Material Information

Preserving the Journalistic Recordings of Burning Spear Media, 1971-1999
Hines, April
Hofer, Jennifer
George A. Smathers Libraries at the University of Florida
Publication Date:
Physical Description:
Grants Application


The George A. Smathers Libraries (Libraries), University of Florida, and Burning Spear Media, LLC, will partner to digitize and make publicly accessible 1495+ audio and video recordings dating back to 1971. These media document the history of the Black Power struggle through activities of the Uhuru Movement. Recordings include conferences, workshops, Freedom Schools, Sunday Meetings, homeless activism, protest marches, speeches, electoral campaign activities, and activists’ personal accounts. Collection content includes 12 sessions of the International Tribunal on Reparations to Black People in the U.S., Huey Newton’s last speeches, and presentations by Omali Yeshitela in London and Africa. Recordings chronicle the survival, continuity and growth of the movement for Black Power and African Internationalism from 1971 to 1999.The Libraries will ingest and preserve these recordings, making them freely available through UF’s Digital Collections, offering rare resources for current and future generations of students, activists, journalists, film-makers, historians and the general public.
Collected for University of Florida's Institutional Repository by the UFIR Self-Submittal tool. Submitted by Juliana Rojas Perez.
General Note:
Sponsor - Recordings at Risk - CLIR Amount awarded - $49,751

Record Information

Source Institution:
University of Florida Institutional Repository
Holding Location:
University of Florida
Rights Management:
Copyright Creator/Rights holder. Permission granted to University of Florida to digitize and display this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.


This item is only available as the following downloads:

Full Text


George A. Smathers Libraries 535 Library West Library Administration PO Box 117000 Gainesville, FL 326117000 3522732505 3523927251 Fax March 31, 2023 CLIR Recordings At Risk Program Reviewers Council on Library and Information Resources 211 North Union Street, Suite 100 PMB 1027, Alexandria, VA 22314 Dear CLIR Recordings at Risk Reviewers, Please accept this letter of institutional commitment and support for the activities outlined in the proposal, Preserving the Journalistic Recordings of Burning Spear Media, 1971 1999. If awarded, this one year collaboration with Burning Spear Media will make available hundreds of otherwise unavailable audio and visual files chronicling first hand history of the Black Power movement between 1971 and 1999. Due to format degradation and limited documentation, this collection is fundamentally inaccessible to scholars and the public. The media is stored in a Gulf coast region of Florida that is susceptible to hurricane activity. Faculty and staff of the George A. Smathers Libraries (Libraries) at the University of Florida (UF), a Land Grant and Sea Grant university, commit to managing the project, arranging vendor work, providing general metadata records for each AV item, including enhancing records with metadata provided by the Partner, performing quality control on deliverables, and ingesting the digitized items into the UF Digital C ollections (UFDC, Once loaded into UFDC, these records will be freely and nonexclusively available for use by scholars, students, and the public. The Libraries are committed to providing project management, preservation activities, and longterm access to complete the project. Grant funds received by the University of Florida Foundation and University of Florida for supporting awarded projects are monitored through an electronic grants management system known as UFIRST. In collaboration with the Libraries’ Grants Management Program staff and the Division of Sponsored Programs personnel, funds and all administrative functions are managed through online modules that retain all correspondence and documentation related to post award fund distribution activities and pro ject personnel roles for each project during the grant period. From the moment the award is setup, the principal investigator and project team members will be guided by the Grants Management Program staff to complete the project expenditure of funds (and r eporting documentation) for allowable expenses as outlined in the agreement, award guidelines, and project budget. Burning Spear Media staff members approached the University of Florida Libraries in 2018 for consultation on preserving their institutional collection of paper and digital newspaper issues of The Burning Spear . The African Peoples Socialist Party (APSP), founded in 1972, emerged from three earlier Black organizations in Florida, namely: the Junta of Militant Organizations (JOMO), the Black Rights Fighters, and the Black Study Group. JOMO, the most influential of the three organizations then led by Omali Yeshitela, was a Black organization protesting racial discrimination , and police brutality and abuses against people of African descent in Flor ida and the US. In 1972, the APSP adopted the Burning Spear as its official paper. Published in St. Petersburg, Florida since 1993, and briefly in UF’s hometown of Gainesville (198081), this title was a good fit for inclusion in the Florida Digital Newspaper Library . In 2019, the Libraries made 320 issues (19692020) available for public access for the first time. Following the success of this partnership, Burning Spear Media An Equal Opportunity Institution


staff requested help to preserve their A/V collection and make this unique historical content available to the public. Due to a lack the resources to digitize these A/V formats at scale, the Libraries propose this applic ation seeking support for the critical steps of preserving the collection, with a commitment to hosting and provide technical support for this academically invaluable collection. The Burning Spear A/V collection consists of almost 3,000 A/V pieces, including audio cassettes, VHS tapes, Betamax tapes, and MiniDV cassettes. The bulk of the collection was recorded between 1980 and 1995. Individual items are housed in cardboard boxes and stored in air conditioned office space in St. Petersburg, Florida. A basic inventory has been created, but content description is limited to information on labels and boxes. The inventory is not publicly accessible and only is available by direct request to Burning Spear Media staff, a small organization operated by one f ull time staff member and a handful of volunteers. These recordings are primary source material offering context for historical events that are under represented in the academic record. Events represented in this collection include testimony, people’s advocate statements, and the reading judges' verdicts at reparations tribunals taking place in California, Ohio, and New York. Recordings of practical Black organizer trainings and political education classes from the perspective of African Intern ationalism provide rare insights into community organizers of the time. If awarded, this proposal will allow the oldest and most atrisk items of the collection to be made openly available. The Libraries’10 years of awarded projects from the NEH National Digital Newspaper Program, coupled with our established support for both maintaining internal digital collections (UFDC) and our longstanding provision of technical assistance for content providing partners, demonstrate the Libraries steadfast co mmitment to preserving digital heritage collections and making them fully accessible throughout the world. UF and the Libraries and our faculty and staff appreciate the opportunity to seek the CLIR Recordings at Risk funding to actualize this project. Sincerely, Judith C. Russell Dean of Univ ersity Libraries


