DLF Wiki - User contributions [en]

User talk:Kdenlinger

2025-08-20T19:43:59Z

Areich: Welcome!

'''Welcome to ''DLF Wiki''!'''
We hope you will contribute much and well.
You will probably want to read the [https://www.mediawiki.org/wiki/Special:MyLanguage/Help:Contents help pages].
Again, welcome and have fun! [[User:Areich|Areich]] ([[User talk:Areich|talk]]) 15:43, 20 August 2025 (EDT)

User:Kdenlinger

2025-08-20T19:43:59Z

Areich: Creating user page for new user.

Digital scholarship and digital pedagogy at Wake Forest University

User talk:Jferretti

2023-08-14T18:48:48Z

Areich: Welcome!

User:Jferretti

2023-08-14T18:48:46Z

Areich: Creating user page for new user.

Director, Digital Library Federation. Past Digital Initiatives Librarian.

Creating Accessible In-Person Presentations

2022-05-03T18:35:03Z

Areich: added year to webinar date

== Accessible Presentations Guidelines for the DLF Forum==

One of [https://www.diglib.org/about/ Digital Library Federation]’s strengths is that its membership & Forums are inclusive sites for exchange. Our community of practitioners participate in a variety of cultures and disciplines, and they bring with them to the Forum many different professional and personal experiences and learning styles. To help presenters effectively engage with this diverse and dynamic community, we offer these practical recommendations for creating accessible presentations.

* Creating Accessible Presentations LIVE webinar: Tuesday, July 26, 2022 at 1pm ET

== Delivering Presentations ==

=== Language and Respect ===

* Respectfully acknowledge those who make your work possible—whether you’re talking about research participants, IT support, student employee labor, or the [https://nativegov.org/news/a-guide-to-indigenous-land-acknowledgment/ ancestral inhabitants of the ground you stand on]. Recognize that the audience has knowledge to contribute.
* Give an overview of what will happen and what you’re about to present, making note of sensitive content or language as appropriate.
* Do not assume all cultural touchpoints or references are universal. Give context to the audience.
** Minimize the use of jargon and acronyms, or clearly explain them in your talk.
** Make sure you share information (spelling, pronunciation) about jargon to the live captioner or the person producing the closed captioning to ensure accuracy.
* Adhere to the [https://www.diglib.org/about/code-of-conduct/ Code of Conduct] for respectful and inclusive communication and interaction.
* Make presentation materials available in advance so that participants using assistive technology can follow along on their own devices. We encourage use of DLF’s dedicated repository for Forum and Learn@DLF presentations or DigiPres.
** Provide a textual version of presentations either in slide notes or in a document accompanying slide decks.
* When making materials available to others, the PowerPoint (PPT) file or Google Slides is preferred over PDF. PowerPoint templates are designed to be more compatible for screen readers and other assistive technology. If you are able to produce an accessible, tagged, and properly formatted PDF that is readable to assistive technology, that is also acceptable. If you are using Keynote on a Mac to create your slides, please make sure you export them as a PPT file and use the PPT version to share with others. Native Keynote files cannot be opened by PowerPoint or easily converted to Google Slides format.

=== Presenter Audio and Video ===

* The plenary sessions will be recorded, livestreamed, and made available online with closed captioning and a transcript.
* In all sessions, always use a mic when speaking. It doesn’t matter if you can project your voice; some of the audience may be using assistive listening devices which require the use of the microphone. Don’t move away from your mic while speaking.
** Mute notifications on your cell phone to reduce distractions.
* Speak clearly, loudly, and at a moderate rate. Use pauses to allow for processing time.
** Provide clear verbal descriptions of visual content, such as images, charts, and videos (for example, "This slide shows a screenshot of a Google Image search for kittens."). Imagine delivering your presentation on the radio. [https://feather.ca/inclusion/describing/ This article includes more information on how to visually describe your presentation].
* Provide captioning in video clips that are a part of your presentation.
* Ideally, the speaker will be unmasked or using a clear face shield to allow the audience to read lips or expressions.
* Pause early on to ensure that the audience can see/hear the presentation.
* At the start of the presentation, summarize community norms and methods of expression and interaction.
** Remind the audience to use mics and how/where they are available.
** Remind everyone that they should follow the [https://www.diglib.org/about/code-of-conduct/ DLF Code of Conduct].
** For sensitive topics, refer to the Code of Conduct, or [https://ctl.sinclair.edu/ctl/assets/File/MulticulturalGroundrulesforDiscussion.doc set up ground rules for a respectful conversation] (link is a .doc file, but you can also see it in [https://eastsideforall.org/wp-content/uploads/2020/01/Multicultural-Ground-Rules-for-Discussion.pdf PDF]).

=== Tips for Presenting in a More Accessible Way ===

* Describe images and video clips aloud. This may be a brief description ("I'm going to show a clip of a person performing the same search I just spoke about") or your alt text. If you are using an audio clip such as people speaking, make sure there's a transcript on screen.
* Narrate what is happening during your presentation. Report regularly on displayed interactive polls, or describe moving gifs that you want people to be aware of. For example, "Oh! Someone just added "ramp" to our suggestion poll!" or "There's a repeating gif of a hedgehog crawling across the screen." Make sure you're including everyone, even if they're not able to see what's happening on your presentation slides.
* Read any links or URLs aloud.
* Let the audience know which slide you are on (either using the title or the slide number) if you are not using audible cues when changing slides.
* Read aloud the text on the slides. Don't ever say "You can read this" and go silent, as you're leaving out a portion of your audience.

=== Best Practices for Shared Spaces ===

* Always use the microphone, even if you’re meeting in a relatively small space. Don’t rely on your ability to project. Using the microphone allows a person using a hearing aid or assistive listening device to “tune” into the PA audio.
** Repeat audience questions into the microphone before answering them, especially if a roving microphone isn’t available.
* If the presentation space is elevated, please provide a ramp.
* Provide accessible reserved seating at the front and nearest to the door.
* Refrain from wearing perfume, cologne, or other strongly scented products.
* Refrain from whispering or speaking with other attendees while conference presenters are speaking. These types of ambient noise can impact the ability of individuals to be able to hear or focus on what a presenter is saying.

