+---------------+---------------+---------+---------+---+-------------+
| **1. TITLE**  |               |         |         | * |             |
|               |               |         |         | * |             |
| **^Digital\   |               |         |         | 2 |             |
| Culpeper\ -\  |               |         |         | . |             |
| Concept\ of\  |               |         |         | I |             |
| Operations^** |               |         |         | D |             |
|               |               |         |         | E |             |
|               |               |         |         | N |             |
|               |               |         |         | T |             |
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|               |               |         |         | L |             |
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|               |               |         |         | ^ |             |
+---------------+---------------+---------+---------+---+-------------+
| **3.          |               |         |         |   |             |
| DESCRIPT      |               |         |         |   |             |
| ION/PURPOSE** |               |         |         |   |             |
|               |               |         |         |   |             |
| The purpose   |               |         |         |   |             |
| of this CONOP |               |         |         |   |             |
| is to         |               |         |         |   |             |
| describe to   |               |         |         |   |             |
| stakeholders, |               |         |         |   |             |
| users,        |               |         |         |   |             |
| planners, and |               |         |         |   |             |
| developers,   |               |         |         |   |             |
| how the       |               |         |         |   |             |
| National      |               |         |         |   |             |
| Audio-Visual  |               |         |         |   |             |
| Conservation  |               |         |         |   |             |
| Center        |               |         |         |   |             |
| (NAVCC) might |               |         |         |   |             |
| operate if a  |               |         |         |   |             |
| digital       |               |         |         |   |             |
| preservation  |               |         |         |   |             |
| system,       |               |         |         |   |             |
| (referred to  |               |         |         |   |             |
| as Digital    |               |         |         |   |             |
| Culpeper),    |               |         |         |   |             |
| were          |               |         |         |   |             |
| implemented.  |               |         |         |   |             |
| The objective |               |         |         |   |             |
| is to provide |               |         |         |   |             |
| sufficient    |               |         |         |   |             |
| technical     |               |         |         |   |             |
| information   |               |         |         |   |             |
| to support a  |               |         |         |   |             |
| funding       |               |         |         |   |             |
| request for   |               |         |         |   |             |
| the period    |               |         |         |   |             |
| 2004-2008, to |               |         |         |   |             |
| build and     |               |         |         |   |             |
| deploy        |               |         |         |   |             |
| Digital       |               |         |         |   |             |
| Culpeper.     |               |         |         |   |             |
+---------------+---------------+---------+---------+---+-------------+
| **4. APPROVAL | **5. OFFICE   |         | **6a.   |   | **6b.       |
| DATE**        | OF PRIMARY    |         | COTR**  |   | AUTHOR**    |
|               | RES           |         |         |   |             |
| *             | PONSIBILITY** |         | Carl    |   | UTA         |
| *^(YYMMDD)^** |               |         | Fleis   |   |             |
| 020630        | M/B/RS        |         | chhauer |   |             |
+---------------+---------------+---------+---------+---+-------------+
| 7.  *         |               |         |         |   |             |
| *BACKGROUND** |               |         |         |   |             |
|               |               |         |         |   |             |
| This document |               |         |         |   |             |
| describes the |               |         |         |   |             |
| concept of    |               |         |         |   |             |
| operation     |               |         |         |   |             |
| (CONOP) for a |               |         |         |   |             |
| set of        |               |         |         |   |             |
| integrated    |               |         |         |   |             |
| systems for   |               |         |         |   |             |
| which the     |               |         |         |   |             |
| complete name |               |         |         |   |             |
| is National   |               |         |         |   |             |
| Audio-Visual  |               |         |         |   |             |
| Conservation  |               |         |         |   |             |
| Center        |               |         |         |   |             |
| Digital       |               |         |         |   |             |
| Preservation  |               |         |         |   |             |
| System        |               |         |         |   |             |
| (hereafter    |               |         |         |   |             |
| referred to   |               |         |         |   |             |
| as Digital    |               |         |         |   |             |
| Culpeper).    |               |         |         |   |             |
| These systems |               |         |         |   |             |
| will perform  |               |         |         |   |             |
| and support   |               |         |         |   |             |
| digital       |               |         |         |   |             |
| audio-visual  |               |         |         |   |             |
| preservation  |               |         |         |   |             |
| activities at |               |         |         |   |             |
| the National  |               |         |         |   |             |
| Audio-Visual  |               |         |         |   |             |
| Conservation  |               |         |         |   |             |
| Center        |               |         |         |   |             |
| (NAVCC) being |               |         |         |   |             |
| built in      |               |         |         |   |             |
| Culpeper,     |               |         |         |   |             |
| Virginia.     |               |         |         |   |             |
| Without this  |               |         |         |   |             |
| family of     |               |         |         |   |             |
| systems, the  |               |         |         |   |             |
| NAVCC will    |               |         |         |   |             |
| not succeed   |               |         |         |   |             |
| in its        |               |         |         |   |             |
| mission of    |               |         |         |   |             |
| preserving    |               |         |         |   |             |
| the           |               |         |         |   |             |
| Library\'s    |               |         |         |   |             |
| audio-visual  |               |         |         |   |             |
| holdings;     |               |         |         |   |             |
| both          |               |         |         |   |             |
| reformatted   |               |         |         |   |             |
| historical    |               |         |         |   |             |
| collections   |               |         |         |   |             |
| and newly     |               |         |         |   |             |
| arriving      |               |         |         |   |             |
| digital       |               |         |         |   |             |
| collections.  |               |         |         |   |             |
| This document |               |         |         |   |             |
| also refers   |               |         |         |   |             |
| to the        |               |         |         |   |             |
| parallel      |               |         |         |   |             |
| project to    |               |         |         |   |             |
| design a      |               |         |         |   |             |
| digital       |               |         |         |   |             |
| Audio-Visual  |               |         |         |   |             |
| Preservation  |               |         |         |   |             |
| Laboratory    |               |         |         |   |             |
| and the trio  |               |         |         |   |             |
| of related    |               |         |         |   |             |
| Library of    |               |         |         |   |             |
| Congress (LC) |               |         |         |   |             |
| systems: the  |               |         |         |   |             |
| Catalog       |               |         |         |   |             |
| System (ILS), |               |         |         |   |             |
| the           |               |         |         |   |             |
| Persistent    |               |         |         |   |             |
| Identifier    |               |         |         |   |             |
| (\"Handle\")  |               |         |         |   |             |
| System, and   |               |         |         |   |             |
| the LC        |               |         |         |   |             |
| Digital       |               |         |         |   |             |
| Repository    |               |         |         |   |             |
| System, which |               |         |         |   |             |
| is in its     |               |         |         |   |             |
| early stages  |               |         |         |   |             |
| of conception |               |         |         |   |             |
| and design as |               |         |         |   |             |
| this document |               |         |         |   |             |
| is being      |               |         |         |   |             |
| written.      |               |         |         |   |             |
+---------------+---------------+---------+---------+---+-------------+
| **8. APPROVAL |               | **9a.   |         | * |             |
| LIMITATION    |               | APP     |         | * |             |
| ^(YYMMDD)^**  |               | LICABLE |         | 9 |             |
|               |               | FORMS** |         | b |             |
| Limited       |               |         |         | . |             |
| Approval from |               | N/A     |         | A |             |
| 020201        |               |         |         | P |             |
| through       |               |         |         | P |             |
| 020630        |               |         |         | R |             |
|               |               |         |         | O |             |
|               |               |         |         | V |             |
|               |               |         |         | A |             |
|               |               |         |         | L |             |
|               |               |         |         | A |             |
|               |               |         |         | U |             |
|               |               |         |         | T |             |
|               |               |         |         | H |             |
|               |               |         |         | O |             |
|               |               |         |         | R |             |
|               |               |         |         | I |             |
|               |               |         |         | T |             |
|               |               |         |         | Y |             |
|               |               |         |         | * |             |
|               |               |         |         | * |             |
|               |               |         |         |   |             |
|               |               |         |         | C |             |
|               |               |         |         | a |             |
|               |               |         |         | r |             |
|               |               |         |         | l |             |
|               |               |         |         | F |             |
|               |               |         |         | l |             |
|               |               |         |         | e |             |
|               |               |         |         | i |             |
|               |               |         |         | s |             |
|               |               |         |         | c |             |
|               |               |         |         | h |             |
|               |               |         |         | h |             |
|               |               |         |         | a |             |
|               |               |         |         | u |             |
|               |               |         |         | e |             |
|               |               |         |         | r |             |
+---------------+---------------+---------+---------+---+-------------+
| **10.         |               |         |         |   |             |
| REFERENCE     |               |         |         |   |             |
| DOCUMENTS**   |               |         |         |   |             |
|               |               |         |         |   |             |
| 1.  NAVCC     |               |         |         |   |             |
|     Program   |               |         |         |   |             |
|     and       |               |         |         |   |             |
|     Vision    |               |         |         |   |             |
|               |               |         |         |   |             |
|    Statement; |               |         |         |   |             |
|     March     |               |         |         |   |             |
|     2002      |               |         |         |   |             |
+---------------+---------------+---------+---------+---+-------------+
| **11.         |               |         |         |   |             |
| DISTRIBUTION  |               |         |         |   |             |
| STATEMENT**   |               |         |         |   |             |
|               |               |         |         |   |             |
| Not approved  |               |         |         |   |             |
| for public    |               |         |         |   |             |
| release;      |               |         |         |   |             |
| distribution  |               |         |         |   |             |
| is controlled |               |         |         |   |             |
| by the        |               |         |         |   |             |
| Library of    |               |         |         |   |             |
| Congress.     |               |         |         |   |             |
+---------------+---------------+---------+---------+---+-------------+

