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Category: video

Encouraging Participation in the Census

1940-census-posterWhile smart folks over at NARA are thinking about the preservation strategy for digitized 2010 census forms, I got inspired to take a look at what we have preserved from past censuses. In specific, I wanted to look at posters, photos and videos that give us a glimpse into how we encouraged and documented the activity of participation in the past.

There is a dedicated Census History area on the Census website, as well as a section of the 2010 website called The Big Count Archive. While I like the wide range of 2010 Census Posters – the 1940 census poster shown here (thank you Library of Congress) is just so striking.

I also loved the videos I found, especially when I realized that they were all available on YouTube – uploaded by a user named JasonGCensus. I am not clear on the relationship between JasonGCensus and the official U.S. Census Bureau’s Channel (which seems focused on 2010 Census content), but there are some real gems posted there.

For example, in the 1970 Census PSA shown below we learn about the privacy of our census data: “Our separate identities will be lost in the process which is concerned only with what we say, not who said it”. We are shown technology details – complete with old school beeping and blooping computer sounds. (NOTE: this video is also available on Census.gov, but I saw no way to embed that video here – hence my cheer at finding the same video on YouTube)

For the 1960 census, a PSA explains the new FOSDIC technology which removed the need for punch-cards. With the tagline ‘Operation Rollcall, USA’, the ad presents our part in “this enterprise” as cooperation with the enumerators. In the 1980 PSA the tag line is ‘Answer the Census: We’re counting on you!’ and stresses that it is kept confidential and is used to provide services to communities. By the time you get to the 1990 and 2000 PSAs we see more stress on the benefits to communities that fill out the census and less stress on how the census is actually recorded.

I also found some lovely census images in the Library of Congress Prints and Photographs catalog including the image shown here and:

Exploring the area of Census.gov dedicated to the 2010 census made me wonder what was available online for the 2000 census.

Wayback Machine to the rescue! They have what appears to be a fairly deep crawl of the 2000 Census.gov site dating from March of 2000. For example – the posters section seems to include all the images and PDFs of the originals. I even found functional Quicktime videos in the Video Zone, like this one: How America Knows What America Needs.

The ten year interval makes for a nice way to get a sense of the country from the PR perspective. What did the Census Bureau think was the right way to appeal to the American public? Were we more intrigued by the latest technology or worried about our privacy? Did they need to communicate what the census is used for? Or was it okay to simply express it as an American’s duty? I appreciate the ease with which I can find and share the resources above. Great fun.

And for those of you in the United States, please consider this my personal encouragement to fill out your census forms!

Update: The WashingtonPost has an interesting article about the ‘Snapshot of America’ series of promotional videos for the 2010 census. Definitely an interesting contrast to the videos I reviewed for this post.

Warner Brothers Archive DVDs: Classic Movies On-Demand

The latest example of a media company finding a way to profit from their archives, Warner Brothers has launched the Warner Brothers Archive. Nestled neatly within the the WBshop.com website, among the TV shows and promotional merchandise, the movies from the archives include everything customers have come to expect from an online shop. We have user reviews, video clips and the ways to share links. You can browse by genre or decade. They are currently holding a vote to see what title should be added to the inventory next.

One of the films available from the archives is the 1975 action feature Doc Savage: The Man of Bronze. Embedded below is a 30 second clip showing Doc Savage entering his “Fortress of Solitude”. They could have made it easier for me to embed this (I had to go figure out how to embed FLV files into this blog post) – but I am happy that they let me embed it at all. If you don’t see a video below, you probably need to install adobe’s shockwave. You can always go watch the clip on the Doc Savage page (click on Video Trailers & Clips).

Each film page carefully notes “This film has been manufactured from the best-quality video master currently available and has not been remastered or restored specifically for this DVD and On Demand release.” and then directs the customer to view the preview clip to evaluate the film’s quality.

The details comes out when we dig into the Warner Archive FAQ. It is here that we learn that the DVDs we can purchase for $19.95 are produced “on-demand”. How are they different from the DVD’s you buy at the store?

DVD’s produced on-demand are similar to, but not quite same as, DVD’s you’d buy at the local video store. DVD movies you buy at the local video outlet are manufactured from a mold via a stamping process whereas on-demand DVDs are “burned”. Each carries information read by the DVD player, but the physical properties of the two are different.