== Designing Presentations Materials ==

=== Design Your Slides to Be Accessible ===

* Make your slides available before and after the presentation in their original format (as a.pptx or Google Slides link instead of a .pdf). This allows the audience to view/edit/enlarge/print or do whatever they need to be able to access the materials. If you are sharing Google Slides, remember to check your sharing settings and ensure the document is viewable to anyone with the link. We highly recommend that you also set any shared versions of Google documents to be View Only.
* Give your files clear and descriptive names including the event, speaker name, and year. Example: DLFForum_MaggieSmith_2022.ppt
* If you use PowerPoint ([https://templates.office.com/en-us/accessible-powerpoint-template-sampler-tm16401472 suggested accessible templates]) or Google Slides ([https://pressbooks.library.ryerson.ca/docs/chapter/google-slides/#Technique_1_Use_Accessible_Templates making a template accessible]) to create your own presentation style, search for "Accessible Presentations" to find more accessible templates. Be aware, however, that you'll likely have to do your own accessibility checking and editing to ensure that the design is actually accessible. Canva has no accessible templates ([https://freshspectrum.com/canva-accessibility/ This is a good article on Canva’s accessibility issues and how to fix them]).
* Use the default slide layouts. For example, rather than adding text boxes to a blank slide, [https://support.microsoft.com/en-us/office/video-create-a-new-slide-master-and-layouts-a42fc660-bb28-44a2-b988-29181e6c7fe2#:~:text=Add%20an%20additional%20slide%20master,group%2C%20click%20Insert%20Slide%20Master. add new content placeholders to the slide master], or use one of the suggested slide layouts. This way they’ll be included in the overall presentation outline and tagged properly for screen readers.
* Customize the reading order of elements added to slides. By default, applications such as [https://support.microsoft.com/en-gb/office/make-slides-easier-to-read-by-using-the-reading-order-pane-863b5c1c-4f19-45ec-96e6-93a6457f5e1c PowerPoint] and [https://support.google.com/docs/answer/6199477?hl=en Google Slides] arrange elements according to a default template or in the order in which they were added to the slide. Arrange slide elements in an order that makes sense when being read by a screen reader.
* Use built-in formatting options for charts, bullet points, shapes, etc. instead of an image or screen capture. Otherwise, provide text alternatives through other means:
** Provide explanatory text in the slide notes.
** Hide explanatory text in a text box underneath the inserted image.
** Explain the image in visible text.
*If you must insert data as an image, use alt text to tell the reader what the image is and/or where they can find the original data (by URL or citation).
* Check the color contrast for charts and visualizations using the [https://projects.susielu.com/viz-palette VIZ Palette Designer].
* Provide quality alt text for images. Seek out [http://www.slideshare.net/whitneyq/writing-great-alt-text-38937551 recommendations for writing great alt text]. Alt text serves different functions for different types of informational content. Alt text should:
** Explain visual content, such as images, charts, and videos.
** Describe aural content, such as audio and video.
* Make sure links have unique, descriptive names, rather than just the URL or “click here.” A screen reader user may use the tab button to navigate quickly through content, which might skip from hyperlink to hyperlink. If each hyperlink has the text of “Click here” or a long URL, it isn’t helpful.
** Provide a short URL, and read it aloud. The URL shortener tinyurl.com will allow you to customize the shortened URL for meaning. For example, using TinyURL you can create a link that is: tinyurl.com/SmithDLF2021.
* Use unique titles for every slide and include slide numbers or an [https://support.microsoft.com/en-us/office/video-add-a-sound-effect-to-a-transition-54f62eba-429e-4606-b622-585d26049bf1 audible sound when changing slides] so the audience can track where you are at in your presentation.
* Budget space in the bottom 1/4th of the slides for the closed captioning, so that the captioning text doesn’t block any important information.

=== Make Text Easy to See ===

*Provide minimal text on each slide (only a few bullet points).
*Maintain a large font size.
** For bullet points, use a 24–32 point font for PowerPoint, or 20pt minimum for Google Slides.
** Titles for PowerPoint can be much bigger, such as 50-80 point. It's a good idea in Google Slides to keep your titles in the 32-45 point range for maximum readability without sacrificing too much screen room.
** Design for people seated both close to and far from a projected screen, and for people reading on screens small and large.
* Select fonts for readability. Sans serif fonts such as Arial, Helvetica, and Calibri are usually easier to read.
* Avoid all caps as they can be difficult to read, and it represents shouting to many people.
* Use a high contrast color scheme that is easy to read and doesn’t cause eye-strain (for example, black/white, white/dark blue). To check for good contrast, [http://contrastchecker.com/ use a contrast checker]. Avoid visually difficult color combinations such as red and green, or red and blue.
** Do not use color alone to denote meaning. For example, link text can be blue and underlined, parts of a bar graph can be color-coded and labeled in text.

=== Perform an Accessibility Check ===

* Recent versions of Microsoft Office provide an accessibility checker in the ‘Tools’ menu (or Review menu in Mac) under ‘Check Accessibility,’ or in the File menu under ‘Check for Issues.’
* Recent versions of Adobe applications provide an accessibility checker in the ‘Tools’ menu under ‘Accessibility.’ In the secondary toolbar click on ‘Full Check.’
* Google Apps do not have built-in accessibility checkers, but you can download the Grackle Docs add-on for a basic accessibility check. You can also download materials created with Google Apps as Microsoft Office documents in order to check accessibility of your presentation materials as offline documents.

== Additional Resources ==

=== Broad frameworks for creating accessible presentations ===
* [https://www.transportation.gov/drc/checklist-planning-accessible-meetings-and-events Checklist for Planning Accessible Meetings and Events] by the US Department of Transportation
* [http://archive.ifla.org/VII/s31/pub/wbu-visual-presentations-guidelines.pdf How to make visual presentations accessible to audience members with print impairments] [PDF], adapted for the International Federation of Library Associations and Institutions (IFLA) by Minna von Zansen and Jenny Craven from the World Blind Union Guidelines
* [http://uxpamagazine.org/make-your-presentations-accessible Make Your Presentations Accessible: Seven Easy Steps] by Whitney Quesenbery
* [https://docs.google.com/document/d/10LsNP-EPm3HKbJP-ennzwamQp_qJtx9Qy5QfaITkoRI/edit Accessible Meetings and Presentations] by the University of Michigan Library
* [http://contrastchecker.com/ Contrast Checker] by WCAG
* [https://www.slideshare.net/whitneyq/writing-great-alt-text-38937551 Write Great Alt Text] by Whitney Quesenbery

=== Guidance Specific to Presentation Software ===
* [http://webaim.org/techniques/word Microsoft Word: Creating Accessible Documents] by WebAIM (Web Accessibility in Mind)
* [http://webaim.org/techniques/acrobat PDF Accessibility] by WebAIM (Web Accessibility in Mind)
* [https://chi2020.acm.org/authors/papers/guide-to-an-accessible-submission/ Guide to an Accessible Submission (mostly about PDFs)] by ACM SIGCHI (ACM Special Interest Group on Computer-Human Interaction)
* [http://webaim.org/techniques/powerpoint PowerPoint Accessibility] by WebAIM (Web Accessibility in Mind)
* [https://webaccess.msu.edu/Tutorials/powerpoint1.html PowerPoint Accessibility] by Michigan State University
* [https://support.microsoft.com/en-us/office/make-your-powerpoint-presentations-accessible-to-people-with-disabilities-6f7772b2-2f33-4bd2-8ca7-dae3b2b3ef25 Make your PowerPoint Presentation Accessible] by Microsoft
* [https://templates.office.com/en-us/accessible-powerpoint-template-sampler-tm16401472 Accessible PowerPoint Templates] by Microsoft
* [https://support.microsoft.com/en-us/office/video-create-a-new-slide-master-and-layouts-a42fc660-bb28-44a2-b988-29181e6c7fe2 Create a new slide master for PowerPoint] by Microsoft
* [https://support.microsoft.com/en-gb/office/make-slides-easier-to-read-by-using-the-reading-order-pane-863b5c1c-4f19-45ec-96e6-93a6457f5e1c Make slides easier to read by using the Reading Order pane] by Microsoft.
* [https://gizmodo.com/these-powerpoint-alternatives-are-free-and-easier-to-us-1844665366 PowerPoint alternatives that are free] from Gizmodo (they may or may not be accessible, but they can be used to transfer your files to .ppt)
* [https://cte.tcu.edu/resources/accessibility/keynote-document-accessibility/ Accessibility - Keynote for Mac] by Texas Christian University
* [https://support.google.com/docs/answer/6199477?hl=en Making Google Slides more Accessible] by Google
* [https://uit.stanford.edu/accessibility/guides/google-slides Accessible Google Slides presentations] by Stanford
* [https://pressbooks.library.ryerson.ca/docs/chapter/google-slides/#Technique_1_Use_Accessible_Templates Understanding Document Accessibility: Using Accessible Google Slides templates] by The Chang School, Ryerson University
* [https://www.youtube.com/watch?v=GGR8UDCdi14 Canva: Designing for Accessibility] [YouTube video] by Canva
* [https://freshspectrum.com/canva-accessibility/ Canva Accessibility is bad, here is how you fix your design] by Chris Lysy

