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>From the issue dated April 29, 2005
The Revolution Will Be Digitized
Libraries create online archives to preserve and share film and video
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By SCOTT CARLSON
Charlottesville, Va.
Amid thousands of boxes of 16-millimeter film piled in a library basement
here at the University of Virginia, one dated May 1967 is tempting to view.
In big black type on a yellowing, brittle label it says: "Bloodmobile
Accident."
It might be a spectacle, but William G. Thomas III, who helped rescue this
news footage from a local TV station, had gone hunting in the heap for
moments of more significance to the state's history.
Mr. Thomas, director of the Virginia Center for Digital History, and his
assistants have found and digitized about 250 clips involving Virginia's
civil-rights movement. Now anyone around the world can visit the
university's Web site and see the visual record, both the triumphant and the
ugly -- demonstrators singing "Freedom!" on courthouse steps, and Virginia
politicians decrying integration.
So far the films are simply listed by date on the Web site, with a short
description of what each video contains. But Mr. Thomas also sees a day when
students or scholars can search the entirety of an old film, using computers
to recognize, say, speech or images. Those searches might work much as those
that students do now for words within the text of a journal article or book.
"We are really at the beginning stages of how we present, manage, and access
video materials," he says.
Moving images have been the dominant communication form of the past
half-century. While libraries have long collected audiovisual materials, the
rows of videotapes and film reels have been difficult to store, catalog, and
access. Now, with new digital tools, librarians can better preserve their
collections and send video materials out to classrooms and faculty offices.
Digital archiving does present challenges. High-quality digitization is
expensive, so libraries often have to raise money to take on even a small
project. It can be a race against time, as the volume of film and video in
libraries, studios, and private collections is huge and rapidly
deteriorating. Videotapes have an expected life span of only a couple of
decades, and the tapes deteriorate a little with each playing. And some
older videotapes are in formats that can be viewed only on players that are
no longer manufactured.
What's more, the vast majority of film and video material is still under
copyright, and copyright holders have been reluctant to allow the breadth of
access that campus librarians want to offer.
Despite the hurdles, college libraries are finding their pace and starting
to digitize their film and video collections.
Streaming Footage
The University of Wisconsin at Milwaukee, for example, acquired more than a
million feet of film from a local television station's news division and
plans to put the footage online. It will be organized by subject:
African-Americans, Vietnam, breweries, and, of course, the Green Bay
Packers, among many others. In the deal with the station, the university can
allow the films to be distributed for private or educational use. Only users
with commercial interests would have to pay the station.
To save money, says Mary K. Huelsbeck, an archivist at the library, the
university is creating a digital version that is not of archival quality but
will let users quickly call up the materials. To do so, Milwaukee is using
digitizing software intended for home use -- a bargain at only $120. "We're
looking at this more as a means of access," she says.
Virginia's video projects are much like Wisconsin's, with an emphasis on
access and teaching. Judith Thomas, director of the media center at UVa,
says video is following the same arc that still images followed online 10
years ago.
"Suddenly you could deliver images over the Web, and they became
tremendously attractive as cultural documents outside of the traditional
image-driven fields of art history or architectural history," she says. "Now
we can do it with video, and we have all kinds of faculty more oriented
toward visual material."
One example, she says, is Mr. Thomas (the two are not related). Almost
immediately after the TV-news films arrived at the library, he expressed
interest in finding those related to civil rights and digitizing them right
away.
The films he selected, identified only by vague labels on their boxes, now
sit neatly in plastic bins in the library's digitization center, on the
ground floor.
A staff member takes each one and loads it into what looks like an old film
projector. The machine creates a digital image of the film and transfers
that to a computer. Library staff members or historians note who is in each
film and what subject matter is covered. Sometimes the staff members find
printed notes folded and stuffed into the boxes, which can offer valuable
clues to the contents. The information gleaned from the film and the labels
go into a catalog and onto a description on Mr. Thomas's Web site.
