practicing what you never preached: sorting and discarding from a practical side 1

FIAT/IFTA conference 2016 Warsaw -Poland
WELCOME TO
KEPT-DISCARDED
MAIN ENTRANCE
Follow the line
Setting a sorting
and discarding
project

2
Organize the
sorting and
discarding as
a full fledged
project
Project management:
Define and propose the actions,
Write procedures,
Define human and technical means
Plan operations,
Follow the work and monitor the performance.
Advisory committee:
Give general orientations
Validate strategy and actions
May gather: general management, project management documentation, and technical
departments legal department, purchase department, External stake holders

3
Schedule
the
project
Wait at least the end of the digitization to start
effective discarding.
Respect a precautionary time.
Ensure reliability of quality control of the
digitization plan.
Check that integrity and security of files and
reliability of digital carriers are ensured.
Sequence in time and schedule elimination
according to history and the obsolescence process
of each type of media.

Digitization
time
Precautionary
time
Discarding
phase 2
Discarding
phase 1
Discarding
phase 3
4
Media obsolescence
No discarding
Take into account media obsolescence time
Time to check that :
The decision to eliminate is still the
good one.
There’s no more need or possibility
to go back to the source media.
Integrity, security and quality of the
digital data are ensured.
When several copies of the same program on different
types of media are available, it is wise to shift in time
their discarding with regard to their respective history
Time

Selection process
Set specific
policies
according to
the type of
media
Contrary to film formats, successive video formats and
corresponding technology have evolved and have been replaced
very fast making their obsolescence and disappearance
unavoidable.
The long term objective about video tape formats is to have only
video files to manage.
Start point of
the project
Build a reliable knowledge of the collections, their history and
quality and of the processes
Define the “obsolescence level” of each type of media
5

The selection process
Step 1:
Documentation work
Step 2:
Physical media work
Step 3:
Technical work
6
A process
in 3 steps.

Documentation work
Define every possible contingency/situation/case
in the data bases
Analyze each case what must be kept/what can
be discarded
Check property/ rights
Set extraction rules
List quantities of each case
List media /collections to keep /discard
corresponding to each situation
Raise and list the doubtful cases
7
Perform a deep
analyze of the
databases (content
and material) and of
the processing
chains.
Step 1

8
Physical media work
Cross check list of media with
effective presence in stores
Check that the listed media are the
good ones
Check doubtful cases from
documentation work
List remaining doubtful cases
Verify the
adequacy of
listed media from
database with real
physical media.
Step 2

Step 3
9
Technical work
Check remaining
doubtful cases from physical media work
Check/compare quality
Check content/version…
View media to clear
the remaining doubts
(when information in
the database or on the
media itself is missing
or doubtful for
instance)

10
Media type:
• Name:
• Date of beginning of use:
• Date of end of use or manufacturing:
Volumes :quantities
• Number of media:
• Number of hours of programs :
Availability of the technology
• Playback means in house:
• State of the playback means in house :
• Spare parts :
• Expected end of spare parts availability:
• Maintenance skills in house :
• Through service providers :
Carriers
• General condition of the carriers :
• Playback difficulties :
• Preservation climate conditions and suitability to the media:
Digitization
• To a digital video tape master ( type ,ratio) :
• To files( type and ratio) :
• Quality control ( type and reliability) :
General appraisal of level of obsolescence and quality of the digitization
Define the
obsolescence
level
of a media

11
Application to film
collections

Build a reliable knowledge on film collections
12
Set the
hierarchy of
quality of film
prints
According to manufacturing processes
According to the material types of film in archives
Establish the
various
Combinations
of media in
your archive
Uniqueness of the media
Number and type of copies
What is the original?
What are the best positive copies

Hierarchy of
quality of film
prints
(laboratory)
13

14
Checking
typology of
film prints in
archives
Either in 35mm or 16 mm
Original-ORI
Can be a negative a positive an intermediate corresponds in theory to the highest
quality copy
Broadcast copy The best copy among the release prints issued from the answer print
Answer print Best positve color graded copy issued from negative intermediate
intermediate negative Negative print to protect the ORI NEG
intermediate positive Positive print to protect the ORI NEG
BW "Brown" “Soft” positive copy Black and white for long term preservation
Reversal a positive original from camera
Duplicate Black and white copy to protect a negative or a positive
Restored film Copy after restoration
Release print prints for publishing and distribution
Work copy editing copy
Kinescope Film from a video
Rushes
Unused
Mixing elements
International version
Credits
Video copy from film

