Compiling Transfer to Storage ( ) Original, Storage Media or Digital Video tape, paper document + with Excel file related Customer Data + Dropout & RF data Investigation Problem related to system Physical Tape Restoration Process to Shipment Tape Cleaning/ Rewinding Dirt or Glue Detected Wet Cleaning Visual Check OK OK Tape Transfer Picture Quality OK NG Heavy Powder debris Head Clogging Tape Baking Tape Transfer Picture Quality OK OK NG Hig Friction Heavy Jitter Top Coating Tape Transfer Picture Quality Stop Restoration Customer Information Back to normal process

10 23603 Preservation factory GB 3/04/06 17:08 Page 20 Tape incoming Visual inspection Tape in good Tape loading Flexicart Transfer encoding Quality control Meta Data compleing Transfer to new media Quality control Tape Slack,Step wind Dirst shell Rewinding Cleaning Tape identification vs Data Base Bar code reader Tape playback - Encoding Start RF & Dropout measures No good RF or Dropout results Customer Data + Dropout & RF data BETA SP WITH FLEX TO MMX Visual inspection Tape in good Investigation Stop operation Information to customer Problem related to system Tape in no good Archive Assessment, Preparation Drop out Encoding Meta data Preservation (Terms of the Bay Area Video Coalition) Restoration (Terms of Bay Area Video Coalition) Glossary The total infrastructure, essence and meta data needed for the purpose of archiving audio-visual contents. Visual evaluation of video cassettes to see if they may be encoded in an automated process with a tape robot. Preparation means the documentation and the probable repairing of cassettes in order to ensure compatibility with a tape robot. Drop out of a signal is due to missing tape-to-head-contact caused by such factors as tape defection, impurity or incorrect tracking. The process of representing each video signal level as a number, usually in binary form. Information about the data itself. Typically information about the audio and video data included in the signal s data stream. Describing data in form and content of the essence (the actual program (audio, video and/or data) without metadata). An archival system that ensures the survival in perpetuity of the program content according to the highest technical standards available. There are three major stages of video preservation: (1) safeguarding the recording under secure and favourable storage s, (2) providing for its proper restoration and periodic transfer to modern formats before the original or next generation copy is no longer technologically supportable, and (3) continuing protective maintenance of at least a master and a copy, physically separated in storage, preferably in different geographic locations. (From the National Film Preservation Board s Television/Video Preservation Study: Volume 1: Report 1997.) The process and work of improving the degraded quality of the sound or image in terms of video and audio preservation. It is important to be clear whether a proposed restoration relates to aspects of an image that are part of the historical nature of the technology being used at the time or are part of the original work and damage which has occurred after the piece was made due to deterioration, poor handling or bad transfers. It is important to recognize that the artefacts of the original technology are of historical value and are part of the texture of the work. These should not be removed. However, where damage has occurred after the work was finished there may be a case for intervention. Dropout, for example, can be digitally filled in by copying information from the surrounding areas. There are also systems that detect artefacts in the image using motion compensation. A copy of the original un-restored video should always be archived alongside any restored version. Our Partners In order to achieve business targets and ensure the highest level of service for its customers, Preservation Factory co-operates with the following Sony organisations, exchanging skills, knowledge and expertise: Sony DAX Technology Center An exclusive chemical laboratory capable of preparing various solvents or reagents supporting the chemical restoration process. Sony Broadcast Europe (subsidiary of the Sony Corporation) Specialising in the development of service-oriented digital asset management solutions. Sony DADC Focusing on physical digital asset management of optical technologies and development of browsing solutions for digital asset management. Sony Media Software Customised software development for different applications. Sony Pictures International, Sony Pictures Television International, Sony Music (International & Europe), Columbia Tristar Europe For Digital Rights Management. Sony Miyagi Corporation Specialists in the design and development of the IC card. Sony Sendai Technical Centre For development of optical and future data storage technologies such as holographic storage and nano-technology. And local Sony offices in 82 countries of the world! Contact us On-line at: By SonyRMRCentre@eu.sony.com or Andrew.Velichko@eu.sony.com or Bruno.Burtre@eu.sony.com By Post: Return the completed Information request form to: Sony France S.A. Professional Media Marketing Department API : Paris Cedex 17 Main World Archives: Main International Organisations: IFTA/FIAT: FIAF: IASA: UNESCO: Shipping ( ) Original, new media, paper document + with Excel file related to shipment Simplified Example of Workflow (Automation based on Sony proprietary Flexicart robotics solution) Sony Flexicart robotic Configurable tape playback/record automation system. Designed for both broadcast and cablecast systems with operations large or small, the Flexicart system can provide automation of both playback (commercials/psas and regular programming) and/or recording of feeds from satellite or other sources or any combination. The Flexicart system can accommodate a wide variety of tape formats. Copyright 2006 Sony France S.A. All rights reserved. All other trademarks are trademarks or registered trademarks of the respective companies. Reproduction in whole or in part without written permission is prohibited. Features and specifications are given as an indication and are subject to change without notice. Preservation Factory is a trademark of Sony Corporation, Tokyo, Japan. Sony is a trademark of Sony Corporation, Tokyo, Japan. Recording Media and Energy: a division of Sony France S.A RCS Nanterre.