Table of Contents

  ---------------- ----------------------------------------------- ------
  Section Number   Title                                           Page

  1                Introduction                                    4

  1.1              Scope and Purpose                               4

  1.2              Background                                      4

  1.3              Related Projects                                6

  1.3.1            The LC Repository, Interim Preservation, and    6
                   Reading Room Delivery                           

  1.3.2            The Audio-Visual Preservation Laboratory        7

  1.4              Context                                         8

  1.4.1            NAVCC Business Model                            8

  1.4.2            NAVCC System Classes                            9

  1.4.3            LC Computing Infrastructure                     10

  1.4.4            Digital Culpeper Location                       11

  2                Current Processes and Systems                   12

  2.1              Preservation Reformatting Activities Today      12

  2.2              Current Systems in Use                          14

  3                Workload Analysis                               16

  3.1              Background                                      16

  3.2              Workload Estimates                              16

  3.2.1            Audio Reformatting Workload Estimates           16

  3.2.2            Video Reformatting Workload Estimates           18

  3.3              Reformatting Throughput Estimates               19

  4                Operational Description                         22

  4.1              Operational Analysis                            22

  4.1.1            Acquiring Audio Visual Material                 23

  4.1.1.1          Receiving of Analog Content at the NAVCC        23

  4.1.1.2          Receiving of Digital Content at the NAVCC       23

  4.1.2            Tracking Material Within NAVCC                  23

  4.1.3            Managing the Flow of Work                       24

  4.1.4            Processing Collections for Accession and        24
                   Preservation                                    

  4.1.5            Converting Audio-Visual Material for Digital    24
                   Preservation                                    

  4.1.6            Managing Laboratory Equipment and Supplies      24

  4.1.7            Accounting for Digital Preservation Costs and   25
                   Income                                          

  4.1.8            Supporting the User                             25

  4.2              Use Case Analysis                               25

  4.2.1            Acquisition Specialist                          25

  4.2.2            Receive/Ship Specialist                         26

  4.2.3            Collection Specialist                           27

  4.2.4            Conversion Specialist                           28

  4.2.5            Warehouse Specialist                            29

  5                System Concept                                  31

  5.1              Overview                                        31

  5.2              Individual System Descriptions                  32

  5.2.1            Material Tracking System                        32

  5.2.2            Workflow Management System                      32

  5.2.3            Collection Management System                    33

  5.2.4            Conversion System                               34

  5.2.5            Business System                                 35

  5.2.6            Office Automation System                        35

  5.2.7            Laboratory Management System                    35

  5.2.8            Warehouse Management System                     36

  6                System Analysis                                 37

  6.1              Audio-Visual Conversion Approaches              37

  6.1.1            Video Preservation Approach                     37

  6.1.2            Audio Conversion Approach                       41

  6.1.3            Continued Feasibility Testing and Prototyping   41

  6.2              Throughput and Capacity Analysis                42

  6.3              Build vs. Buy Analysis                          44

  6.3.1            Commercial-Off-The-Shelf (COTS) Products        44

  6.3.2            Custom Developed Application Software           46

  6.3.3            Integration Software                            47

  6.3.3.1          Metadata Standards                              47

  6.3.3.2          XML                                             48

  6.3.3.3          Common Platform                                 48

  6.4              Ramp-Up Plan                                    49

  6.5              Technology Refreshment                          50

  Appendices       OMITTED FROM ONLINE VERSION                     51

  Appendix A       ~~M/B/RS Audio-Visual Collection Inventory~~    52

  Appendix B       ~~Digital Culpeper Use Case Diagram~~           53

  Appendix C       ~~Digital Culpeper Throughput and Capacity      54
                   Chart~~                                         
  ---------------- ----------------------------------------------- ------

Section 1

**Introduction**

**1.1 Scope and Purpose**

This document describes the concept of operation (CONOP) for a set of
integrated systems for which the complete name is National Audio-Visual
Conservation Center Digital Preservation System (hereafter referred to
as Digital Culpeper). These systems will perform and support digital
audio-visual preservation activities at the National Audio-Visual
Conservation Center (NAVCC) being built in Culpeper, Virginia. Without
this family of systems, the NAVCC will not succeed in its mission of
preserving the Library\'s audio-visual holdings; both reformatted
historical collections and newly arriving digital collections. This
document also refers to the parallel project to design a digital
Audio-Visual Preservation Laboratory and the trio of related Library of
Congress (LC) systems: the Catalog System (ILS), the Persistent
Identifier (\"Handle\") System, and the Digital Repository System, which
is in its early stages of planning and design as this document is being
written.

