We Are Underused The Moving Image Collection of Matador Records by Seth Anderson
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5.5 Digital Storage Beggars Group’s digital storage, which contains Matador’s moving-image files, consists of three local servers, shared in one storage area network (SAN). The SAN is set to RAID level 5, which uses block-level striping and distributes parity data (backup) across the member disks. Offsite backup servers are updated daily on the bit level. Daily disk images are maintained in the backup for up to a month. The contents of Beggars US’s SAN is also backed up by the London offices storage array. Currently, the majority of moving-image files are stored on the Drobo server, which has 17.59 TB maximum storage capacity and 6.33 TB remaining. The BGMR server network supports the operations of the office and holds only a small segment of the digital moving-image collection. This server has a maximum storage capacity of 3 TB, with 2.16 TB remaining. Matador and Beggars Group currently utilize three databases to catalog their items: AD OLE, ESSO, and the Sessions Database. AD OLE is devoted to Matador related releases and catalogs all productions intended for commercial release, including audio releases and music videos. The database catalogs a unique ID, the video runtime, associated production company and/or director, and the aspect ratio of music videos. AD OLE contains records for productions completed in the past few years, missing many of Matador’s older videos. The ESSO database catalogs Beggars Group productions for both the US and UK branches. Beggars’ Session Database is intended for any non-commercial audio and video releases, including live sessions, web productions, or other promotional ventures. The database captures similar fields to the AD OLE database but non-commercial works do not receive a Matador catalog number. The Sessions Database is not updated regularly, and many completed productions are not cataloged. None of the databases tracks the location or distribution of the works it catalogs. Files are currently separated across two servers and one computer, in numerous directories. On the “videomissile” computer, used for the creation and distribution of derivative copies, files are separated by label and then band name. On the offices main storage server, BGMR, Head of Publicity Gabe Spierer’s directory organizes some files by their respective label, but other files are stored among videos from Beggars Group’s other labels. This directory is copied in its entirety on the Drobo server, where the majority of the labels digital video files are stored. This server contains the following directories: DVD Files, Matador at 21, Small Videos, Uncompressed Videos, Video Ads, Video Documents, Videos from BGMR, and Video’s from Gabe’s FTP. The “Small Videos” directory holds H.264/AVC viewing copies of music videos from the past 5-6 years. “Uncompressed Videos” holds master copies and high-res derivatives of music videos from the same period. “DVD Files” holds video and audio tracks encoded for burning to DVDs for distribution. The “Matador at 21” directory contains all footage and derivatives from the twenty-first anniversary celebration. “Videos from BGMR” and Video’s from Gabe’s FTP contain copies of files from the BGMR server.
6.1 Audio The small selection of audio materials in the collection includes open-reel 1/4” audiotape and cassette-based formats such as DATs and D2 tapes. These materials were likely intended for use during music video production and post-production. Playback and source audio items are often stored with the film and video elements of their respective video. Audio materials are predominately stored in their original containers with paper inserts or sticky labels appended to identify the contents of the tape. Open-reel 1/4” audiotape is stored on plastic reels within cardboard boxes. Audiotape is poorly wound, with popped strands, pack slip, and loose winds. Popped strands are sections of the tape that are raised within the tape pack. A pack slip is the shift of a larger section of tape causing a step in the tape pack. These instances of unevenness in the tape pack can result in the tape rubbing against the reel flange or the playback device’s tape guides, damaging or bending the tape. Loose winding can result in the unraveling of tapes at the head, in the case of open-reel materials, causing damage to the end of the tape. Cassette tapes—Betacams, DAT tapes, D2s—are often only partially wound, leaving the section of tape resting in the guides at the top of the cassette open to damage or dust and debris contamination.9 Magnetic media of this kind is susceptible to binder hydrolysis, more commonly known as “sticky-shed syndrome.” In the presence of moisture, the tape’s binder, the material that holds the tape’s magnetic particles in place, and the substrate, the base of the tape, begin to separate.10 This results in a loss of signal as magnetic particles begin to shed upon contact with the playback head. Evidence of sticky-shed syndrome was not noticeable through visual analysis. The biggest risk to the audio elements of this collection is obsolescence. Large portions of the formats extant in this collection are no longer in use. Playback equipment for these formats, while still relatively available is no longer manufactured and the label would better served by digitized copies if necessary. 