Digitizing just those 250 films, most of them only a couple of minutes long,
cost at least $40,000 in equipment and staff time -- perhaps more, he
estimates. And that is only a small portion of the video materials the
library would like to digitize.
To get a sense of what is left to do, one need only visit the library's
basement. The news footage sits in big boxes, labeled by year, stacked five
feet high and at least as long. There is a film from 1969 labeled "Richard
Petty on switch to Ford," which probably contains information about early
Nascar and one of its legendary drivers. Another film documents a
civil-defense drill from 1959.
Most of the pile is a cataloger's nightmare. Footage of airport repairs, a
robbery, a Southern-music conference, and a meeting of Israeli officials are
all packed together.
Some of the reels sit out, lost from their labeled boxes, and labels on some
boxes have flaked off, the glue having dried out long ago.
Ms. Thomas says the library will have to find or raise money to digitize the
rest of those. Some companies offer comprehensive preservation services,
which include digitization, but they are expensive. Ms. Thomas recently got
an estimate of $65,000 to clean and digitize 100 hours of interviews made
for a documentary on Brown v. Board of Education.
And because of shifting standards, once the material is in digital form,
there is still no guarantee that it will last.
A low-resolution online video that Ms. Thomas's office helped produce for a
scholarly project five years ago is already outdated, and she wonders when
she will have to update the digitized version of the film being worked on
now. Dealing with film and video in the digital age, she says, can be like
"hitting a moving target while standing on shifting sand."
"There aren't clear standards in the industry on what format to use at any
level of the production process, even in born-digital materials," she says.
Librarians hope that the Library of Congress will help establish standards
in film digitization. The library is constructing a multimillion-dollar
facility in Culpeper, Va., for work on audio, video, and film preservation.
Carl Fleischhauer, a digital archivist at the Library of Congress, says it
is well on its way to archiving audio recordings digitally, and he expects
film and video to follow, with standards set as the process continues.
Massive storage capabilities, measured in petabytes (quadrillions of bytes)
of data, will be set up at the Culpeper facility -- and they will be needed
if digital archiving of video gets under way.
Legal Restrictions
Copyright may be a more difficult obstacle to overcome than technology.
Vanderbilt University's library has been recording and archiving network
news broadcasts for more than 30 years, amassing a collection of 40,000
hours. Recently the university started digitizing that collection, in an
attempt to preserve it.
"The legal and business issues for our operation are probably more complex
than the technical ones," says Marshall Breeding, library-technology officer
at Vanderbilt. "That seems endemic for video content."
The university would like to offer its digitized video footage to the
general public through the Internet, but so far most of the news networks
have not granted permission, he explains. (CNN allows Vanderbilt to stream
its archives to colleges that subscribe to the collection.) The networks
"fear a loss of control" of their video property, he says.
"If Vanderbilt were to get sloppy and let [video] slip to free availability
on the Internet, that would be very damaging to them," he says. "We want to
show them that we are responsible, that we are going to stream it to only
educational customers, and that we might be able to channel business to
them" -- from, say, filmmakers who want to order clips directly from the
networks.
Even if a source grants a library permission to digitize and distribute a
film, says Howard Besser, a professor of cinema studies at New York
University, there might be other rights -- in multiple layers -- to
consider, such as those covering the music, the actors, or archival footage
within a film: "It's a hairy situation."
For example, he notes, conflict over the rights to archival footage and
music used in Eyes on the Prize, a 10-year-old, award-winning PBS
documentary about the civil-rights movement, has kept the program from being
rereleased on DVD. (Because of budget constraints, the filmmakers secured
the rights for only a limited time.) Publicly showing the documentary -- let
alone digitizing and streaming it -- is illegal.
Some companies make obtaining rights to film and video easier by clearing
all of the permissions needed and then selling the rights for digitization
and streaming to libraries and other institutions. Last year James Madison
University ordered documentaries and educational videos from Films for the
Humanities & Sciences, in Princeton, N.J., with the intention of putting
them online.