The purpose of this CONOP is to describe to stakeholders, users,
planners, and developers, how the National Audio-Visual Conservation
Center might operate if the digital preservation process were automated.
The objective is to provide sufficient technical information to support
a funding request for the period 2004-2008, during which the information
technology elements in the new Center must be designed and built.

More detailed requirements analysis and program planning will be
conducted once initial funding has been approved.

**1.2 Background**

In 1997, the Congress established the NAVCC to oversee the preservation
of and access to the national legacy of motion pictures, video
recordings, and sound recordings. The most recent architectural plans
call for the NAVCC building to be ready in 2005. The *Digital Culpeper
Project Plan* that accompanies this document proposes partial readiness
of the systems in 2005, with complete system readiness in 2006.

The Motion Picture, Broadcasting, and Recorded Sound Division (hereafter
M/B/RS) has an existing collection of approximately 4,414,000 recorded
sound and 1,959,000 moving image (non-nitrate) items. It is estimated
that 956,426 hours of audio and 358,600 hours of video will ultimately
require preservation reformatting. Of these, 238,569 hours of audio and
269,500 hours of video are preservation priorities. Appendix A contains
a detailed account of the collection inventory. If digitized and
preserved in uncompressed formats, the priority materials would yield
about 2.5 petabytes of digital audio and about 32.7 petabytes of digital
video. For this reason, M/B/RS plans to reformat about 57 percent of the
audio priorities and 65 percent of the video priorities by 2015, using a
combination of uncompressed and compressed in-lab digital reformatting,
and both conventional and digital reformatting conducted by outsourcing
contractors.

The preceding estimates are limited to the reformatting program: newly
acquired born digital content will be added to the collections and will
also require preservation processing and storage. One example is
provided by the United States Congress: if both the House and Senate
fulfill their plans to produce high definition television (HDTV) of
their floor proceedings, this could add approximately 100 terabytes to
the collections each year.

In 1999, the Library initiated a Digital Audio-Visual Prototyping
Project to explore the technical issues associated with large-scale
digital preservation of audio-visual collections. The first phase of the
Prototyping Project focused on the requirements and design of a
prototype digital repository system. In the second phase, a prototype
database and software were developed to support key digital preservation
activities. The third and current phase involves the enhancement and
conversion of that prototype software into production-quality
applications. This CONOP and the companion Digital Culpeper Project Plan
represent the concluding chapters of prototyping as they examine the
\"production\" information technology aspects of NAVCC and Digital
Culpeper in more detail.

The staff of M/B/RS produced the *Program and Vision Statement* for the
NAVCC in March 2002. It includes a number of provocative and
forward-looking ideas, several of which bear on digital matters:

The design and implementation of the state-of-the-art Center should
enable the Library to realize the following functional improvements and
advantages:

#### Integrate: The facility and systems design for the NAVCC should allow greater integration of Motion Picture, Broadcast, and Recorded Sound Division (M/B/RS) operations, both within M/B/RS and in relation to the Library as a whole.

-   [Increase efficiency]{.underline}: The carefully designed workflow
    and integrated systems within the NAVCC should increase operational
    efficiencies in terms of both cost and productivity.

-   [Increase throughput]{.underline}: This increased efficiency as well
    as the significantly expanded preservation capabilities and
    capacities embodied in Culpeper should increase rates of collections
    processing and preservation . . . .\"

The massive number of Motion Picture, Broadcasting and Recorded Sound
Division audio and video materials in need of preservation in the next
ten years requires an approach to digital preservation which not only
assures the highest possible quality and integrity of the copy, but also
creates those copies in the most efficient manner, appropriate to the
format and content of the original. Even with a significant increase in
preservation resources from Congress, the Library might lose tens of
thousands of these items unless design and process efficiencies are
built into the National Audio-Visual Conservation Center.

The keys to realizing the design and process efficiencies noted above
are automation and system integration. Automating NAVCC operations and
integrating the resulting systems will be especially challenging because
in most cases the component systems are not in use at M/B/RS today and
digital preservation is itself an emerging technology. However, to be
successful, automation and system integration must encompass the myriad
of functions associated with digital preservation including workflow
management, material tracking, warehouse management, collection
management, digital conversion/reformatting, laboratory management,
business systems, and office automation.

**1.3 Related Projects**

**1.3.1 The LC Repository, Interim Preservation, and Reading Room
Delivery**

In its ultimate configuration, Digital Culpeper will be dependent on the
Library of Congress repository to preserve digital audio-visual content
for the long-term and to provide access for patrons. This repository is
a focus of a Library-wide effort led by the new Office for Strategic
Initiatives, under the auspices of the congressionally mandated National
Digital Information Infrastructure Preservation Program (NDIIPP). The
work of the NAVCC\--reformatting historical materials and processing
born digital content\--may be seen as taking its place \"upstream\" of
the repository, carrying out *production* and *pre-ingestion*.
\"Production\" is a term found in the influential Open Archival
Information System (OAIS) reference model (see Section 1.4.3 below);
\"pre-ingestion\" is a term coined to convey the need to massage content
after production to ready it for *ingestion* in an OAIS-compliant
repository.

Digital Culpeper will include a *local storage system* in which digital
content is pre-ingested, i.e., assembled and staged for submission to
the repository. The planners conceive of this local storage system as
managing 30 days worth of work in progress within the NAVCC. System
performance requirements will be moderate: staff and researchers will be
prepared to wait for content to be fully rendered. This will reduce the
cost for the local storage system. The requirement is foreseen as
calling for the most current 10 days of work to be held online, e.g., in
a RAID array or other disk-based storage device, while the \"older\" 20
days of work can be stored on near-line tape storage devices. In
practice, the local storage system may itself be a node in the
Library\'s larger storage area network. Its separate existence is
highlighted in this document because of its importance to the general
concept of operations, and to call attention to the need for interim
preservation actions as the central repository is in development.

The date upon which the Library\'s repository will be ready for use in
not known at this time. If it is operational in 2005 or 2006, then
Digital Culpeper will move into its long-term relationship with the
repository at once. Since the repository may not be operational until
2007 or 2008, and this requires the NAVCC planners to have an *interim*
preservation and delivery plan. The three elements of this interim plan
are (1) handoff of content from the NAVCC local storage system to the
Library\'s storage area network (as it exists today, or as modified
during the period under discussion), (2) the creation of protection
copies of content on data tape (or other media) and their retention at
Culpeper after 30 days (see preceding paragraph), and (3) the assumption
that patron delivery will be provided by the emerging audio-visual
delivery systems in the Information Technology Services (ITS) unit or by
other means, e.g., the FEDORA repository system to be tested in
2002-2004.

**1.3.2 The Audio-Visual Preservation Laboratory**

As stated above, the quantities of content to be reformatted or
processed by the NAVCC demand that the Audio-Visual Preservation
Laboratory operate in an efficient manner, using technologically
advanced systems. Workstations are now on the market (leading
manufacturers are Otari and Quadriga) which automate much of the
reformatting process, and some of which create technical metadata that
thoroughly documents the condition and defects of the original while
generating a new digital master. When appropriate these workstations
will be utilized to duplicate consumer audio and videotapes for which
curators have determined that automated or semi-automated approaches are
suitable. It remains the case, however, that the playback of many
historical audio and video formats is very challenging, may be labor
intensive, and may in some cases thwart attempts to achieve rapid
throughput. Sound recordings on various types of disc media are an
excellent example of this category of source item.