The Foundation for The Gator Nation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


The Foundation for The Gator Nation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


! ! $1:3-.<1#"#?&<1=636$"=&A600-:3&/?&%6E%=6E%36:E&3%-&$1:0603-:3&<16:30&12&$1:$-#:& "#36$;="3-A&/?&<-1<=-&12&$1=1#&15-#&36.-G& & & @6:"==?)&7%6=-&9&03#-00&3%-&:--A&31&0;<<1#3 & 3%-&A6E63"=&<;/ =6$&#-$1#A)&3%-#-& 60&=633=-&A1;/3&3%"3&3%60&<#1M-$3&76==&0;<<1#3&=-"#:6:EG& Q%60&71#J&#-<#-0-:30&"& $1:3#6/;361:&31&3%-&<;/=6$&3%"3&76==&%-=<&3-"$%-#0&":A&03;A-:30G & Q%-&3-".&"3&3%-& >:65-#063?&12&@=1#6A"&%"5-&"&<#15-:&#-$1#A&12&0;<<1#36:E&A6E63"=&%;.":636-0& < #1M-$3&3%"3&2103-#0&-A;$"361:&":A&=-"#:6:EG&Q%60&<#1M-$3&76==&"<<-"=&31&6:03#;$31#0& -N<=1#6:E&#"$-&"$#100&0-5-#"=&"#-"0&12&$1:$-#:G&9:&<"#36$;="#)& ."J6:E&"&A?:".6$& $1#<;0&12&."3-#6"=&"5"6="/=-& "/1;3&#-$-:3&%6031#?&/-:-2630&3-"$%-#0&":A&0$%1="#0& 6:3-#-03-A& 6:&3#"$6:E&3%-&1#6E6:0&12&$1:3-.<1#"#?&"$36560.G&@#1.&.?&-N<-#6-:$-)& 3%-0-&$1:5-#0"361:0&"#-&$-:3#"=&31&-.-#E6:E&0$%1="#0&":A&;:A-#E#"A;"3-&03;A-:30G & @1#&3%-0-&#-"01:0)&3%60& <#1M-$3&%"0& .? & 2;==&0;<<1#3)&":A& 9 & =11J&21#7"#A&31& -:E"E6:E&763%&3%-& <#1M-$3&3%#1;E%&3%-&!H>&D=1/"=&K6E63"=&W;.":636-0& 0?.<106;.&":A&13%-#&<;/=6$&%;.":636-0&<#1E#"..6:EG & X=-"0-&E65-&3%60&<#1M-$3& ?1;#&$"#-2;=&$1:06A-#"361:G & & & & !"#$%&'()*$+#$+,)-.'(// & 0"123//1"$12$4*5'(/, & 6)7&'89$:3);<$=")>,(7$01//(.('(8(3/$?3/3)"7,$ @1"A/,1> & +1 B !("3781"<$!3>)"8-3*8$12$4*5'(/,$!(5(8)'$C&-)*(8(3/$)*;$:(83")"9$+15*(8(1*$:).$D!C:+E & +1"3$6)7&'89<$+1*/1"8(&-$21"$+"(8(7)'$!(F3"/(89$(*$!(5(8)'$G53$?3/3)"7,$D+4!G?E & H)'$I3""9-)*$+&")81"$12$C(/81"9<$JKL$J&/3&& J(7,(5)*$K8)83$L*(F3"/(89 & & &


Preserving the Journalistic Recordings of Burning Spear Media, 197 1 1999 University of Florida Preserving the Journalistic Recordings of Burning Spear Media, 19711999 Project Plan: September 1, 2023–A ugust 3 1 , 2024 Project staff who will work to complete the project as described in the workflow and timeline below. April Hines, Journalism and Communications Librarian, will serve as Principal Investigator and will supervise project administration and project management i n partnership with the Grants Management Program staff at the Libraries. Hines will partner with faculty in the UF College of Journalism and Communications, Burning Spear Media, and Libraries’ personnel to promote availability of materials at UF and beyond. Jennifer Hofer, History Librarian, will serve as Co Principal Investigator and will support the p roject administration and project management. Hofer will develop a UF Libraries LibGuide describing Burning Spear Media content at UF to promote digitized resources. Chelsea Dinsmore, Chair of Resource Description Services , will serve as an Investigator and will supervise the metadata and partner communication with Burning Spear Media. Fletcher Durant, Director of Conservation and Preservation, will serve as an Investigator and will facilitate project workflows with the selected vendor and monitor preservation activities as described in the Digital Preservation Plan. Todd Digby, Chair of Library Technology Services, will serve as an I nvestigator to oversee ingest and technical infrastructure of UFDC. Xiaoli Ma, Metadata Librarian, will serve as an Investigator to advise on metadata structure and consistency. Laura Perry, DSS Director, will oversee DSS team members and review work. Randall Renner, DSS staff, Digital Asset Coordinator, will serve as an Investigator and ingest the digital files into UFDC. Andrea Stitch, DSS staff, Metadata Specialist, will serve as an Investigator and will assist in the development of metadata and record creation. Project Workflow and Timeline September 2023: The selection of media for project digitization will be based on the format and age of materials, due to risks associated with aging magnetic media. This


