Minimum* Viable Station Documentation

Link to this document: bit.ly/mindigit

Please contribute! Contact Ashley Blewer to request write-access to this document.

● Blog post for context

● Minimum Viable Station as Diagram
● Minimum Viable Station Recipes!
● See also: The Collection Management System Collection

Table of Contents
Open examples
Hardware
Computer
Analog-to-digital converter
Time Base Corrector (TBC)
Capture Software
Disk Imaging Software (for Optical Media)
Packaging/Fixity
Quality Control Software
Metadata Software
Video Decks
Cables
Film (moving image)
Still images
Storage
Misc.
License
Open examples
What are other people doing? Examples of documented technical specifications and workflows.

See also: https://github.com/amiaopensource/open-workflows

DC Public Library Memory Lab

DVA-Profession minimum hardware requirements for ingest and background processing
workstations
Indigitization Toolkit
Madison Public Library Personal Archiving Lab
Video Digitization Presentation
Dance Preservation and Digitization Project: Building a VHS Digitizing Station
Preservation Action Plan for VHS
Manage Your Mega-Massive Music Library By Ditching iTunes And Your External Hard Drive
MiPoPs
XFR Collective
PrestoCentre Library (103 free resources, not all up to date/relevant) Audio Tape Digitisation
Workflow (2008)
UCSB Equipment List & Workflow Docs
Audio tape digitisation workflow

Hardware
Infrastructure

Sometimes it's nice to have a UPS (Uninterruptible Power Supply) attached so that in case in the
middle of a long transfer and power goes out you can still have power and won't wreck the tape
(example, there are many). Example.

This is kind of beyond minimally viable but if you can find one, a power monitor is helpful.
They regulate and show you the voltage coming from the outlet you've chosen so in case there's a
surge and weird artifacting in your transfer you can know (possibly) what happened

Furniture:
$$
A metal A/V rack with ample drawers + shelves, e.g. something like this.
$
Cheap wooden shelves can also work. Easier if the shelves don’t have a back so that it’s easier
access and run cables. You'll also probably need a table and a chair.
$
Just stack everything on top of each other.

Computer
Mac
Mac with Thunderbolt* or USB 3.0.

You’ll need a relatively (past six years) new iMac/ MacBook Pro/Mac mini (with HDMI
monitor) or even MacBook Air.

Older Macs with FireWire may also work fine.

* For now. Thunderbolt is already on the way to becoming obsolete. Currently, it’s a convenient,
(relatively) low-cost, and speedy way to get lots of video data from a playback stream and into a
computer.

Naturally, you’ll also need a Thunderbolt-to-Thunderbolt cable.

PC
PC/laptop with FireWire/USB3.0/USB3.1 port.
Again, naturally, you'll also need the appropriate cable.
Alternatively, a desktop PC without a FireWire port can have a FireWire PCI card installed.

Don’t be afraid to consider used computers that already have video digitizing hardware/software
installed. A non-profit might be able to contact local video production companies who have a
machine that they no longer use (since everybody has moved onto HD production).

Analog-to-digital converter
Audio A/D

It should be noted that different audio players (pro vs consumer) have different output levels
which will affect how you capture the signal depending on what you are using for an A/D. If
you don’t account for this and are not using a capture device that is capable of accounting for this
via settings (like the Apogee converters-set) you can introduce noise into the signal. In general if
you are going from RCA outs to RCA ins you should be fine. If you are going from XLR outs to
RCA ins then you should consider a ‘Direct Box’ in your signal chain to account for differences
in voltage and balanced vs unbalanced audio signals.

$
Just using your Video A/D converter (assuming you have one) is an option. Something like a
Blackmagic is capable of capturing audio at 48kHz and 24-bit which while not “archival best
practice” (96kHz) is more than good enough for a minimally viable station, especially if you will
be primarily working with cassettes.

• iMic USB Audio Interface (may need rca to 1/8” jack cables) This is a VERY cheap option if
you just need to get some audio digitized for the lowest cost possible.
• USB audio interfaces from TASCAM and Roland show up fairly often at ShopGoodwill.com
for reasonable prices. Very early ones (e.g. the TASCAM US-122) will not have drivers for
current versions of Windows, but the drivers can be installed in “Windows XP emulation mode.”

$$
•Focusrite Scarlett 2i2 USB Audio Interface

•Zoom UAC-2 (Confirmed to work with Linux machines as well)

•Used Apogee Duet Firewire

(Need to buy FireWire to Thunderbolt adapter and FireWire 400 to 800 cable)

$$$
•Apogee Element 24

•RME Fireface UFX: Pricey, but affordable option of parallel transfer and can write PCM audio
directly via USB, so you don’t necessarily need a capture computer.

