Audiovisual archives throughout the globe are travelling the digital journey. FIAT/IFTA, the world's leading organisation of television archives, yearly asks its members in five short questions which stage they're in when it comes to preservation formats, content management systems, access, metadata creation and connection to the public. The statistical results allow to FIAT/IFTA to identify relevant conference, seminar and course topics, to the members to situate themselves in the landscape and to the industry to see where the market's needs are.

1. WHERE ARE YOU ON THE TIMELINE?
Media Management Commission
FIAT/IFTA World Conference, Amsterdam 2014 – Eva-Lis Green, Brecht Declercq, Adrienne Warburton – 23.10.2014

2. What is the Timeline?
A representation of what stage FIAT/IFTA
members are in, on the journey towards
digital archiving in terms of –
• Preservation Format
• Content Management System
• Access
• Metadata Creation
• Connection to the public *new!

3. You tell us
where you are,
FIAT/IFTA allows
you to compare

4. You tell us
where you are,
FIAT/IFTA brings
relevant information
to you

5. disclaimer:
lies,
damn lies,
and statistics
[Benjamin Disraeli]

6. TIMELINE SURVEY RESULTS
Number of responses 47
After elimination of doubles 43
Did not consent with disclosure 7
Did consent with disclosure 36

7. TYPE OF ORGANISATION
Broadcaster (36)
Private archive (1)
Institutional archive (6)

8. 0 5 10 15
7
3
8
8
3
13
1
1. Preservation format
Step 1: Analogue carriers such as film, video or stills.
Step 2: Digital linear tape
Step 3: Up to 25% of digital files on mass storage
Step 4: 26% - 50% of digital files on mass storage
Step 5: 51% - 75% of digital files on mass storage
Step 6: 76% - 100% of digital files on mass storage
Step 7: Digital files stored in the cloud

9. 0 5 10 15 20
1
5
3
4
19
11
2. Content management system
Step 1: Card index, log books, other paper based
finding aids
Step 2: Standalone databases and other electronic
documents
Step 3: Electronic, networked library cataloguing
and tape management systems
Step 4: Electronic, networked library cataloguing
and tape management systems linked to preview…
Step 5: Digital asset management system
Step 6: Digital asset management and rights
management system

10. 0 5 10 15 20
2
4
16
5
10
6
3. Access
Step 1: Viewing originals on video tape machines
and monitors or a Steenbeck
Step 2: Viewing preview copies on video tape
machine and monitors
Step 3: Browse copies on networked computers -
internally
Step 4: Browse copies over the web for staff on and
off site
Step 5: Browse copies over the web internally and
through external websites for staff and public access
(parts of the collection)
Step 6: Browse copies over the web internally and
on external websites for staff and public acces;
ability to transfer hi res files to other organisations

11. 0 2 4 6 8 10 12 14 16
4
8
10
5
14
1
1
4. Metadata creation
Step 1: Only production metadata in existence, none
created by cataloguers and no catalogue
Step 2: All metadata manually input by cataloguers
Step 3: Some automatic creation of technical
metadata from digital files; descriptive metadata…
Step 4: As stage 3 with metadata automatically fed
in from external applications (e.g. production…
Step 5: As stage 4 with metadata also being put in
by production staff
Step 6: As stage 5 with metadata creation such as
tagging and crowd sourcing utilized
Step 7: As stage 6 with automatic metadata creation
such as speech-to-text, image recognition, …

12. 0 5 10 15 20 25
20
10
5
8
5. Connection to the public
Step 1: Featuring archival items on tv, radio and
own websites not dedicated to the archive
Step 2: Tthe above plus featuring items on own
dedicated archival website'
Step 3: The above plus via external social media
platforms, sites and/or apps
Step 4: The above plus via external or own
platforms aiming at target groups e.g. education'

