2020 IASA - FIAT/IFTA Joint Conference

Whether we like it or not, compression is here to stay and we need to embrace it. As we move into the 4K world of production, it is now impossible to even get a picture from a camera to the studio wall without compression. Most digital video tape formats used compression and almost all television masters from the last 25 years are compressed.

So what does compression do...? How does it make savings and what are the pitfalls in that process?
In this session, we will look at the jargon and technology behind compression, in an attempt to demystify what appears to be 'rocket science' making it more understandable and less frightening.

We will look at both audio and video compression and find out what is missing as well as looking carefully at clips to try and assess quality. We discuss how to make decisions about quality and choose the right codec for the job.

Abstract
The report elaborated by the Ibero-American Network for the Preservation of Sound and Audiovisual Archives (Spanish acronym RIPDASA) shows that a high percentage of Ibero-American collections are not accessible and they are endangered by the fragility of the media. Some of these collections are at risk of being lost forever if we don't take the necessary actions to preserve them. This workshop aims to draw attention to the delicate situation of these archives by establishing a dialogue between professionals, international organizations and the industry based on fundamental ideas such as: digitalization, preservation and professional training.

Resumen
El informe elaborado por la Red Iberoamericana de Preservación de Archivos Sonoros y Audiovisuales pone de manifiesto que un porcentaje muy elevado de los acervos iberoamericanos corre el riesgo de desaparecer si no se adoptan las medidas necesarias para su preservación. Este seminario tiene como objetivo llamar la atención sobre la delicada situación de estos archivos fomentando el diálogo entre los profesionales, las organizaciones internacionales y la industria entorno a varias ideas fundamentales: la digitalización, la preservación, el acceso y la formación de profesionales.

Part 1: Keeping audiovisual memory: the role of international organizations / El rol de las organizaciones internacionales en la preservación de la memoria audiovisual: IASA, FIAT/IFTA, UNESCO, IBERMEMORIA:

15-minute presentation from each organization representative and 30-minute debate with the participants about how international organizations could contribute to heritage preservation in Latin America.

*Available in Spanish via Interprefy

Whether we like it or not, compression is here to stay and we need to embrace it. As we move into the 4K world of production, it is now impossible to even get a picture from a camera to the studio wall without compression. Most digital video tape formats used compression and almost all television masters from the last 25 years are compressed.

So what does compression do...? How does it make savings and what are the pitfalls in that process?
In this session, we will look at the jargon and technology behind compression, in an attempt to demystify what appears to be 'rocket science' making it more understandable and less frightening.

We will look at both audio and video compression and find out what is missing as well as looking carefully at clips to try and assess quality. We discuss how to make decisions about quality and choose the right codec for the job.

Abstract
The report elaborated by the Ibero-American Network for the Preservation of Sound and Audiovisual Archives (Spanish acronym RIPDASA) shows that a high percentage of Ibero-American collections are not accessible and they are endangered by the fragility of the media. Some of these collections are at risk of being lost forever if we don't take the necessary actions to preserve them. This workshop aims to draw attention to the delicate situation of these archives by establishing a dialogue between professionals, international organizations and the industry based on fundamental ideas such as: digitalization, preservation and professional training.

Resumen
El informe elaborado por la Red Iberoamericana de Preservación de Archivos Sonoros y Audiovisuales pone de manifiesto que un porcentaje muy elevado de los acervos iberoamericanos corre el riesgo de desaparecer si no se adoptan las medidas necesarias para su preservación. Este seminario tiene como objetivo llamar la atención sobre la delicada situación de estos archivos fomentando el diálogo entre los profesionales, las organizaciones internacionales y la industria entorno a varias ideas fundamentales: la digitalización, la preservación, el acceso y la formación de profesionales.

Part 2a: RIPDASA report: Ibero-American archives at risk / Informe RIPDASA: Archivos Iberoamericanos en riesgo.

Interview of Perla Olivia Rodríguez (RIPDASA- UNAM México) with Matteo Manfredi (Universidad Andina Simón Bolívar, sede Ecuador).

Part 2b: Sound and Audiovisual Archives Observatory /Observatorio de archivos audiovisuales y sonoros.

Presentation / hands-on session: Participants would be invited to increase or better describe the number of archives represented in the interactive map by adding new audiovisual and sound institutions in their own countries. Minimum metadata will be required such as: name, contact details and web site if possible.

Lead by: José Augusto Mannis (Universidad de Campinas Brasil)

Part 2c: Lessons learned at FIAT/IFTA Regional Seminar 2020 / Resultados del seminario regional FIAT/IFTA 2020

Presentation and discussion: results of the regional seminar and discussion with the participants about the topics that could be addressed in next editions in Latin America.
Lead by: Rita Marques (TV Cultura, Brasil)

*Available in Spanish via Interprefy

Whether we like it or not, compression is here to stay and we need to embrace it. As we move into the 4K world of production, it is now impossible to even get a picture from a camera to the studio wall without compression. Most digital video tape formats used compression and almost all television masters from the last 25 years are compressed.