Analog Video A/D

$$$
Blackmagic Design Hyperdeck Studio: More expensive, but records directly to an SSD so works
as a standalone without a capture computer. (Cannot use vrecord)
Blackmagic Design Express UltraStudio: Super reasonably priced, high quality product from a
company that provides open source drivers.

$$
Blackmagic Design Intensity [with Thunderbolt] or Blackmagic Design Intensity [with USB
3.0]. Lower-priced variations of the above.
Blackmagic Mini-Converters are also really nice more compact ADCs.

$
Old Mini DV camera with A/V passthru
A free/inexpensive re-use of a VTR or DV camera to pass-thru analog to firewire. Buenos Aires's
Museo del Cine uses an old PD-170P with KINO on Debian to digitize old VHS and U-Matic
archive material. Or use a cheap deck like Sony DSR-11 (which can even switch between PAL
and NTSC). Cameras are built very densely; if a tape gets eaten up, it will be extremely difficult
to rescue it. Normal decks are much more convenient for that. BUT: Always watch out when
using DV cameras or decks for passthrough: they enhance the signal (check luminance values)
additionally.

ElGato Video Capture This (and other, similar capture devices -- all work fine but this one seems
to come recommended more often than others) is going to digitize compressed in H.264. This is
not "archival" quality, but it will get the job done, is very easy to use, and does not require the
below TBC purchase.
Canopus/Grass Valley ADVC 110 box. While no longer for sale new, you can find these on
Ebay for around $100. They capture DV only but are real workhorses. You’ll need a
FireWire400 six pin port on your computer. Almost all NLEs will support this means of capture.

Digital Video
For digital video (DV, HDV, DVCAM, DigiBeta, Digital8, etc) you want to capture the actual
bits from the tape, rather than running them through analog equipment and capturing the
resulting signal.

On Windows, the tiny WinDV utility is a viable capture tool. If your version of Windows is old
enough, Windows Movie Maker works too.

$
Old Mini DV camera
Connect this to your computer via FireWire (often called “i.Link” for reasons lost to marketing
history). Consumer-grade camcorders only handle DV.

$$
HDV camera
This will handle DV and HDV. Be very careful to find a camera that actually handles tapes!
Modern HDV cameras are SD-card-based.

$$-$$$
DV/DVCAM or HDV/DV deck
Far nicer than faffing with cameras, but getting to be harder to find.

Time Base Corrector (TBC)

Time based correction is an important component to creating stable, archival-quality analog
video. Some TBCs (such as the DPS-290) also come with a built-in processing amplifier, which
allows for alteration of video/audio signal components while transferring, such as changing light
balance to bring video signals into legal limits. Most TBCs (including the DPS-290 and
subsequent models) also include a frame synchronizer, the part that stabilizes the image. The
frame sync corrects small mechanical errors inherent to the video signal by storing the sync
pulses from the video signal and outputting the signal in perfect sync.

$
Go without. If using a cheap A/D converter, sometimes a TBC is built in or the device will be
more resilient to bumps along the way because it's already dealing with a compressed video
stream. While most of the time a TBC will help stabilize a video image, there are cases when the
interaction between a TBC and a video signal may in fact cause more errors in the output -- so
when setting up the station it's important to make sure it's easy to remove an external TBC from
the signal chain if necessary.

Buy used. TBCs show up at ShopGoodwill.com and RecycledGoods.com on occasion, and they
have even been seen at PropertyRoom.com.

$$
AV Toolbox AVT-8710 Time Base Corrector (NOTE: this appears to be discontinued from
major retailers such as B&H and Markertek 7/20/2019)

$$$
TV One 1T-TBC Multi-Standard Time Base Corrector This product is “No Longer Available”
on the B&H website 7/12/2018

Leitch DPS-575
-with the caveat that these are only found used and need the service commitment that
comes with old used equipment

Some nicer production decks feature a built-in TBC (normally as an expansion card):
● Umatic: Sony BVU-950
● (S-)VHS: Sony SVO-5800; JVC BR-S 22 Series

Food Dehydrators
Older tape formats may squeal when they are played in a deck. This is usually an indicator that
the tape has “soft binder syndrome” (also known as “sticky shed syndrome”). Conservationists
use low-temperature, laboratory ovens to temporarily reverse the effects of SBS - but a regular
food dehydrator can work just as well.

