Dear Nathaniel, Here are some links that might be helpful:
http://amiaconference.net/2014-open-source-digital-preservation-access-stream/ https://sites.google.com/site/dmiaguide/ https://www.mediaconservation.io/resources#getting-started https://www.filmcare.org/ https://www.loc.gov/programs/national-film-preservation-board/resources/preservation-restoration-resources-and-projects/ https://www.archives.gov/preservation/formats/motion-picture-film-resources#digital-preservation https://www.fiafnet.org/pages/E-Resources/FIAF-Summer-School-Resources.html#_Toc517876639 Kind regards, Anna https://www.mipops.org/aboutus/ On Fri, 17 Mar 2023 at 11:39, Nathaniel Draper <[email protected]> wrote: > Dear Frameworks- > > I’ve been wondering about the best data backup and “archive” strategies > for individual filmmakers and artists, and I was hoping to find out the > kind of tools, solutions, workflows etc. that are used by people on this > list. (Excuse me if this topic has already come up.) This mostly comes from > my own push to move beyond from the trusty old > pile-of-miscellaneous-spinning-hard-drives method, but I also figure it > could be useful information to share around, given the amount of heavy > digital media we’re all now wrangling. > > I’m aware of some of the practices recommended for long-term storage by > moving image archives, but these solutions are often pretty complicated or > expensive for a single person to undertake. LTO tapes are stable and large, > but the tape decks are prohibitively expensive and they have to be migrated > periodically. Amazon Glacier or similar long-term cloud storage takes some > know-how to set up as a data archive. > > How have people approached this? How many copies do you keep of your work, > and on what media? Are backups generally duplicate hard drives, or do RAID > setups, cloud storage, tape drives, bluray discs or other options figure > into it? Do you have a uniform strategy for storing your work, or are > backups normally just mirror copies of your working drives, whether on > redundant hard disks or on services like Dropbox or Backblaze? > > And then, what formats do you store your work in? Does it just depend on > what you have, like a ProRes, MP4 or DCP? Does anyone take a more > systematic approach, transcoding files to a common or future-minded format > like DPX or FFV1 before storing it for good? And do you have a specific > workflow — using bags, checksums or other data verification tools — or is > it a per-case basis? > > Lots of questions - enough to make my head spin. Of course it’s hard for > an individual to act like a full-blown media archive, but I get the > impression that having some sort of uniform strategy is a good idea, since > files don’t keep like film prints. Archives devote a lot of attention to > making sure that digital files won’t get lost, and that they’ll be in a > readable format or codec into the near future, but I suppose the question > holds for individuals as well. I’m curious if there’s a best strategy for > filmmakers that balances long-term reliability with ease of use (not > needing the command line, for instance). > > I look forward to any responses or recommendations! > > Thanks- > > Nathaniel Draper > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >
-- Frameworks mailing list [email protected] https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