So what does compression do...? How does it make savings and what are the pitfalls in that process?
In this session, we will look at the jargon and technology behind compression, in an attempt to demystify what appears to be 'rocket science' making it more understandable and less frightening.

We will look at both audio and video compression and find out what is missing as well as looking carefully at clips to try and assess quality. We discuss how to make decisions about quality and choose the right codec for the job.

10 years ago, INA designed FRAME, a professional training programme co-funded by the Europe Creative programme of the EU and supported by FIAT/IFTA and EBU Academy. It aimed at strengthening international archive professionals’ skills by responding current audiovisual landscape evolutions, making the most of this transnational dialogue and cooperation framework.

Based on this 10-year experience, we propose a reflection on international collaboration in the training field: how can transnational dialogue help to identify the development and needs for current and future competencies? How can international training programmes benefit professionals who need to develop skills to meet the urgent imperatives to safeguard AV archives as well as to professionals looking to implement the latest technological innovations for AV contents management? What is the relevant level for their implementation to better suit all professionals’ needs: national, regional, continental, international? How to design and implement these international training programmes?

Making the most of the joint FIAT/IFTA-IASA Conference, the workshop proposes to gather all kinds of audiovisual archive sectors and types of institutions in this reflection. It will initiate exchanges to identify which are necessary skills in all audiovisual archiving activities – from preventive preservation to audiovisual content promotion and use of new technologies – to enable professionals to meet today requirements as well as to adapt future trends. The discussion will continue with sharing of experiences and best practices and drawing answers in the international training field. To do so, it comprises:

1. A workshop to identify skills and training needs and requirements, and their evolutions. This workshop will be based on exchanges between 3 speakers and with the audience
2. A round table to illustrate the questions rose as part of the workshop with 4 examples of international training programmes, implemented by several types of institutions and at different levels

Abstract
The report elaborated by the Ibero-American Network for the Preservation of Sound and Audiovisual Archives (Spanish acronym RIPDASA) shows that a high percentage of Ibero-American collections are not accessible and they are endangered by the fragility of the media. Some of these collections are at risk of being lost forever if we don't take the necessary actions to preserve them. This workshop aims to draw attention to the delicate situation of these archives by establishing a dialogue between professionals, international organizations and the industry based on fundamental ideas such as: digitalization, preservation and professional training.

Resumen
El informe elaborado por la Red Iberoamericana de Preservación de Archivos Sonoros y Audiovisuales pone de manifiesto que un porcentaje muy elevado de los acervos iberoamericanos corre el riesgo de desaparecer si no se adoptan las medidas necesarias para su preservación. Este seminario tiene como objetivo llamar la atención sobre la delicada situación de estos archivos fomentando el diálogo entre los profesionales, las organizaciones internacionales y la industria entorno a varias ideas fundamentales: la digitalización, la preservación, el acceso y la formación de profesionales.

Part 3a: Technological challenges for Latin-American Archives / Retos tecnológicos para los archivos Latinoamericanos
Discussion table with representatives from VSN, AVP, NOA, SONY, IBM and other companies developing projects in LATAM.

Part 3b: Short presentations- moderated by Amira Arratia (TVN, Chile)

• Fabricia Malán (Radiodifusión Nacional de Uruguay)
• Dora Brausin (Radio y Televisión Nacional de Colombia)
• Tere Velázquez (La Red México)

*Available in Spanish via Interprefy

10 years ago, INA designed FRAME, a professional training programme co-funded by the Europe Creative programme of the EU and supported by FIAT/IFTA and EBU Academy. It aimed at strengthening international archive professionals’ skills by responding current audiovisual landscape evolutions, making the most of this transnational dialogue and cooperation framework.

Based on this 10-year experience, we propose a reflection on international collaboration in the training field: how can transnational dialogue help to identify the development and needs for current and future competencies? How can international training programmes benefit professionals who need to develop skills to meet the urgent imperatives to safeguard AV archives as well as to professionals looking to implement the latest technological innovations for AV contents management? What is the relevant level for their implementation to better suit all professionals’ needs: national, regional, continental, international? How to design and implement these international training programmes?