Excalibur Food Dehydrators are an excellent compromise between a laboratory oven and a
consumer grade dehydrator. They also have great customer service:
https://www.excaliburdehydrator.com/

“Cooking times and temperatures vary, and can depend on the severity of the hydrolysis. 55
degrees celsius (+/- a few degrees) with an incubation time of 8-10 hours is a good place to
start.” - AV Artifact Atlas

Never put a tape in a conventional oven or a toaster oven.

This is more audio focussed, but has some "recipes" for tape baking http://www.tangible-
technology.com/tape/baking1.html

The same result as backing may be reached by storing over a long period of time (some months)
in a cool and dry environment. This is a less invasive treatment.

Capture Software

Audio Software
$

Ardour
Free if you compile the source code yourself, otherwise $45. There is also a demo version
that ‘periodically goes silent after 10 minutes.’ Open source for all operating systems.
Supports BWF export.

Audacity
Free and open source for all operating systems. Less robust in terms of editing and
features than Ardour, but more straightforward. Does not support BWF export, so a tool
such as BWF MetaEdit would have to be used to add in BWF metadata (an additional
step). Usability suggestion: remove the toolbars you don’t need (about half of them!)
from the standard display.

audiorecorder
A free and open source work in progress.

Ocenaudio
For a very lightweight capture software, works also very good. It's not open source but
it's free and it works great with the Focusrite Scarlet audio card mentioned earlier in the
document.

Reaper
A fully functional pro-tools style DAW at "a fraction of the cost." ($60)

$$
WaveLab Elements
Offers more signal monitoring capabilities than Audacity. [Both Elements and Pro
version support BWF metadata.]

WireTap Studio

$$$
There is a lot out there. But honestly for archiving you don’t use 99% of the features anyway.
WaveLab Pro has some better monitoring than Elements.

Video Software
$
DVA-Profession
"complete solution for digitizing video for archival purposes"

vrecord
Free but requires command line knowledge, Blackmagic video A/D hardware, and only
works on Macs at this time.

Media Express
If using BlackMagic products for A-to-D conversion, this free software can be used to
capture.

Control Room
If using current AJA products for A-to-D conversion, this free software can be used to
capture. Older AJA products rely on Machina (also free) instead.

dvgrab
Free but requires Linux, command line knowledge; not actively maintained.

Kino
An old front-interface that works great for simply capture DV on Linux.

VirtualDub
This is probably *the best* video post-processing tool ever written. It's FOSS, but
Windows-only. At the Austrian Mediathek, it's been tested massively to make sure it
works accurately and doesn't modify the data unless being told to. It requires Windows
plugin packs to support more codecs - and VirtualDub plugins to support more
containers. There's currently a friendly fork called "VirtualDub FilterMod" (vdfiltermod)
which has FFV1 support built-in: https://sourceforge.net/projects/vdfiltermod/

Open Broadcast Software

Meant for streaming but can also save while streaming.

$$
iMovie
Free (if using macOS) but less granular than other video editing software.

LifeFlix
For DV tapes/Firewire capture only. Thirty dollars will get you the download link and
you can install it as many times as you want on as many computers. The application is very user
friendly and handles timecode breaks well. It even rewinds the tape for you before it captures.
Awww!

LiveCapture Plus
User friendly and comprehensive error handling settings. Integration with CatDV
logging/cataloging/database tool for those working with high volumes of DV. $75-100
$$$
FinalCutPro 6 or 7 or Premiere or Lightworks or Resolve
Video editing software that can also capture media. Not inherently free (free trials, etc.)
but offers more control than iMovie. Can be difficult to use and older versions of the
software may be required. For capture and avid-like postproduction cross-platform
lightworks is useful in case you have windows, mac and linux workstation on your
institution/enterprise.