Most DVD players are compatible with both commercial DVD-Video and one or more of the “recordable DVD formats. Our on-demand DVD’s are manufactured using the most widely accepted format, DVD-R.

They also answer this question about copying the DVDs:

Q: I’m trying to make a few extra copies of my DVD, for “safe keeping” and for a surprise present to my mom. When I copied the disc it was un-playable. Why is that? And what can I do about it?

A: This DVD on-demand disc was recorded using CSS encryption. CSS is designed to prevent unauthorized reproduction of the DVD. We’re delighted that you’d like to surprise your mother with the gift of a Warner Bros classic movie. May we suggest she’d like an officially produced and packaged DVD even more? As such we welcome your visit back to the Warner.com classic store at any time.

In addition to being able to purchase DVD-Rs with CSS encryption, many of the archives films permit a download option. Archives movie downloads appear to cost $14.95. The Digital Products FAQ explains the details, but these are the highlights of what comes along with that $5 in savings:

  • Downloads are protected by DRM
  • Downloads only play on MS Windows boxes – no Mac or Linus support
  • You can burn the movie to a CD or DVD, but they “are Digital Rights Management (DRM) protected, so you will only be able to watch the video on the computer or device on which it was originally purchased.”

I give a big thumbs up to Warner Brothers for coming up with a way to leverage their archives. I am less impressed with the non-open format and DRM restrictions they are placing on both the DVD-Rs and downloads. A model that states that a purchased download can be played as often as I want – but requires a specific operating system and only permits play on the same machine from which I made the purchase seems untenable. If I were to buy one of these films, I would spend the extra $5 and get the DVD-R which at least can be played on multiple machines, even if it can never be copied!

Preserving Jewish Memory: Family Photos Join Oral History in Centropa Movies

Centropa. org features video photo montages that combine Jewish family photographs with oral history. I found my way to Centropa from the Time.com article Old Nazi News Makes Headlines in Germany which includes Kristallnacht in Words and Photographs from Centropa, but Centropa’s mission reaches beyond recalling the Holocaust. Centropa bills itself as “an interactive database of Jewish memory”.

The first oral history project that combines old family pictures with the stories that go with them, Centropa has interviewed more than 1,350 elderly Jews living in Central and Eastern Europe, the former Soviet Union, and the Sephardic communities of Greece, Turkey and the Balkans. With a database of 25,000 digitized images, we are bringing Jewish history to life in ways never done before.

Their fleet of 140 individuals conducted extensive oral interviews and digitized thousands of old family photos. They are quite intent on clarifying that they do not create videos during their sessions with their interviewees. Instead, they record audio of their multi-hour sessions, transcribe these sessions and combine them with the digitized family photos to create their movies.

The juicy center of their website is found in the Centropa Movies which are alternately billed as a “library of rescued memories” and a “digital bridge back to a world destroyed”.  Their movies are also available via iTunes and on the CentropaOffice YouTube Channel. The movie I have included below tells the story of Judit Kinszki and focuses on her father Imre Kinszki, a budding photographer from Budapest, Hungary. From this movie’s Centropa Movie page you can also navigate to Judit Kinszki’s biography , the full family photo album and a study guide for this movie.

The amount of detail provided with each posted interview is really incredible. Biographies, detailed notes on each photo, the study guide, a family tree and a currently grayed out but promising link to “Discuss Movie”. This site has clearly given great thought to how to support teachers and has followed that vision through in the form of tons of supporting materials. Centropa has chosen the path of quality over quantity with the 17 movies currently posted.

Upon further reflection, I realize now that the movies are an outgrowth of the database of photographs and biographies. The detail was not added to support the videos – but rather the videos are the next step of evolution beyond the photos and interview transcripts.

In addition to the movies they offer a Recipe Archive, downloadable eBook versions of some of their interviews as well as Centropa Student, aimed at high schools in Europe, North America, and Israel. For those of you working on your own oral history projects, there is the Centropa Oral History Tool Kit, available in 5 languages. The Centropa Glossaries are less glossary and more a detailed list of people, social groups, events and terms that can be searched by country, type or keyword. Finally, don’t miss the ‘Narrated Stories and Introductions’ featured on the right sidebar on the Centropa Movies page, such as Maps, Central Europe and History or the Introduction to Centropa for US Students.

Reading Centropa’s claim that they are the first to combine the use of family photos and oral histories made me recall the University of Alaska Fairbank’s Project Jukebox. This project launched back in 1988 and aims to ” integrate oral history recordings with associated photographs, maps, and text.” The original was written using Hypercard!

