We Are Underused The Moving Image Collection of Matador Records by Seth Anderson
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Collecting metadata is essential to maintaining intellectual and physical control over the collection. Metadata will serve as a record of the collection and the conservation or preservation work done to the collection. To find the data for cataloging digital files, a file-parsing tool such as MediaInfo can be used. This program examines files and lists metadata in an easy to read text layout. 9.1.6 File Organization The current directory structure of Matador/Beggars moving image server is somewhat intuitive, but features too many directories serving as dumping grounds for old or unused videos. By implementing an overarching directory structure, videos will be sorted as granularly as possible. The current practice of separating videos by label and then by artist is suitable to this person. Videos should then be separated by category, to clarify the source of each file. The next level of the directory outlines the title of the project or work, followed by a folder for master, access, and distribution copies. Based on this recommendation, Beggars Group’s Drobo directory would look like the following: Label: Artist/Band: Category: Project/Work Title: Master, Access, Distribution. This may seem like too many layers, but the increased specificity of the directory will keep the files organized and help users more easily find files. 9.1.7 File lifecycle A recommended workflow for the lifecycle management of digital files is provided in Appendix A. This workflow introduces data fixity checks (checksums) and file management measures. Data fixity or integrity checks ensure that no change or obstruction has occurred in a file following a transfer or copy. Checksums are fixed data values created by a hash algorithm, the most common being MD5. Generating a checksum upon receipt of a file, the checksum value will then be checked against each copy or transfer of the file. Open-source applications, such as MD5 for Mac, allow for simple checksum creation and validation or the process can be completed in simple command line steps. In addition to the implementation of data integrity checks, this workflow has introduced a disposal timetable for digital distribution copies. Removing distribution derivatives from Beggars Group’s digital storage will maintain a manageable level of two files for each project, one serving as a master, the other for access purposes. Master copies, or mezzanine files, can be used as source files to generate derivative copies in the future as needed. 9.2 Conservation Actions 9.2.1 Storage—Macro environment Gaining physical and intellectual control will allow Matador to streamline their physical storage infrastructure. The American National Standards Institute (ANSI) identifies a storage temperature range of 50° to 68° F and relative humidity target between 20-50 % as ideal long-term storage of video and audiotape.25 ANSI also provides recommended storage conditions for film materials between 14° and 36° F and 20-50% relative humidity.26 Currently, the Manhattan Mini Storage facility is the only storage site that meets the temperature criteria for magnetic media. Its location within the vicinity of the Beggars USA office makes it convenient, but the lack of humidity control could be detrimental to the longevity of Matador’s audio and video assets. The lack of a power source within the storage room at Manhattan Mini Storage means remedial humidity and dust control, with a humidifier and air filter, may not be possible at this location. A thermometer and humidity gauge should be placed in the storage room to monitor changes in temperature and the stability of relative humidity. If humidity fluctuates regularly or does not fall within the recommended boundaries, it will be necessary to seek a storage location with proper environmental controls. The conditions at Manhattan Mini Storage will never be ideal for long-term film storage, but simple conservation actions will hopefully prolong the lifetime of the film elements in this subpar film storage environment.
The microenvironment of the collection items is a necessary consideration in collection conservation. Tapes should be removed from their moving boxes and stored openly on the storage room’s metallic shelving to allow for proper air circulation. Videotapes should be stored on end, like books on a shelf. If laid horizontally, the pressure exerted by the container and gravity may deform the tape and compromise its operability. The spine of the tapes’ cases should face outward for easy identification and organization. Tapes should be rewound to correct the improper winds and “exercise” the tapes, which relieves the stress of tight tape-packs. Finally, record protection tabs should be removed or activated on all items to prevent the negligent erasure or tape-over of these materials. Open reel video and audiotape should also be stored on end, so the tape is supported by the reel’s hub.27 Loose ends of tape should be secured to the reel flange or the roll of tape with paper adhesive tape. As with the cassette formats, open-reel video and audio should be rewound to prevent damage to the tape’s edge. Tapes should be housed in archival quality boxes or plastic cases and stored away from potential magnetic fields in neighboring storage units. Film rolls should be removed from their cardboard boxes and plastic bags and re-housed in archival quality film cans.28 Cans should be stored horizontally and may be stacked on top of one another. They should not be stored in cardboard boxes, but placed on metal shelves to allow proper air circulation. These materials should not be handled or screened for any other purpose than transfer. Any paper materials within the current storage boxes or information written on the boxes should be retained or documented for future reference. Optical media, such as DVDs and CDs, should be stored vertically on the spine of plastic jewel cases. If cases were damaged in storage, they will require replacement. Labeling optical media is a main concern. Adhesive labels should not be applied to the face of the disc, as this can cause imbalance during playback. Inks in marker used to label discs can soak into the substrate of the optical media and damage the medium. Labels or markings should be placed on the clear inner ring of the disc, where there is no information stored. If retained, the floppy discs, Zip discs, and DLT tapes should be stored vertically in archival quality inert plastic cases. Labels should be applied only within the designated label area. Storage media should be kept away from potential magnetic fields, such as electrical equipment, to avoid accidental erasure.29 Since Matador and Beggars likely do not have the ability to access or read the information on these storage media, it may be necessary to have the data transferred off of the discs and tape. To ease navigation of the collection, materials should be stored in a logical order. Like the digital files, items should be stored by artist and project. Materials should be labelled clearly, with title, artist, element (master, video daily, distribution copy, etc.), and unique identifiers that can be cross-referenced to an inventory or database. 