NDSA:Meeting Minutes 3/5/14: Difference between revisions
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This was the third session on the NDSA National Agenda Content areas. This time we are focusing on Moving Image and Recorded Sound. We had four speakers | This was the third session on the NDSA National Agenda Content areas. This time we are focusing on Moving Image and Recorded Sound. We had four speakers: | ||
*John Spencer, BMS/Chase -- notes | *John Spencer, BMS/Chase -- notes: [[NDSA:Spencer2015_AV_notes_for_Natl_AgendaFINAL.pdf]] | ||
*Karen Cariani, WGBH -- slides (to come) | *Karen Cariani, WGBH -- slides (to come) | ||
*Linda Tadic, Audiovisual Archive Network -- slides | *Linda Tadic, Audiovisual Archive Network -- slides: [[NDSA:Tadic_AVAN_NDSA_CWG_20140305.pdf]] | ||
*Kat Bell, Dance Heritage Coalition -- slides: [[NDSA:Bell_DHC_DPDP_NDSA_CWG_Moving_Image.pdf]] | *Kat Bell, Dance Heritage Coalition -- slides: [[NDSA:Bell_DHC_DPDP_NDSA_CWG_Moving_Image.pdf]] | ||
'''Discussion after each presentation raised a few questions:''' | |||
Karen Cariani's presentation: | Karen Cariani's presentation: | ||
John asked: | John asked: Have you looked at LTFS 5 or 6? | ||
Have you looked at LTFS 5 or 6 | |||
Karen said: | Karen said: They're looking at LTF6 - Jumped 5, because with 5 the tape was thin and had issues | ||
Edward McCain asked: Documentary Journalism program - want to get resources for preservation of end product/production. Wondering about split between access/preservation systems? | |||
Karen said: 2 repositories - one for preservation one for access. Focusing on Access on the website - if someone wants to use preservation level file, they need to come in and use the files at a workstation. Network too slow to deal with such large files in realtime. | |||
Kat's presentation: | Kat's presentation: | ||
Jon Ippolito asked: | Jon Ippolito asked: You've been digitizing recordings stills/video from performances - How are you dealing with non-recording preservation, dance notation, etc? | ||
You've been digitizing recordings stills/video from performances - How are you dealing with non-recording preservation, dance notation, etc? | |||
Kat said: | Kat said: Separate grant for dance notation - not a "literate" field - no standard notation. Mellon did inventories and learned that choreographers are creating "director's cuts" with narration. Motion capture technologies out of Ohio State would be great, but very expensive. | ||
Separate grant for dance notation - not a "literate" field - no standard notation. Mellon did inventories and learned that choreographers are creating "director's cuts" with narration. Motion capture technologies out of Ohio State would be great, but very expensive. | |||
Performance art differs from more traditional fields - how to document the work and preserve content/context | Performance art differs from more traditional fields - how to document the work and preserve content/context | ||
Revision as of 13:27, 31 March 2014
CWG March 5, 2014
This was the third session on the NDSA National Agenda Content areas. This time we are focusing on Moving Image and Recorded Sound. We had four speakers:
- John Spencer, BMS/Chase -- notes: NDSA:Spencer2015_AV_notes_for_Natl_AgendaFINAL.pdf
- Karen Cariani, WGBH -- slides (to come)
- Linda Tadic, Audiovisual Archive Network -- slides: NDSA:Tadic_AVAN_NDSA_CWG_20140305.pdf
- Kat Bell, Dance Heritage Coalition -- slides: NDSA:Bell_DHC_DPDP_NDSA_CWG_Moving_Image.pdf
Discussion after each presentation raised a few questions:
Karen Cariani's presentation:
John asked: Have you looked at LTFS 5 or 6?
Karen said: They're looking at LTF6 - Jumped 5, because with 5 the tape was thin and had issues
Edward McCain asked: Documentary Journalism program - want to get resources for preservation of end product/production. Wondering about split between access/preservation systems?
Karen said: 2 repositories - one for preservation one for access. Focusing on Access on the website - if someone wants to use preservation level file, they need to come in and use the files at a workstation. Network too slow to deal with such large files in realtime.
Kat's presentation:
Jon Ippolito asked: You've been digitizing recordings stills/video from performances - How are you dealing with non-recording preservation, dance notation, etc?
Kat said: Separate grant for dance notation - not a "literate" field - no standard notation. Mellon did inventories and learned that choreographers are creating "director's cuts" with narration. Motion capture technologies out of Ohio State would be great, but very expensive.
Performance art differs from more traditional fields - how to document the work and preserve content/context