In archives, the term "audiovisual" is frequently used generically to denote materials other than written documents. Films, videos, audio recordings, pictures, and other audio and visual media are collected in audiovisual archives. A vast amount of knowledge is included in audiovisual records, which are considered cultural treasures and must be preserved for future use. Print materials would not have the same reach across various audiences as audiovisual resources.
27-477: Videolog or video log may refer to: Video logging , a process of labelling video footage according to its content Vlog , a type of blog created in the medium of video Media [ edit ] Videolog , a mail-order video distribution service jointly founded by The Cannon Group, Inc. and Columbia House Videolog , a human interest television series produced and hosted by Huell Howser Videolog.tv ,
54-502: A defunct video-sharing website that operated from 2004 to 2015. Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Videolog . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Videolog&oldid=1157408620 " Category : Disambiguation pages Hidden categories: Short description
81-659: A second meeting scheduled, invitations were telegraphed to Jenkin’s industry friends, i.e., key players and engineering executives in the motion picture industry. Three months later, 26 attended the first “official” meeting of the Society, the SMPE, at the Hotel Astor in New York City, on 2 and 3 October 1916. Jenkins was formally elected president, a constitution ratified, an emblem for the Society approved, and six committees established. At
108-406: Is a global professional association of engineers, technologists, and executives working in the media and entertainment industry. As an internationally recognized standards organization , SMPTE has published more than 800 technical standards and related documents for broadcast, filmmaking, digital cinema , audio recording , information technology (IT), and medical imaging. SMPTE also publishes
135-622: Is a widely recognized metadata standard for digital preservation, including audiovisual content. 6. OAIS (Open Archival Information System): The OAIS model is a reference model for digital preservation, helping organizations manage, preserve, and provide access to their audiovisual archives. 7. METS (Metadata Encoding and Transmission Standard): METS is a standard for encoding descriptive, administrative, and structural metadata about objects within digital libraries, which can be applied to audiovisual materials. 8. Encoded Archival Description (EAD): While primarily used for textual materials, EAD
162-589: Is accelerated by improper handling and unsafe storage circumstances. The greatest barrier to the use of audiovisual materials stems from the fact that many of them are machine-dependent, which becomes a major barrier to their use in rural communities where the equipment and power supply might not be readily available. A lot of archives are working hard to open up access to their holdings. They may work with educational institutions, sponsor exhibitions, and provide online venues for watching and listening to content. The fragility of analog material, copyright constraints, and
189-417: Is different from Wikidata All article disambiguation pages All disambiguation pages Video logging Audiovisual archiving—the collecting, preserving, management, and use of audiovisual heritage—has established its credentials as a distinct profession. The first audiovisual archives came into existence about a century ago, but sustained growth is basically a phenomenon of the second half of
216-552: Is often adapted for audiovisual collections, providing a standardized way to encode finding aids. 9. Dublin Core : is a set of fifteen main metadata items for describing digital or physical resources. The management and sharing of audiovisual archives is made simpler for institutions because of these standards and models, which also guarantee their compatibility, accessibility, and long-term preservation. Digital preservationists will require specific file type information in order to make
243-576: The SMPTE Motion Imaging Journal , provides networking opportunities for its members, produces academic conferences and exhibitions, and performs other industry-related functions. SMPTE membership is open to any individual or organization with an interest in the subject matter. In the US, SMPTE is a 501(c)3 non-profit charitable organization. An informal organizational meeting was held in April 1916 at
270-760: The Astor Hotel in New York City. Enthusiasm and interest increased, and meetings were held in New York and Chicago, culminating in the founding of the Society of Motion Picture Engineers in the Oak Room of the Raleigh Hotel, Washington DC on the 24th of July. Ten industry stakeholders attended and signed the Articles of Incorporation. Papers of incorporation, were executed on 24 July 1916, were filed on 10 August in Washington DC. With
297-455: The 2023-2024 Recommended Formats Statement, the FFV1 format from was upgraded from an "acceptable" to a "preferred" format for video. Society of Motion Picture and Television Engineers The Society of Motion Picture and Television Engineers ( SMPTE ) ( / ˈ s ɪ m p t iː / , rarely / ˈ s ʌ m p t iː / ), founded in 1916 as the Society of Motion Picture Engineers or SMPE,
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#1732873720612324-453: The 20th century. Audiovisual records are included in official programs given that they act as an effective, direct means of communication and are able to capture a wide range of information beyond what is capable of written forms. Written words cannot match the distinct dimension that audio-visual content possesses. Combining sound and images, audio-visual information provides a level of communication that textual text cannot match. By utilizing
351-597: The July 1917 Society Convention in Chicago, a set of specifications including the dimensions of 35 mm film, 16 frames per second, etc. were adopted. SMPE set and issued a formal document reached by consensus, its first as an accredited Standards Development Organization (SDO), registering the specifications with the United States Bureau of Standards . The SMPTE Centennial Gala took place on Friday, 28 October 2016, following
378-500: The SMPTE 3D Home Master. In 1999, SMPTE established the DC28 technology committee, for the foundations of Digital Cinema. The SMPTE presents awards to individuals for outstanding contributions in fields of the society. Recipients include: The Progress Medal, instituted in 1935, is SMPTE's oldest and most prestigious medal, and is awarded annually for contributions to engineering aspects of