For a one-time fee of $80 to $130 per title, the university's librarians can
offer students and instructors programs on topics as varied as abortion,
cultural illiteracy, and privacy. Library staff members have to convert the
videos to streaming files, then load the files onto a server. Nearly 300
videos are available on the university's site. Jeffrey C. Clark, director of
media resources, says he plans to have 1,400 titles available by next year.
"Now students have been asking about feature films, but I don't think that's
on the long-term horizon," he says. "Students don't understand the licensing
and technological barriers."
Because video-distribution companies are just getting started in this
business, he adds, they leave room in contracts for negotiation.
Annenberg/CPB, a nonprofit group that produces educational videos and
documentaries, is trying to set up servers at colleges around the country to
deliver digitized versions of the group's television programs over the
Internet. The colleges have to pay only for the equipment, not for any
licensing. The videos are already available on the group's Web server, which
is in Oregon, but delivery from that server can be inconsistent.
Illinois State University's library is one of the latest to set up a server
with help from Annenberg. "It's as if you slipped a DVD into your computer,"
says Cheryl Elzy, Illinois State's dean of libraries. She hopes that the
programs will be used in classrooms.
Bringing Order
If and when librarians work out the technical and legal issues, a core task
will remain: to catalog a century's worth of moving images. Without
organization, any history of moving images will be a cacophonous mass.
Librarians hope that new technology will help out. George L. Abbott, head of
media services at Syracuse University, points to new software that can
"listen" to the sound on digitized video clips, recognize key words, and
load them into a database. A library catalog could incorporate that data,
allowing users to search video along with other media.
Google has already started experimenting in this arena. Google Video,
available in beta form (http://video.google.com), stores the
closed-captioning transcripts from network television shows. A search of
"Simpson" and "Orange Bowl" brings up several shows that mention Ashlee
Simpson's performance at the football stadium, where she was booed off the
stage. Google does not store or link to the video itself, but it does show
screen shots and snippets of transcripts.
Some librarians and scholars hope that advances in facial-recognition
software will someday allow people to automatically comb through hours of
digital media to identify particular individuals.
Even beyond personalities and politics, Mr. Thomas sees a wealth of
information in Virginia's collection that digital technology can help make
accessible.
"There is a whole array of background information in these films that may
not be apparent to us now but is potentially critically important -- about
how the landscape appeared and about cultural information, like people's
styles and how they presented themselves," he says. "We have not even begun
to scratch the surface on how to handle this material."
_____
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Section: Information Technology
Volume 51, Issue 34, Page A30
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<p class=3DMsoNormal align=3Dright style=3D'text-align:right'><font =
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April 29, 2005</span></font><o:p></o:p></p>
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<STORYTEXT>
<h3><b><font size=3D4 face=3D"Times New Roman"><span =
style=3D'font-size:13.5pt'>The
Revolution Will Be Digitized<o:p></o:p></span></font></b></h3>
<p><b><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt;
font-weight:bold'>Libraries create online archives to preserve and =
share film
and video</span></font></b><o:p></o:p></p>
<table class=3DMsoNormalTable border=3D0 cellspacing=3D0 =
cellpadding=3D0 align=3Dright
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0in'>
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style=3D'font-size:12.0pt'><img border=3D0 width=3D10 height=3D1 =
id=3D"_x0000_i1036"
=
src=3D"cid:image019.gif@01C54B2B.3DEA4F50"><o:p></o:p></span></font></p>
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0in 0in'>
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<p class=3Dbyline><font size=3D2 face=3D"Times New Roman"><span =
style=3D'font-size:
10.0pt'>By SCOTT CARLSON</span></font><o:p></o:p></p>
<p class=3Ddateline><st1:place w:st=3D"on"><st1:City w:st=3D"on"><font =
size=3D2
face=3D"Times New Roman"><span =
style=3D'font-size:10.0pt'>Charlottesville</span></font></st1:City><font
size=3D2><span style=3D'font-size:10.0pt'>, <st1:State =
w:st=3D"on">Va.</st1:State></span></font></st1:place><o:p></o:p></p>
<!-- Begin Story Text -->
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Amid
thousands of boxes of 16-millimeter film piled in a library basement =
here at
the <st1:place w:st=3D"on"><st1:PlaceType =
w:st=3D"on">University</st1:PlaceType>
of <st1:PlaceName w:st=3D"on">Virginia</st1:PlaceName></st1:place>, =
one dated
May 1967 is tempting to view. In big black type on a yellowing, =
brittle label
it says: "Bloodmobile =
Accident."<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>It
might be a spectacle, but William G. Thomas III, who helped rescue =
this news
footage from a local TV station, had gone hunting in the heap for =
moments of
more significance to the state's history.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Mr.