== Acknowledgements ==

This guide was originally created in October 2016 by a subgroup of the 2016 DLF Forum Inclusivity Committee. We thank Eleanor Dickson, Chelcie Juliet Rowell, and Yasmeen L. Shorish for their extensive work and dedication to accessibility.

We are especially indebted to Whitney Quesenbery’s [http://uxpamagazine.org/make-your-presentations-accessible Make Your Presentations Accessible: Seven Easy Steps] and the [http://www.astr.org/general/custom.asp?page=16_Accessibility Accessibility at the 2016 American Society for Theatre Research & Theatre Library Association Conference] guide. The clarity and comprehensiveness of these recommendations were strengthened by the input of Bethany Nowviskie and members of the broader Inclusivity Committee.

This guide was updated in 2020 by a different group of DLF members (Debbie Krahmer, Lydia Tang, Sarah Goldstein, Stephanie Rosen, Alex Wermer-Colan, and Amy Vecchione), and again in 2021 by Debbie Krahmer and Carrie Pirmann. Special thanks to Stephanie Rosen for further guidance through the Accessible Meetings & Presentations documentation.

This guide was updated in 2022 by Natalie Bond, Debbie Krahmer, Carrie Pirmann, and Adele Fitzgerald.

To offer feedback, please contact [mailto:info@diglib.org info@diglib.org].

Back to [[Committee for Equity and Inclusion|main CEI page]].

User talk:Av morgan

2021-03-12T15:12:41Z

Areich: Welcome!

User:Av morgan

2021-03-12T15:12:41Z

Areich: Creating user page for new user.

Hi I'm Morgan. I'm the Preservation Director at BAVC. I like synthesizers and karaoke.

User talk:MWisner

2020-06-08T20:26:12Z

Areich: Welcome!

User:MWisner

2020-06-08T20:26:11Z

Areich: Creating user page for new user.

Chair of the Advocacy, Leadership, and Recruitment working group

Digitizing Special Formats

2019-04-04T19:12:46Z

Areich: Removed Stanford Libraries from this page at Dinah Handel's request, as they are not a provider of vendor services to the public

This list of resources is curated by the Digital Library Federation for the benefit of cultural heritage professionals planning projects involving the digitization of rare and unique materials. Applicants to the [http://www.clir.org/hiddencollections/ Digitizing Hidden Special Collections and Archives] and [https://www.clir.org/recordings-at-risk Recordings at Risk] programs of the [http://www.clir.org/ Council on Library and Information Resources] may find these helpful in planning project proposals.

Rather than providing comprehensive coverage, this list includes introductory and reference materials that are good places to begin an exploration of issues of broad import to digitizing cultural heritage materials.

Content for this wiki page is currently being curated by program staff at the [https://www.clir.org/ Council on Library and Information Resources]. This page was originally developed and edited by the following team: Nicholas Graham, Project Coordinator, [https://www.digitalnc.org North Carolina Digital Heritage Center], Lisa Gregory, Digital Projects Librarian, North Carolina Digital Heritage Center, and Tamsyn Rose-Steel, CLIR/DLF Postdoctoral Fellow for Data Curation in Medieval Studies at Johns Hopkins University.

If you would like to suggest a resource for inclusion on this page, send your suggestion to [mailto:info@diglib.org info@diglib.org]. The DLF is currently seeking professionals from DLF member institutions who would like to participate in a curatorial group to develop and maintain the content of this page. Prospective volunteers for this group should also send expressions of interest to [mailto:info@diglib.org info@diglib.org].

== Getting Started with Designing a Digital Preservation Plan ==
This section includes resources that will give an overview of the concepts that a cultural heritage institution will consider as it designs a digital preservation plan for digitally reformatted materials. Many of these resources give special attention to concepts and strategies that will be of particular use to institutions working to construct a plan from scratch or with limited financial and technical means. Resources that focus on particular types of collections are included in separate categories.

'''General'''

* Thanks to the [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Digital_Preservation WikiProject Digital Preservation], the information about [http://en.wikipedia.org/wiki/Digital_preservation digital preservation on Wikipedia] is substantial and current.

* The [http://www.digitalpreservation.gov/ndsa/index.html National Digital Stewardship Alliance] (NDSA) has published the [http://ndsa.org/activities/levels-of-digital-preservation/ NDSA Levels of Digital Preservation], “a tiered set of recommendations for how organizations should begin to build or enhance their digital preservation activities.” Additionally, the [http://www.digitalpreservation.gov/ndsa/documents/2015NationalAgenda.pdf 2015 NDSA National Agenda for Digital Stewardship] provides a broad overview of current "challenges, opportunities, gaps, and trends" related to building and maintaining digital collections in the United States.

* The [http://www.dpconline.org/ Digital Preservation Coalition’s] [http://handbook.dpconline.org/ Digital Preservation Handbook] (now in its second edition) is “an internationally authoritative and practical guide to the subject of managing digital resources over time and the issues in sustaining access to them.” The Handbook includes a useful [http://handbook.dpconline.org/content-specific-preservation/moving-pictures-and-sound overview of audio and audiovisual content], including links to many other resources.

* [http://www.dpworkshop.org/ Digital Preservation Management: Short-Term Strategies for Long-Term Problems] is a comprehensive tutorial created by Cornell University Libraries with funding from the National Endowment for the Humanities. It is now hosted by the MIT Libraries.

* [http://commons.lib.niu.edu/handle/10843/13610 From Theory to Action: “Good Enough” Digital Preservation Solutions for Under-Resourced Cultural Heritage Institutions] (2014) is a white paper compiling the results of a three-year study of affordable, scalable digital preservation solutions suitable for under-resourced organizations.