15
MSV] - MGCPB0011416--AP . 01/01 - Stat. Num.: Numérisé et en ligne - Rang: 1 - TC IN: 00:00:00:03 TC OUT: 01:39:11:02 -
Filiation: MGCPB0100646--AK
Format: 1/2 BETAN - Définition: 625 - Format img.: 4/3 - Son: MONO - Coul.: COULEUR -
Filière: MG - Type Mat.: MASTERCO - Durée: 01:39:08 -
Note générale: restauration de niveau 2
Stat.Vers.: Versé (12/10/2005) - Localisation: CPBRS09 (12/08/2013) - N° stock.: MCO2052 - N° bande: 0011416--
AP -
Info. techniques document: Coul: COULEUR - Muet: Non - VI: Non -
[MSV] - MGCPB0060560--AE . 01/01 - Stat. Num.: Numérisé et en ligne - TC IN: 00:03:00:06 TC OUT:
01:42:04:16 - Filiation: MGCPB0223397
Filière: MG - Type Mat.: MASTERUN - Durée: 01:39:07 - Etat supp.: 1
Note générale: RESTAURATION ULTRA RAPIDE VIA DVNR:COLORIMETRIE REPRISE EN MOYENNE GENE-RALE +
DEBRUITAGE UNIQUEMENT #
Stat.Vers.: Versé (10/05/2001) - Localisation: CPESSU4 (12/10/2005) - N° stock.: MSV10665 - N° bande:
0060560--AE - N°EM: NY6851
Info. techniques document:Muet: Non - VI: Non -
[MSV] - MGCPB0284866 . 01/01 - Stat. Num.: Numérisé et en ligne - TC IN: 00:03:00:17 TC OUT: 01:42:11:22 -
Filiation: FICPB77352902
Filière: MG - Type Mat.: MASTERUN - Durée: 01:39:12 -
Note générale: pompage sur un plan il reste qqe points blancs
nbx cassures et collures sur film rectifies sur beta
BETA-NUM
TC
Stat.Vers.: Versé (18/06/2001) - Localisation: CPESSU4 (16/02/2010) - N° stock.: MSV12054 - N° bande: 0284866 -
N°EM: 100607
[SRC] - FICPB77352901 . 01/01 -
Son: MONO - Format son: 16 - Type son: MAG - Format Img/Son: S -
Filière: FI - Type Mat.: ORI - Durée: 01:39:33 -
Note générale: SON POLYESTER
Stat.Vers.: Versé (17/10/1978) - Localisation: CPESSU5 (28/10/2004) - N° stock.: 3101 -
Note tech.: SON POLYESTER
[SRC] - FICPB77352902 . 01/02 -
Type pelli.: POS - Format img.: 16 - Son: MONO - Format son: 16 - Type son: SEPMAG - Coul.: COULEUR - Format
Img/Son: IS -
Filière: FI - Type Mat.: COP ANT - Durée: 01:39:17 - Etat supp.: 1
[SRC] - FICPB77352902 . 02/02 -
Type pelli.: POS - Format img.: 16 - Son: MONO - Format son: 16 - Type son: SEPMAG - Coul.: COULEUR - Format
Img/Son: IS -
Filière: FI - Type Mat.: COP ANT - Durée: 01:39:17 - Etat supp.: 1
[FAB] - FICPB77352903 . 01/02 - [FAB] - FICPB77352903 . 02/02 -
Format img.: 16 - Son: MONO - Format son: 16 - Type son: MAG - Format Img/Son: S -
Filière: FI - Type Mat.: VI - Durée: 01:39:08 -
In such an example there was:
•1 DIGIBETA preservation master
•1 DIGIBETA digitally restored
•1 16mm SEPMAG acetate
•1 16mmSEPMAGpolyester
•2 positive Broadcast copies
•1 16mm NEG ORI
•1 16mm ANSWER COPYD
•1 INTERNEG D
•3 POS reversal release copiesD
•1 Working copy D
•1 16mm POS restored copy
•3 BVU copiesD
•2 2 inch tapes copy D
•1 1inch C copy D
•18 film and video copies of the same
program.
• 10 have been already destroyed (D)
•Are Kept the NEG ORI and the 3 best
positive copies and the 2 DIGIBETA until
we will have a DPX file from film.
Analysis of combinations of media in
the database (Original :film)