Thomas, director of the <st1:PlaceName =
w:st=3D"on">Virginia</st1:PlaceName> <st1:PlaceName
w:st=3D"on">Center</st1:PlaceName> for Digital History, and his =
assistants have
found and digitized about 250 clips involving <st1:State =
w:st=3D"on"><st1:place
w:st=3D"on">Virginia</st1:place></st1:State>'s civil-rights movement. =
Now
anyone around the world can visit the university's Web site and see =
the
visual record, both the triumphant and the ugly -- demonstrators =
singing
"Freedom!" on courthouse steps, and <st1:State =
w:st=3D"on"><st1:place
w:st=3D"on">Virginia</st1:place></st1:State> politicians decrying =
integration.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>So far
the films are simply listed by date on the Web site, with a short =
description
of what each video contains. But Mr. Thomas also sees a day when =
students or
scholars can search the entirety of an old film, using computers to
recognize, say, speech or images. Those searches might work much as =
those
that students do now for words within the text of a journal article or =
book.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"We
are really at the beginning stages of how we present, manage, and =
access
video materials," he says.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Moving
images have been the dominant communication form of the past =
half-century.
While libraries have long collected audiovisual materials, the rows of
videotapes and film reels have been difficult to store, catalog, and =
access.
Now, with new digital tools, librarians can better preserve their =
collections
and send video materials out to classrooms and faculty =
offices.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Digital
archiving does present challenges. High-quality digitization is =
expensive, so
libraries often have to raise money to take on even a small project. =
It can
be a race against time, as the volume of film and video in libraries,
studios, and private collections is huge and rapidly deteriorating.
Videotapes have an expected life span of only a couple of decades, and =
the
tapes deteriorate a little with each playing. And some older =
videotapes are
in formats that can be viewed only on players that are no longer
manufactured.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>What's
more, the vast majority of film and video material is still under =
copyright,
and copyright holders have been reluctant to allow the breadth of =
access that
campus librarians want to offer.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Despite
the hurdles, college libraries are finding their pace and starting to
digitize their film and video =
collections.<o:p></o:p></span></font></p>
<p><b><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt;
font-weight:bold'>Streaming Footage</span></font></b><o:p></o:p></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>The <st1:PlaceType
w:st=3D"on">University</st1:PlaceType> of <st1:PlaceName =
w:st=3D"on">Wisconsin</st1:PlaceName>
at <st1:City w:st=3D"on"><st1:place =
w:st=3D"on">Milwaukee</st1:place></st1:City>,
for example, acquired more than a million feet of film from a local
television station's news division and plans to put the footage =
online. It
will be organized by subject: African-Americans, <st1:country-region =
w:st=3D"on"><st1:place
w:st=3D"on">Vietnam</st1:place></st1:country-region>, breweries, and, =
of
course, the Green Bay Packers, among many others. In the deal with the
station, the university can allow the films to be distributed for =
private or
educational use. Only users with commercial interests would have to =
pay the
station.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>To save
money, says Mary K. Huelsbeck, an archivist at the library, the =
university is
creating a digital version that is not of archival quality but will =
let users
quickly call up the materials. To do so, <st1:City =
w:st=3D"on"><st1:place
w:st=3D"on">Milwaukee</st1:place></st1:City> is using digitizing =
software
intended for home use -- a bargain at only $120. "We're =
looking at
this more as a means of access," she =
says.<o:p></o:p></span></font></p>
<p><st1:State w:st=3D"on"><font size=3D3 face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt'>Virginia</span></font></st1:State>'s video =
projects
are much like <st1:State w:st=3D"on"><st1:place =
w:st=3D"on">Wisconsin</st1:place></st1:State>'s,
with an emphasis on access and teaching. Judith Thomas, director of =
the media
center at UVa, says video is following the same arc that still images
followed online 10 years ago.<o:p></o:p></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"Suddenly
you could deliver images over the Web, and they became tremendously
attractive as cultural documents outside of the traditional =
image-driven
fields of art history or architectural history," she says. =
"Now we
can do it with video, and we have all kinds of faculty more oriented =
toward
visual material."<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>One
example, she says, is Mr. Thomas (the two are not related). Almost
immediately after the TV-news films arrived at the library, he =
expressed interest
in finding those related to civil rights and digitizing them right =
away.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>The
films he selected, identified only by vague labels on their boxes, now =
sit
neatly in plastic bins in the library's digitization center, on the =
ground
floor.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>A staff
member takes each one and loads it into what looks like an old film
projector. The machine creates a digital image of the film and =
transfers that
to a computer. Library staff members or historians note who is in each =
film
and what subject matter is covered. Sometimes the staff members find =
printed
notes folded and stuffed into the boxes, which can offer valuable =
clues to
the contents. The information gleaned from the film and the labels go =
into a
catalog and onto a description on Mr. Thomas's Web =
site.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Digitizing
just those 250 films, most of them only a couple of minutes long, cost =
at
least $40,000 in equipment and staff time -- perhaps more, he =
estimates.
And that is only a small portion of the video materials the library =
would
like to digitize.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>To get
a sense of what is left to do, one need only visit the library's =
basement.
The news footage sits in big boxes, labeled by year, stacked five feet =
high
and at least as long. There is a film from 1969 labeled "Richard =
Petty
on switch to Ford," which probably contains information about =
early
Nascar and one of its legendary drivers. Another film documents a
civil-defense drill from 1959.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Most of
the pile is a cataloger's nightmare. Footage of airport repairs, a =
robbery, a
Southern-music conference, and a meeting of Israeli officials are all =
packed
together.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Some of
the reels sit out, lost from their labeled boxes, and labels on some =
boxes
have flaked off, the glue having dried out long =
ago.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Ms.