405-436: The SMPTE website, or other distributors of technical standards. Standards documents may be purchased by the general public. Significant standards promulgated by SMPTE include: SMP(T)E'S first standard was to get everyone using 35-mm film width, four sprocket holes per frame, 1.37:1 picture ratio. Until then, there were competing film formats. With the standard, theaters could all run the same films. SMP(T)E's standard in 1927
432-671: The US and Australia and the SMPTE Motion Imaging Journal . The society sponsors many awards, the oldest of which are the SMPTE Progress Medal, the Samuel Warner Memorial Medal, and the David Sarnoff Medal. SMPTE also has a number of Student Chapters and sponsors scholarships for college students in the motion imaging disciplines. SMPTE standards documents are copyrighted and may be purchased from
459-402: The advancement of cultural heritage. They struggle to manage and preserve an ever-growing variety of analog and digital content, though, but there are some principles, standards and formats which make these functions easier. Like traditional archives but modified for visual and auditory media, audiovisual archives follow similar principles. These principles include: Provenance: Maintaining
486-587: The annual Conference and Exhibition; James Cameron and Douglas Trumbull received SMPTE’s top honors. SMPTE officially bestowed Honorary Membership, the Society’s highest honor, upon Avatar and Titanic director Cameron in recognition of his work advancing visual effects (VFX), motion capture , and stereoscopic 3D photography, as well as his experimentation in HFR . Presented by Oscar-winning special effects cinematographer Richard Edlund , SMPTE honored Trumbull, who
513-586: The best decisions for long-term digital preservation. The following formats have been recommended for images, audios, and videos files: JPEG 2000, TIFF, FLAC, MP3, Wave, Broadcast Wave, Digital Cinema Package (DCP), Motion JPEG 2000, MPEG-2, MPEG-4. The Library of Congress releases a Recommended Formats Statement every year, which includes a list of recommended and acceptable formats that are most ideal for preservation and future access. The 2023-2024 preferred video formats are Interoperable Master Format (IMF), FFV1 (Matrovska .mkv wrapper), ProRes, MPEG-2, and XDCAM. In
540-769: The broadcasting and film industries. 2. Material Exchange Format (MXF) : MXF is a standard file format for the interchange of audio and video material. It is common in professional video production and broadcast. 3. PBCore : Developed by the Public Broadcasting Preservation Fellow project, PBCore is a metadata standard specifically designed for audiovisual materials in public broadcasting archives. 4. FADGI (Federal Agencies Digitization Guidelines Initiative): FADGI provides guidelines and standards for digitization and preservation of audiovisual materials, especially for government agencies. 5. PREMIS (Preservation Metadata: Implementation Strategies): PREMIS
567-511: The continued usability of digital formats and tools for managing and accessing audiovisual collections. These principles guide the organization, preservation, and accessibility of audiovisual materials. To ensure optimal management and preservation, audiovisual archives frequently follow several standards and models. Some of these standards include but are not limited to: 1. SMPTE The Society of Motion Picture and Television Engineers Timecode: A common standard for synchronizing audio and video in
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#1732873720612594-415: The continuous preservation of these priceless cultural materials, organizations and subject matter experts advocate for the benefits of audiovisual archiving and ask for funding and legislative support. Audio and visual assets with cultural, historical, and educational significance must be preserved and made available to the public through audiovisual archives. They are crucial for analysis, instruction, and
621-525: The original context and creator's intent for audiovisual materials. Original Order: Preserving the order and arrangement of audio and visual records as they were created or used. Access and Use: Balancing accessibility for research and education while respecting legal and ethical constraints like copyright and privacy. Preservation: Safeguarding audiovisual materials through digitization, proper storage, and restoration. Technology Integration: Staying up to date with evolving technologies to ensure
648-595: The quick development of digital forms provide obstacles for audiovisual archives. Large-scale data management and preservation can be expensive and technically challenging. Digital technology advancements have boosted preservation techniques while also posing new difficulties. To ensure the continuous usability of their collections, archives must stay abreast of changing standards and formats. In particular, when working with sensitive or culturally relevant content, archives must straddle copyright and intellectual property rules as well as ethical considerations. In order to ensure
675-409: The synergy of sight and sound, it enhances the overall comprehension and impact of the content by conveying emotions, context, and complicated concepts. The large number and variety of audiovisual materials have led to a major concern for many institutions: preservation. The goal of institutional preservation is to guarantee the materials' ongoing accessibility. The deterioration of audiovisual records
702-413: Was for speed at which sound film is shown, 24 frames per second. SMPTE's taskforce on "3D to the home" produced a report on the issues and challenges and suggested minimum standards for the 3D home master that would be distributed after post-production to the ingest points of distribution channels for 3D video content. A group within the standards committees has begun to work on the formal definition of
729-606: Was responsible for the VFX in 2001: A Space Odyssey and Blade Runner , with the Society’s most prestigious medal award, the Progress Medal. The award recognized Trumbull’s contributions to VFX, stereoscopic 3D, and HFR cinema, including his current work to enable stereoscopic 3D with his 120-frames-per-second Magi system. SMPTE's educational and professional development activities include technical presentations at regular meetings of its local Sections, annual and biennial conferences in
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