The Library envisions reformatting its collections in three *modes*:
\"Expert,\" \"Standard,\" and \"Production. For example, tens of
thousands of consumer cassettes deposited at the Library for copyright
protection are recorded on low-quality tape, with home equipment.
Preservation reformatting of tapes in the *production* mode lends itself
to use of the new hardware on the market that creates an efficiently
produced, yet faithful, copy of the source.

The design of the new Audio-Visual Preservation Laboratory requires work
on two fronts: the playback side, where equipment suitable for antique
formats lives, some of which may be automated, and the record side,
where new digital equipment lives. Both realms present a requirement for
processing and judicious use of quality enhancement and the capture of
extensive amounts of metadata, ranging from detailed descriptions of
content\--the \"logging\" equivalent to optical character
recognition\--to administrative information about the digital files and
methods used to produce them.

The Digital Culpeper project described in this document will develop or
support the acquisition and integration of tools and techniques on the
digital \"record\" side. Meanwhile, a parallel effort with special
audio-visual consultants will develop or support the development of
tools and techniques on the playback side, with an active involvement in
digital matters as well. The project plan will ensure the
synchronization of these two efforts.

**1.4 Context**

To understand the nature and scope of Digital Culpeper it is helpful to
view it in terms of the processes it automates, the classes of systems
it encompasses, the infrastructure into which it must be integrated, and
the physical environment in which it operates. The following sections
summarize these views and how Digital Culpeper relates to them.

**1.4.1 NAVCC Business Model**

The NAVCC Business Model consist of the set of eight business processes
listed in Exhibit 1.4-1. The Center\'s dependency on the LC repository
(or predecessor systems) is profound, and three repository-related
business processes have been included in this table but not numbered.
Regarding the NAVCC processes, digital preservation is strongly
associated with the five processes in the shaded rows: Acquisition,
Receiving, Processing, Conversion, and Support. This CONOP concentrates
on these five preservation processes.

+------------------------+---------------------------------------------+
| **Business Process**   | **Description**                             |
+------------------------+---------------------------------------------+
| 1.  **Acquisition**    | Acquiring audio-visual items for the        |
|                        | Library of Congress permanent collections   |
| *Key supporting        | (purchase, gift, copyright)                 |
| digital preservation   |                                             |
| process*               |                                             |
+------------------------+---------------------------------------------+
| 2.                     | Receiving/shipping items, identifying       |
| **Receiving/Shipping** | items, sorting items, repackaging items,    |
|                        | labeling items, and shelving physical       |
| *Key supporting        | items.                                      |
| digital preservation   |                                             |
| process*               |                                             |
+------------------------+---------------------------------------------+
| **3. Collection        | Organizing and cataloging items, capturing  |
| Processing**           | metadata about the items, preparing analog  |
|                        | items for conversion and born digital items |
| *Key supporting        | for treatment.                              |
| digital preservation   |                                             |
| process*               |                                             |
+------------------------+---------------------------------------------+
| **4. Reformatting**    | Digital reformatting (digitization) of      |
|                        | analog items and digital treatment of       |
| *Core digital          | born-digital items. Includes                |
| preservation process*  |                                             |
+------------------------+---------------------------------------------+
| **5. Storage           | Storing physical collections in secure      |
| (Physical)**           | vaults and bays with managed environmental  |
|                        | conditions.                                 |
+------------------------+---------------------------------------------+
| **Storage (Digital)**  | Interim (pre-repository): (1) staging of    |
|                        | digital content-in-preparation in a local   |
| ***Related LC          | storage system; (2) creating Submission     |
| Repository Process***  | Information Packages (SIPs), and (3)        |
|                        | producing and shelving tape-media           |
|                        | protection copies of SIPs in Culpeper       |
|                        | (interim).                                  |
|                        |                                             |
|                        | Future: Ingestion of SIPs, transformation   |
|                        | into Archival Information Packages (AIPs)   |
|                        | in LC central digital repository system.    |
+------------------------+---------------------------------------------+
| **Discovery**          | Patron discovery via ILS and similar        |
|                        | resources.                                  |
| ***Related LC          |                                             |
| Repository Process***  | Interim (pre-repository): Use of persistent |
|                        | identifiers to locate SIPs in the LC        |
|                        | central storage system.                     |
|                        |                                             |
|                        | Future: Use of persistent identifiers to    |
|                        | locate AIPs in the LC central repository    |
|                        | system (future).                            |
+------------------------+---------------------------------------------+
| **Delivery**           | Interim (pre-repository): Transferring SIPs |
|                        | from the LC central storage system to a     |
| ***Related LC          | user equipped with appropriate content      |
| Repository Process***  | viewer.                                     |
|                        |                                             |
|                        | Future: Transferring Dissemination          |
|                        | Information Packages (DIPs) in the LC       |
|                        | central repository system to a user         |
|                        | equipped with appropriate content viewer.   |
+------------------------+---------------------------------------------+
| **6. Research**        | Improving the technology and techniques for |
|                        | digital preservation, archiving, and        |
|                        | access.                                     |
+------------------------+---------------------------------------------+
| **7. Collaboration**   | Working with other national and             |
|                        | international organizations to preserve     |
|                        | audio-visual assets.                        |
+------------------------+---------------------------------------------+
| **8. Support**         | Office automation, telecommunications,      |
|                        | operations, and maintenance support.        |
| *Key supporting        |                                             |
| preservation process*  |                                             |
+------------------------+---------------------------------------------+

*Exhibit 1.4-1 NAVCC Business Processes*

**1.4.2 NAVCC System Classes**

The Audio-Visual Prototyping Project prepared an Automation Plan in
November 2000, when the project\'s scope included a digital repository
system specifically for the NAVCC. The Automation Plan was intended to
address all NAVCC operations with the exception of facility management,
power, climate control, and security, and it provided a high-level view
of 20 separate system classes required to automate what were then viewed
as 10 business processes. The Digital Culpeper systems described in
Section 5 of the CONOP are similar to these system classes but not
identical. Exhibit 1.4-2 lists the system classes and the business
processes they support. The system classes associated with the digital
repository system are annotated with asterisks.

  ------------------------- ---------------------------------------------
  **System Class**          **Process**

  1\. Receiving/Shipping    Receiving, Collection Processing,
                            Reformatting

  2\. Warehouse Management  Storage (physical), Reformatting

  3\. Workflow Management   ALL

  4\. Collection            Collection Processing

  5\. Laboratory Management Collection Processing, Reformatting

  6\. Business Systems      ALL

  7\. Office Automation     ALL

  8\. Catalog               Acquisition, Collection Processing, Discovery

  9\. Registration          Reformatting, Storage (physical), Discovery

  10\. Conversion           Reformatting

  11\. Ingestion            Storage (digital repository)

  12\. Data Management      Storage (digital repository)

  13\. Archival Storage     Storage (digital repository)

  14\. Access               Storage (digital repository) Discovery,
                            Delivery

  15\. Administration       Storage (digital repository), Discovery,
                            Delivery

  16\. Audio Server         Discovery, Delivery

  17\. Video Server         Discovery, Delivery

  18\. Audio Workstation    Discovery, Delivery, Support

  19\. Video Workstation    Discovery, Delivery, Support

  20\. Telecommunications   Support
  ------------------------- ---------------------------------------------

*Exhibit 1.4-2 System Classes*

**1.4.3 LC Computing Infrastructure**

The LC computing infrastructure is a complex and evolving collection of
hardware and software systems that includes thousands of PCs, hundreds
of servers, and dozens of LANs, at multiple locations in Washington, DC,
and at remote locations throughout the country. Exhibit 1.4-3
illustrates the LC computing infrastructure as it currently exists.