Thomas says the library will have to find or raise money to digitize =
the rest
of those. Some companies offer comprehensive preservation services, =
which
include digitization, but they are expensive. Ms. Thomas recently got =
an
estimate of $65,000 to clean and digitize 100 hours of interviews made =
for a
documentary on <i><span style=3D'font-style:italic'>Brown v. Board of
Education.</span></i><o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>And
because of shifting standards, once the material is in digital form, =
there is
still no guarantee that it will last.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>A
low-resolution online video that Ms. Thomas's office helped produce =
for a
scholarly project five years ago is already outdated, and she wonders =
when
she will have to update the digitized version of the film being worked =
on
now. Dealing with film and video in the digital age, she says, can be =
like
"hitting a moving target while standing on shifting =
sand."<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"There
aren't clear standards in the industry on what format to use at any =
level of
the production process, even in born-digital materials," she =
says.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Librarians
hope that the Library of Congress will help establish standards in =
film
digitization. The library is constructing a multimillion-dollar =
facility in <st1:place
w:st=3D"on"><st1:City w:st=3D"on">Culpeper</st1:City>, <st1:State =
w:st=3D"on">Va.</st1:State></st1:place>,
for work on audio, video, and film =
preservation.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Carl
Fleischhauer, a digital archivist at the Library of Congress, says it =
is well
on its way to archiving audio recordings digitally, and he expects =
film and
video to follow, with standards set as the process continues. Massive =
storage
capabilities, measured in petabytes (quadrillions of bytes) of data, =
will be
set up at the Culpeper facility -- and they will be needed if =
digital
archiving of video gets under way.<o:p></o:p></span></font></p>
<p><b><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt;
font-weight:bold'>Legal Restrictions</span></font></b><o:p></o:p></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Copyright
may be a more difficult obstacle to overcome than =
technology.<o:p></o:p></span></font></p>
<p><st1:place w:st=3D"on"><st1:PlaceName w:st=3D"on"><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Vanderbilt</span></font></st1:PlaceName>
<st1:PlaceType w:st=3D"on">University</st1:PlaceType></st1:place>'s =
library
has been recording and archiving network news broadcasts for more than =
30
years, amassing a collection of 40,000 hours. Recently the university =
started
digitizing that collection, in an attempt to preserve =
it.<o:p></o:p></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"The
legal and business issues for our operation are probably more complex =
than
the technical ones," says Marshall Breeding, library-technology =
officer
at Vanderbilt. "That seems endemic for video =
content."<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>The
university would like to offer its digitized video footage to the =
general
public through the Internet, but so far most of the news networks have =
not
granted permission, he explains. (CNN allows Vanderbilt to stream its
archives to colleges that subscribe to the collection.) The networks
"fear a loss of control" of their video property, he =
says.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"If
Vanderbilt were to get sloppy and let [video] slip to free =
availability on
the Internet, that would be very damaging to them," he says. =
"We