Decision criteria
To be
kept
All film media “alone” in the database whatever type they are
If there are several copies:
All negative films
All films considered as ORI in the database
the best positive copies ( at least one according to hierarchy of quality)
The copy used as source for digitization
Magnetic audio masters from mixing
the different versions of the same program (different editing, length, international versions etc.)
Outtakes and rushes (on a selection basis if they are referenced)
Trailers
Could be
discarded
(if there are
several copies)
(after
checking)
Other film prints (inter positive, answer print, release prints etc.)
Working prints (if non-unique and not the best positive copy available)
Single optical soundtracks (if there's a good condition sound magnetic film). If an optical sound has to
be kept, priority must be done to the positive one than to the negative one
Mixing elements
Incomplete and/or too damaged materials unless they are unique.
Too much degraded SEPMAG sound.
If a Master 16mm film and video tape copies of the same content are available, keep the master film
in priority (provided they have the same content or are of the same version) discard video copies
16

Some examples of film combinations and decision
( example of Ina database )
17
Cases/situations Decision
Cases Negative Reversal Marron interpositiveinternegative
answer
print
Release
print
working
print To be kept Could be discarded
1 x NEG
2 x REV
3 x INTERPO
4 x INTERNEG
5 x ANSWER PRINT
6 x RELEASE PRINT
7 x WORKING PRINT
8 x x RELEASE PRINT Working print
9 x x x ANSWER PRINT Working print+ Realease
10 x x NEG + INTERPO
11 x x NEG + INTERNEG
12 x x NEG + ANSWER PRINT
13 x x x INTERNEG + RELEASE PRINT Working print
14 x x x INTERPO + ANSWER PRINT Working print
15 x x x INTERNEG + ANSWER PRINT Release print
16 x x x NEG + MARRON Realease Print
…
UNDERWAY
Queries

18
Application to
Video tape media

19
History of
broadcast
media and
processes
(examples)

Set hierarchy of quality of media(analog and digital video
recordings)
20
Original Analog
media
Copy to Same
media type Copy to same
media type
Copy to a lower
quality media
type
Copy to a lower
quality media
type
Copy to a higher
quality media
type
Copy to a higher
quality media
type
Quality loss
Successive analog copies (generation)
1 inch B
Relative hierarchy of quality of analogue video recording formats
2 inch
1 inch C
Betacam SP
Betacam
BVU SP
BVU
Umatic
SVHS
VHS
Hi 8
-- ++
D2
Relative hierarchy of quality of SD digital video recording formats
D1
D3
Digital Betacam
-- ++
D5
IMX
DVCPro 50DVCpro 25
DVCAM
DV
Betacam SX
Original digital
Media
compressed or
uncompressed Copy to a less
compressed
format
Copy to same
media type
Copy to a more
compressed
format
Copy to a more
compressed
format
Copy to
uncompressed
Copy to
uncompressed
Quality loss
Successive digital copies (with compression and decompression cycle)

21
General
guide lines
(to be amended
media type per
media type)
When both analog and digital video formats are available for
the same content, keep at least the most recent digital
format (ex: Digi beta vs Beta SP for example).
When there are two digital videotape copies of the same
content (ex: Digibeta + D1), keep the most recent one.
Discard video tape backups or copies of the Masters
Discard audiovisual materials with strong damages, wear and
tear, or worn-out appearance and unsuitable for reuse.

Decision criteria for
video tapes
22
To be
kept
(in first
discarding
steps)
Unique /alone media
Broadcast masters
International versions (with specific soundtracks)
Digital master tapes coming from previous digitization plans
“On-air” recordings
“Cleans” (without logos and broadcasting inserts)
Outtakes and rushes (on a selection basis if they are referenced)
Trailers
Could be
discarded
Redundant copies (Backup tapes, several copies of the same version etc.)
Oldest video formats according to obsolescence of technology and inherent quality
Previous analogue video copies of 35 and 16mm (if those are already digitized or if it
exists various film copies)
Analog copies for communication purposes if recorded at the same time than a Digital
video media ( for example Beta SP and DIGIBETA)