They have a map showing all the communities in Alaska currently included as part of the project. A good example of an individual photo with accompanying narration is Harry Cook in his Garden from the Kiana Village History Project. No – it isn’t as elegantly assembled as the Centropa Movies, but the intention is much the same. They use old photos as a catalyst for helping individuals being interviewed and then combine the audio and images to improve end users’ understanding of the context of individual photos.

I have signed up with Centropa to be notified when they launch the promised ‘Add Your Family Photos’ feature. Until then I will keep scanning my own family’s photos, such as the one below featuring my grandfather (back row on the right), and working my way through all the Centropa Movies and their supporting materials.

Library of Congress Inauguration 2009 Audio and Video Project

President Taft and his wife lead the inaugural parade, 1909 (Library of Congress: Prints and Photographs Division)

Amazing how much can change in 100 years. In March of 1909, the stereograph above shows African Americans driving the carriage that carried President and Mrs. Taft from the Capitol to lead the inauguration parade to the White House. On January 20th of 2009, Barack Obama will be the guest of honor. The American Folklife Center‘s Inauguration 2009 Sermons and Orations Project aims to collect recordings, transcriptions and ephemera of speeches addressing the significance of the inauguration of Barack Obama as the first African American president.

It is expected that such sermons and orations will be delivered at churches, synagogues, mosques and other places of worship, as well as before humanist congregations and other secular gatherings. The American Folklife Center is seeking as wide a representation of orations as possible.

The Inauguration 2009 project is modeled after prior Library of Congress collection projects. Two great examples of these earlier projects are:

If you want to organize a local recording, here are the basics:

  • Recording must be made between Friday, January 16th and Sunday, January 25th, 2009 and postmarked by February 27, 2009.
  • The project website provides the required Participant Release Form for speakers, photographers and those making the recordings.
  • The project is accepting audio recordings, video recordings, and written texts of sermons (see their detailed specifications page for information about accepted formats). Also accepted will be accompanying ephemera such as photographs and printed programs.
  • If you are sending materials to the Library of Congress, they encourage you to use FedEx, UPS, or DHL because of the danger of damage due to security screening done to USPS packages.

If you want to get a taste of  other recordings held by the Library of Congress, you can spend some time browsing the fantastic list of Collections in the Archive of Folk Culture Containing Sermons and Orations provided on the project site.

So spread the word. Honor the Library of Congress’s goals by helping this collection include the perspectives of as many communities as possible. Your local religious or secular leader could have their point of view preserved as part of a snapshot of our country’s response to the Inauguration of 2009. While they hope for audio and video recordings, they are also accepting text transcriptions – so this doesn’t have to be a high tech endeavor. That said, perhaps this is the inspiration you have been waiting for to learn how to make an audio or video recording!

Video News Archives: Digitization as Good Business

Flickr: OSU Spring Game 2006 Media Lineup by Chris MetcalfMy work now includes more SEO (Search Engine Optimization) work and so I have added SEO focused blogs to my RSS feedreader. Today I spotted Search Engine Land‘s post Business Opportunities For Video News Archives. Stephen Baker calculates that 35 years worth of archive footage equals 51,100 hours of content per station. With approximately 20 stations per broadcast group he estimates a cost of $30 million per group to digitize each broadcast group’s archive of news footage. See the original article for more details on his calculations.

He then proposes 3 approaches to monetizing these efforts and leveraging the resulting digitized video:

  1. Media-Centric Wikipedia – complete with an expectation that social media contributions would provide “scalable way for creating editorial metadata, such as descriptions and story summaries that would be costly to otherwise create”. This makes me think of Flickr Commons for video.
  2. Education Site – akin to NBCU’s iCue site I mentioned in my post about NBC News Archive footage on Hulu. “Efforts like this provide educational/subscription opportunities as well as sponsorship/advertising opportunities—what advertiser doesn’t want to get in front of 13 – 18 year olds?”
  3. News Site Extension – described as “bolting the news archive onto the existing site”. The major benefit of this is that “more content provides more SEO opportunity and, hence, larger audience reach.”

Baker concludes:

In a market where traditional media is struggling to create unique and compelling online experiences and business models, the archive represent a differentiator that can jump-start audience building and monetization initiatives. Not only is it an important representation of world history that must be saved for “preservation-sake”, the archive represents a large, untapped online opportunity.  Who will be first to realize its potential?