Preserving the Journalistic Recordings of Burning Spear Media, 197 1 1999 University of Florida project will digitize as many of Burning Spear Media’s holdings of VHS tapes, audio cassette tap es, and " audio reels, as possible. BSM staff will transport the collection from their offices in St. Petersburg, FL, to the University of Florida Libraries. The Director of Conservation and Preservation will order hard drives for data transfer, create item level metadata sheets, pack collection of VHS tapes and " reels for shipment, and create shipping manifest for the first project batch. The first project batch will be shipped to vendor (Preserve South) for digitization. September 2023– April 202 4 : Vend or (Preserve South) will confirm receipt of all original VHS Tapes, " reels, and metadata sheets for the first project batch. Vendor will create digital preservation masters and access derivatives, name files, and embed descriptive metadata. Vendor will s hip finished batches of files back to UF on hard drives. November 2023: Director of Conservation and Preservation will create item level metadata sheets, pack collection of audio cassette tapes for second shipment and create shipping manifest for the second project batch. The second project batch will be shipped to vendor for digitization. November 2023June 2024: Vendor (Preserve South) will confirm receipt of all original audio cassette tapes and metadata sheets for the second project batch. Vendor will create digital preservation masters and access derivatives, name files, and embed descriptive metadata. Vendor will ship finished batches of files back to UF on hard drives. November 2023–July 2024: Libraries’ project staff will perform and complete quality control review on returned files, checking formats, metadata, and viewing/listening to sample files. November 2023–July 2024: DSS staff will review and enhance item level metadata records. On an ongoing basis, Digital Asset Coordinator will ingest digital content into UF Digital Collections (UFDC), attaching the correct recordings to matching records. Not all ingest may happen during the project timeframe but ingest will continue until all files are loaded into UFDC . July –A ugust 2024: Project staff will wo rk with University and Library specialists to publicize the project and new resource via the Libraries’ social media outlets (Facebook, Twitter, Instagram) and Burning Spear Media subscribers. History Librarian will create a public LibGuide to facilitate c ollection access and use. A ugust 2024: Return physical collection items and offer digitized files to Burning Spear Media. A ugust 2024: Write Final Project Report and submit to CLIR.


Preserving the Journalistic Recordings of Burning Spear Media, 197 1 1999 University of Florida DIGITAL PRESERVATION PLAN Digital Format Deliverables UF will work with qualified vendors to digitize the selected collections following the 20222023 Library of Congress Recommended Formats Statement. Master formats: Video: 720x486, 29.97fps, Uncompressed AVI, 8 bit 4:2:2 YUV Audio: Uncompressed PCM Audio, 48KHz 24 bit, 2 channel Access formats: Video: 720x480, 29.97FPS, H.264/MP4, 4:2:0, 8 bit, 2mbps data rate Audio: AAC 48KHz 128kbps, 2 channel Metadata Standards and Access Digital Support Services staff will update OCLC catalog records for the newspaper titles and begin creation of foundational Metadata Encoding and Transmission Standard (METS) metadata in the University of Fl orida Digital Collection (UFDC) system. Upon receipt of digital files from the vendor, individual metadata records at the item level will be created in UFDC, and enhanced both automatically and manually as objects move through the workflow. The UFDC system assigns a unique Bibliographic Identifier to each title object processed, which is used to track the item, and contains the issue objects that are assigned a unique Volume Identifier. The METS files include techni cal and structural data about each file, as well as descriptive and administrative information. Any pre existing metadata (e.g., from donor records) will be imported into the UFDC system before beginning the process of ingesting the vendor digitized files. After the vendor digitized files are received, all aspects of image control and digital package creation will be controlled by the UFDC Toolkit, an integrated software package that controls derivative image formation, quality control review at the package level, and deployment to UFDC servers. The system automatically will load the Master and Access files pro vided by the vendor. A Quality Control review will be undertaken by staff . Errors will be noted and returned for re digitization of items, where possible. At this point, an object’s METS file will contain basic structural and administrative metadata, as we ll as any pre existing descriptive metadata imported at the start of the process. After quality control completion, the digital package will move to METS file validation. Staff will ensure that all package level metadata conforms to national METS, to local extension schemas, to UFDC requirements, and for longterm digital preservation in the UFAR (UF ARchives) system. With final package approval, staff will use the UFDC Toolkit to transfer the package to the UFDC server for public access and metadata harve sting. Discovery of the files will now occur in several ways, through 1) the UFDC homepage; 2) MARC records with linked 856 fields in the online catalogs of UF, WorldCat, etc.; 3) MARCXML record feed available for download and ingest into any catalog by any institution; and 4) Open Access Initiative (OAI) compliant metadata harvested by digital repositories.


Between Civil Ri ghts and Black Lives Matter: Preserving the Journalistic Recordings of Burning Spear Media, 1972 2010 University of Florida Digital Preservation and Sustainability The George A. Smathers Libraries at UF are committed to longterm digital preservation of all materials in the UF Digital Collections, and in UF hosted collaborative programs. This includes maintaining redun dant digital archives, adherence to proven standards, and rigorous quality control methods to protect digital objects. The UF Digital Collections provide a comprehensive approach to digital preservation, including technical supports, reference services for both online and offline archived files, and support services by providing training and consultation for digitization standards for longterm digital preservation. The Libraries maintain a robust digital storage and preservation system. This system includes access copy file servers that present items to users through our publicly accessible digital library system. These file servers are replicated between multiple geographically separated data centers and provide realtime failover capabilities. Access copies and preservation copies of files are housed on redundant servers with copies of all online and dark files on separate Library and University maintained servers . The preservation copy file servers are replicated between geographically separated data centers and provide an encrypted and RAID protected environment. Additionally , both access and preservation copies of files are protected through a Tivoli tape backup as a ready access archive. The tapes are maintained in an environmentally controlled storage facility. The Tivoli tape storage system is located in geographically separate locations , including an out of state location. The UF Data Centers are designed to operate without interrup tion though a Category 4 hurricane (Up to 156 MPH) and provide 24x7x365 monitoring, scheduling, and alert notif ication for the server and file hosting services provided. In practice consistent for all University of Florida Digital Collections and projects, separate redundant digital archives are maintained in UFAR. This infrastructure meets or exceeds National Digital Stewardship Alliance (NDSA) levels 2 and 3 for digital preservation. ( of digitalpreservation/) Informat ion about the archival processing for all digital objects, both online and offline, or for “dark” archived objects, is tracked and maintained within the current SobekCM online system under “Work History.” The SobekCM system is in process for replacement wi th development of a new digital library user and internal system, named Anubis , underway. During Anubis development (expected 2020 2023), SobekCM will remain in use, and preservation information will be visible under “Work History” tracking including the “History” which lists the workflow, date the workflow occurred, and location/notes. Under “Work History,” another field titled “Archives” will list all of the archived files including filename, size, last write date, and archived date.