Making the most of the joint FIAT/IFTA-IASA Conference, the workshop proposes to gather all kinds of audiovisual archive sectors and types of institutions in this reflection. It will initiate exchanges to identify which are necessary skills in all audiovisual archiving activities – from preventive preservation to audiovisual content promotion and use of new technologies – to enable professionals to meet today requirements as well as to adapt future trends. The discussion will continue with sharing of experiences and best practices and drawing answers in the international training field. To do so, it comprises:

1. A workshop to identify skills and training needs and requirements, and their evolutions. This workshop will be based on exchanges between 3 speakers and with the audience
2. A round table to illustrate the questions rose as part of the workshop with 4 examples of international training programmes, implemented by several types of institutions and at different levels

Abstract
The report elaborated by the Ibero-American Network for the Preservation of Sound and Audiovisual Archives (Spanish acronym RIPDASA) shows that a high percentage of Ibero-American collections are not accessible and they are endangered by the fragility of the media. Some of these collections are at risk of being lost forever if we don't take the necessary actions to preserve them. This workshop aims to draw attention to the delicate situation of these archives by establishing a dialogue between professionals, international organizations and the industry based on fundamental ideas such as: digitalization, preservation and professional training.

Resumen
El informe elaborado por la Red Iberoamericana de Preservación de Archivos Sonoros y Audiovisuales pone de manifiesto que un porcentaje muy elevado de los acervos iberoamericanos corre el riesgo de desaparecer si no se adoptan las medidas necesarias para su preservación. Este seminario tiene como objetivo llamar la atención sobre la delicada situación de estos archivos fomentando el diálogo entre los profesionales, las organizaciones internacionales y la industria entorno a varias ideas fundamentales: la digitalización, la preservación, el acceso y la formación de profesionales.


Part 4: Closing debate: towards critically rethinking archives in Latin America / Hacia un pensamiento crítico de los archivos en América Latina - moderated by: Luisa Ordoñez (Caracol Televisión, Colombia)

*Available in Spanish via Interprefy

*Available in Spanish and French via Interprefy 

The Save Your Archive (SYA) program is one of the flagship initiatives of FIAT/IFTA. The divided into two slots session will serve to briefly introduce the SYA to the audience, to summarize the most recent SYA project orchestrated by the The National Archive of Zimbabwe (NAZ) that allowed to save 330 hours of unique film records and, last but not least, to creat space for a pitching session of the SYA 2020 edition of the Save Your Archive with Partners.

The aim of the SYA pitching session is to create an opportunity for the SYA 2020 applicants to fully present their projects and thus to allow the SYA Partners to better understand their specificities and to have a moment to engage into a discussion before the final selection is made. The rules of the pitching session are simple. Each applicant is requested to pre-record a pitch in a form of a video that will be used during the session to introduce the submitted project. The presentation will be followed by a brief Q&A session with the SYA Partners present.

The exchange is also open to a wider public not directly involved in the selection process.

This session will consist of:

• 16.30 - 16.50: an introduction to the FIAT/IFTA Save Your Archive initiative, incl. a testimony by Mr. Livingstone Muchefa of the National Archives of Zimbabwe, recipients of the previous Save Your Archive grant.
• 16.50 - 17.30: 3 pitches of projects candidating for the new grant:

     1) Proimágenes Colombia - Juana Suarez and Juan Sébastian Quebrada
     2) The Albanian National Film Archive (AQSHF) - Iris Elezi
     3) Centro de Estudios Espigas, Tarea-IIPC, UNSAM/Fundación Espigas - Melina Cavalo and Rita Falcone

*Available in Spanish and French via Interprefy 

The Save Your Archive (SYA) program is one of the flagship initiatives of FIAT/IFTA. The divided into two slots session will serve to briefly introduce the SYA to the audience, to summarize the most recent SYA project orchestrated by the The National Archive of Zimbabwe (NAZ) that allowed to save 330 hours of unique film records and, last but not least, to creat space for a pitching session of the SYA 2020 edition of the Save Your Archive with Partners.

The aim of the SYA pitching session is to create an opportunity for the SYA 2020 applicants to fully present their projects and thus to allow the SYA Partners to better understand their specificities and to have a moment to engage into a discussion before the final selection is made. The rules of the pitching session are simple. Each applicant is requested to pre-record a pitch in a form of a video that will be used during the session to introduce the submitted project. The presentation will be followed by a brief Q&A session with the SYA Partners present.

The exchange is also open to a wider public not directly involved in the selection process.

This session will consist of:

• 18.30 - 19.15: 4 pitches of projects candidating for the new grant:

      1) Laboratorio Experimental de Cine - Walter Forsberg and Elena Pardo
      2) Dokumenta.Video - José Velazquez and David Dunkley Gyimah
      3) RTI (Radio et Télévision Ivoirienne) - Suzanne Essan and Douglas Nzo
      4) Caliban Cinema and Content - Silvio Tendler and Tao Burity

• 19.15 - 19.30: Wrap-up - Bríd Dooley and Maria Drabczyk