9.3 Long-term Preservation Strategies Considering the value and re-use prospects of Matador’s moving-image materials, it would benefit the label to pursue a more long-term approach to preservation. For the analog materials, this will simply involve proper storage, but long-term digital preservation requires the implementation of preservation actions throughout the lifecycle of the digital materials. The label then, must re-think its approach to managing its digital assets to ensure their persistence over time. 9.3.1 Archival storage and geographic dispersal The long-term preservation of the analog materials in Matador’s holdings requires proper storage and geographic dispersal. In the consolidation of the collection, Matador should retain, when possible, two best copies of each production, television appearance, promo, etc. Storing one set of these tapes locally, at the Manhattan storage unit, will enable easy access to these materials. The second set of best, or master, copies should be stored remotely at an archival storage facility with proper storage parameters for magnetic media and film materials. A list of archival storage vendors is available in Appendix B. These materials will serve as back-up copies, to be used in case local copies of materials fail. 9.3.2 Digital Preservation Preserving the digital moving-image materials of Matador and Beggars Group requires active management over time. The facets addressed in a digital preservation infrastructure are data integrity, or fixity, format obsolescence monitoring, migration, and refreshment. Tracking data integrity ensures files do not become corrupt over time, during transfers, or following migration. Implementing data integrity measures like checksums, as described previously in the report, will enable Beggars Group to track data integrity and respond to corruption of their digital assets. Secondly, format obsolescence monitoring mitigates the risk of Beggars’ files becoming unreadable as computers and formats evolve or are no longer supported. Together with monitoring for format obsolescence is planning for the migration of digital files to new formats. Digital format migration involves the transcoding of digital media in obsolete formats to new readable media formats. Format migration should be considered far in advance of the actual migration. Similar to migration, the refreshment of data involves updating the hardware that stores the files. Planning ahead for the replacement of the hard drives and servers that store the label’s media mitigates the risk of data loss due to storage failure. It is recommended that data storage be refreshed every five years, as storage drives are more susceptible to failure following their fifth year of operation.30 9.3.3 Digital asset management Beggars Group and Matador can streamline many management and preservation actions by implementing a central management portal for moving-image and other media assets. Separating catalog records across multiple databases needlessly complicates the content management practices of Beggars Group. A centralized database or digital asset management (DAM) software would offer a comprehensive set of tools and features to automatically organize files within directories, generate and track distribution copies, streamline cataloging of all media, and automate preservation actions. Expanding the capabilities of one of Beggars Groups current FileMaker Pro databases may perform the same actions as a DAM solution, or affordable digital asset management software could be purchased. A list of potential DAM software providers is available in Appendix B. 9.4 Digitization of Analog Video Collection Digital distribution of the content in Matador Record’s legacy moving-image collection is a viable means for capitalizing on the content’s value. Matador has always effectively utilized interest in their back-catalog via re-releases and discount copies of their most popular items. The release of high-quality copies of the label’s visual legacy will monetize the currently idle content of the legacy videos, through Beggars Groups agreement with YouTube. Additionally, the release of old music videos and live footage, including any coverage via blogs and music news sites, will highlight older and overlooked releases still available from the label. Selection of materials to digitize should begin with those items for which Matador holds copyright. This would include any music videos, promotional material, and live footage solicited by the label. Television appearances and other content not owned by the label will require further research before digitization can take place.
The following work plan is a model for the implementation of content management policies, the digitization of legacy video materials, and the installation of a comprehensive asset management solution. This plan is intended as a model for the entire Beggars Group collection, to be implemented across all the company’s record labels following a successful implementation for Matador Records. 10.1 Work Plan Phase 1: Completion of inventory and consolidation of collection (6 weeks, 3 participants)
Phase 2: Re-housing and Digitization (2 months, 3 participants)
Phase 3: Planning and policy making (concurrent with Phase 2; 6 weeks, multiple participants)
Phase 4: Ingest and general maintenance (1 month, multiple participants)
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