![](media/image1.wmf){width="5.090972222222222in"
height="4.895833333333333in"}

*Exhibit 1.4-3 The Library Computing Infrastructure*

In the future, the Library computing infrastructure will include a
digital repository system that follows the architecture and operational
tenets of the OAIS Reference Model. Exhibit 1.4-4 illustrates the five
functional entities that comprise the OAIS Reference Model and may be
included in the digital repository system. Each of the five functional
entities performs a specific role in the digital preservation process
and is listed as a system class in Exhibit 1.4-2. Ingestion accepts
archival data from Producers and prepares it for storage and management
within the repository. Archival Storage stores and maintains the
integrity of archival data. Data Management supports the management and
discovery of archival data within the repository. Administration
coordinates the overall operation of the repository. Access retrieves
digital information from the repository and makes it available to users.
This CONOP assumes that a digital repository system will exist for the
ingestion of Submission Information Packages or that an interim
capability will be provided using existing file storage systems in the
LC computing infrastructure.

![](media/image2.wmf){width="5.997916666666667in"
height="2.8777777777777778in"}

*Exhibit 1.4-4 Digital Culpeper and the LC Digital Repository System*

**1.4.4 Digital Culpeper System Location**

# Most elements of Digital Culpeper will be located in the Main Building of the NAVCC at Culpeper, VA. The Main Building consists of three floors. The first floor houses the Moving Image Section collections staff. The second floor houses the Recorded Sound Section collections staff. The third floor houses the Audio-Visual Preservation Laboratory. 

The individual systems that comprise Digital Culpeper will be
distributed throughout the three floors of the Main Building with two
exceptions. The Warehouse Management System will reside in the
Collections Building immediately adjacent to the Main Building. It is
also possible that production elements of the Conversion System will
reside temporarily on the third floor of the Collections Building.

**Section 2**

**Current Processes and Systems**

**2.1 Preservation Reformatting Activities Today**

The preservation reformatting of audio-visual materials today involves
five of the eight NAVCC business processes. Exhibit 2.1-1 briefly
summarizes the activities associated with these processes as they exist
today. This exhibit is based on the workflow studies carried out by the
M/B/RS consultant Jeffrey Korcan in 1999-2000, and other related
documents. Although the nature and sequence of the activities varies
between recorded sound and moving image, the level of detail in Exhibit
2.1-1 is kept purposely high to obscure these variations. It is
important to note that the activities in Exhibit 2.1-1 reflect the
generation of tangible (physical) preservation copies as opposed to the
generation of intangible digital copies.

+----------+----------+---------------+-------------------------------+
| **P      | **Acti   | **Division**  | **Description**               |
| rocess** | vities** |               |                               |
+----------+----------+---------------+-------------------------------+
| R        | Receive  | ISS/OSS/ MDMS | Unload and inspect material,  |
| eceiving |          |               | identify missing packages,    |
|          |          |               | process delivery paperwork    |
+----------+----------+---------------+-------------------------------+
|          | Route    |               | Sort and group material by    |
|          |          |               | destination                   |
+----------+----------+---------------+-------------------------------+
|          | Deliver  |               | Distribute material to proper |
|          |          |               | destination                   |
+----------+----------+---------------+-------------------------------+
| Co       | R        | M/B/RS Moving | Pick up or receive items,     |
| llection | etrieve/ | Image Section | temporarily store them in one |
|          |          | (MIS) and     | or more staging areas,        |
| Pr       | Receive  | Recorded      | organize, sort, hold for      |
| ocessing |          | Sound Section | accession or send directly to |
|          |          | (RSS)         | storage.                      |
+----------+----------+---------------+-------------------------------+
|          | S        |               | Select items to be            |
|          | election |               | accessioned, forward for      |
|          |          |               | accession                     |
+----------+----------+---------------+-------------------------------+
|          | A        |               | Re-containerize/rewind, apply |
|          | ccession |               | labels, check ILS and         |
|          |          |               | appropriate M/B/RS            |
|          |          |               | database(s), create or modify |
|          |          |               | ILS record if necessary,      |
|          |          |               | assign/apply/scan barcode if  |
|          |          |               | applicable, attach data sheet |
|          |          |               | and container matter, file    |
|          |          |               | paperwork, update accession   |
|          |          |               | statistics, forward to        |
|          |          |               | cataloging                    |
+----------+----------+---------------+-------------------------------+
|          | Catalog  |               | Update ILS, enter ILS         |
|          |          |               | information in appropriate    |
|          |          |               | M/B/RS database, if           |
|          |          |               | necessary, forward to holding |
+----------+----------+---------------+-------------------------------+
|          | Hold     |               | Assemble in holding area,     |
|          |          |               | sort by M/B/RS number, load   |
|          |          |               | items in cart or tub, call    |
|          |          |               | for pickup, or shelving,      |
|          |          |               | prepare for storage or        |
|          |          |               | conversion                    |
+----------+----------+---------------+-------------------------------+
|          | Pres     | M/B/RS Public | Analyze preservation          |
|          | ervation | Service       | reformatting requirements,    |
|          | Request  | Section (PSS) | select items for preservation |
|          |          | and Recording | reformatting, coordinate      |
|          |          | Lab           | delivery of items to          |
|          |          |               | Recording Lab                 |
+----------+----------+---------------+-------------------------------+
| Refo     | Media    |               | Clean and rehabilitate items, |
| rmatting | and      |               | clean and set-up playback and |
|          | E        |               | recording equipment, get      |
|          | quipment |               | recording media, maintain     |
|          | Pre      |               | playback and recording        |
|          | paration |               | equipment                     |
+----------+----------+---------------+-------------------------------+
|          | R        |               | Playback and record, monitor  |
|          | ecording |               | transfer, adjust as needed,   |
|          |          |               | take notes, capture technical |
|          |          |               | and administrative metadata,  |
|          |          |               | redo as required              |
+----------+----------+---------------+-------------------------------+
|          | Post-R   |               | Re-house items, label         |
|          | ecording |               | copies/containers, assemble   |
|          |          |               | original items and            |
|          |          |               | preservation copies,          |
|          |          |               | coordinate delivery of        |
|          |          |               | original items and            |
|          |          |               | preservation copies to        |
|          |          |               | storage                       |
+----------+----------+---------------+-------------------------------+
| Storage  | Shelve   | M/B/RS        | Receive original items and    |
| (p       |          |               | preservation copies, assign   |
| hysical) |          | MIS, RSS      | physical shelf locations,     |
|          |          |               | shelve original items and     |
|          |          |               | preservation copies           |
+----------+----------+---------------+-------------------------------+
| Storage  | Store    | M/B/RS        | Store digital copies in LC    |
| (        |          | American      | file system                   |
| digital) |          | Memory team,  |                               |
|          |          | Prototyping   |                               |
|          |          | Project       |                               |
+----------+----------+---------------+-------------------------------+

# Exhibit 2.1-1 Current Preservation Activities

Receiving is initially performed by the ISS/OSS Mail and Distribution
Management Section who route material directly to M/B/RS or to the
Copyright Division, who in turn route the material to M/B/RS.