6.2 Optical media Optical media materials make up a small portion of the collection, only sixteen CDs, DVDs, CD-Rs, and DVD-Rs. The materials stored on these items include DVD menus, viewing and distribution copies, and audio recordings. The disks in the collection are stored in jewel cases, which show some sign of wear due to the tight packing of the storage boxes. Disks are labeled with permanent marker or adhesive labels describing the contents. Optical storage media are not intended for long-term storage and are susceptible to data loss over time. Exposure to light, humidity, high temperatures, and physical damage can harm the laminate structures that hold information on the disk. Application of labels can cause the disk to become imbalanced during playback; labels may also delaminate over time causing interference with the playback machine. Marking an optical disk with marker can cause issues during playback. The inks of a permanent marker may penetrate the thin protective layer of the disk, marring the dye of the disk’s inner layers, causing errors during playback.11 6.3 Film Film materials in the collection are in remarkable condition, showing little to no sign of use or deterioration. They are wound on 3-inch plastic cores within plastic bags and stored inside cardboard boxes used by the processing labs. Lab reports and work orders remain inside these boxes or are taped to the outside. The films are tightly wound and appear to have not been touched since the transfer to video for editing. In a few cases, film reels are stacked on top of one another, two to a box, but most reels are stored alone in their own boxes. These boxes rest horizontally in stacks of three to four inside the larger cardboard shipping boxes. The two rolls of Super 8 film are stored on plastic reels, in bags, and housed inside plastic containers. These rolls of film are on acetate stock, an unstable medium for preservation of moving-images unless properly stored. Acetate film is susceptible to “vinegar syndrome,” the degradation of the film’s acetate base due to moisture exposure. Over time, the film base can shrink, buckle, and become brittle. The onset of vinegar syndrome is marked by a distinct vinegar smell that emanates from the film. The off gassing of film with vinegar syndrome can spread throughout film materials stored within close vicinity. Storing film in cold temperatures at a low relative humidity is the best prevention for vinegar syndrome. While none of the film materials in the collection displayed signs of this deterioration, fluctuations in temperature and relative humidity could cause the onset of vinegar syndrome degradation.12 6.4 Storage Media The small amount of storage disks and cartridges include production information including DVD mastering files and edit decision lists from video productions. Most of the floppy disks and the ZIP disk are stored in plastic boxes. A couple floppies are stored without any case or identifying labels. The DLT (Digital Linear Tape) items are a magnetic tape data storage cartridge. These are housed in the plastic manufacturer cases. The DLT tapes will be difficult to access due to the cartridges dependence on the DLT drive to access data on the storage tape. As of 2007, these drives are no longer manufactured, as other data tapes storage solutions have replaced the DLT format.13 Tapes should remain in their plastic cases and be stored upright on their spine. Optimum storage temperatures for DLT tape is between 64° F and 79° F and between 40% and 60% relative humidity.14 Floppy and zip disk drives are still available for purchase, but should only be used as a temporary means of access. The media on Matador’s disk media should be transferred to a hard drive if determined to be valuable. The disks in the collection appear to be in good condition, but it is not possible to know if they will operate properly without appropriate drives. Flexible magnetic disks, of which floppy and zip disc are two kinds, are not intended as long-term storage media; their short life span and susceptibility to unexpected erasure, make them ill-fitted for Matador’s needs.15 6.5 Video The video materials of Matador’s collection contain a large variety of formats from the last twenty years of video production. The tapes are mostly housed in plastic cases, showing few signs of wear and tear. Tape cartridges in cardboard sleeves and with no container are more susceptible to dust contamination, but only a few appear to have dust within the cartridge. If these tapes without plastic containers are deemed valuable, they will require re-housing in plastic containers for protection from dust and debris and to prevent deterioration due to the off gassing of their current sleeves. Video tape cartridges can be accidentally recorded over if record protection is not activated. Record protection measures are in the form of removable tabs on 3/4” U-matic and VHS tapes and sliding tabs on Betacam and digital tape formats. The activation of these protections is inconsistent throughout the collection. Most videotape in the collection is poorly wound, with individual strands of tape raised in the tape pack that could cause damage to the tape due to improper tension.16 Many tapes were not completely rewound before storage and