Crossing
video media
type
and uses
23
2inch HB, LB, MB MASTER considered as the original highest quality
1 inch 1A MSV Master de sauvegarde Digital Master issued from a preservation plan
1 inch B MASTER 1 Intermediate master copy from 2 inch on 1 inch or BETACAM
1inch C COP Viewing copy
Umatic LA Lecture antenne Broadcast master
Umatic H VIDEO FI video copy issued from film
Umatic SP BDSEC Bande secours Backup copy
VHS PA Parallèle antenne "On air" recordings
SVHS MASTERCO Master digitally restored
Betacam PAD prêt à diffuser Broadcast master
Betacam SP ORIMIX mixage ORI original mix
Betacam SX ORIMON Original montage Editing tape
Digital betacam RUSHES Rushes
V8 VIDFICOP video issued from a video copie of film
HI8 VIDKI video copy from kinescope
DV/ miniDV KM Edited tape - News
DVCPRO KP On air recording News
DVCAM X Indeterminé Not defined
HDCAM CLEAN tape without logos and titles
HDCAMSR …..
XDCAM
….
Media Uses

24
[MSV] - MGVDC0014795--AV . 01/01 - Stat. Num.: Numérisé et en ligne - Rang: 1 - TC IN: 00:00:00:12 TC OUT: 01:18:04:15 -
Filiation: MGVDC0002245
Stat.Vers.: Versé (05/08/2014) - Localisation: CPESSU4 (24/04/2015) - N° stock.: MSV220726 - N° bande: 0014795-
-AV - N°EM: ME814
[MSV] - MGVDC0311271--AM . 01/01 - Stat. Num.: Numérisé et en ligne - Filiation: MGVDC0082114
Stat.Vers.: Versé (08/09/2016) - Localisation: CABRT (12/09/2016) - N° stock.: MSV226680 - N° bande: 0311271--
AM -
[SRC] - MGVDC0002245 . 01/01 - Stat. Num.: Sauvegardé PSN -
Format: 2P HB - Définition: 625 - Son: MONO - Coul.: COULEUR -
Filière: MG - Type Mat.: PAD - Durée: 00:00:00 -
Stat.Vers.: Versé (15/11/2013) - Localisation: CPESSK (04/08/2014) - N° stock.: K7660 - N° bande: 0002245 - N°EM:
ME814
[COM] - MGVDC0003261 . 01/02 -
Format: 3/4 BVU - Définition: 625 - Son: MONO - Coul.: COULEUR -
Filière: MG - Type Mat.: COP - Durée: 00:00:00 -
Stat.Vers.: Versé (15/11/2013) - Localisation: CPESSA (15/11/2013) - N° stock.: MOS813 - N° bande: 0003261 -
[COM] - MGVDC0003261 . 02/02 -
Format: 3/4 BVU - Définition: 625 - Son: MONO - Coul.: COULEUR -
Stat.Vers.: Versé (15/11/2013) - Localisation: CPESSA (15/11/2013) - N° stock.: MOS814 - N° bande: 0003262 -
[COM] - MGVDC0003374 . 01/01 -
Format: 1P C - Définition: 625 - Son: MONO - Coul.: COULEUR -
Stat.Vers.: Versé (04/12/2013) - Localisation: D11B (04/12/2013) - N° stock.: D-B20606 - N° bande: 0003374 -
[SRC] - MGVDC0082114 . 01/01 - Stat. Num.: Sauvegardé SNC -
Format: 2P HB - Définition: 625 - Son: MONO - Coul.: COULEUR -
Filière: MG - Type Mat.: PAD - Durée: 00:00:00 -
Stat.Vers.: Versé (15/11/2013) - Localisation: CPESSK (06/07/2016) - N° stock.: K7659 - N° bande: 0082114 - N°EM:
ME814
Fichiers (Aff. abrégé) : [FMA] - MGVDC0014795--AV_AAA_01.MXF - Format: Vidéo: SD Jpeg2000 100Mb -Son: PCM -
Conteneur: MXF - Definition: SD - Ratio: 4/3 - Durée: 00:00:00 -
Date crea.: 22/04/2015 - Date modif.: 22/04/2015
[FEXPLOIT] - MGVDC0014795--AV_EXP_01.MP2 - Format: Vidéo: SD MPEG2 8Mb - Son: MPEG1 L2 192kb -
Conteneur: Program Stream - Definition: SD - Ratio: 4/3 - Durée: 00:00:00 -
[FVISIO] - MGVDC0014795--AV_VIS_01.MP4 - Format: Vidéo: LD H264 600kb - Son: AAC 64kb - Conteneur: MP4 -
Definition: LD - Ratio: 4/3 - Durée: 00:00:00 -
[FMA] - MGVDC0311271--AM_AAA_01.MXF - Format: Vidéo: SD Jpeg2000 100Mb -Son: PCM - Conteneur: MXF -
Definition: SD - Ratio: 4/3 - Durée: 00:14:28 -
In this case, there is in the stores on the same program:
• A 2inch tape Broadcast master (PAD)
• A 2 inch tape Back Up of the broadcast master
• A 1 inch C copy (COP)
• 2 DIGIBETA preservation master (MSV)
• 2 BVU copies (COP)
• A JPEG2000 lossless master file
• A MPEG2 8Mb/s file
• 7 tapes and two file types
• Up to 5 tapes among 7 are not worth to be kept
Analysis of media
combinations in the data
bases (original :video tape)