Budget Narrative Project Title : Preserving the Journalistic Recordings of Burning Spear Media, 1971 1999 Organization(s) : University of Florida Foundation Request Amount: $49,751 Line Item s: $ 49,04 1 Budget line items "Digitize 841 VHS tapes", "Digitize 452 Cassettes tapes", and "Digitize 13 Reels" specify quoted costs for all digitization deliverables to be completed by the vendor, Preserve South. This work includes physical evaluation of assets, any necessary pre digitization treatment of sour ce material, the digitization of all media material, in process repair of material (as needed), embedding of necessary metadata, and quality control checks of all digitized audio. $ 460 Seagate Expansion 16TB External Hard Drive HDD (larger enclosure, requires USB and the included power cable) 2 @ $229.99 = $ 459.98 Portable External Hard Drive/dp/B091J9WYYG For the transport of digital content from the vendor to UF and for temporary storage of digitized files until they can be transferred to local storage. UF has a number of smaller drives that can be made available to transfer audio files from the vendor as needed. $2 5 0 Postage, using either FedEx or UPS to ship materials and hard drives to and back from the digitization vendor Total: $49,7 5 1 Cost share ( if applicable ) NA Grant management UF Libraries G rants Manager and Grants Accountant coordinate with the University Division of Sponsored Projects and Contract & Grants offices to manage funds and deliverables in line with state and federal laws, best practices, and grant requirements.


Rationale for support The UF Library's need for funding through this program is due to the cost and time expenditure associated with digitizing these unique AV materials. Using the Library's current staff, the digitization of the proposed material would take years. Additionally , the UF digitization unit is not equipped to handle fragile media formats, or repair breaks during digitization. The ability to send this content to a vendor will allow these files to be made available to the public in a timeframe that would otherwise be unfeasible. Private foundations ( if applicable ) NA


University of Florida: Burning Spear Media Collection Submitted: March 21, 2023 Fletcher Durant Director of Conservation and Preservation Smathers Libraries University of Florida (352) 273 2802 Submitted by: Emily Halevy Preserve South, Inc (main) 770.932.9801 (cell) 404.580.2178


University of Florida: Burning Spear Media Collection General Guidelines, Procedures and Client Responsibilities 1. Client will supply a flat file (i.e., Excel spreadsheet or .CSV file) of their catalog which will include each asset to be migrated. A expansion. For example, if one row is used to represent one program that spans multiple physical assets. This inventory/spreadsheet should include essential data about each asset: The a required. A unique identifier must be present on each asset on both the asset itself and its case. The file name to be used for each asset (if different from the identifier) required. The number of the b ox in which the asset is packed required. The title or description of the asset required. File names must not contain illegal characters such as: spaces, commas, \ / : * ? ! " ' < > | # @ required. Asset format desired, but not required. Asset run time or stock length desired but not required. Any additional information about the asset that appears in existing inventories would be welcome. If a spreadsheet does not exist, Preserve South will be happy to provide accessioning services at an addition al charge (See Additional Services for pricing); however, this must be discussed prior to project commencement. 2. Client will provide a shipping manifest to Preserve South prior to shipping. The manifest will include a total box count. 3. All assets will be inspected for defects, such as physical damage, poor tape wind and the presence of mold, dust, dirt, debris or chemical breakdown residue. 4. Preserve South will digitize client assets on a box by box basis. The contents of each box will be checked in and ins pected as each box is opened. 5. All client assets will be placed back into the box in which it arrived. Assets will be placed in a new box if the originating box is damaged beyond repair. 6. Clients have a 30 day window to confirm quality and completeness of files. After 30 days, all files will be removed from our servers. 7. 8. VHS are assumed to have 2 hour runtimes and all audio assets with a 90 minute run time. 9. Tape repair is ass umed for 20% of the VHS tapes. 10. Source timecode (if it exists) will be retained when possible. 11. All assets will be captured in their entirety as one complete file. If tone and voice slate are present at the head of the tape, Preserve South will start the ca pture at the beginning of tone. If tone begins. The capture will continue approximately 2 5 seconds after the end of the program. 12. All metadata is included in pric ing below. 13. Timeline for completion is estimated to be between 6 8 months. 14. All billing will be handled by Lyrasis. 15. UF will supply hard drives and shipping. 16. Additional services table is listed below. Client will be notified if any services are required prior to commencement.