* The [https://www.nedcc.org Northeast Document Conservation Center] (NEDCC) has compiled a [https://www.nedcc.org/assets/media/documents/DigiPres_Biblio_Digital_Directions_2014_update.pdf Digital Preservation Reading List] that provides a thorough introduction to the challenges of digital preservation as they relate to cultural heritage collections. Additional links to resources related to digital preservation are provided on [https://www.nedcc.org/free-resources/digital-preservation NEDCC's website].

'''Data Integrity'''
* [http://digitalomnium.com/simple-act-of-digital-preservation-the-checksum/ The "Checksum" and the Digital Preservation of Oral History], from [http://digitalomnium.com/ Digitalomnium], provides an excellent broad overview and discusses freely available tools that are easily incorporated into workflows.

'''Newspaper Collections'''
* The [http://educopia.org/sites/educopia.org/files/publications/Guidelines_for_Digital_Newspaper_Preservation_Readiness_0.pdf Guidelines for Digital Newspaper Preservation Readiness] address a specific set of preservation challenges faced by libraries, archives, historical societies, and other organizations that curate substantial collections of digital newspaper content. ''Guidelines'' was written by Katherine Skinner and Mat Schultz and was published by the [http://educopia.org Educopia Institute] in 2014.

== Enhancing Access and Discoverability ==

'''Metadata Aggregation'''
* The [http://dp.la/ Digital Public Library of America] (DPLA) aggregates the metadata of digital collections held in educational and cultural heritage institutions across the United States. Institutions with large digital collections may contribute data as [https://dp.la/info/hubs/#our-content-hubs Content Hubs], while smaller organizations may contribute through local or regional [https://dp.la/info/hubs/ Service Hubs]. Contributors must abide by the [http://dp.la/info/about/policies/ DPLA's data policies] in order to participate.
* See also: [http://dp.la/info/wp-content/uploads/2014/03/Intro-to-DPLA-metadata-model-2014.pdf An Introduction to the DPLA Metadata Model] (pdf);
* The [http://dp.la/info/developers/map/ DPLA Metadata Application Profile];
* [http://vimeo.com/117617171 DPLA Metadata Aggregation Webinar Recording], 1/22/15;
* North Carolina Digital Heritage Center’s [https://github.com/ncdhc DPLA Aggregation Tools on Github];
* [http://mwdl.org/index.php Setting Up a Repository for Harvest], Mountain West Digital Library;
* [http://texashistory.unt.edu/ Portal Partners Page], The Portal to Texas History

'''Registries'''
* [http://papr.crl.edu/ The Print Archives Preservation Registry] (PAPR) collects information about serial titles, print holdings, and archiving terms and conditions. It is a valuable resource for assessing the uniqueness of serial collections and determining the degree of need for digitization of those collections.

'''Search Engine Optimization'''
* [http://www.clir.org/pubs/reports/pub165 Getting Found: the SEO Cookbook] provides a step-by-step video guide to help libraries measure and monitor the search engine optimization (SEO) performance of their digital repositories. The Cookbook includes everything necessary to implement a preconfigured Google Analytics dashboard that continuously monitors SEO performance metrics relevant to digital repositories.
* [https://en.wikipedia.org/wiki/Wikipedia:The_Wikipedia_Library/About The Wikipedia Library] offers resources to help cultural heritage institutions expose their collections through Wikipedia. As a common starting point for research, Wikipedia can be used to direct researchers to libraries where the resources can be accessed directly.

'''Accessibility'''
* The Association of Research Libraries (ARL) [http://accessibility.arl.org/ Web Accessibility Toolkit] explains the principles of accessibility, universal design, and digital inclusion, and offers tips about best practices and checklists for digital repository creators that can help them ensure digitized content is as broadly accessible as possible.

'''Enhancing Access and Discoverability to Media Collections'''
* [http://sites.dartmouth.edu/mediaecology/ The Media Ecology Project] (Dartmouth College) "provides online access to primary moving image research materials, and engages dynamic new forms of scholarly production and online publishing."

== Digital Repositories ==

'''General'''
* [https://public.ccsds.org/pubs/650x0m2.pdf Reference Model for an Open Archival Information System (OAIS)]
* [http://www.crl.edu/archiving-preservation/digital-archives/metrics-assessing-and-certifying/trac The Trustworthy Repositories Audit & Certification: Criteria and Checklist (TRAC)] describes the characteristics of secure and sustainable digital repository management.
* [http://www.opendoar.org/index.html The Directory of Open Access Repositories (OpenDOAR)] is an international directory of academic open access repositories, useful for those seeking options for depositing digital collections or models for developing new digital repositories.

'''Storage'''
* [https://lockss.org/locksswp/wp-content/uploads/2013/01/IDCC2013.pdf Distributed Digital Preservation in the Cloud]

* [https://www.avpreserve.com/ AVPreserve's] [https://www.avpreserve.com/papers-and-presentations/cloud-storage-vendor-profiles/ Cloud Storage Vendor Profiles] breaks down the offerings of third party cloud storage providers from a preservation point of view. Assessment points include Data Management, Reporting/Metadata, Redundancy, Accessibility, Security, End of Service, and adherence to the [http://www.digitalpreservation.gov:8081/ndsa/activities/levels.html NDSA’s Levels of Preservation].

== Digital Reformatting ==

'''General'''
* The [http://www.digitalpreservation.gov/formats/intro/intro.shtml Sustainability of Digital Formats page] provides detailed descriptions and notes on sustainability issues for [http://www.digitalpreservation.gov/formats/fdd/browse_list.shtml hundreds of digital file formats].
* The [http://dashboard.diglib.org/ Digitization Cost Calculator] was created by the Digital Library Federation's [https://wiki.diglib.org/Assessment:Costs Cost Assessment working group] as a tool to "assist organizations in digitization project planning and benchmarking." The calculator currently supports projects involving image capture, but the Cost Assessment working group has plans to incorporate audio and audiovisual digitization in the future.