Not all items received are selected for accession. Those which are
selected for accession are processed by separate sections of M/B/RS.
Recorded sound processing is handled by the Recorded Sound Section and
moving image processing is handled by the Moving Image Section. After
processing, items are normally sent to storage unless a decision has
been made to make preservation copies.

Preservation reformatting priorities are set by the M/B/RS Division. In
general, for reformatting, a Lab Work Order is generated and forwarded
to the Lab Supervisor who in turn assigns the work to a Lab Engineer.
Upon completion of the process the original items and reformatted copies
are sent to storage.

**2.2 Current Systems in Use**

There are a variety of systems used by M/B/RS to support preservation
reformatting. However, with few exceptions, they are not integrated and
for the most part are not sufficient to support high volume digital
preservation reformatting. Exhibit 2.1-1 lists the systems currently in
use, by process, with a brief description of each. The level of detail
is kept purposely high to allow the current applications to be
cross-referenced to Digital Culpeper systems described later in Chapter
4. No attempt is made to enumerate the analog equipment used in
reformatting since it varies widely depending upon media type and format
and is transparent to the operation of Digital Culpeper.

+-----------+--------------------------+------------------------------+
| **        | **Current Systems**      | **Description**              |
| Process** |                          |                              |
+-----------+--------------------------+------------------------------+
| Ac        | Word Processor,          | Applications used to         |
| quisition | Databases, Spreadsheets  | maintain lists, personal     |
|           |                          | databases, correspondence,   |
|           |                          | documentation, etc..         |
+-----------+--------------------------+------------------------------+
| Receiving | ISS/OSS/MDMS Receiving   | Application used to log      |
|           | System                   | receipt of material and      |
|           |                          | route to final destination   |
+-----------+--------------------------+------------------------------+
| C         | MAVIS (moving image)     | Application used to capture  |
| ollection |                          | and manage metadata          |
|           |                          | pertaining to audio-visual   |
| P         |                          | items (primarily moving      |
| rocessing |                          | image as of 2001)            |
+-----------+--------------------------+------------------------------+
|           | CuadraStar (recorded     | Application used to capture  |
|           | sound)                   | and manage metadata (mostly  |
|           |                          | descriptive) pertaining to   |
|           |                          | audio items. The output of   |
|           |                          | CuadraStar currently         |
|           |                          | provides the public          |
|           |                          | discovery resource called    |
|           |                          | SONIC; in the future         |
|           |                          | CuadraStar data will flow    |
|           |                          | into the ILS.                |
+-----------+--------------------------+------------------------------+
|           | Digital Object Metadata  | Set of new applications used |
|           | Database (recorded sound | by the AV Prototyping        |
|           | and moving image)        | Project to import, extract,  |
|           |                          | capture, manage, and export  |
|           |                          | digital metadata destined to |
|           |                          | support long-term            |
|           |                          | preservation                 |
+-----------+--------------------------+------------------------------+
|           | ILS                      | Application used to catalog  |
|           |                          | the holdings of the LC. The  |
|           |                          | online catalog system of the |
|           |                          | LC.                          |
+-----------+--------------------------+------------------------------+
|           | Word Processor,          | Applications used to         |
|           | Spreadsheets, Personal   | maintain lists, personal     |
|           | Databases, Graphics      | databases, correspondence,   |
|           |                          | documentation, etc.          |
+-----------+--------------------------+------------------------------+
| Ref       | AV Digitization Systems  | Hardware and software        |
| ormatting | (e.g. SADIE)             | applications used to         |
|           |                          | digitize and/or reformat     |
|           |                          | audio/visual items.          |
+-----------+--------------------------+------------------------------+
|           | Scanning Systems         | Hardware and software        |
|           |                          | applications used to         |
|           |                          | digitize hardcopy images.    |
+-----------+--------------------------+------------------------------+
|           | Word Processor,          | Applications used to         |
|           | Databases, Spreadsheets  | maintain lists of items      |
|           |                          | converted, device settings,  |
|           |                          | metadata, correspondence,    |
|           |                          | documentation, etc..         |
+-----------+--------------------------+------------------------------+
| Storage   | Inventory Management     | Manual systems and assorted  |
| (         |                          | PC files used to manage the  |
| physical) |                          | inventory of audio/visual    |
|           |                          | items in physical storage    |
|           |                          | facilities.                  |
+-----------+--------------------------+------------------------------+
| Storage   | Library File Storage     | Hardware and software        |
| (digital) | System                   | applications used to store   |
|           |                          | digital copies of            |
|           |                          | audio/visual items.          |
+-----------+--------------------------+------------------------------+

**Section 3**

**Workload Analysis**

**3.1 Background**

Digital Culpeper is required by the need to preserve LC audio-visual
collections (1) that have been reformatted in digital form or (2)
received in digital form. Some collections of recorded sound and video
materials are a priority for digital reformatting because they are
deteriorating, while others represent challenges for physical storage or
handling. Born digital content, of course, must be preserved in digital
form and will often require processing prior to submission to a digital
repository system.

**3.2 Workload Estimates**

The summary statistics in Section 1.2 demonstrate that the quantity of
audio-visual material to be reformatted (copied) is very large. Section
3.2 provides a brief overview of the audio-visual digital reformatting
workload facing Digital Culpeper, as developed by the M/B/RS staff and
documented in the NAVCC Program and Vision Statement dated March 18,
2002. At this time, M/B/RS has not prepared an estimate of the extent of
born digital collections anticipated for selection in coming years.

**3.2.1 Audio Reformatting Workload Estimates**

The digital reformatting process is divided into three modes: Expert,
Standard, and Production. In general, each mode is characterized by
media type, format, and condition. Exhibit 3.2-1 lists the estimates for
audio workload by mode. This items listed in this table comprise the
entirety recommended for reformatting in the long term; the reformatting
priority for the period ending in 2010 is estimated to represent about
200,000 hours of content.

