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| The focus of this workflow is to describe the different kinds of data needed for the physical item as well as for the digital file. What kind of data do we want and where do we store them. | The focus of this workflow is to describe the outcome of the digitization process - the digital file and the different metadata. |
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| The existing workflows depend on the nature of the item to be digitised and the hardware and software used in the process. A look at the digital project at SB (["Projects at SB"]) shows that ... === Need of changes === | The existing workflows A look at the digital project at SB (["Projects at SB"]) shows that ... |
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| The most important change needed is to start cataloguing all the physical items at acquisition (as we do with cd's and dvd's). Unfortunately, we have not catalogued all the audiovisual collections, but we ought to do it before digitising at least when we are talking about unique cultural heritage. | === Weak points === |
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| === Common denominator === The common demoniator is the way we handle the items 1) at acquisition 2) when cataloguing the physical item 3) when adding the necessary metadata to the digital file |
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| The workflow is based on the scenario that a new donation has just arrived. But almost the same workflow can be used for a collection that has been stored at SB for years, and now is going to be digitised. |
Analyse Workflow
Introduction
The focus of this workflow is to describe the outcome of the digitization process - the digital file and the different metadata.
This workflow is not concerned about the technical processes of the digitisation itself, e.g. Preparation of tape, Preparation of the machine, A/D-conversion, etc. Instead can be referred to Henriksson, Juha and Nadja Wallaszkovits (2008) Audio Tape Digitisation Workflow http://www.jazzpoparkisto.net/audio/
Existing Workflows
The existing workflows A look at the digital project at SB (["Projects at SB"]) shows that ...
=== Weak points ===
Optimal Workflow
Acquisition: Make a short description of the collection: Where does the collection come from, what are the agreements about it, how many items are there and what kind of media is it, etc. When we are talking about elderly material, the next step is to keep the tapes separate from the rest of the collections in the archive until it is examined if they are infected by mould or other kind of contamination, and if that is the case the pollution must be eliminated.
Cataloguing the physical item: Make a catalogue record of the physical item for the libary database using danMARC2. If there exist a record of this item then reuse it, make the needed changes and export it to the library database. This record can be used to create eg. a Dublin Core record when the item is going to be digitised.
Metadata for the digital file: Find the bibliographical record in the library database and import a copy to DOMS-GUI. It is assumed that the danMarc2 to Dublin Core crosswalk is part of the automatic process of importing the record. Digitise the item and add the necessary technical metadata to the bibliographical metadata via the GUI.
References
International Association of Sound and Audiovisual Archives (2009) Guidelines on the Production and Preservation of Digital Audio Objects: Standards Recommended, Practices and Strategies. IASA-TC04. 2nd edition/ edited by Kevin Bradley.
Jong, Annemieke de (2003) Metadata in the audiovisual production environment: an introduction. Nederlands Instituut vor Beeld en Geluid.