the section of tape that rests in the top of the tape cartridge could collect dust and other particulates while stored this way. Like audiotape, video formats in Matador’s holdings are at risk of sticky shed syndrome. Shedding of videotape’s magnetic particles will result in signal dropouts and other image distortions. Visual inspection does not reveal whether tapes are suffering from sticky shed syndrome, further analysis would require playback equipment. Consumer grade video formats, such as Hi8 and Mini-DV, were not created for long-term preservation and will likely exhibit signal dropout during playback. A thinner tape base than professional videotape formats, these tapes easily stretch, causing issues with playback.17 In addition to sticky shed syndrome, videotape can be damaged by mold infestation due to warm and humid conditions. Moldy tapes can be toxic and should be handled with care during inspection and cleaning.18 None of the tapes in the collection currently show signs of mold, but the possibility of mold infestation should be taken into account when planning tape storage. As with other formats in the collection, videotape formats are at risk of obsolescence. The largest portions of the videotape collection consist of VHS, Betacam SP, and 3/4” U-matic tapes. U-matic tapes, a popular production format in the 1980s and early 1990s, are now an obsolete format. Locating and maintaining playback decks for these tapes is difficult and expensive. Betacam SP was the typical format in video production and broadcast, first introduced in 1986. The format replaced the U-matic format for most uses due to its ability to record component video signals, providing a better image quality. It is still a viable production format, but has been phased out by the Digital Betacam format. VCRs for VHS playback are still widely available, but the quality of these tapes is lower than professional formats like Betacam. D2 tapes, another format at risk due to format obsolescence; this could be a considerable problem for the label as a number of masters appear to be on this format. Digital video formats, such as Mini-DV and HDCam, are still widely supported, but the prospect of equipment availability in the long-term is doubtful and the volatility of the formats require immediate action for preservation. 6.6 Digital The digital collection of Matador Records, and Beggars Group, features a variety of digital video formats. The largest portions of the collection are encoded in the H.264 codec, a popular compression standard for high definition video. This encoding is used for derivative, distribution copies of files. Master files are predominately in Uncompressed YUV (8 or 10 bit), ProRes, or DV (25/50) formats. In the encoding of digital files, video and audio, two elements effect the structure of a file: the wrapper and the bitstream. Bitstreams are the content of the file, the encoded video information. These are defined by the codec used for encoding, such as H.264 or DV. A wrapper is a file structure that structures the bitstreams—video, audio, and metadata—that make the file readable by a computer’s operating system. Quicktime and MPEG-4 are the common wrappers in the digital collection. A chief consideration for preservation of digital files is the sustainability of the codec and wrapper. Digital video formats and codecs currently in use will not last. Preservation of digital content requires policy-making for the management and future migration of bitstreams to new wrappers or codecs. Codecs and wrappers should be analyzed to determine the best formats for use and long-term preservation. The ProRes format is a good example of a digital video format that is widely adopted in production workflows, but may not be suitable for long-term storage. ProRes is a proprietary format, under the control of the codec’s creator, Apple. Despite its wide adoption among video makers, ProRes may no longer be supported by Apple in the future and would require migration to a new format. Open file formats, like the DV and H.264 codecs, are well-documented—meaning their coding structure is freely available—and do not rely on specific software or hardware for playback. Open code allows third parties to develop tools for the management and migration of bitstreams. An open file format is ideal for preservation as it is not at risk of losing support or being exploited by its developer. Storage of the digital collection will require a devoted policy to storage hardware and its maintenance. A typical hard disk drive has an estimated lifetime of three to five years,19 requiring the migration of data to new storage medium before failure and loss of data. Redundancy and geographic dispersal—storing copies of digital content at various, dispersed locations—are the most effective strategies for alleviating the risk of storage failure. Beggars Group currently maintains backups of their digital files at various office locations across the globe. Digital files are at risk of being lost if they are neglected after creation. Unlike analog materials they cannot be stored for years and still be accessible upon retrieval. An active preservation strategy ensures the continued usability of a digital file through obsolescence monitoring of file formats, storage management, migration of files and reformatting, and the collection of metadata.
