Digital audiovisual content is everywhere: film, television and online
media; personal content from cameras and phones; and content from
environmental monitoring, corporate training, surveillance and call
recording, for example.
Project DAVID, which stands for: Digital AV Information Damage - prevention and repair (and not to be confused with many other "David Projects" formed by some religious organizations), is Europe's preeminent society for the detection, restoration and avoidance of future media degradation through optimizing the long-term storage of A/V content. Headed by Peter Schallauer of Joanneum Research, an Austrian think tank comprised of research scientists, their Digital Division is an applied institutional sector developing innovative technologies for AV media analysis, indexing, search, quality control and restoration.
For up-to-date information, visit: http://david-preservation.eu/news/.
Most people not in the studio industry - and some who are on the peripheral - have never thought about the preservation of digital media. They are of the closed mindset that preservation of media is for old films (and the like), rather than digital content. But not so.
According to the PrestoPRIME 2009 Audiovisual Digital Preservation
Status Report, over 8-million hours of digital content was produced in
Europe, alone, during the last decade. The effect of corrupting just a
few bits in a frame of digital video can be seen at right.
You can see the report here: http://www.prestocentre.org/library/resources/audiovisual-digital- preservation-status-report-1-2009.
Project DAVID has four main goals (or mindsets) when it comes to repairing damaged content and restoring it afterward: Understanding the damage, Preventing from damage, Detecting and repairing damage and Improving the quality.
In the understanding part, a determination of how the damage can happen in digital video file/digital video tape-based system, while contemplating the magnitudes of this damage on the ability to make future use of the audiovisual content.
In the prevention part, effective risk management and quality assurance techniques are contemplated and designed to be built into preservation systems in order that the systems themselves can become more healthy and resistant. Better preservation techniques are discussed at this point, and how they can be integrated directly into the devices and systems that create new digital content.
The detecting and repairing part where it is accepted that the odds are high that damage will occur eventually, so procedures must be established to efficiently monitor and detect the potential damage and techniques employed for the content to be repaired to enable re-use.
The improving part is where the technical quality of content and how it can be improved beyond its original form to satisfy requirements of new use networks is generated.
Preservation of audiovisual content in the varied applications presents the same four concerns: content reuse, regulatory compliance, and archive monetization. The difficult part is that this is where each differs, depending upon the industry; each has contrasting worries about content quality, safety, storage, access and budget.
The only common thread, really, between the organizations is when it comes to content obsolescence, media degradation, and failures by the very people, processes and systems intended for safekeeping of that content. Only the testing, evaluation and demonstration by involved researchers and actual users using real-world data can guarantee a high-quality result from the project.
JOANNEUM RESEARCH is a non-profit organization concentrating on applied research with a highly qualified staff of more than 400 people. Services include specifically-geared research tasks for small/medium-sized companies, complex interdisciplinary national and international assignments as well as tailored techno-economic consulting. They participate in setting up and organizing national competence centers as well as in numerous large international projects.
The DIGITAL Institute for Information and Communication Technologies (http://www.joanneum.at/en/digital.html)
specializes in web and internet technologies, image, video and acoustic
signal processing together with remote sensing, communication and
navigation technologies. Direct enquiries can be sent to: david-office@joanneum.at.
The consortium includes: a broadcaster and national audiovisual archive, both with experience of research and development in digital preservation; two industrials on the supply-side providing media migration, digital restoration, and quality analysis; and two research partners with long histories in digital audiovisual content analysis and restoration, risk management, and storage technologies.
Properly, they are known as: iObserve, Area-Mumosis, AudioMine, Visis, Scovis, Outlier, MediaCampaign and DirectInfo; during FP6, JRS has coordinated the SALERO, CLINICIP and Aposdle IPs, as well as DirectInfo and MediaCampaign; in FP7, JRS is coordinating FascinatE and TOSCA-MP.
As a participant, JRS was (and is) active in the Integrated Projects 2020 3D Media, PrestoSpace, IP-RACINE, NM2 and PrestoPRIME, in the NoE K-Space and in the SEMEDIA, porTiVity and Polymnia projects.
Detailed information on projects and publications is available from the web site: www.joanneum.at/digital.
Project DAVID, which stands for: Digital AV Information Damage - prevention and repair (and not to be confused with many other "David Projects" formed by some religious organizations), is Europe's preeminent society for the detection, restoration and avoidance of future media degradation through optimizing the long-term storage of A/V content. Headed by Peter Schallauer of Joanneum Research, an Austrian think tank comprised of research scientists, their Digital Division is an applied institutional sector developing innovative technologies for AV media analysis, indexing, search, quality control and restoration.
For up-to-date information, visit: http://david-preservation.eu/news/.
Most people not in the studio industry - and some who are on the peripheral - have never thought about the preservation of digital media. They are of the closed mindset that preservation of media is for old films (and the like), rather than digital content. But not so.
 |
You can see the report here: http://www.prestocentre.org/library/resources/audiovisual-digital- preservation-status-report-1-2009.
Project DAVID has four main goals (or mindsets) when it comes to repairing damaged content and restoring it afterward: Understanding the damage, Preventing from damage, Detecting and repairing damage and Improving the quality.
In the understanding part, a determination of how the damage can happen in digital video file/digital video tape-based system, while contemplating the magnitudes of this damage on the ability to make future use of the audiovisual content.
In the prevention part, effective risk management and quality assurance techniques are contemplated and designed to be built into preservation systems in order that the systems themselves can become more healthy and resistant. Better preservation techniques are discussed at this point, and how they can be integrated directly into the devices and systems that create new digital content.
The detecting and repairing part where it is accepted that the odds are high that damage will occur eventually, so procedures must be established to efficiently monitor and detect the potential damage and techniques employed for the content to be repaired to enable re-use.
The improving part is where the technical quality of content and how it can be improved beyond its original form to satisfy requirements of new use networks is generated.
Preservation of audiovisual content in the varied applications presents the same four concerns: content reuse, regulatory compliance, and archive monetization. The difficult part is that this is where each differs, depending upon the industry; each has contrasting worries about content quality, safety, storage, access and budget.
The only common thread, really, between the organizations is when it comes to content obsolescence, media degradation, and failures by the very people, processes and systems intended for safekeeping of that content. Only the testing, evaluation and demonstration by involved researchers and actual users using real-world data can guarantee a high-quality result from the project.
JOANNEUM RESEARCH is a non-profit organization concentrating on applied research with a highly qualified staff of more than 400 people. Services include specifically-geared research tasks for small/medium-sized companies, complex interdisciplinary national and international assignments as well as tailored techno-economic consulting. They participate in setting up and organizing national competence centers as well as in numerous large international projects.
The consortium includes: a broadcaster and national audiovisual archive, both with experience of research and development in digital preservation; two industrials on the supply-side providing media migration, digital restoration, and quality analysis; and two research partners with long histories in digital audiovisual content analysis and restoration, risk management, and storage technologies.
Properly, they are known as: iObserve, Area-Mumosis, AudioMine, Visis, Scovis, Outlier, MediaCampaign and DirectInfo; during FP6, JRS has coordinated the SALERO, CLINICIP and Aposdle IPs, as well as DirectInfo and MediaCampaign; in FP7, JRS is coordinating FascinatE and TOSCA-MP.
As a participant, JRS was (and is) active in the Integrated Projects 2020 3D Media, PrestoSpace, IP-RACINE, NM2 and PrestoPRIME, in the NoE K-Space and in the SEMEDIA, porTiVity and Polymnia projects.
Detailed information on projects and publications is available from the web site: www.joanneum.at/digital.
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