Disk Imaging Software (for Optical Media)

$
ImgBurn
Free. Both GUI and command line versions available. http://www.imgburn.com/ Some
concern with ImgBurn containing Adware for some versions. Earlier and latest versions are
apparently 'clean'. See twitter convo re: potential malware.

FTK Imager
Free. GUI is for PC only - you’ll need to navigate this page to find FTK imager (not
Forensic Toolkit aka FTK - which a different useful & expensive tool altogether):
http://accessdata.com/product-download Mac version (older versions of OS) can be run from
command line: http://accessdata.com/product-download/digital-forensics/mac-os-10.5-and-
10.6x-version-3.1.1

Mac the Ripper

Free (for earlier versions). http://www.mac-the-ripper.com/

XLD Supports migration of audio CDs with modes for multiple passes to counteract automatic
error correction.

Guymager
Free. GUI, runs on Linux only. http://guymager.sourceforge.net/ Generates flat (dd),
EWF (E01) and AFF images, supports disk cloning. Designed with disk imaging HDDs in mind,
but can image optical media as well. Allows user-added embedded metadata, read error
detection, checksum generation and verification. Used in digital forensics.

Exact Audio Copy

Free. GUI, runs on Windows only. http://www.exactaudiocopy.de/en/ Not exactly a disk
imaging software, but recommended for copying audio off of CD-DA optical media, as opposed
to disk imaging, by Yale Libraries (s/o to Alice Prael):
http://campuspress.yale.edu/borndigital/2016/12/20/to-image-or-copy-the-compact-disc-digital-
audio-dilemma/ Automatic speed reduction on read errors, Detection of pre-track gaps,
Automatic creation of CUE sheets for Burnnn, Feurio, Nero or even EAC, which can include all
gaps, indicies, track attributes, UPC and ISRC and also CD-Text.

DVDisaster
Free. GUI, runs on Linux and Windows. http://dvdisaster.org/en/index.html Handles
problematic discs well. Great sector reporting with visual representation of read sectors, CRC
errors, bad sectors, and drive speed. Multiple attempts on bad reads. Lots of great information on
optical discs in the software’s manual.

Packaging/Fixity
$
Bagger
Free program to create bags with a graphical user interface. Also offers an interface to
add metadata about the bag. If you know enough about JSON, you can also create a
metadata profile for all of your bags.
https://github.com/LibraryOfCongress/bagger/releases

bagit-python
Free program to create bags on the command-line. Less controls than Bagger, but
potentially much faster to use, depending on your workflow. If you know some shell
scripting or Python, you can extend/adapt its functions to better fit your workflows.
https://github.com/LibraryOfCongress/bagit-python

checkSum+
Another very simple and free tool with a GUI to create file checksum on OSX is
checkSum+. It can perform several types such as CRC32, md5, Sha, etc.

Exactly
A free desktop app for creating valid bagit bags. It supports profile creation without a
need to know json. It also supports package delivery within a network, or outside a network via
FTP or SFTP. There are packages for Windows (.exe), MAC OS (.app), and plain Java (.jar).

hashcheck
Tool for Windows users. Used it in workshops, as well as archives on-site. Easy to use! :)

Hashdeep
Good command line tool for checksums generation and verification. Hashing algorithms
include (but are not limited to) MD5, SHA1, SHA256 etc. Can be compiled for both Mac (as
well as non-Intel Macs) and PC.

ExactFile
PC only. Can generate various hashes including (SHA-1, SHA-256, MD5)

Quality Control Software

DV Analyzer
Free and open source. "DV Analyzer is a technical quality control and reporting tool that
examines DV streams in order to report errors in the tape-to-file transfer process. DV
Analyzer also reports on technical metadata and patterns within DV streams such as
changes in DV time code, changes in recording date and time markers, first and last
frame markers within individual recordings, and more."

ffprobe
Free and open source file identification tool part of FFmpeg that requires the use of the
command line.

MediaConch
Free and open source tool for validating file characteristics. Are they all ProRes like you
wanted? Check ‘em without opening every file. You can create your own policies, or use a
canned policy (I like the CAVPP policy for preservation masters). MediaConch loves the FFV1
codec and will make you think that’s all checks, but fear not! It is actually a very democratic
tool.

MediaInfo
Free tool for identifying technical characteristics of a file

MDQC
Free tool for validating technical characteristics of a file or set of files against defined
technical requirements

QCTools
Free tool for analyzing video file properties and characteristics. Utilizes audiovisual
analytics and filtering.