want to show them that we are responsible, that we are going to stream =
it to
only educational customers, and that we might be able to channel =
business to
them" -- from, say, filmmakers who want to order clips =
directly
from the networks.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Even if
a source grants a library permission to digitize and distribute a =
film, says
Howard Besser, a professor of cinema studies at New York University, =
there
might be other rights -- in multiple layers -- to consider, =
such as
those covering the music, the actors, or archival footage within a =
film:
"It's a hairy situation."<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>For
example, he notes, conflict over the rights to archival footage and =
music
used in <i><span style=3D'font-style:italic'>Eyes on the =
Prize,</span></i> a
10-year-old, award-winning PBS documentary about the civil-rights =
movement,
has kept the program from being rereleased on DVD. (Because of budget
constraints, the filmmakers secured the rights for only a limited =
time.)
Publicly showing the documentary -- let alone digitizing and =
streaming
it -- is illegal.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Some
companies make obtaining rights to film and video easier by clearing =
all of
the permissions needed and then selling the rights for digitization =
and
streaming to libraries and other institutions. Last year =
<st1:PlaceName
w:st=3D"on">James</st1:PlaceName> <st1:PlaceName =
w:st=3D"on">Madison</st1:PlaceName>
<st1:PlaceName w:st=3D"on">University</st1:PlaceName> ordered =
documentaries and
educational videos from Films for the Humanities & Sciences, in =
<st1:place
w:st=3D"on"><st1:City w:st=3D"on">Princeton</st1:City>, <st1:State =
w:st=3D"on">N.J.</st1:State></st1:place>,
with the intention of putting them =
online.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>For a
one-time fee of $80 to $130 per title, the university's librarians can =
offer
students and instructors programs on topics as varied as abortion, =
cultural
illiteracy, and privacy. Library staff members have to convert the =
videos to
streaming files, then load the files onto a server. Nearly 300 videos =
are
available on the university's site. Jeffrey C. Clark, director of =
media
resources, says he plans to have 1,400 titles available by next =
year.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"Now
students have been asking about feature films, but I don't think =
that's on
the long-term horizon," he says. "Students don't understand =
the
licensing and technological =
barriers."<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Because
video-distribution companies are just getting started in this =
business, he
adds, they leave room in contracts for =
negotiation.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Annenberg/CPB,
a nonprofit group that produces educational videos and documentaries, =
is
trying to set up servers at colleges around the country to deliver =
digitized
versions of the group's television programs over the Internet. The =
colleges
have to pay only for the equipment, not for any licensing. The videos =
are
already available on the group's Web server, which is in <st1:State =
w:st=3D"on"><st1:place
w:st=3D"on">Oregon</st1:place></st1:State>, but delivery from that =
server can
be inconsistent.<o:p></o:p></span></font></p>
<p><st1:place w:st=3D"on"><st1:PlaceName w:st=3D"on"><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Illinois</span></font></st1:PlaceName>
<st1:PlaceType w:st=3D"on">State</st1:PlaceType> <st1:PlaceType =
w:st=3D"on">University</st1:PlaceType></st1:place>'s
library is one of the latest to set up a server with help from =
Annenberg.