Est imate D ata Footprint Hours GB per Hour Total 720x486 , 29.97fps, Uncompressed AVI, 8 bit 4:2:2 YUV 1,850 75.5 136.40 720x480, 29.97FPS, H.264/MP4, 4:2:0, 8 bit, 2mbps 1,850 0.88 1.59 Uncompressed PCM Audio, 48KHz 24 bit, 2 channel 927 2.02 1.83 AAC 48KHz 128kbps, 2 channel 927 0.05 0.05 Total Data Estimate 139.87 TB ADDITIONAL SERVICES Description Rate per Unit Spreadsheet Creation (per asset up to 6 fields per asset) $5.00 Asset Photography $5/asset Tape Repair/Minor Mold Remediation $25.00 Extensive Mold Remediation (per hour) $60.00 Video Tape Baking $8.00 Audio Tape Baking $5.00 Tape Cleaning (one pass) $2.00 Grooved Media/Disc Cleaning $25.00 Extensive Tape Cleaning (multiple passes in the cleaner) $15.00 Extensive Splice Repair (per hour) $60.00 File Clipping $5/clip Failed Migration Fee $15.00 LP/ELP: Runtimes over 2 hours (30 minute segment after the first 2 hours) $8.00


A bout Us Preserve South was formed in January of 2018 following the closure of Crawford Media Services. Burt Jones, of Backporch Broadcast, recognized the void that was left in the southeast by that alevy, National Accounts Manager, formerly of Crawford, and Nathan Lewis , Technical Operations Manager , also formerly of Crawford. With their plus years of engineering experien ce, Preserve South was able to build out a new facility and bring several former employees, as well as several clients over from Crawford seamlessly. Emory University National Gallery of Art Smithsonian Institutes Turner Broadcasting Katz Broadcasting/Court TV University of Georgia KQED Austin City Limits/KLRU Billy Graham Evangelical Association Preserve South currently services domestic clients in the broadcast, corporate, non profit and university sect ors. Preserve South currently consists of 20 full time employees and plans to add additional employees as work volume grows. Team Members broadcasting/video/audio/film pos t production and/or duplication for a minimum of 25 years each most have over 30 years or more. Jade Elder, Project Manager University of Georgia, graduating summa cum laude. (CMS) newly formed media migration division as one of the earliest migration operators. During his tenure at CMS he preserved various media and archives for institutions such as World Wrestli ng Entertainment (WWE), United States Holocaust Memorial Museum (USHMM), WSB, Radio Caracas Television (RCTV), The Jimmy Carter Presidential Library, and Ultimate Fighting Championship (UFC). For Jade, the UFC project proved to be a unique opportunity that blended preservation/digitization with monetization as he edited deliverable packages to create compilation reels of fight events while also


In late 2017, Jade left CMS to focus on his last semester at UGA. In 2019, after having completed his master program and spending some time as a freelance editor, Jade rejoined his colleagues at Preserve South. As a project manager, Jade has managed film, video, and audio projects for clients a nd institutions such as: University of Georgia, Alabama Department of Archives and History, The Atlanta History Center, Atlanta University Center, Auburn University, Clemson University, Emory University, Florida State University, Georgia State University, Indigo Girls, The Jimmy Carter Presidential Library, John Deere, Johns Hopkins, KQED, National Gallery of Art, Rotary International, Smithsonian Institution, Toyota, Turner Classic Movies, University of California Santa Barbara, University of Florida, Uni versity of Illinois Urbana Champaign, University of West Georgia, and Washington University in St. Louis. As a Project Manager, Jade oversees every aspect of his projects from the moment the job was awarded until delivery and approval of files and asset return. He keeps consistent communication with his clients, checks in their assets as soon as they arrive, notifying clients of any discrepancies in their inventory, builds out the migration spreadsheets, keeps the client updated about the status of their project and if any potential issues arise, creates the invoices, writes the drives, and coordinates file and asset delivery. Jade also assigns projects to migrators, performs quality control, and keeps track of their efficiencies to ensure timely deliver y of projects. Richard Bradach, Senior Migrator Richard started his career in video in 1982 with WBGU in Bowling Green, OH. There he performed many duties, including working in the tape room where he operated four Quad machines used for commercial breaks and rebroadcasting local shows. Over the years, Richard has worked professionally as a tape operator in video duplication and post production houses, including Foto Kem out of Burbank, CA. In 1999, Richard joined the team at Crawford and has been involved in nearly every major migration project since that time. Richard joined the Preserve South team in 2018. In addition to digitizing collections, Richard also is responsible for training new migrators. Matt Leatherman, Sr. Audio Engineer As Senior Audio Engineer & Project Manager, Matt oversees digitization & preservation services at Preserve South. With over 20 years of audio engineering experience, Matt has preserved countless historical audio collections with clients such as the Library of Congre ss, Smithsonian Institution, Jimmy Carter Library, the United States Holocaust Memorial Museum, Atlanta History Center, University of Georgia, National Center for Civil and Human Rights, National Museum of African American History and Culture, Atlanta Univ ersity Center, Georgia College and State University, Washington University in St. Louis, Massachusetts Institute of Technology, WABE, Emory University and the American Archive of Public Broadcasting.


With Preserve South's recent buildout of one of the mos t advanced, high resolution, multi track audio archiving studios in the world, Matt is currently digitizing the audio collection for Austin City Limits, covering nearly 45 years of original, multi track master recordings. Matt is an active & participating member of the Association for Recorded Sound Collections (ARSC), the International Association of Sound and Audiovisual Archives (IASA), the Southeast Chapter of the Music Library Association (SEMLA) and serves on the Audio Engineering Society (AES) techn ical committees for Archiving Restoration and Digital Libraries, Semantic Audio Analysis & High Resolution Audio. Josh Overley, Audio Migrator wrote scores, recorded foley, captured ADR, and mixed vario us student film projects using Avid Pro Tools. He also worked as a FOH and monitor engineer at Southside Church in Peachtree City, Georgia. tape, audio cas settes, mini & micro cassettes to DATs and MiniDiscs. In early 2020, Josh successfully digitized hundreds of center collection. He has also completed a diverse range of projects for W ycliffe Bible Translators, the Jekyll Island Museum, Rubicon Global, Georgia Power and several more. Nathan Lewis, Technical Operations Manager Nathan Lewis began his career in 2000 as a Duplication Technician with the Atlanta based Post Production facili ty VTA (formerly Video Tape Associates). During his 11 years with VTA, Nathan held several positions including Assistant Editor, Project Manager, Rich Media Manager, and Operations Manager. As a Duplication Technician and Assistant Editor, Nathan honed his skills in traditional tape based post production workflows. As a Project Manager and Rich Media Manager, Nathan became thoroughly familiar with hybridized acquisition and delivery workflows involving tape based and born digital assets. In 2011, Nathan bro ught his extensive knowledge of tape based and tapeless workflows to Crawford Media Services, making sure that all data flows through the migration process were as efficient as possible. Nathan joins the Preserve South team as Lead Media Engineer.