Determination of the various combinations of media in the data
base-Video (Ina)
25
Hérarchie
des
supports
video
2P 2P LA 2P PA
2P
RUSHES BETAN I 1P C
1P C
MASTER 1P C LA 1P C PA
1P C
PAD
1P C
BDE SEC 1P B 1P B LA
1P B
RUSHES 1P A
BETAN
issue 1P 3/4
3/4
COP
3/4
BVU KP
PA
3/4
BVU KM
3/4
UMATIC
3/4
UMATIC
RUSHES
3/4 D1
MASTER
BETAN
ou num
en ligne
direct
BTA,
BSP, X,
sans
précision
BSP
MASTER BSP LA BSP PA
BSP,
BTA KP
PA
BSP,
BTA KP
ORI
BTA,
BSP KM
ORI
BSP
COP
BSP
RUSHES BETA SX
BETA SX
KP PA
BETA SX
MG LA
BETA SX
KM ORI
BETA SX
SECOURS
num en
ligne
2P cas 1 x
2P cas 2 x
2P cas 3 x x
2P cas 4 x x x
1P cas 1 x
1P cas 2 x x
1P cas 3 x x
1P cas 4 x x
1P cas 5 x ?
1P cas 6 x x
1P cas 7 x x
1P cas 8 x x
1P cas 9 x x
1P cas 10 x x x x
1P cas 11 x x x
1P cas 12 x x x
1P cas 13 x x x
1P cas 14 x x x
3/4cas 1 x x
3/4cas 2 x x x
3/4cas 3 x x x
3/4cas 4 x x x
BETA cas 1 x x
BETA cas 2 x x
BETA cas 3 x
BETA cas 4 x
BETA cas 5 x
BETA cas 6 x
BETA cas 7 xx
BETA cas 8 x x x
BETA cas 9 x x x
BETA cas 10 x x
BETA cas 11 x x
BTA SX cas 1 x
BTA SX cas 2 x
BTA SX cas 3 xxx xxx
BTA SX cas 4 x x xx
BTA SX cas 5 x x
BTA SX cas 6 x
BTA SX cas 7 x x
x
clinIque
KM
SUPPORTS EXISTANT DANS UNE MEME NOTICE - Orientation fonds Production
UNDERWAY

Example of “decisions” for video tape media (Ina)
26
2 inch LA 2 inch PA 2 inch BU
2 inch
rushes 1 inch B 1 inch C Betacam SP BVU
Digital
betacam master file
can be discarded 1st
phase
can be discarded 2nd
phase
Can be duscarded
3rd phase
case 1 x x x 2 inch BU 2 inch LA
case 2 x x x x 2 inch BU 2 inch LA DIGIBETA
case 3 x
case 4 x x 2 inch rushes
case 5 x x x x 1inch B, Betacam SP 2 inch LA
case 6 x x x x x x
BVU Betacam SP, 1 inch
B 2 inch LA DIGIBETA
….
case 7 x x x x x
BVU, Betacam SP or
1inch B 1inch B or Betacam SP DIGIBETA
…
case 8 x x Betacam SP
case 9 x x x x Betacam SP or 1 inch C 1 inch C or Beta SP DIGIBETA
…
Cases/situations in the data base Decision
UNDERWAY
Queries

By way of
conclusion
…
27
Organize the sorting and discarding policy as a full
fledged project
Schedule the project respecting precautionary times and
phases for each media type
Build a reliable knowledge of the collections, their
history and quality. Check obsolescence of media.
Perform a deep analyze of the databases (content and
material) and of the processing chains.
Define the decision processes and interaction between
documentation work, storage management, technical
teams
Share and validate decisions
Train people implied in the process

28
Thank you
for your
attention
jvarra@ina.fr

practicing what you never preached: sorting and discarding from a practical side 1

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