With so many storage formats available today, a question we are
often asked at the Digital Cinema Society is which one we recommend to
archive a filmmaker’s work? Which one will stand the test of time and
be trusted to preserve the precious fruits of our filmmaking labor? I’m
not sure I can give a definitive answer, but I can make a few points
for you to consider.
often asked at the Digital Cinema Society is which one we recommend to
archive a filmmaker’s work? Which one will stand the test of time and
be trusted to preserve the precious fruits of our filmmaking labor? I’m
not sure I can give a definitive answer, but I can make a few points
for you to consider.
So far, the most proven archival medium for entertainment assets is
film; it’s been around in much the same form for well over a hundred
years, while other formats have trouble surviving the decade. As a
personal example, I can still project or telecine the school projects I
shot on film. And although I hate to admit how long it’s been since I
was in college, you can probably get some idea if I tell you that the
video projects I did were recorded on B&W 1/2-inch reel-to-reel
tapes. I was sadly disappointed recently, when after a nearly
impossible search for a compatible VTR to play these back, the images
were no longer on the tape; just snow. All I can say is "Rest in Peace"
to those old tapes, "Ashes to Ashes," and in the case magnetic particle
tape, "Rust to Rust."
film; it’s been around in much the same form for well over a hundred
years, while other formats have trouble surviving the decade. As a
personal example, I can still project or telecine the school projects I
shot on film. And although I hate to admit how long it’s been since I
was in college, you can probably get some idea if I tell you that the
video projects I did were recorded on B&W 1/2-inch reel-to-reel
tapes. I was sadly disappointed recently, when after a nearly
impossible search for a compatible VTR to play these back, the images
were no longer on the tape; just snow. All I can say is "Rest in Peace"
to those old tapes, "Ashes to Ashes," and in the case magnetic particle
tape, "Rust to Rust."
Making Practical Choices
While a filmout would be one solution, it can also easily cost upward
of $100K and is way out of the reach of most digital filmmakers. That’s
why many of us need a more practical compromise. Tape formulations have
advanced in recent years, but even under ideal conditions,
manufacturers are only estimating a shelf life of about 25 years. Of
course, with the rapid pace of technological change, you may be hard
pressed down the road to find a VTR to play back any particular format.
of $100K and is way out of the reach of most digital filmmakers. That’s
why many of us need a more practical compromise. Tape formulations have
advanced in recent years, but even under ideal conditions,
manufacturers are only estimating a shelf life of about 25 years. Of
course, with the rapid pace of technological change, you may be hard
pressed down the road to find a VTR to play back any particular format.
Discs seem to have an edge in terms of physical longevity, with
"replicated" DVDs (those manufactured from a glass master, like a
large-scale studio release) having a distinct advantage compared to the
"duplicated" disc we can burn in our own computers. Replication,
however, usually only makes economic sense if you’re burning at least
1,000 discs and the data is also heavily compressed. For a single
program, therefore, the most cost-effective protection would probably
involve recording data files, rather than video, to your recordable
DVDs. If you’re considering a high-definition DVD format, you’ll have
to gamble on which one will win the format war, Blue-Ray or HD-DVD.
Much like the VHS vs. Betamax battle of years ago, you could get stuck
with the loser and have the Betamax of the 21st century.
"replicated" DVDs (those manufactured from a glass master, like a
large-scale studio release) having a distinct advantage compared to the
"duplicated" disc we can burn in our own computers. Replication,
however, usually only makes economic sense if you’re burning at least
1,000 discs and the data is also heavily compressed. For a single
program, therefore, the most cost-effective protection would probably
involve recording data files, rather than video, to your recordable
DVDs. If you’re considering a high-definition DVD format, you’ll have
to gamble on which one will win the format war, Blue-Ray or HD-DVD.
Much like the VHS vs. Betamax battle of years ago, you could get stuck
with the loser and have the Betamax of the 21st century.
Manufacturers quote life spans for discs of anywhere from 20 to 100
years, but the truth is that no one knows for sure, since they just
haven’t been around that long. What we do know is that it helps to keep
any of these media in the correct environments – cool, dry, out of
direct sunlight and with a minimum amount of handling.
years, but the truth is that no one knows for sure, since they just
haven’t been around that long. What we do know is that it helps to keep
any of these media in the correct environments – cool, dry, out of
direct sunlight and with a minimum amount of handling.
"For a single program, therefore, the most cost-effective protection
would probably involve recording data files, rather than video, to your
recordable DVDs.
would probably involve recording data files, rather than video, to your
recordable DVDs.
Another option is to keep your program on hard drives, stored as pure
digital information. This very well may be the most flexible, but it
can be unnerving not to have a physical piece of media that you can
have and hold, to label and put up on your shelf. Just remember that
drives can also crash, and by the time you’re ready to access the data,
you have to ask if the file format will still be understood and
readable by the systems of the future?
digital information. This very well may be the most flexible, but it
can be unnerving not to have a physical piece of media that you can
have and hold, to label and put up on your shelf. Just remember that
drives can also crash, and by the time you’re ready to access the data,
you have to ask if the file format will still be understood and
readable by the systems of the future?
I think the most commonsense approach in these times of such rapid
technical evolution is to save your masters on more than one format. At
least, that’s the approach I’m taking. If the budget and archival value
don’t justify a filmout, I recommend you still store your important
program data on a combination of at least two backups- on disc, tape or
hard drive. Besides proper storage, it will also be critical to monitor
these formats and make the necessary transfers to newer media before
the older ones become totally obsolete. As I’m sure the loss of my film
school video projects are no great tragedy for modern civilization,
your projects are important to you, and may also have lasting archival
value. You’ll someday be glad you took the care to properly preserve
your work.
technical evolution is to save your masters on more than one format. At
least, that’s the approach I’m taking. If the budget and archival value
don’t justify a filmout, I recommend you still store your important
program data on a combination of at least two backups- on disc, tape or
hard drive. Besides proper storage, it will also be critical to monitor
these formats and make the necessary transfers to newer media before
the older ones become totally obsolete. As I’m sure the loss of my film
school video projects are no great tragedy for modern civilization,
your projects are important to you, and may also have lasting archival
value. You’ll someday be glad you took the care to properly preserve
your work.
Sections: Business Technology
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