+---------------+----------+--------+--------+------+-------+-------+
| Mode          | Formats  | Items  | Hours  | I    | Hours | A     |
|               |          | for    | for    | tems | to    | nnual |
|               |          | ev     | ev     | to   | ref   | pla   |
|               |          | entual | entual | refo | ormat | yback |
|               |          | reform | reform | rmat | first | de    |
|               |          | atting | atting | f    | d     | mands |
|               |          |        |        | irst | ecade |       |
|               |          |        |        | de   |       |       |
|               |          |        |        | cade |       |       |
+===============+==========+========+========+======+=======+=======+
| \"Expert\"    |          |        |        |      |       |       |
| mode of       |          |        |        |      |       |       |
| production    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| High-fidelity | 10-inch  | 10,000 | 10,000 | 10   | 1     | 50    |
| tape in need  |          |        |        | ,000 | 0,000 |       |
| of special    |          |        |        |      |       |       |
| handling      |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \[            |          |        |        |      |       |       |
| Deteriorating |          |        |        |      |       |       |
| or fragile    |          |        |        |      |       |       |
| condition of  |          |        |        |      |       |       |
| media,        |          |        |        |      |       |       |
| low-quality   |          |        |        |      |       |       |
| of original   |          |        |        |      |       |       |
| engineering,  |          |        |        |      |       |       |
| no            |          |        |        |      |       |       |
| n-consistency |          |        |        |      |       |       |
| of signal     |          |        |        |      |       |       |
| throughout    |          |        |        |      |       |       |
| tape, etc.\]  |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Live music |          |        |        |      |       |       |
| performances  |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Radio      |          |        |        |      |       |       |
| recordings of |          |        |        |      |       |       |
| live music    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
|               | 7-inch   | 5,000  | 2,500  | 5    | 2,500 | 50    |
|               |          |        |        | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Instantaneous | Varied   | 15,000 | 3,750  | 15   | 3,750 |       |
| discs         | size     |        |        | ,000 |       |       |
|               | discs    |        |        |      |       |       |
| \- Field      |          |        |        |      |       |       |
| recordings    |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Home       |          |        |        |      |       |       |
| recordings    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Esoteric      | Brown    | 3,000  | 1,000  | 3    | 1,000 |       |
| media         | wax      |        |        | ,000 |       |       |
| requiring     | cy       |        |        |      |       |       |
| engineer      | linders, |        |        |      |       |       |
| expertise in  | wire     |        |        |      |       |       |
| addition to   | A        |        |        |      |       |       |
| specialized   | mertape, |        |        |      |       |       |
| hardware (AFC | etc.     |        |        |      |       |       |
| not included) |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Commercial    | LPs      | 50,000 | 37,500 | 1    | 750   | 100   |
| discs         |          |        |        | ,000 |       |       |
|               |          |        |        |      |       |       |
| \- In poor    |          |        |        |      |       |       |
| condition or  |          |        |        |      |       |       |
| having        |          |        |        |      |       |       |
| unusual       |          |        |        |      |       |       |
| technical     |          |        |        |      |       |       |
| ch            |          |        |        |      |       |       |
| aracteristics |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
|               | 45-rpm   | 10,000 | 1,300  | 250  | 33    | 25    |
+---------------+----------+--------+--------+------+-------+-------+
|               | 16-inch  | 15,000 | 5,625  | 200  | 75    | 200   |
+---------------+----------+--------+--------+------+-------+-------+
|               | 78-rpm   | 50,000 | 6,500  | 500  | 65    | 500   |
+---------------+----------+--------+--------+------+-------+-------+
| Standard      |          |        |        |      |       |       |
| Format mode   |          |        |        |      |       |       |
| of production |          |        |        |      |       |       |
| (Preservation |          |        |        |      |       |       |
| reformatting  |          |        |        |      |       |       |
| of commonly   |          |        |        |      |       |       |
| produced      |          |        |        |      |       |       |
| audio         |          |        |        |      |       |       |
| formats.      |          |        |        |      |       |       |
| Assumptions   |          |        |        |      |       |       |
| of this work  |          |        |        |      |       |       |
| mode include: |          |        |        |      |       |       |
| real-time     |          |        |        |      |       |       |
| transfers;    |          |        |        |      |       |       |
| continual     |          |        |        |      |       |       |
| monitoring of |          |        |        |      |       |       |
| output by     |          |        |        |      |       |       |
| engineers;    |          |        |        |      |       |       |
| g             |          |        |        |      |       |       |
| ood-condition |          |        |        |      |       |       |
| originals.)   |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| High-fidelity | 10-inch  | 70,000 | 70,000 | 70   | 7     | 900   |
| tape\*        |          |        |        | ,000 | 0,000 |       |
|               |          |        |        |      |       |       |
| \[Good        |          |        |        |      |       |       |
| quality, not  |          |        |        |      |       |       |
| at immediate  |          |        |        |      |       |       |
| risk\]        |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Live music |          |        |        |      |       |       |
| performances  |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Radio      |          |        |        |      |       |       |
| recordings of |          |        |        |      |       |       |
| live music    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
|               | 7-inch   | 25,000 | 12,500 | 25   | 1     | 100   |
|               |          |        |        | ,000 | 2,500 |       |
+---------------+----------+--------+--------+------+-------+-------+
| Instantaneous | Varied   | 1      | 37,500 | 30   | 1     |       |
| discs         | size     | 00,000 |        | ,000 | 1,250 |       |
|               | discs    |        |        |      |       |       |
| \-            |          |        |        |      |       |       |
| P             |          |        |        |      |       |       |
| rofessionally |          |        |        |      |       |       |
| cut in studio |          |        |        |      |       |       |
| conditions    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Esoteric      | Dic      | 11,500 | 4,991  | 11   | 4,991 |       |
| media         | tabelts, |        |        | ,500 |       |       |
| requiring     | cy       |        |        |      |       |       |
| specialized   | linders, |        |        |      |       |       |
| hardware      | 8        |        |        |      |       |       |
|               | -tracks, |        |        |      |       |       |
|               | etc.     |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Non-          | Varied   | 10,000 | 5,000  | 10   | 5,000 | 100   |
| high-fidelity | size     |        |        | ,000 |       |       |
| (inconsistent | tapes    |        |        |      |       |       |
| quality) tape |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Oral       |          |        |        |      |       |       |
| histories     |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Actuality  |          |        |        |      |       |       |
| recordings    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Commercial    | LPs      | 3      | 2      | 10   | 7,500 | 1,000 |
| discs (clean) |          | 50,000 | 62,500 | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
|               | 45-rpm   | 90,000 | 11,700 | 1    | 130   | 100   |
|               |          |        |        | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
|               | 16-inch  | 1      | 60,000 | 1    | 375   | 100   |
|               |          | 60,000 |        | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
|               | 78-rpm   | 2      | 26,000 | 5    | 650   | 500   |
|               |          | 00,000 |        | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| APreferred@   | C        | 10,000 | 6,660  | 10   | 6,660 | 50    |
| cassette      | assettes |        |        | ,000 |       |       |
| tapes         |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Production    |          |        |        |      |       |       |
| mode of       |          |        |        |      |       |       |
| production    |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| (That which   |          |        |        |      |       |       |
| does not      |          |        |        |      |       |       |
| require       |          |        |        |      |       |       |
| critical      |          |        |        |      |       |       |
| listening or  |          |        |        |      |       |       |
| constant      |          |        |        |      |       |       |
| monitoring of |          |        |        |      |       |       |
| output)       |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Non-          | Varied   | 15,000 | 30,000 | 15   | 3     | 100   |
| high-fidelity | size     |        |        | ,000 | 0,000 |       |
| tapes (in     | tapes    |        |        |      |       |       |
| good          |          |        |        |      |       |       |
| condition)    |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- Radio      |          |        |        |      |       |       |
| logging tapes |          |        |        |      |       |       |
|               |          |        |        |      |       |       |
| \- 2^nd^      |          |        |        |      |       |       |
| generation    |          |        |        |      |       |       |
| radio         |          |        |        |      |       |       |
| recordings    |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Standard      | C        | 90,000 | 45,000 | 90   | 4     | 50    |
| content       | assettes |        |        | ,000 | 5,000 |       |
| cassette      |          |        |        |      |       |       |
| tapes         |          |        |        |      |       |       |
| (definition   |          |        |        |      |       |       |
| [tbd]         |          |        |        |      |       |       |
| {.smallcaps}) |          |        |        |      |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Compact discs | CDs      | 3      | 3      | 5    | 5,000 | 500   |
| (commercial)  |          | 00,000 | 00,000 | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| CD-Rs         | CDs      | 12,000 | 6,000  | 12   | 6,000 | 100   |
|               |          |        |        | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| DATs          | DATs     | 6,000  | 6,000  | 6    | 6,000 | 500   |
|               |          |        |        | ,000 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Born-digital  | None     | 2,200  | 2,200  | 2    | 2,200 |       |
|               |          |        |        | ,200 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| Off-air radio | None     | 2,200  | 2,200  | 2    | 2,200 |       |
|               |          |        |        | ,200 |       |       |
+---------------+----------+--------+--------+------+-------+-------+
| TOTALS        |          | 1,6    | 9      | 340  | 23    |       |
|               |          | 11,900 | 56,426 | ,850 | 8,569 |       |
+---------------+----------+--------+--------+------+-------+-------+