There is no consistent labeling or description of items in the analog collection. Depending on the origin of the materials, the details of the labeling may be thorough, as in professionally duplicated copies, or may only contain a hand-written description. For example, the video dailies from the Silkworm “Wet Firecracker” production, is labeled with production name, video runtime, the VTR used during the film transfer, the hour number from the video shoot, the film gauge of the transfer source, and the name of the company that oversaw the transfer. By comparison, the collection also contains a tape labeled “David Kleiler Matador.” An attempt to catalog items and identify masters, archive, and viewing copies was attempted around 2001, but the criteria for these designations is not clear and only a small portion of the collection features the labels from this effort. The “archive labels” from this cataloging effort contain information featured on the tape labels, including names of performers, songs featured on the program, and filming location. The description of digital files is equally disorganized, as there is no standardized naming convention for files. These items tend to feature the artists name or initials, the title of song or production, and some indication of its intended distribution platform or bit rate. For example, the files for Kurt Vile’s “Jesus Fever” music video include a master file titled “JesusFever_Final_uncompressed.mov” and a derivative copy titled “Kurt Vile - Jesus Fever(YT).mov” for distribution on YouTube. These file names are not standardized and the structure of names vary. File names also feature non-machine readable characters such as quotation marks and exclamation points. The lack of a standardized naming convention contributes to the redundancy of derivative copies. Matador does assign catalog numbers and unique identifiers to recent music video productions. Since music videos are considered commercial releases, they are given a catalog number as part of the Matador Records discography. The catalog number consists of the three-letter Matador identifier “OLE,” followed by a chronological serial number and a format code. There is no rule regarding the numbering of format codes. “1” and “2” are reserved for vinyl and CD releases respectively, but digital releases (audio and video) can be assigned in the following order depending on their availability: 6, 5, 3, 8, 0, 4, and 9. For example, the catalog number for Cold Cave’s “Life Magazine” video is OLE-935 6. Music videos are also given an International Standard Recording Code (ISRC) by the label’s AD OLE database. An ISRC is an international standard (ISO 3901) for applying unique identifiers to sound recordings and music videos. The ISRC follows a standard format that includes the country of origin [US], a code designating the item as a digital video [MDV], the year of production [##], and a non-repeatable unique identifier. A complete ISRC number looks like the following: US-MDV-12-12345.
Intellectual property and copyright status is an overlooked aspect of the Matador Records collection. The label contracts directors and production companies for the creation of music videos and other promotional videos. Whether these creators sign a contract for their services is a matter of contention. According to Brett Vapnek, who managed music video production in the 1990s, directors were required to sign a standard agreement with the label.20 Matador’s longtime Director of Publicity Nils Bernstein stated this arrangement is less formal. Often the agreement between the label and creators is handled via e-mail and no formal contract or legal documents are exchanged. According to Bernstein, this is a standard practice among many smaller record labels, and directors do not anticipate a formal agreement with the label.21 The music video and production material is assumed to be the property of the label as they fund the production. All copyright notices on Matador-produced works attribute ownership to the label as well. Matador’s agreements with directors and production companies, while informal, fall under the protection of Section 101 of the 1976 Copyright Act. This section of the law defines the category of “works made for hire,” in these cases the employer, not the employee is considered the “author” and therefore owner of the copyright. The relationship between the employer and the contractor must fit within two specific criteria to be considered “for hire”: (1) it falls within one of the nine categories of work, one of which is audiovisual works and (2) a written agreement between the employer and contractor defines that the work is made for hire.22 Despite the lack of formal language stating the “made for hire” status of Matador’s audiovisual productions, the intention is inherent in the language of the label’s correspondence with creators. In addition to the works solicited by Matador for promotional services and other releases, the collection contains a large amount of audiovisual materials from television programs and amateur and professional videographers. Copyright status of these works will need to be determined before any footage may be used for promotional or retrospective materials. The television appearances on MTV and major network late night shows are off-limits without licensing. More esoteric programs, such as foreign, college, and local access television programs will require more research into the existing copyright holder of the footage.