Techni cal Approach Chain of Custody Preserve South will work with UF to coordinate packing and transportation of assets. Once each delivery house, temperature and humidity controlled vault. P specific to the migration process such as: inspection date, notes regarding inspection (when necessary), ation, operator initials, QC notes, etc. The Project Manager to monitor the progress of the project on a daily basis over the network. Assets are then orga nized on media carts for migration. Once the assets have been successfully migrated, the Project Manager will return the cart to the vault and each asset on the cart will be checked to ensure the right tape is in the right case and then checked out against the inventory and re packed in its proper box. Once the contents of a box have been completely checked out and re packed, the box will be sealed for return shipment. These materials remain in the vault until return delivery, which will be coordinated bet ween UF and Preserve South. Physical Inspection Prior to ingest, all assets are visually inspected for defects, such as physical damage, poor tape wind and the presence of mold/mildew, dust, dirt, debris or chemical breakdown. All physical media anomalies (e.g., popped strands, cinched pack, vinegar syndrome, etc.) along with media characteristics (e.g., acetate binder, stored heads out, visible leader instances, etc.) are fully documented in client spreadsheet and entered for FADGI compliant meta data capture. Any assets determined to suffer from binder hydrolysis (such as back coated polyester urethane), are set aside to be baked in professional, low temperature incubators (see Tape Baking Procedures). Additionally, assets identified with soft bin der syndrome, vinegar syndrome, excessive chemical breakdown residue, evidence of mold/mildew or severe physical damage (flange/hub, media or enclosing box) are set aside for further evaluation by the Project Manager. Assets deemed safe for repair or clean ing will be thoroughly remediated using best practices (see Media Remediation Procedures). If the Project Manager determines that the asset is log/spreadsheet an d the client contact will be notified (if so desired). Media Repair Preserve South can repair all open reel media formats exhibiting broken, failing, dry, cracked or sticky splices. We carry splicing equipment, archival leader, timing leader, and splicing tapes for every size of magnetic media. All repairs or modifications are fully documented with original condition & treatment procedures and notated accordingly for FADGI compliant metadata capture.


In addition: Assets with recorded content reaching a bsolute ends of media can be easily modified with new archival leader at head and/or tail of asset to accommodate complete program capture. Leader tape requiring full replacement ( e.g., broken, damaged & acidic paper leader) are replaced with new archival quality leader tape, using precise lengths to match original sizes. All new or replaced leader introduced to the collection is treated with deionized air to disperse any static charge for optimal playback. Broken splices on backcoated polyester ex hibiting bleeding of adhesive or glue deposits can be safely spot cleaned using distilled water. Broken splices on non backcoated polyester or acetate media exhibiting bleeding of adhesive or glue deposits can be safely spot cleaned using eucalyptus oil fo llowed by a light, spot rinse of distilled water. Media with broken hub, reels, missing screws or sprocketed hubs can be replaced with a new plastic molded or metal precision reels (as needed). Equipment Cleaning All tape machine transport components are fully cleaned and inspected between reels, including tension arms, guide rollers, capstan shaft & playback head using 99.9% ultra pure, anhydrous alcohol. Rubber or Athan pinch rollers are spot cleaned before each ingest using distilled water, then fully c leaned every 5 days (or sooner, as needed) with manufacturer recommended rubber or Athan cleaner(s). Tape path, head assemblies and control modules are cleaned between each ingest using an anti static electronics vacuum system, lint free cloth and dried, c ompressed air to remove any dust, oxide or fine particulates. Complete tape path, including tension arms, guide rollers, capstan shaft & playback head(s) are demagnetized daily (every 8 10 hours as per manufacturer recommendations). Splicing equipment and hand tools are also demagnetized daily. Signal Path Optimization Before each ingest, noise reduction decoding requirements are determined and the signal path/cabling is altered accordingly. Assets not requiring decoding are directly hardwired from playba ck device to A/D converter, bypassing any additional noise introducing components, patchbays, cables and connectors. Preserve South uses custom made, 100% bedfoil shielded cabling at precise lengths for optimal low noise capture. Playback Tone Calibration Should they exist, playback tones are individually calibrated to optimal playback levels as recorded on tape. If program is found to be significantly outside normal playability range (e.g., low signal, distortion, severe overmodulation, etc.), Preserve So uth will contact client to determine a mutually acceptable course of action (if so desired). If levels are only slightly outside normal playability range, Preserve South will notate audible anomaly in the migration metadata spreadsheet and use best practic es for optimal