The ultimate goal of all three of these scenarios is to offset the extreme expense of digitization of thousands of hours of news footage. I think it is refreshing to see a perspective from outside the cultural heritage corner of the world that still sees video archives as rich resources worth preserving. I also like seeing ideas that are pitched in manner that should catch the attention of those making budgets and struggling with finding funding for large digitization efforts.

Image Credit: Flickr photo OSU Spring Game 2006 Media Lineup by Chris Metcalf

Political Campaign Ads from the NBC News Archives Find New Audience on Hulu.com

Thinking about politics, but waxing nostalgic for the good old days of movie stars and snappy jingles? Surf over to Hulu.com’s new gallery of Historic Campaign Ads. These are from iCue, which bills itself as “A fun, innovative learning environment built around the video from the NBC News Archives“.

And what would a political video blog post be without a political video? If you don’t see the video below, you can click through to view the I Like Ike ad from 1954 I chose for your viewing pleasure.

This is a great example of finding new audiences for material from archives. In this case, I had to dig for a while to discover that these were from the NBC News Archives. The Hulu iCue network/studio home page doesn’t really tell me anything – but you can imagine using a page like this to supply more information if you wanted to stress the archival origin of a set of videos.

Public.Resource.Org: Creative Financing and Public Domain Content

Sunrise on Malibu Lake by Charles O'Rear (National Archives photo no. NWDNS-412-DA-15109) Public.resource.org is dedicated to using funds contributed by individuals to buy public domain content. This content is then released online in multiple locations such as the Internet Archive and Google Video for use by anyone. I love their tag line: Underwritten By The Feds! Overwritten By You!

I spotted this in boingboing’s post Liberated public domain government docs surfacing online and I was immediately intrigued. This isn’t really an archiving issue exactly – though you could decide that it takes more of a LOCKSS approach to preservation. I also wonder how this approach could be used to finance the digitization of other public domain materials.

The website explains on their About Us page that they have recently applied for non-profit status with the IRS, so soon the purchase price of these materials could become a tax deduction for those who file US Tax Returns. They feature materials from 54 different US Federal agencies – from the Fish and Wildlife Service to the IRS. There are materials on the Environment, Public Health, Flying and many more.

But that isn’t all they are tackling – back in May they issued a message to The Internet discussing their attitude toward (and frustration with) the Smithsonian Images website. It begins:

We write to you today on the subject of SmithsonianImages.SI.Edu, a government ecommerce site built on a repository of 6,288 images of national significance. The site is breathtaking in scope, with imagery ranging from the historic cyanotypes of Edward Muybridge to historic photos from aviation, natural history, and many other fields. If the Smithsonian Institution is our attic, these photos are our collective scrapbook.

However, the web site imposes draconian limits on the use of this imagery. The site includes a copyright notice that to the layman would certainly discourage any use of the imagery. While personal, non-commercial use is purportedly allowed, it requires a half-dozen clicks before the user is allowed to download a low-resolution, watermarked image. An image without the watermark and at sufficient resolution to be useful requires a hefty fee, manual approval by the Smithsonian staff, and the resulting invoice specifically prohibits any further use without permission.

The letter goes into great detail about why they disagree with how things are being done – take a look if you are curious. Also -they didn’t just create this letter – they also created a free to download book titled Public Domain Prospectus which they declare as a tool for those researching the public domain status of the 6,288 images included (in their low resolution watermarked versions).

I went hunting on the Smithsonian Images site to see for myself. I found a few things. While the prices for prints or digital files do seem expensive to my eyes – there is the following note included in the Product and Pricing Information:

Special Note on Pricing: Smithsonian Photographic Services, as an instrument of the Smithsonian Institution, is a non-profit entity. Fees associated with the delivery of images represent material fees only and go to support the broader mission to create, archive, and preserve images associated with the Institution and it’s holdings.

That page also includes some information about how the images may be used, but for the full story I headed over to the Copyright Policy. That is when I started to get confused. The copyright policy on that page talks about “Use of text, images and other content on this website…”. Does that mean these same rules apply to the images you purchase as well?