VLC
Free media player to play a variety of video and audio codecs/formats. Supports many
codecs.

Metadata Software
Metadata creation is expensive, so capture only those fields that make sense for your projects. To
get a sense of potential fields use an established metadata schema for digitization like PBCore.

$
Spreadsheets
Google Sheets
Free spreadsheet software to capture metadata. Key strategies to keep in mind:
● 1 row should represent all the information about 1 thing, typically a file.
● Because 1 object can be digitized into many files, either copy the information
about the object for each file row or store the object information in a separate
spreadsheet.
● If you use formulas to move data around, copy-paste the formulas as values when
a spreadsheet is complete.

Microsoft Excel
Only recommendable if already installed, otherwise $$.

Video Decks
Recommended brands or other things to look out for when buying used equipment.
VHS
Professional decks are generally better than consumer decks. Professional decks can
normally play S-VHS, and have S-Video connectors. S-VHS format just records on tape
the Y (luma) and C (chrominance) information; a S-VIDEO cable is the best output for
digitizing this material. Professional decks sometimes can't play LP (long play) videos, so
that's something to watch out for. Professional decks sometimes have built-in noise
reduction or decombing filters that can improve visual quality. Sony SVO-5800 comes
with a built-in TBC. Use a deck that does allow you to disable OSD (overlaid
notifications of tracking, play, etc) so it does not get recorded. Get two different decks:
when one fails to play the other may succeed.

Other Pro Deck Options: JVC BR-605, JVC BRS711U, Panasonic AG-DS555, Panasonic
AG-1980

Consumer Deck Options: lordsmurf’s comprehensive VCR buying guide for consumer
decks - link ; PDF

VHS-C (or C converter)

Something specific to VHS-C is better than a converter (where the small tape is put
inside of a regular-sized VHS tape). VHS-C is fairly uncommon though so a converter
will totally suffice. VHC-C converters are often battery-powered, so it might not be
broken - it just needs a Double A!

Betacam
Betacam was a massively used analog format, used between 1990 until 2005. It has two
popular "flavors": Betacam SP (analog) and Digibeta (Digital). A brief overview of
betacam format can be found on Wikipedia.

The most popular VTR was the SONY UVW-1800 (model finish with a ‘P’ are PAL). If
you have a few Betacam SP tapes can digitalize these with one of this VTR. The best
outputs are COMPONENTS (3 BNC) in analog video and Balance XLR stereo in analog
audio. Some new betacam players have an SDI output (digital) that is the best way to
capture any betacam signal. There is a very small and desktop machine Sony J-30sdi that
reads all betacam flavors (from first analog betacam sp to the last one digibeta), and has a
firewire output to simplify the digitization process. Read more about this deck here
[PDF].

Betacam is best captured in a high bitrate standard such as DV50. The general idea of
digitize analog format in the XDCAM family is to continue following the industry
standard. In this case, from VHS to BETAMAX (Home Video Formats), DVCAM is
enough to digitalize them. However for U-MATIC and BETACAM we need XDCAM
HD422 for better capture quality.

See also, this guide (in Spanish):

https://elpatioverde.wordpress.com/2017/03/03/formatos-hoy-betacam-sp/
Betamax
Hard to find in working condition. Your best bet may be to find hobbyist repair people
who sell working decks on eBay. This is a Home Video Format.

U-matic
Professional deck, ideally U-matic SP (Superior Performance). U-matic SP was the final
variation of U-matic, following Low Band and High Band, so an SP deck can play all
three versions. Sony’s BVU 800 series and 900 series as well as the VO-9000 series are
U-matic SP. All U-matic decks have BNC outs.

MiniDV/HDV/DVCAM
Ideally want a professional deck. If not, a consumer deck. If not, a functional camcorder
with firewire-out capabilities (so that video data can be transferred from the tape without
recapturing the signal) that can be hooked up to a computer will work.

Recommended decks: Sony TRV950, Sony PD-170 (camera) and Sony DSR-11.

For decks, Sony DSR-11 models are pretty easy to find at a good price (at least in
Europe) as they were popular (in art school for instance and other small video editing
facility) but since then discarded. The other advantage is that they are small and sturdy
and fit well in a mobile digitising station. I also have good experience with that deck.
DSR-11 can also switch between PAL/NTSC easily for digitalize European and non-
European Tapes.