'''Audio and Audiovisual'''
* The [https://www.clir.org/ Council on Library and Information Resources] produced [https://www.diglib.org/strategies-audiovisual-digitization-projects/ Strategies for Audiovisual Digitization Projects] (2017), a free two-part webinar series that discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections. [http://clir.adobeconnect.com/pzarj5g51ujk/Effective Outsourcing with Audiovisual Digitization Service Providers] ([https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Effective-Outsourcing-with-Audiovisual-Digitization-Service-Providers-Transcript.pdf Transcript], [https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Effective-Outsourcing-Webinar-compressed.pptx Slides]), features a panel of representatives from a/v digitization vendors who discuss types of services and common hurdles faced by institutions. [http://clir.adobeconnect.com/pkxnnaqe40i9/ Low-Cost, DIY, and Community-Based Approaches to Audiovisual Digitization] ([https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Low-Cost-DIY-and-Community-Based-Approaches-to-Audiovisual-Digitization-Transcript.pdf Transcript], [https://www.diglib.org/wp-content/uploads/sites/3/2017/11/DIY-AV-Dig-Webinar.pdf Slides]), features a panel of speakers who discuss a variety of tools, strategies, and organizations that are focused on creating broader access to resources needed for audiovisual digitization projects, and will provide guidance on how best to implement in-house audiovisual digitization programs.
* The [http://www.arsc-audio.org/index.php Association for Recorded Sound Collections] (ARSC) released the [https://www.clir.org/pubs/reports/pub164/ ARSC Guide to Audio Preservation] in 2015 as a practical introduction to caring for and preserving audio collections. It is aimed at individuals and institutions that have recorded sound collections but lack the expertise in one or more areas to preserve them.
* In 2016, the [http://www.digitizationguidelines.gov/audio-visual/ Audio-Visual Working Group] of the [http://www.digitizationguidelines.gov/ Federal Agencies Digitization Guidelines Initiative's] released [http://www.digitizationguidelines.gov/guidelines/Motion_pic_film_scan.html Guidelines: Motion Picture Film Scanning Projects]. This report includes "an introductory essay, a set of tables that describe a range of film 'inputs' and digital 'outputs,' and concludes with a model statement of work for outsourced conversion of film to video." Film digitization standards are still in the early stages of development, but this report provides a solid understanding of current best practices.
* [http://www.dlib.indiana.edu/projects/sounddirections/facet/facet_formats.pdf Format Characteristics and Preservation Problems] (2007) "succinctly covers the format characteristics and preservation problems identified by [http://www.dlib.indiana.edu/projects/sounddirections/facet/ FACET (Field Audio Collection Evaluation Tool)] as contributing to instability, degradation, and/or increased risk, providing specific information to aid in ranking field collections using the FACET software application." FACET is an open-source application that "helps collection managers construct a prioritized list of audio collections by condition and risk, enabling informed selection for preservation." Even for institutions not using FACET, the publication is a good source of information (with several helpful visual aids) that can aid in the assessment of audio collections.
* [http://archive.library.nyu.edu/preservation/movingimage/vipirshome.html Visual & Playback Inspection Ratings System] (ViPIRS) is a "Microsoft Access database tool designed to assist in the survey and preservation planning of audiovisual collections as part of Developing Principles and Methodologies for Moving Image and Audio Preservation in Research Libraries. ViPIRS is designed with a wide range of users in mind: from audiovisual novices to experts; from small institutions to large." ViPIRS has been developed for magnetic media, which includes modules for videotape, audiocassettes, and 1/4" reel-to-reel.

'''Still Image'''
* The [http://www.digitizationguidelines.gov/ Federal Agencies Digitization Guidelines Initiative’s] (FADGI) [http://www.digitizationguidelines.gov/guidelines/digitize-technical.html Technical Guidelines for Digitizing Cultural Heritage Materials] focuses on defining practical methods and requirements for imaging projects.The FADGI Star System provides institutions with guidance in how to tailor a digitization effort based on a desired level of quality for the end product, from low-quality surrogates that provide only informational value to high quality image capturing.

== Outsourcing Audiovisual Digitization ==
* [https://www.avpreserve.com/ AVPreserve] has published two Request for Proposal (RFP) guides: [https://www.avpreserve.com/wp-content/uploads/2015/05/AVPS_Audio_Digitization_RFP_Guide.pdf Guide to Developing a Request for Proposal for the Digitization of Audio] and [http://www.avpreserve.com/wp-content/uploads/2013/10/AVPS_Digitization_RFP_Guide.pdf Guide to Developing a Request for Proposal for the Digitization of Video (and More)].

* [http://guides.nyu.edu/ld.php?content_id=24817650 Digitizing Video for Long-Term Preservation: An RFP Guide and Template] "is intended to take an institution step-by-step through the process of drafting a Request for Proposals (RFP) for the transfer of analog video formats to digital carriers for preservation. This template can be used by libraries, archives, and other cultural heritage institutions and submitted to qualified transfer vendors."

== Copyright and Intellectual Property ==

'''General'''

* [http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1495365 Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums] by Peter Hirtle, Emily Hudson, and Andrew Kenyon (2009) provides comprehensive coverage of all major copyright issues relevant to digitization in cultural heritage institutions. This work is [http://saa.archivists.org/store/copyright-and-cultural-institutions-guidelines-for-digitization/1598/ also available in print from the Society of American Archivists].

* The [http://www.arl.org/ Association of Research Libraries], in particular its initiatives on [http://www.arl.org/focus-areas/research-collections/special-collections/2482-statements-principles-and-reports-of-arl-special-collections-working-groups#.VL82d0sn8RY Transforming Special Collections in the Digital Age] and on [http://www.arl.org/focus-areas/copyright-ip#.VL81v0sn8RY Copyright and Intellectual Property], has published a variety of documents relevant to the digitization of special collections and archives, including a 2012 special issue of [http://publications.arl.org/rli279/1 Research Library Issues] that covers legal concerns related to digitizing rare and unique materials.

* [http://localcontexts.org/tk-labels/ Traditional Knowledge (TK) Labels] are a tool for Indigenous communities to add existing local protocols for access and use to recorded cultural heritage that is digitally circulating outside community contexts. They can be used to identify and clarify which material has community-specific restrictions regarding access and use.

'''Determining Copyright Status'''

* The [http://librarycopyright.net/resources/digitalslider/ ALA Copyright Slider] is a simple, user-friendly guide to determining copyright status of works.

* [https://copyright.cornell.edu/resources/publicdomain.cfm Copyright Term and the Public Domain in the United States] contains a helpful and very thorough chart for determining the copyright status of works created and/or published in the United States.

* [http://www.clir.org/pubs/abstract/reports/pub144 Copyright and Related Issues Relevant to Digital Preservation and Dissemination of Unpublished Pre-1972 Sound Recordings by Libraries and Archives] describes what libraries and archives can legally do to preserve and make accessible holdings of unpublished sound recordings.

* [http://rightsstatements.org/files/151002recommendations_for_standardized_international_rights_statements.pdf Recommendations for Standardized International Rights Statements] is a white paper summarizing the conclusions of a working group convened by the [http://dp.la/ Digital Public Library of America] and [http://www.europeana.eu/portal/ Europeana].

'''Audiovisual'''
* [http://guides.nyu.edu/ld.php?content_id=24818036 Video at Risk: Strategies for Preserving Commercial Video Collections in Libraries] "seek[s] to clarify exemptions for copying audiovisual works under Section 108(c) of the United States Copyright Act and thereby enhance the ability of librarians to preserve their video collections."

'''Orphan Works'''

* The [http://www.cmsimpact.org/fair-use/best-practices/statement-best-practices-fair-use-orphan-works-libraries-archives Statement of Best Practices in Fair Use of Collections Containing Orphan Works for Libraries, Archives, and Other Memory Institutions] developed by the Center for Media & Social Impact at American University and the UC Berkeley School of Law, includes clear guiding principles for us in determining when to apply fair use in the digitization and online publication of orphan works. The statement was produced after talking with librarians and archivists around the country.

* In 2009, the [http://www2.archivists.org/ Society of American Archivists] issued [http://www2.archivists.org/sites/all/files/OrphanWorks-June2009.pdf Orphan Works: Statement of Best Practices] to guide decision-making in conducting research into the copyright status of unpublished collections. The document includes a variety of useful links and appendices.