"It's as if you slipped a DVD into your computer," says =
Cheryl
Elzy, <st1:place w:st=3D"on"><st1:PlaceName =
w:st=3D"on">Illinois</st1:PlaceName> <st1:PlaceType
w:st=3D"on">State</st1:PlaceType></st1:place>'s dean of libraries. =
She hopes
that the programs will be used in classrooms.<o:p></o:p></p>
<p><b><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt;
font-weight:bold'>Bringing Order</span></font></b><o:p></o:p></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>If and
when librarians work out the technical and legal issues, a core task =
will
remain: to catalog a century's worth of moving images. Without =
organization,
any history of moving images will be a cacophonous =
mass.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Librarians
hope that new technology will help out. George L. Abbott, head of =
media
services at <st1:place w:st=3D"on"><st1:PlaceName =
w:st=3D"on">Syracuse</st1:PlaceName>
<st1:PlaceType w:st=3D"on">University</st1:PlaceType></st1:place>, =
points to
new software that can "listen" to the sound on digitized =
video
clips, recognize key words, and load them into a database. A library =
catalog
could incorporate that data, allowing users to search video along with =
other
media.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Google
has already started experimenting in this arena. Google Video, =
available in
beta form (<a =
href=3D"http://video.google.com">http://video.google.com</a>),
stores the closed-captioning transcripts from network television =
shows. A
search of "Simpson" and "Orange Bowl" brings up =
several
shows that mention Ashlee Simpson's performance at the football =
stadium,
where she was booed off the stage. Google does not store or link to =
the video
itself, but it does show screen shots and snippets of =
transcripts.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Some
librarians and scholars hope that advances in facial-recognition =
software
will someday allow people to automatically comb through hours of =
digital media
to identify particular individuals.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Even
beyond personalities and politics, Mr. Thomas sees a wealth of =
information in
<st1:State w:st=3D"on"><st1:place =
w:st=3D"on">Virginia</st1:place></st1:State>'s
collection that digital technology can help make =
accessible.<o:p></o:p></span></font></p>
<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>"There
is a whole array of background information in these films that may not =
be
apparent to us now but is potentially critically important =
-- about how
the landscape appeared and about cultural information, like people's =
styles
and how they presented themselves," he says. "We have not =
even
begun to scratch the surface on how to handle this =
material."<o:p></o:p></span></font></p>
<div class=3DMsoNormal align=3Dcenter =
style=3D'text-align:center'><font size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>
<hr size=3D1 width=3D"100%" noshade color=3Dgray align=3Dcenter>
</span></font></div>
<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>http://chronicle.com<br>
Section: Information Technology<br>
Volume 51, Issue 34, Page A30 <br>
<br>
<o:p></o:p></span></font></p>
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