Digital8 / Hi8 / Video8

Ideally you want a professional deck, which does exist. However, it is possible to make
do with a consumer deck, if you also have a TBC. Using the built-in TBC that comes
with some consumer models of hi8/video8 decks doesn't cut it for a quality transfer. On
the other hand, better to transfer the material than not.

Sony Hi-8 EVO-9800 or EVO-9850 are recommended professional decks with XLR outs
(but may not work for Digital8).

Some decks only play certain generations of video8.

Later model Sony 8mm camcorders support 8mm/Hi8/Digital8 and can be a cost-
effective way to support all three formats in a small piece of equipment.

Audio cassette decks

Buying Guide

If you are preserving oral histories you are probably working with a very low range of
audio frequencies, most decks will probably be sufficient. Just keep the heads and pinch
roller clean! Also consider learning about a demagnetizer.

Micro- and mini-cassettes

(Yes, they are different! Mini-cassettes are much more rare.
Sony branded decks tend to be good, the newer the better. You will probably need to
obtain a power cord separately.

Turntables
EMT 927
Rek-O-Cut CVS-14 14" Capable Turntable. It can go between 62-94 so you can adjust
for "78s"
http://www.78-rpm.com/ has some equipment info.

Digital Audio Tape

TASCAM made a lot of solid decks, but as always, buying used does not mean you’ll get
a working deck. Small portable decks from TASCAM appear to be quite rugged! To
capture the audio digitally, you will need either a TOSLINK optical cable or a coaxial
cable with RCA jacks (check your equipment).

Open reel/reel-to-reel
The top brands are Studer, Revox, and Otari. Working Studer are hard to find for under a
thousand dollars; Otaris are a little more reasonable, but still in the hundreds.

Cables
Information on cables can be found in the Cable Bible. Cables required are contingent on the
type of media being transferred and other setup components.

Monoprice.com has many common A/V cables, conversion cables/dongles, cable couplers, etc.
at low prices.

Audio cables
Your starter cable set should probably include:

● Composite/RCA audio cables (turntables, cassette decks, etc.)

● 3.5mm to Composite/RCA cable or dongle (microcassettes)
● ¼” to Composite/RCA cable or dongle (some open-reel decks, some turntables)

Your audio interface probably accepts XLR, Composite/RCA, and/or ¼” cables. Cheap audio
switches (handy to avoid unplugging/replugging gear all the time) usually run on
Composite/RCA.

A balanced cable has both a hot and a cold conductor (it has less noise). An unbalanced cable has
one conductor (it has more noise).

Video cables

Your starter cable set needs BNC cables, Composite/RCA video cables, and conversion
cables/dongles between the two. You may also need component video, but don’t buy it until you
are sure you need it.

Weird cables you may someday need as you get deeper into the weeds include UHF-to-BNC (or
UHF-to-composite) cables.

Film (moving image)

$
Film to Video Mirror boxes
You need a camera that can record video and a variable speed projector to change the
framerate so that the framerate difference between video and film doesn’t cause visible
flicker. This will result in washed out colors with a slightly fuzzy focus. It is a VERY
non-best-practices transfer, BUT it is very inexpensive to process a collection this way if
you already have or can cheaply obtain the projector. Example of results can be viewed
here.

Flatbed Scanning Technique

The process described here (includes links to necessary software) is time consuming, but
does in fact work.

Kinograph
There has been recent discussion on the AMIA list regarding the usage of Raspberry PI/DSLR
based DIY film scanners which could be relevant for this section, as they seem to fit perfectly in
the 'not an ideal preservation process, but better than not scanning at all' box. Also heavily
focused on usage of open source hardware (arduinos/raspberry pi) and software (AEO-
ight/FFmpeg).

$$$
Moviestuff, LLC
This scanner does frame by frame scanning and offer gates for Dual 8, 9.5mm, 16mm and Slides.

Still images
$
[Needs recommendations!]

$$
[Needs recommendations!]

$$$
[Needs recommendations!]

Storage
Planning for storage. Those files of digitized video can add up real quickly. Before you get to
digitizing all that beautiful content, you need to think about how you will store it. How often will
you need to access the content? How will you view it in the future? How might you view it in the
future? These kinds of questions go into selecting file formats for preservation and access.
Storage calculators can be used for planning how much storage you will need:
https://www.digitalrebellion.com/webapps/videocalc

AJA DataCalc works well. Make sure you have the right settings: GiB vs. GB!