== Provenance, Privacy, and Ethics ==

* The [http://www.atalm.org/ Association of Tribal Archives, Libraries, and Museums] maintains a [http://www.atalm.org/node/52 list of resources relevant to the care of cultural materials of indigenous peoples].

* The [http://www2.archivists.org/ Society of American Archivists] (SAA) has convened a [http://www2.archivists.org/groups/native-american-archives-roundtable/protocols-for-native-american-archival-materials-information-and-resources-page task force] to revise and strengthen the Protocols for Native American Archival Materials (PNAAM), based upon [http://www2.nau.edu/libnap-p/protocols.html a document produced in 2007]. The draft document contains [http://www2.nau.edu/libnap-p/resources.html a useful bibliography of general resources on archives and ethics].

* The SAA case study, [http://www2.archivists.org/sites/all/files/AmericanIndianMaterial_CEPC-CaseStudy3.pdf Identifying Culturally Sensitive American Indian Material in a Non-tribal Institution], provides one example of how an institution interpreted the [http://www2.nau.edu/libnap-p/protocols.html Protocols] and the [http://www2.archivists.org/statements/saa-core-values-statement-and-code-of-ethics SAA Code of Ethics].

* [https://archives2016.sched.org/event/7f8V/111-archives-and-digital-inequality Archives and Digital Inequality, annotated collaborative bibliography] is a collections of resources and readings by the ''Archives and Digital Inequality'' pop-up session at SAA 2016.

* The [http://www.mnh.si.edu Smithsonian National Museum of Natural History] has maintained a bibliography of online resources titled the [http://anthropology.si.edu/naa/home/culturally_sensitive.html Ethics of Exhibiting Culturally Sensitive Materials Online]. This bibliography was last updated in 2010.

* [http://www.ala.org/advocacy/privacyconfidentiality/toolkitsprivacy/privacy The ALA Privacy Toolkit]

== Funding Opportunities ==
This section includes a listing of organizations that provide support for projects involving digitization of archival materials for preservation and access. This list is not exhaustive and submissions are encouraged (send submissions to DigiWiki@clir.org).

* The [http://www.neh.gov/ National Endowment for the Humanities] (NEH) supports digitization and related activities through the [http://www.neh.gov/grants/preservation/humanities-collections-and-reference-resourcesHumanities Collections and Reference Resources] program, the [http://www.neh.gov/grants/preservation/national-digital-newspaper-program National Digital Newspaper Program], and the [http://www.neh.gov/grants/preservation/preservation-and-access-research-and-development Preservation and Access Research and Development] grants.

* The [http://www.archives.gov/nhprc/ National Historical Publications & Records Commission] (NHPRC) offers funding for digitization and related activities through the [http://www.archives.gov/nhprc/announcement/access.htmlAccess to Historical Records] program and the [http://www.archives.gov/nhprc/announcement/digital.html Digital Dissemination of Archival Collections] program.

* The [https://bavc.org/preserve-media/preservation-access-program Bay Area Video Coalition] (BAVC) will be offering a sliding scale discount of up to 70% for tape-to-file video preservation transfer services to individual artists and small to medium sized arts and cultural heritage organizations. U.S. based individual artists and visual, performing and cultural arts organizations, historical societies and regional archives with arts-related collections are invited to apply for discounted services through an application process.

* The [http://www.grammymuseum.org/programs/grants-program GRAMMY Museum Grant Program] awards grants to organizations and individuals to support efforts that advance the archiving and preservation of the music and recorded sound heritage of the Americas. The Archiving and Preservation area has two funding categories: Preservation Implementation ($20,000 max award) and Assistance, Assessment and/or Consultation ($5,000 max award).

* The [https://www.filmpreservation.org/nfpf-grants/overview National Film Preservation Foundation] offers several types of preservation grants supporting the creation of preservation and access copies of American orphan films of historic and cultural interest. [https://www.filmpreservation.org/nfpf-grants/basic-preservation-grants Basic Preservation Grants] are the best choice for most institutions. Offered twice yearly, these grants award cash and in some cases services donated by laboratories and post-production houses. The larger [https://www.filmpreservation.org/nfpf-grants/matching-grants Matching Grants] enable experienced preservationists to undertake more extensive projects. The [https://www.filmpreservation.org/nfpf-grants/avant-garde-masters-grants Avant-Garde Masters Grants], funded through the generous support of The Film Foundation, target the preservation of motion pictures significant to the development of the avant-garde in America.

== Education and Training Opportunities ==
* [https://www.diglib.org/strategies-audiovisual-digitization-projects/ Strategies for Audiovisual Digitization Projects] is a free two-part webinar series that discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections. '''Effective Outsourcing with Audiovisual Digitization Service Providers''' includes representatives from a variety of audiovisual digitization service providers who discuss types of available services and common hurdles faced by institutions. '''Low-Cost, DIY, and Community-Based Approaches to Audiovisual Digitization''' has speakers discuss a variety of tools, strategies, and organizations that are focused on creating broader access to resources needed for audiovisual digitization projects. Speakers also provide guidance on how best to implement your own audiovisual digitization program.

* [http://dp.la/ The Digital Public Library of America] (DPLA), working in partnership with trainers at the [https://www.digitalcommonwealth.org/ Digital Commonwealth], the [http://dlg.galileo.usg.edu/?Welcome Digital Library of Georgia], the [http://mndigital.org/ Minnesota Digital Library], the [http://montanamemory.org/ Montana Memory Project], and the [http://mwdl.org/ Mountain West Digital Library], have developed a workshop curriculum based on documented best practices for library digitization. A self-guided version of the curriculum intended for digitization beginners is available on the DPLA website through the [http://dp.la/info/about/projects/public-library-partnerships/ Public Library Partnerships Project].

* [http://www.lyrasis.org/Pages/Main.aspx Lyrasis] offers a variety of classes relevant to digitization and digital content management, such as ''Introduction to Audio Visual Digitization'', ''Introduction to Digital Project Management Planning'', and ''Digitization for Small Institutions''. The [https://www.lyrasis.org/Pages/Events.aspx classes and events schedule] contains up-to-date information about offerings.

* The [https://www.nedcc.org/preservation-training/training-currentlist Northeast Document Conservation Center] (NEDCC) offers a variety of programs, including several related to digital collections and digital preservation.

* The [http://sustainableheritagenetwork.org/ Sustainable Heritage Network] offers a variety of [http://sustainableheritagenetwork.org/browse?keys=&tid%5B%5D=65&promote=All in-person and online tutorials] related to archival best practices, ethics, appraisal, processing, and digitization.

== Information from Digitization Service Providers ==

'''NOTE''': ''This section is provided for convenience and information only. The Digital Library Federation and the Council on Library and Information Resources do not recommend or endorse any specific digitization service provider, and the use or non-use of any particular provider has no bearing upon any applicant's consideration in the [https://www.clir.org/hiddencollections Digitizing Hidden Special Collections and Archives] or [https://www.clir.org/recordings-at-risk Recordings at Risk] competitions.''