13. SOME COMBINED RESULTS
1. Preservation format vs. Type of organisation
PRESERVATION FORMATS
INSTITUTIONAL
ARCHIVES
BROADCASTERS
ARCHIVES
Step 1: Analogue carriers such as film, video or stills. 1 6
Step 2: Digital linear tape 0 3
Step 3: Up to 25% of digital files on mass storage 1 7
Step 4: 26% - 50% of digital files on mass storage 0 8
Step 5: 51% - 75% of digital files on mass storage 1 2
Step 6: 76% - 100% of digital files on mass storage 3 9
Step 7: Digital files stored in the cloud 0 1
TOTAL 6 36

14. SOME COMBINED RESULTS
2. Content management vs. Type of organisation
CONTENT MANAGEMENT SYSTEMS
INSTITUTIONAL
ARCHIVES
BROADCASTERS
ARCHIVES
Step 1: Card index, log books, other paper based
finding aids
0 1
Step 2: Standalone databases and other electronic
documents
0 5
Step 3: Electronic, networked library cataloguing and
tape management systems
0 3
Step 4: Electronic, networked library cataloguing and
tape management systems linked to preview digital
files
1 3
Step 5: Digital asset management system 2 17
Step 6: Digital asset management and rights
3 7
management system
TOTAL 6 36

15. SOME COMBINED RESULTS
3. Access vs. Type of organisation
ACCESS
INSTITUTIONAL
ARCHIVES
BROADCASTERS
ARCHIVES
Step 1: Viewing originals on video tape machines and
monitors or a Steenbeck
0 2
Step 2: Viewing preview copies on video tape
machine and monitors
0 4
Step 3: Browse copies on networked computers -
internally
0 16
Step 4: Browse copies over the web for staff on and
off site
1 4
Step 5: Browse copies over the web internally and
through external websites for staff and public access
(parts of the collection)
2 8
Step 6: Browse copies over the web internally and on
external websites for staff and public acces; ability to
transfer hi res files to other organisations
3 2
TOTAL 6 36

16. SOME COMBINED RESULTS
4. Metadata creation vs. Type of organisation
METADATA CREATION
INSTITUTIONAL
ARCHIVES
BROADCASTERS
ARCHIVES
Step 1: Only production metadata in existence, none created
by cataloguers and no catalogue
0 4
Step 2: All metadata manually input by cataloguers 0 8
Step 3: Some automatic creation of technical metadata from
0 4
digital files; descriptive metadata manual input by cataloguers
Step 4: As stage 3 with metadata automatically fed in from
external applications (e.g. production systems) linked to the
DAM
1 5
Step 5: As stage 4 with metadata also being put in by
production staff
3 2
Step 6: As stage 5 with metadata creation such as tagging
and crowd sourcing utilized
1 12
Step 7: As stage 6 with automatic metadata creation such as
speech-to-text, image recognition, …
1 1
TOTAL 6 36

17. SOME COMBINED RESULTS
5. Connection to public vs. Type of organisation
CONNECTION TO THE PUBLIC
INSTITUTIONAL
ARCHIVES
BROADCASTERS
ARCHIVES
Step 1: Featuring archival items on tv, radio and own
websites not dedicated to the archive
1 19
Step 2: Tthe above plus featuring items on own
dedicated archival website'
0 10
Step 3: The above plus via external social media
platforms, sites and/or apps
1 3
Step 4: The above plus via external or own platforms
aiming at target groups e.g. education'
4 4
TOTAL 6 36

18. EVOLUTION vs 2012: HIGH LEVEL CONCLUSIONS
Preservation format:
Significant progress in digitization, storing in the cloud still one
bridge too far?
Content management systems:
Worldwide adoption of MAM systems, expansion towards
Digital Rights Management: a challenge for many.
Access:
Mostly still on site and for staff only. But fortress walls torn
down slowly.
Metadata creation:
Production staff ever more involved in annotation. UGM and
AGM still rare but increasing.

19. THANK YOU FOR FILLING OUT
THE SURVEY!
YOU CAN STILL JOIN!
www.FIATIFTA.org