ingest. All original alignment tones are retained in Preservation Master File(s). For tapes without reference tone, Preserve South will calibrate capture levels accurately using an appropriate MRL calibration tape, verifying levels against r ecorded program content. Timecode Preserve South will retain all source SMTPE timecode whenever possible. Timecode is always embedded in Preservation Master Files and frame rate metadata is captured. Tape Baking Procedures Magnetic carriers often use polyester urethane binders which suffer from hydrolysis, a chemical reaction between water in the air and the polymers in the polyurethane. This reaction changes the chemical and physical properties of the original polymer, often producing a by product whi ch acts as an auto catalyst, accelerating the destructive process. Binder hydrolysis can be temporarily reversed using controlled, elevated temperatures. This incubation process is becoming more common as magnetic media continues to age, particularly for a ssets stored in less than ideal conditions. Media is only exposed elevated temperatures in a highly controlled environment where deemed for proper handling o f large collections, allowing non stop, rotating migration schedules across 3 shifts. This allows projects to be completed more quickly, efficiently and with continuous monitoring. Assets identifi ed as candidates for safe baking procedures (e.g., backcoated polyester exhibiting signs of binder hydrolysis) are removed from cold storage to acclimate in secure holding room for a minimum of 24 hours. Where necessary, media is organized with temporary i dentifiers and loose tails are secured with archival hold down tape prior to baking to prevent unwinding or media damage during incubation. Large reels with window temporary, windowed flanges t o promote uniform air flow. Flange less incubation is also considered when deemed safe. Media with inner fully remediated prior to incubation. Media will undergo a controlled bake at approx. 50°C 52°C for a period of 16 24 hours depending on size, condition & specific media requirements. Chambers will only be filled to half mass to increase efficient airflow and promote uniform results. A slow, in oven rest period will immediately f ollow successful bake to allow gradual regulation of media temperature. Ovens are carefully monitored for accurate time & temperature and detailed logs are recorded hourly. Incubation environments are regularly adjusted to accommodate media characteristic s, including carrier age, physical condition, manufacturer and previous baking history (if known).


Tapes that have completed the baking & rest process will then be moved to the climate controlled ingest studio for an additional 24 hour acclimation period p rior to ingest. Baking Prior to Remediation Assets requiring incubation, which are also exhibiting signs of mold, mildew or other particulates, are baked in original spooled position using a specially modified oven prior to any slow winding, cleaning or r emediation procedures. A dedicated, HEPA filter equipped incubator is used for all particle laden assets to promote employee safety and avoid possible contamination among other assets. Oven interior, racks and other components are fully cleaned following e ach bake using laboratory grade hydrogen peroxide and 99.9% ultra pure, anhydrous alcohol. All media handling and preparation prior to, and following baking procedures are completed in separate, dedicated locations (see Media Remediation Procedures). Medi a Remediation Procedures Preserve South employs the use of a dedicated media inspection & remediation room, equipped with tools and safety equipment designed to facilitate the safe and thorough cleaning of fragile & unique assets. Our Sentry Air Systems, H EPA filtered, ductless fume hood provides a safe environment for handling assets exhibiting signs of mold, mildew or other particulates. Handling & Storage of Assets ISO 11799:2015 (Document storage requirements for archive and library materials) ISO 18923:2000 | AES22 1997:s2012 (Polyester base magnetic tape storage practices) ISO 18925:2013| AES 11id 2006:r201 2 (Optical disc media storage practices) ISO 18933:2012 | AES49 2005:s2012 (Magnetic tape; Care and handling practices for extended usage) IASA TC 05:2014 (Handling and Storage of Audio and Video Carriers, 1st Edition) Audio Migration Overview s professional playback equipment, top of the line analog to digital converters and Merging Technologies Pyramix digital audio workstations (DAW) to achieve optimal signal capture. All assets are handled individually for a superior 1:1 transfer using stora ge, inspection, handling and digitization procedures according to: The International Organization for Standardization (ISO) International Electrotechnical Commission (IEC) The International Association of Sound and Audiovisual Archives (IASA) Audio Enginee ring Society (AES) Association for Recorded Sound Collections (ARSC) Federal Agencies Digital Guidelines Initiative (FADGI)


File Production and Delivery IASA TC 04:2009 (Guidelines on the Production and Preservation of Digital Audio Objects, 2nd Edition) I ASA TC 06:2018 (Guidelines for the Preservation of Video Recordings, 1st Edition) FADGI ( Technical Guidelines for Digitizing Cultural Heritage Materials, 2016) FADGI (Broadcast WAVE Metadata Embedding Guidelines, Version 2, 2012) EBU 3285:2011 (Specificat ion of the Broadcast Wave Format (BWF), Version 2) ARSC (Guide to Audio Preservation, 2015) AVAA Audio/Visual Artifact Atlas (Descriptive Vocabulary for Archival Metadata) Replay Machine Selection Preserve South carries numerous replay devices, which are selected for each individual asset based on various criteria, including native speed capability, track configurations and optimal carrier handling. Example Audio Formats Signal Paths Format Brand/Model A / D Converter Encode Platform Hardware/OS Studer A820 Merging Technologies Horus Pyramix 12.0.5 Windows 10 Pro Ampex ATR 102 Otari MTR 12 Revox B77 File Delivery All files digitized from linear cassette tapes are captured as 24bit, 96kHz BWF in their original track configuration (mono, stereo, dual mono). Assets with multiple sides or multi directional programs can be delivered as a single, or separate file(s) and side start times or program changes, along with correlating channel numbers will be fully documented in FADGI compliant metadata. Quality Control After ingest, the operator performs a spot check of the files at the beginning, several places along the timeline and at the end. The files are then topped and tailed (edited at the beginning and end) to minimize any unnecessary data and then named per the specified unique identifier. If required, sources with more than one segment per unit are clipped using a DAW and the operator enters the unique