The moving image materials in Matador Record’s possession require immediate attention to ensure the preservation the label’s visual legacy and future. Defining policies for the collection and management of the collection and future productions will allow the label and Beggars Group to maintain control of their analog and digital assets. Since the label is not an archive, the following recommendations focus on policies and actions allowing Matador to leverage their assets for promotion of the label’s most valuable assets, their recording artists and albums. 9.1 Policies and management 9.1.1 Collection Policy The first step in managing the analog and digital collections is to identify what types of moving image materials the label needs to collect and maintain. Previously, Matador retained a majority of the footage that arrived at their offices, resulting in a large and disorganized collection of tapes and film. This practice is still in place, as the wide variety of digital files of television appearances and life footage will attest. Matador and Beggars Group should decide what categories of videos contain commercial, promotional, or historical value. The policy should define (1) the types of moving images the label will collect, (2) acceptable formats for submission and acquisition, and (3) the intended use of the materials in Matador’s holdings.
9.1.2 Submission and Acquisition Policies Beggars Group current submission policy is outlined in a video delivery protocol document that specifies delivery formats, acceptable frame rates, and aspect ratios. The delivery protocol requires moving-image works be submitted both physical (DVD or Beta) and digital (uncompressed or ProRes) formats. This policy is in need of an update to conform to the company’s current submission practice, using solely FTP accounts and hard drives. The label currently requests uncompressed 8- or 10-bit files or ProRes copies upon submission of a work. ProRes is a common master format due to its compatibility with Apple’s Final Cut Pro, the common editing software for born-digital productions. The format is also ideal for its ability to provide high quality images at a lower file size. Unfortunately, ProRes is a proprietary format, meaning the software is licensed under exclusive rights of Apple, the copyright holder. A proprietary format is a liability to long-term preservation, as the file’s bitstream—the content—is encoded in a format that may be inaccessible if Apple decides to no longer support the ProRes format. Operability is also a concern with proprietary formats, as Apple can control what playback software their format requires. Conversely, an open format, one in which the coding is freely available to developers such as uncompressed or DV files, allows for owners to more freely work with their files. Open formats are intended to provide increased operability across a variety of software and platforms. For long-term preservation, this means content encoded in an open format will likely be better supported for migration to new formats or may be continually supported by playback software. The convenience of open formats may not be obvious in the current production environment, but the probability of future difficulties with proprietary formats requires consideration. A more pressing issue is the variance in storage size between ProRes and uncompressed masters. Typical moving image works in the collection run approximately 3-5 minutes. An uncompressed 1080p 8-bit file is approximately 10 gigabytes per minute. Comparably, a ProRes 422 HQ 1080p video requires approximately 1.6 gigabytes per minute. The storage size and slow transfer rate of uncompressed files could be problematic for Matador, but the improved quality and open source code of the format make it ideal as a master. To alleviate the taxing size and bandwidth requirements of uncompressed files, Beggars Group and Matador could generate mezzanine files. A mezzanine file is intended as an intermediate file between the lower resolution access and the highest quality preservation masters. It should be equal to or greater than the highest resolution required for exhibition of the work. For Beggars Group’s purposes, an Apple Pro Res 422 HQ 1080p would fulfill these criteria. Again, the company must consider digital storage constraints as a limitation on their ability to support another copy of an audiovisual work. 9.1.3 Unique Identifiers/Naming Convention While Matador currently generates unique identifiers for a number of its commercially released videos, the ISRC and catalog numbers are not ideal for the entire collection. Beggars Group needs to establish a unique identifier schema that works across each label, so individual materials, videotapes and files, can be traced back to a master inventory or database. An ideal identifier is non-repeatable to ensure it is distinct among the collection. A suffix, such as BG to represent Beggars Group, followed by a five-character serial number, 012345, is the recommended format for Beggars Group’s unique identifier. The unique identifier may also be used as part of the naming convention for digital files. A naming convention, a standardized system for titling files, should be unique and descriptive, allowing a user to discern a necessary amount about the content and intended use of the file. To avoid operability issues across operating systems, conventions should use lower case characters and avoid special characters, such as quotation marks and periods. Including the version of the file