Requirements for 'serious access' to online audiovisual content: granularity, navigation, citation, annotation

1. Web access: technical requirements and
usability requirements
Dealing with copyright and other rights
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2. The technology has never been easier:
•Make a website to be the portal (Wordpress etc)
•Put the audio and video content ‘somewhere
else’ – YouTube (mid quality) or Vimeo (higher
quality)
•Link to the content from the portal; job done !
•YouTube and Vimeo will recode for you, but you
can code it yourself: H.264/MPEG-4 AVC, 1 Mb/s
•Vimeo example: https://vimeo.com/44836302
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3. Six requirements for sensible
access to time-based content
• Granularity
• Navigation
• Reference and Citation
• Annotation
• Rights
• Access
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4. Granularity - division into
meaningful units
• Keyframes
• Other methods to represent video
• and audio:
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5. Navigation
• "Click and play" on visual representation of
the meaningful units
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6. Reference and Citation
• the core requirement for scholarly discourse
– along with a major change in attitude!
• Needs a permanent place for “things to be”
– Hence the need for stable audiovisual collections
“Hamlet, for example, is comparable to Saxo
Grammaticus' Gesta Danorum.[citation needed]
King Lear is based on King Leir in Historia Regum
Britanniae by Geoffrey of Monmouth, retold in
1587 by Raphael Holinshed.[citation needed] “
wikipedia
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7. Annotation
• the core requirement for
social web = interactivity
• individual interacts with
content
• individuals interact with
other individuals
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8. Rights
• 95% of cost of BBC trial of archive access
– 20 hours per hour of content
– Does not scale
• PrestoPRIME Ontology – supporting
codification of owners, users and uses
– Ten years ago we had matrices in a spreadsheet,
now we have an ontology
• New laws needed (for publicly-funded content)
– Denmark leading the way
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9. Economic Theory: Public Goods
Things that can be consumed by everybody in a
society, or nobody at all. They have three
characteristics. They are:
• non-rival – one person consuming them does not
stop another person consuming them;
• non-excludable – if one person can consume them,
it is impossible to stop another person consuming
them;
• non-rejectable – people cannot choose not to
consume them even if they want to.
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10. Public Goods
Examples include:
– clean air
– national defence
– judges and courts
They might not be provided at all if left to
MARKET FORCES.
In most countries they are provided for by
GOVERNMENT and paid for through
compulsory taxation.”
http://www.economist.com/research/economics/alphabetic.cfm?term=publi
cgoods#publicgoods
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11. Public Goods, the Public Sector
and Cultural Heritage
• Argument: archives, libraries, museums are
publicly-supported institutions that hold
public goods
• Rights laws that apply to private goods need
to be re-interpreted for public goods
Is access for entertainment and leisure activity
or for education and research activity?
But: doesn’t everyone deserve to be taken
seriously? Can’t we all be researchers?
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12. Digital Public Space
www.bbc.co.uk/blogs/bbcinternet/2012/06/the_space
_one_month.html
• A place for public goods
• an access point for all of the UK's cultural archives
• an 'Umbrella' data model, based on RDF =
Resource Discovery Format (semantic web)
• a platform for navigating, annotating and curating
heritage content
• “providing permanent access to the UK's cultural
archives in a digital environment that's available
to everybody” Jake Berger, BBC
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13. Digital Public Space
• Tony Ageh (BBC): "As a nation, we need to
decide that we are going to create an
environment where every one of our citizens
can get value from these technologies. The
BBC should facilitate this, but it is an
opportunity for these technologies to remind
all our national institutions what they were
trying to achieve in the first place."
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14. Access
Digital objects can walk
through walls (and violate
most other laws of
physics)
Unless access is denied –
interfering with a miracle!
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15. EUScreen report: Online Access to Audiovisual
Heritage (concentrates on TV)
Download the Second EUscreen Status Report
[PDF]: http://bit.ly/OVLcZV
Download the First EUscreen status report
[PDF]: http://bit.ly/MF1hsL
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16. European Film Gateway
www.europeanfilmgateway.eu/
A European Union project www.efgproject.eu/
• Also connected to Europeana
“Your single access point to films, images and texts from
selected collections of 16 film archives across Europe”
• VIDEOS: 27.547 (27 on Vietnam)
• IMAGES: 521.021
• TEXTS: 25.537
• PROVIDERS: 16
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17. EFG documents:
• D 5.3 The European Film Gateway - Final
Guidelines on Copyright Clearance and IPR
Management
• M 5.4 Digital rights management and
watermarking expression
• M 5.3 Research Report on open content models
• D 4.3 Guidelines for Digitisation, digital storage
and retrieval
• On the History and Function of Film Archives
And lots more
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18. And finally:
JISC Access Recommendations
• View online at
http://filmandsoundthinktank.jisc.ac.uk
• Paul Gerhardt and Peter B Kaufman
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19. JISC: Ten Guides for Use of AV
Content
1. Extend Awareness of Resources. Develop marketing
strategies and case studies.
2. Enable Resource Discovery. Make content searchable;
audiovisual extension of JSTOR and ARTstor.
3. Clear Rights, Facilitate Use. Inventory, legal
documents, collaborations.
4. Build a Citation System. Use of video and audio in
academic writing and publishing.
5. Work with Primary Audiovisual Sources. Storage,
curation, and distribution of uncut raw materials.
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20. 6. Build Digital Literacy. Tools for audiovisual
materials in academic environments.
7. Open National Collections. Partnerships with
broadcasters and other AV collections.
8. Model New Productions. Explicit requirements
for products to be freely licensable.
9. Establish an Integrated Media Service for
Higher Education.
10.Call a Summit. Experiment
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21. Thank You
Lunch time !
• After lunch – review of digital technology
• Then our two days are nearly over
• Conclusion: further sources of information
• And on organisations concerned with audio,
video and film (and heritage and preservation)
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