[http://home.arcasearch.com/ ArcaSearch] is the leader in document preservation and search for historical, educational, corporate, and government archives. ArcaSearch's expertise is digitally preserving original materials, and then creating an easy to use searchable archive. ArcaSearch was awarded a patent in 2010 for its image capture process that produces high quality and fast search results. For a live demonstration, contact Chuck Miotke, ArcaSearch General Manager, at [mailto:chuck.miotke@arcasearch.com chuck.miotke@arcasearch.com] or at 989 430 3877.
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[http://www.audiomechanics.com/ Audio Mechanics] provides detailed evaluation and high quality preservation transfers of archival audio formats including analog audiotapes, digital media, discs and cylinders as well as optical and magnetic film soundtracks. Clients trust our aesthetic sensibilities and proprietary techniques. For over 24 years Audio Mechanics has serviced the preservation needs of domestic and international public and private institutions and the major film studios. Audio Mechanics offers an exclusive, highly successful process for cleaning and transferring deteriorating magnetic film (shrunken/vinegar syndrome).
* Highly experienced staff of audio engineers specializing in transfer/preservation/restoration
* Extensive noise removal software tools (NoNoise, Cedar, Waves, IzotopeRX, Adobe Audition)
* Library inventory metadata prioritization analysis for preservation/migration/archival transfer
* Incubation dehydration preparation and or baking for sticky shed syndrome transfer
* Mold abatement and remediation of audio media
* High Resolution preservation transfers up to 24bit-192K available
* Physical and aural evaluation, JPEG documentation and detailed QC reports during and after capture
* Checksum and digital data integrity confirmation on all deliverable files

Custom analog audio source machines

Audio Mechanics analog transfer equipment utilizes custom or modified audio electronics matching or exceeding original manufacturers specs and audiophile analog-to-digital converters for best possible sound quality capture. Our tape machine transports have been modified to facilitate shrunken material to minimize potential mechanical issues and to improve sound quality and the safety of transferring deteriorating masters.

Location and contact information: 1200 West Magnolia Blvd., Burbank, California 91506 | (818)846-5525 | John Polito
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[https://bavc.org/preserve-media Bay Area Video Coalition] is one of the nation’s longest-standing non-profit video and audio preservation organizations. BAVC remains a leader in the field, developing the highest quality preservation standards and practices while working with individuals and cultural, academic, and media organizations to meet a range of needs for preserving historically and artistically important video and audio materials. BAVC provides [https://bavc.org/preserve-media/services/assessment-and-planning Assessment & Planning] and [https://bavc.org/preserve-media/services/transfer-services Transfer services]. BAVC's [https://bavc.org/preserve-media/preservation-access-program Preservation Access Program] offers reduced rates on video and audio preservation services to artists and small- to mid-sized arts and cultural heritage organizations. Services include analog-to-digital preservation transfers at a discounted rate based on organizational budget size. NEA funding also supports BAVC’s efforts to advance audiovisual preservation practice and theory based on new and innovative developments in the field.

The deadline for the next round of PAP is forthcoming, and will likely be in the late summer of 2017! Questions can be answered by calling 415-558-2131 or by emailing preservation-at-bavc.org).
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[https://bmiimaging.com BMI Imaging Systems, Inc.] enables libraries to transform microfilm records into a digital format that provides easy access and image enhancement capabilities never seen before. In addition to the archival TIFF used for inclusion to the State/National repositories, BMI provides a solution that allows patrons to scroll digital microfilm rolls from a computer and use full text search to find records, articles, and photos for interim access. Adjustable grayscale allows users to turn black and white images into real photos. For more information please contact Jake Walker at (800) 488-3456 ext 406 or jwalker@bmiimaging.com.
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[https://cuttingcorporation.com The Cutting Corporation] is an Audio Preservation Lab that specializes in preserving obsolete analog audio recordings to high quality digital format. Using both contemporary and vintage audio equipment mixed with years of knowledge and experience, we are able to offer exceptionally high quality analog to digital conversions for practically any type of audio media. Whether you are a university archive with oral histories or an individual with family recordings, we can provide a customized digitization solution for your audio collection.

For additional information, please contact Aaron Coe at 301.654.2887.
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[http://www.databankimx.com DataBank] is a National Document & Information Management Company with over 23 years of experience in document conversion and automation. Their areas of expertise include the conversion of photos, archival documents and legacy microfilm or microfiche collections. They offer seamless integration with repositories for storage and retrieval of scanned media. For additional information contact Kathy Berger, Senior Solutions Consultant, at kberger@databankimx.com or at (603) 463-0154.
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[http://digitalmediaservices.com/services/high-volume-digitization/ Digital Media Services] has an Archival Digitization program for the preservation and conversion of physical tape and film formats into the latest digital file formats. It has digital archive service centers on both U.S. coasts to minimize shipping costs and times for clients. For a free quote or questions concerning an upcoming project, please contact Keith Eland, Senior Account Executive, by phone at 646-975-6122, or by email at keland@digitalmediaservices.com.
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[http://www.digitalrevolution.tv Digital Revolution] is a full service Multi Media facility located in the heart of San Francisco. Founded by Paul Grippaldi in 2004, Digital Revolution is dedicated to helping clients create high quality digital media. From Legacy Media Digitizing : Preservation : Archiving : Video Creation : Post Production : Disc & USB Copying Services, Digital Revolution is the choice of Corporations, Educational Institutions, Non-Profits, Film Companies, Government Agencies and Individuals for their multi-media needs. For additional information call Digital Revolution at 415-398-1200.
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[http://www.immurerecords.com/ Immure Records] is a Minnesota-based company that provides video and audio media transfer and restoration services for a variety of formats. Address: 1740 130th Ave. NE Blaine, MN 55449 | Phone: (763) 862-5992 | Email: info@immurerecords.com
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The [http://www.archive.org Internet Archive] (IA) is one of the world’s largest public digital libraries, with an extensive collection of human culture. The goal is to provide free access to all knowledge in an accessible, digital format for researchers, historians, people with disabilities, and the general public. The Internet Archive also offers online access and discovery of digital content, including [http://archive.org/texts public domain eBooks] and a more selective collection of public domain and non-public domain texts available for lending at [https://openlibrary.org OpenLibrary.org].

IA offers non-destructive digitization with a range of analog and born-digital formats, including: printed materials that are bound and unbound (books, magazines, yearbooks, etc.), archival materials, photographs, microfilm, microfiche, film and video (8mm and 16mm). Services include photographic imaging, digital processing, preservation, and access to digital data. Items to be digitized can be sent to one of 33 regional digitization centers around the world, or portable equipment can be placed on-site within libraries and archives. Questions: DigitalLibraries@archive.org

For an overview of the Internet Archive workflow, please click [http://archive.org/details/ProcessDocument this link]; To reach one of the Internet Archive centers, view contact info at [http://archive.org/scanning this link]; and to purchase digitization equipment, follow [http://archive.org/scanning/tabletopscribe this link].
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[http://www.lunaimaging.com/#welcome Luna Imaging, Inc.] offers digitization and software & hosting services for building and maintaining digital collections. Digitization services include: Preservation scanning; Access capture; Book capture services; and OCR, PDF, BookReader processing.
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[http://www.lyrasis.org LYRASIS] can support special collections and archival digitization projects by providing:

* Digitization and Project Management Services – working through its [http://www.lyrasis.org/digitize/ Digitization Collaborative] LYRASIS can digitize a wide range of source materials including print/manuscript/microfilm/photographic materials/audio/video and film and manage the process for you.
* Staff Expertise – information on processes and standards for project planning
* Professional Development Opportunities – LYRASIS offers a wide range of classes and can provide specific digitization classes to suit local needs.
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[http://www.massproductions.net/ Mass Productions] is an expert Audio, Video, and Film Preservation service with over 25 years of experience. Mass Productions specializes in digitizing large archives of obsolete media, and has an excellent reputation with Universities and Libraries. They have preserved thousands of audio and video recordings of great historical value.