identifier for each clip. To create the access file, the technician edits (top and tail) the preservation master file to minimize any unnecessary data and then generate service and access files via batch transcode from Audio Preservation source file, which ensures an exact match between the preservati on and proxy file. Additional quality control measures taken: All storage, baking, cleaning and encoding operations are conducted in separate, clean, dust free environments. When possible, barcodes (that are also the intended file names) are scanned to eliminate manual entry file naming errors. MD5 checksums are generated and verified during each transfer to ensure data integrity. Scripted MDQC actions are performed on each BWF to ensure metadata accuracy. Video Digitization Overview Preserve South owns many playback decks for nearly all SD and HD formats. Additionally, Preserve South has multiple transcoding solutions from different vendors in order to include the many different possible digital file workflows for our various customer s. Prior to digitization, the operator sets each tape up to source bars and tone using waveform and vector scope monitors. The program video is also checked to ensure that bars and tone reflect the correct levels. When necessary, operators make level adju stments in order to capture the best representation of the source material. For all tape formats included in the collection, the operator will shuttle the tape ure tones, slates, program and any additional content after program are included. The operator will then ior to the start of the digitization process. Preserve South can encode multiple streams simultaneously, depending on timelines and workflows. Operators monitor each ingest streams video content and corresponding audio levels on a multi viewer monitor throughout the digitization. The operator notes any noticeable issues such as tape hits or drop outs. If issues are detected during ingest, the operator shuttles the tape to the area in question and determines if the issue is inherent in the source. If not, the tape is re ingested. Please note that it is our intention to play the tape as little as possible. Our goal is to process each tape in one pass. Once the pass has been successfully completed, the tapes are rewound and placed back into their cases a nd back on the migration cart. When complete, operators verify that each file name has been entered correctly and spot checks each file at the beginning and end, as well as several points along the timeline. Inspection and cleaning are the first two stage s where problematic tapes are discovered. The ingest process is the third and final stage. This generally takes the form of tape damage or signal problems that Preserve South cannot


correct, such as severe tracking errors, which would primarily be caused w hen the content was originally recorded. As before, these items are noted in the spreadsheet. Sample Video Formats Signal Paths Format VTR Brand/Model Signal A / D Converter Signal Encode Platform Transcode Platform VHS Sony/SVO 5800 Y/C Component SAMMA Sync SDI FPD/ SAMMAsolo Backporch QUAD+ Metus INGEST FFMpeg Telestream Vantage Quality Control All encoding operations are conducted in clean, dust free environments. When necessary, video formats are cleaned before ingest. Playback machines are cleaned daily and heads are inspected regularly for excessive wear. When possible, barcodes (that are also the intended file names) are scanned to eliminate manual entry file naming errors. Operators shuttle each videotape to find the Before ingest, videotapes are set up to source bars and tone using wave form and vector scope monitors. The pro gram video is also checked to ensure that bars and tones reflect the correct levels. Every file is spot checked at the beginning and end, as well as several other points throughout each file. MD5 Checksums are generated to ensure data integrity. File Deli very Complete Metadata Capture All descriptive & technical metadata will be properly documented in migration spreadsheet immediately upon ingest and embedded into each Preservation File (and derivative files if required). Additional QC steps will be perfor med using MDQC, MediaInfo & ExifTool to ensure complete and accurate metadata reporting. This metadata includes: FADGI Compliant Format Chunks (technical metadata) FADGI Compliant BEXT and INFO chunks (core metadata) Reporting data from born digital asset s (error reports, track & marker info, etc.) All descriptive metadata will follow BAVC AV Artifact Atlas vocabulary


Technical metadata is provided as a standard practice, which includes inspection notes, defects, film conditions including embrittlement, sh rinkage, fading, distortion, plasticizer exudation, and other states of decay, audio issues, etc. Preserve South can also include associated metadata files as requested, including MD5 checksums. Data Writing and Deliverables Files will be retained on days after files have been delivered to the client. The client will have 30 days from receipt to review and approve the files. Any file remediation that is required will be resolved at no charge within 30 days of receiving notice. Facility Preserve South is located at 5023 B.U. Bowman Dr., Buford, GA 30518. The facility is solely owned and operated by Burt Jones, owner of Backporch Broadcast and COO of Preserve South. Preserve South has two media storage rooms; t he primary storage area (24' x 26', 7488 cubic ft) can handle approximately 900 boxes on high density shelving. A second storage room (26' x 29', 9048 cubic ft) can store an additional 700 or more boxes. Security Provisions Exterior doors remain securely locked at all times Secured, keyed locks for all vaulted areas Limited internal access control for employees and guests Video monitored entryways, loading bays, parking & property exterior Single access gated concertina fencing limits building access Ass et Storage All cold storage media vaults meet recommended temperature & relative humidity requirements as described in IASA TC 05, ISO 18923:2000 & AES22 1997:s2012. Cold storage vaults are monitored at a max temperature of 68°F (20°C) and 40% relative hu midity Detailed climate logs are generated regularly for precise environment monitoring All media is handed to allow gradual regulation of temperature & humidity during remediation, baking & migration


Migration Environment eo & film migration rooms are purpose built for the proper storage, handling and digitization of culturally significant media collections. Custom sized media racks, carts and work surfaces are available throughout the facility to ensure the safe handling, transport and storage of assets. In addition, facilities include: Clean tech power with conditioned UPS backup Clean Stride Doorway mats at every entry to reduce particulates HEPA filtrated migration & storage rooms throughout facility Facility is professionally cleaned each week to eliminate dust and particulates References Washington University in St. Louis Tyler Bequette Film Preservationist 314.935.6991, KQED Robert Chehoski Media Management and Archives Director 415.553.2852, University of Georgia Ruta Abolins Director, Brown Media Archives & Peabody Awards Collection Office: 706 542 4757 |


The links below will direct the user to sample audio files created by the UF Digital Support Team while testing the condition of materials loaned to us by Burning Spear Media . The user will also find the metadata information that will generally be available for these records. Sunday Rally: Sept 23, 1984 NPDU M Convention, Economic Development Workshop: April 18, 1999