in the name will help designate the intended use of each copy. The following schema is recommended for Beggars Group’s naming convention: [Unique ID#]_[Artist]_[Title]_[Version]. For the YouTube copy of Yo La Tengo’s Here To Fall video, the file name would be: bg12345_yolatengo_heretofall_youtube.mov. 9.1.4 Intellectual and Physical Control Intellectual control involves the use of catalogs and description to identify and manage valuable and relevant collection items.23 Physical control is the ability to track the storage and location of items in the collection.24 The first step in gaining intellectual and physical control is completing the cataloging of the collection, both analog and digital. Items stored at the Manhattan Mini Storage space and the Beggars Group offices, have been cataloged at the item level with detailed descriptions of format and content (See Appendix D). The materials in Voltage Video’s possession were cataloged according to the inventory supplied by the company. Due to time constraints and the large amount of tapes at the Secaucus warehouse, an item-level inventory was not completed for these items. A box level count of formats was completed to provide an understanding of the amount of items and the variety of formats stored at this location. An item-level inventory of these items should be completed as soon as possible to enable the consolidation of the collection. Using the collection policy as a guide, the analog videos should be consolidated to eliminate unnecessary copies of videos and create a core collection of tapes and files of value, representative of the legacy of Matador Records. For example, at the Secaucus location, a number of boxes contain multiple VHS distribution copies of videos from 1994-1997; better copies of much of this content are available within the collection and these tapes can be discarded. The consolidation of the analog material will require the removal of tapes from the Voltage Video duplication house. Voltage Video is currently in possession of Matador’s sole remaining copies of certain music videos. As a duplication house, Voltage is not responsible for the long-term preservation of the tapes in their possession. Matador and Beggars Group should not rely on Voltage as a storage location. Identifying best copies and masters of moving image materials will require some understanding of the production history of the time in which a video was created, as well as an understanding of signal types associated with certain formats. The majority of Matador’s legacy video materials were created during the 1990s, Betacam was the predominate video tape format used by broadcast networks and will likely represent the best copy of most works created in this time period. Matador videos created within the last ten years are mostly on DigiBeta tapes, currently stored at Voltage Video. This cassette format will likely contain the best copies of videos from this period. The consumer format VHS and the older broadcast U-matic format, may in some cases be acceptable as master copies, but the video signal stored on these formats is often of a lower quality than that on Beta cassettes. Betacam, Digibeta, and the few D2 tapes in the collection will feature higher image resolution and color value. Identifying two best copies of each work in the collection, Matador may then centralize storage in one location. Materials such as the original film elements and video dailies should be retained for their uniqueness and historical value. Similar steps are required within the digital collection to gain control of the collection. A main problem of the digital collection is the proliferation of derivative copies and the unnecessary copying of files across different directories and servers. It is recommended that Matador retain one master copy and one compressed derivative for access and distribution of each work in their collection. Mezzanine copies may also be created if storage space is available. Works that do not have high-quality masters will require only one copy to serve as both access and master. An item-level inventory (See Appendix D) of all files related to Matador’s digital moving-image works, including audio and image files used for production, was created to assist in the identification redundancies and relevant materials. 9.1.5 Metadata Whether in an inventory, like the spreadsheet created for this assessment, or a database, it is necessary to collect metadata—data about the items in the collection—to maintain intellectual control. Three categories of metadata are required for each item in the collection: Descriptive, Technical, and Administrative. Descriptive metadata is information related to the content of the item. Technical metadata is information related to the format or file type of the media and the attributes of the content (bit rate, aspect ratio, etc.). Finally, Administrative metadata is collected to assist in the tracking and management of collection items. Metadata standards, created and managed by organizational bodies in the library and archives field, provide guidelines for appropriate cataloging fields. For the metadata schema below, fields from PREMIS, a schema focused on recording digital preservation information, and PBCore, a schema created and managed by the Corporation for Public Broadcasting, were used as a basis for a simplified schema. The following metadata fields should be captured in the course of any future cataloging of moving image materials:
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