Let’s take a closer look at one of the pages about a specific image. Here is a nice one of Fireworks over National Monuments. I click on the tempting ‘Download Image’ button and now I see more about what the Public.Resource.Org folks are talking about. One more click and I finally find what appears to be the official Commercial Use of Smithsonian Images page which concludes with:

Commercial distribution, publication or exploitation of Smithsonian files is specifically prohibited. Anyone wishing to use any of these files or images for commercial use or publication must first request and receive prior permission by contacting [Smithsonian Institution Office of Imaging & Photographic Services]. Permission for such use is granted on a case-by-case basis. A usage fee may be involved depending on the type and nature of the proposed use.

There is a special policy for school, teacher and student use of the watermarked versions of the images for free (with the right citations of course).

If I understand the Public.Resource.Org’s issues, it isn’t predominately with the price of the high resolution digital versions or even the print versions of these photos (though they DO touch on it in their letter and I think I side with Smithsonian Images on that aspect – it does cost money and time to make all that available). Rather it is with the firmness that Smithsonian Images claims that you must request permission to use any of the images you purchase for anything beyond personal or educational use. I think I like what NARA has on their website concerning the publication of their still photos which begins with these two paragraphs:

Generally, photographic records copied and sold by the National Archives and Records Administration (NARA) may be published without special permission or additional fees. NARA does not grant exclusive or non-exclusive publication privileges. Copies of Federal records, as part of the public domain, are equally available to all.

A portion of the photographs among our holdings are or may be subject to copyright restrictions. The National Archives does not confirm the copyright status of photographs, but will provide any information filed with the photograph. It is important to note that all of the digital images that are available on our website are in the public domain.

I can see how it might seem safer (from a “don’t sue us” point of view) to force a search by hand for each and every image as users request to use them. At the same time I would like to think that the folks over at Smithsonian Images already know which images are in the public domain. Maybe I am oversimplifying this, but I want to believe that the details of copyright are part of the metadata that could be supplied along with the date, photographer’s name and description.

I prefer the National Archives’ approach of stating clearly that they do not confirm the copyright status of photographs. They put it in the hands of the entity who wants to use the materials – though that might be small comfort to the average citizen not well versed in copyright rules.

The Wikipedia page on Copyright status of work by the U.S. government includes sections about digital historical material as well as work produced by government contractors. Reading through this makes me realize how quickly the copyright status of images such as those provided by Smithsonian Images and NARA can get confusing.

I think what Public.Resource.Org is doing with their propagation of public domain materials to locations where the public can actually get at them easily is interesting. I want to check back in a year and see how much they have set loose – and what materials they are asking for help to liberate. As I mentioned above, I think there could be some interesting models of individuals donating money to finance the digitization and of public domain materials. Something like what Fundable does to take pledges toward a specific fund-raising goal – and then only turn those pledges into funds if the goal is reached.

As for their great frustration with Smithsonian Images? Well, I see Public.Resource.Org’s side. In this age of Flickr.com – people are growing used to watching for Creative Commons Licenses. With so much out there with liberal Creative Commons Licenses and in the Public Domain, why struggle with images that are copyright protected unless you really need to?

I would like to think that rights management is one of the first things that would get sorted out before a large image collection is put online – especially if the goal is to produce a revenue stream. That said – I would love to know the real story here. I can imagine that the rights on many of those images are not clear cut. But if the Smithsonian Image people know that some of them are in the public domain – then why would they go through all that extra trouble to force a rights search for every image? Why not distinguish the ones which require research from those that don’t? Couldn’t it only help support the work of the Smithsonian to have their images used by as many projects as possible? Anyone reading this have an answer for us from the inside?

About the image above: Given that I prefer images without watermarks (as provided by Smithsonian Images) and that I know that the images on NARA’s site are in the public domain I went hunting for something pretty – and found the image I feature above. To find it yourself do a search for [Sunrise on Malibu Lake] in the Archival Research Catalog (ARC). These are the details included with the image:

Sunrise on Malibu Lake in the Santa Monica mountains near Malibu, California, which is located on the northwestern edge of Los Angeles County. The mountains contain the last semi-wilderness in Los Angeles County. This area so far has escaped development pressure. Some 84 percent of the state’s residents live within 30 miles of the coast and this concentration has resulted in increasing land use pressure. Several commissions have been authorized by the legislature to restrict coastal development, 05/1975.

Item from Record Group 412: Records of the Environmental Protection Agency, 1944 – 2000. NARA NAIL Control Number: NWDNS-412-DA-15109. Photograph by Charles O’Rear.