Archive Services include:

* NARA and Library of Congress archive standards compliance
* Free onsite consultation
* Free pickup and delivery of your media ( in Boston area )
* Highest Resolution Media Transfers and Reformatting
* Mold removal, Tape baking, and repairs
* Film color correction
* Information Technology Consultation
* Metadata collection and embedding
* Free access copy files for web sharing
* Raid data storage and backup during production
* Delivery on Hard Drive, FTP, or Cloud

Please contact Mass Productions at [mailto:info@massproductions.net info@massproductions.net] or call 617-501-1738.
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[http://www.memnon.com Memnon Archiving Services] offers a range of services to digitize, restore, preserve and provide access to audio-visual and cultural archives. Our unique parallel workflow system is designed to ensure quality while allowing larger volumes of materials to be preserved. Memnon’s services are suitable for a wide range of archive owners – from cultural institutions, libraries, universities and record labels. Memnon has accrued over 15 years of experience working with audio-visual technology throughout in Europe, North America, Africa and the Middle East. Our workforce has evolved into a multi-disciplinary team of engineers, computer specialists, documentation and meta-data management experts and project managers. A Sony Company since 2015, Memnon has the flexibility to provide services in a way that best fits our clients’ needs. Our North American headquarters are located in Bloomington, Indiana.

* ''Outsourced Service'' - In four delivery centers around the world, we propose an easy and paramount solution for all your archiving needs, ensuring high efficiency and fast project completion.
* ''On-site Managed Service'' - Memnon in-a-box is our onsite managed service to provide digitization service in your facilities- planning, setup, ramp up, delivery, completion, removal. Memnon manages and operates the project in your facilities, with optional deployment of your staff and your equipment if requested. Leverage Memnon’s workflows, tools, operational procedures, equipment, staff and expertise, with no further investment for you.
* ''Hybrid Services'' - Depending on your specific requirements, Memnon can implement a mixed approach where part of the digitization process is done in-house while other parts are outsourced.

Specific Services:

* ''Audio Digitization'' - Memnon has a complete range of equipment for reading a wide range of sound formats. We make it our business to constantly acquire equipment of all kinds and have extensive experience of working with delicate and complex formats and innovative new techniques.

* ''Video Digitization'' - Memnon is committed to providing high quality cleaning and processing to enhance media quality while ensuring authenticity of the original content, fast transfer through latest automated preservation processes and excellent cost efficiency.

* ''Film Digitization'' - Film digitization is a sensitive and delicate task requiring a great deal of knowledge and know how. Our highly qualified team handles your material with care and puts all its skills to restore, clean, repack, synchronize sound, catalog and digitize your collections.

* ''Restoration and Treatment'' - Memnon ensures authenticity of the original content through latest, cost efficient and excellent preservation processes by high quality cleaning and treatment, a large panel of media quality enhancements and restoration of the recordings.

* ''QC & Delivery'' - Thanks to its 25-year history in the sector, the company delivers the highest quality in industrial processes and quality control methodologies trough industry and Memnon proprietary tools.

* ''Metadata Management, Content Indexation and Enrichment'' - We help to create, manage and consolidate from different source of metadata in the digitization and we can enrich your context based information with various automated processes.

* ''Project Management'' - To meet expectations precisely, we draw up detailed specifications with the clients representatives prior to the initiation of the project. Safeguarding of the collections fidelity and integrity is a must in any of our logistic and production processes. Specific procedures are in place to ensure a controlled and secured environment and all our employees are well aware of the cultural and historical value of materials and of the sensitivity to content’s nature.

* ''Workflow and Tools'' - Based on the unique expertise in handling large scale digitization and physical carrier handling, Memnon’s in-house R&D unit has develop proprietary workflow management platform and unique toolsets to advance, monitor and manage the entire workflow and carrier handling through the entire process.

* ''Cataloguing and Collections Planning'' - Memnon offers clients support and services for Cataloguing and Collections Planning process. This is often the very first setup to assess what exists in the archives, and to prepare and sort the collections for an accurate quote and shipment planning.

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The [https://www.nedcc.org Northeast Document Conservation Center] (NEDCC) is an independent conservation laboratory specializing in the conservation and preservation of paper-based collections. NEDCC provides professional conservation treatment for books, maps, photographs, documents, parchment, papyrus, manuscripts, architectural plans, and works of art on paper. NEDCC’s Imaging Services department provides digital imaging services and specializes in rare, historic, and oversize materials, as well as X-Ray Film scanning and reformatting for black and white and color negative films and color transparencies.
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[http://www.normicro.com Northern Micrographics] has over 60 years experience partnering with clients in library, academic, commercial and industrial markets to provide superior preservation imaging products and services. They scan a variety of object types including bound and disbound volumes, photos, maps, microfilm and microfiche. Northern Micrographics can also help place digital collections online with custom software products, ProSeek® and PhotoAtlasTM. They also offer a variety of other services including microfilming, microfilm duplication, metadata development, data conversions, hosting and book binding. Contact Northern Micrographics at 800-236-0850 or at sales@nmt.com to learn more.
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[http://www.nestorsalomon.com/ SALOMON MASTERING & RESTORATION] is an audio studio / laboratory, located in San Juan, Puerto Rico. Dedicated to mastering, conservation and restoration of collections of sound documents, recorded in different media and old formats, for organizations and archival institutions. The audio engineer Néstor Salomón also provides consulting services for archival organizations and record labels. Website: [http://www.nestorsalomon.com/ www.nestorsalomon.com] - Tel / Whatsapp: +1 787 949-9065 - Email: nestorsalomon_ar@hotmail.com
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[http://www.twocatdigital.com Two Cat Digital] has been providing world-class digital imaging and consulting services since 2003 with a particular emphasis on cultural heritage institutions and materials. Their passion is in designing and managing efficient digitization workflows, and for helping clients bring their valuable collections to light. Two Cat clients include hundreds of institutions including museums, libraries, universities, government agencies, architects, photographers and non-profit organizations. For additional information contact Two Cat at info@twocatdigital.com.

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If you would like to suggest a resource for inclusion on this page, send your suggestion to [mailto:info@diglib.org info@diglib.org]. The DLF is currently seeking professionals from DLF member institutions who would like to participate in a working group to develop and maintain the content of this page. Prospective volunteers for this group should also send expressions of interest to DigiWiki@clir.org.