For a rough estimate: 1h uncompressed = 100GB. With lossless compression codecs like FFV1
or JPEG2000, 1h = 40-50GB. Lossless compression is compatible with digital preservation,
especially if it reduces stress on your budget for storage. FFV1 has additional preservation
features such as embedded CRC32 checksums per frame slice.

Digitizing analog media is cool but the digital surrogates will need a new home. Good archivists
know they should do at least two of these things. Poor archivists should do whatever they can
afford or their organization is willing to support. But all archivists know that you need to know
where you are storing files!

Always keep redundancy in mind. You should have at least two copies of all of your data, which
ideally would be in different geographical locations (different offices, or in the Cloud/Internet
Archive)

Using "glusterfs" (FOSS, maintained by RedHat: https://www.gluster.org/), one can combine

individual computers/NAS to a single huge storage.

Quasi "Open" Hardware for large storage (works well with GlusterFS):
http://www.45drives.com/ In-use at the Austrian Mediathek (set up themselves). Lack of existing
support caused an Austrian company to sell (and support) these pre-installed for archives:
http://www.anyfer.com/

Pricing below is approximate, and based on storing data in increments of 4TB.

$$$$$ ( $1.25 – 75¢/GB )

NAS / RAIDs : Consider repurposing an old computer, such as a Mac mini or Mac mini Server,
as a low-performance NAS server, or purchase a small RAID.

A three-part guide to setup, configure, and expand storage for a basic Mac file share server is
available at twobit digital preservation.

$$$$ ( 30¢/GB )
Internal | External hard drives with Anti-Static Case: External hard drives are reasonably priced,
but their internal counterparts are even less expensive, and are more sustainable because they
aren’t reliant on an enclosure or external power supply. Internal drives are easier to stack, store,
and label, especially when contained in a static-free, polypropylene case.
$$$ ( 25¢/GB )
"The Cloud" Check out Amazon’s Simple Storage Service (S3) or similar cloud services. This is
a particularly good choice for users who don’t need frequent or immediate access to their data.
Make sure you always have a second copy of your data if you use Cloud storage of any kind.

$$ ( 15¢/GB )
LTO magnetic data tape is used by many organizations and institutions that need a reliable,
sustainable medium to store large sets of data (such as video producers and banks). LTO tape is
relatively inexpensive and lasts over 15 years when stored in proper conditions. Be careful to
avoid proprietary LTO software, and check out open systems for writing LTO tape, such as
“LTFS”.

$ ( 0¢/GB )
Internet Archive. Storing data with the Internet Archive is free, though there are some limitations
on what can be uploaded, as content must be publicly accessible. Uploading super-large
preservation files might be difficult, especially if limited to using the web interface. There's also
a Python-based command line interface for uploading and general IA use, available here and
with robust documentation here.

Regardless of the storage option you chose, find a solution that can be added to or expanded
affordably, and put content on at least one drive (or in the cloud). Try to store in more than one
geographic location. Check regularly for viability.

Misc.
Cleaning materials! Keeping your decks in shape is critical for a healthy, long-lasting setup.

VCR Head Cleaner

MiniDV Head Cleaner
Lint- and static-free cloth
99% isopropyl alcohol ("rubbing alcohol")
Cotton tipped applicators (medical-grade over consumer q-tips if possible)

THANKS SO MUCH
Ashley Blewer, Peter Bubestinger, Germán Celestino y Monti, Stefan Elnabli, Skip Elsheimer,
Dinah Handel, Rebecca Fraimow, Ethan Gates, Kelly Haydon, Paul Heslin, Agathe Jarczyk,
Nick Krabbenhoeft, Reto Kromer, Somaya Langley, Lou L, Emanuel Lorrain, Bert Lyons,
Kristin MacDonough, Rachel Mattson, Nicole Martin, Morgan Morel, Lauren Sorensen, Travis
Wagner, Andrew Weaver, Steven Villereal, Pamela Vizner Oyarce, … you??? (Please add your
name if you've contributed)

License
This document is licensed as CC-0 Public Domain. For more information:
https://creativecommons.org/share-your-work/public-domain/cc0/