*Exhibit 3.2-1 Audio Workload Estimates*

**3.2.2 Video Reformatting Workload Estimates**

The video material is divided into three classes: small and medium
cassette formats and open-reel formats. M/B/RS staff are presently
refining their analysis of these classes. Preliminary information
indicates that the work\--like that for the reformatting of sound
recordings\--will require actions in the *expert*, *standard*, and
*production* categories, and the preliminary breakdown is listed in
notes in Exhibit 3.2-2 below.

+---------------------------------------+-------------+----------------+
| **Format Class**                      | **Format**  | **Items To Be  |
|                                       |             | Preserved**    |
+---------------------------------------+-------------+----------------+
| **Small cassette formats**            | VHS,        | 242,747        |
|                                       | Betamax,    |                |
| Copies of moderate cultural value     | BetacamSP,  |                |
| and/or good condition will receive    | DVC-Pro,    |                |
| *production preservation              | Digibeta,   |                |
| reformatting*; most other copies will | MII, etc.   |                |
| receive *standard* treatment. Rare    |             |                |
| instances requiring *expert*          |             |                |
| treatment.                            |             |                |
+---------------------------------------+-------------+----------------+
| **Medium cassette format**            | 3/4\"       | 317,177        |
|                                       | Umatic      |                |
| Copies of moderate cultural value     |             |                |
| and/or good condition will receive    |             |                |
| *production preservation              |             |                |
| reformatting*; most other copies will |             |                |
| receive *standard* treatment. Rare    |             |                |
| instances requiring *expert*          |             |                |
| treatment.                            |             |                |
+---------------------------------------+-------------+----------------+
| **Open-reel formats**                 | 2\" open    | 31,952         |
|                                       | reel        |                |
| Copies of high cultural value and/or  |             | 37,662         |
| poor condition will receive *expert*  | 1\" open    |                |
| treatment. Copies of moderate         | reel        |                |
| cultural value and/or good condition  |             |                |
| will receive *standard* treatment.    |             |                |
+---------------------------------------+-------------+----------------+
| **Selected 16mm motion picture to be  | 16mm,       | ca. 75,000     |
| preserved in video or digital         | various     |                |
| formats;** documentaries,             | reel sizes  |                |
| instructional, and television         |             |                |
| programs                              |             |                |
|                                       |             |                |
| Copies of high cultural value and/or  |             |                |
| poor condition will receive *expert*  |             |                |
| treatment. Copies of moderate         |             |                |
| cultural value and/or good condition  |             |                |
| will receive *standard* treatment.    |             |                |
+---------------------------------------+-------------+----------------+

*Exhibit 3.2-2 Video Workload Estimates*

**3.3 Reformatting Throughput Estimates**

Given the reformatting workload estimates in Section 3.2 plus the
continuous receipt of new material, the following throughput estimates
were developed by M/B/RS staff. They were based on a projected 2010
NAVCC capability in terms of staffing and equipment and are believed to
be realistically optimistic. The staffing projected for the AV Lab in
2001 totals 30 FTEs. Exhibit 3.3-1 contains the estimates for both
on-site and off-site audio and video preservation projects. The on-site
projects are further subdivided by mode.

**On-site Reformatting of Recorded Sound Materials**

  -------------- ----------- -------- ----------- ------------ --------- ----------
  Audio          Possible    no of    hrs of      studio       total pgm pgm hours
  Preservation   type of     people   studio time hour/day     hrs/day   per year
  Transfer Mode  space       do this, per hr of   (5.5 wrk hrs           (200 days)
                             av       prgm time   x no.                  
                                                  people)                

  Expert &       Transfer    3.00     3.00        16.50        5.50      1,100.00
  Restoration    Room                                                    

  Standard       Transfer    3.00     1.75        16.50        9.43      1,885.71
                 Room                                                    

  Preservation   Transfer    3.00     0.75        16.50        22.00     4,400.00
  Production     Area                                                    

  D-D transfers  D-D         1.00     0.50        5.50         11.00     2,200.00
                 Bitstream                                               
                 Transfer                                                

  TOTALS                     10.00                             47.93     9,585.71
  -------------- ----------- -------- ----------- ------------ --------- ----------

**On-site Reformatting of Video and Selected 16mm Film Materials**

  --------------- ------------ -------- ------------ ----------- --------- --------
  Video           Possible     no of    hrs of       studio      total pgm pgm
  Preservation    type of      people   studio time  hour/day    hrs/day   hours
  Reformatting    space        do this, per hr of    (5.5 wrk              per year
  Mode                         av       prgm time    hrs x no.             (200
                                                     people)               days)
                                                     except                
                                                     video                 
                                                     special at            
                                                     2 hrs/day             
                                                     transfer              

  Expert          Video        2.00     2.50         4.00        1.60      320
  reformatting    Special                                                  
  and video       Transfer                                                 
  restoration                                                              

  Standard video  Video        1.00     2.00         5.50        2.75      550
  reformatting    Special                                                  
                  Transfer                                                 

  Production      Video Prod   2.00     See separate 11.00       40.00     8,000
  preservation    Transfer              node                               
  reformatting of                       analysis\*                         
  video                                                                    

  Expert datacine Datacine 1   1.00     2.50         5.50        2.20      440
  film transfer                                                            
  (generally not                                                           
  preservation                                                             
  reformatting)                                                            

  Standard        Datacine 2   1.00     2.00         5.50        2.75      550
  datacine film                                                            
  reformatting                                                             
  (preservation                                                            
  reformatting of                                                          
  selected 16mm                                                            
  films)                                                                   

  D-D transfers   D-D          1.00     1.00         5.50        5.50      1,100
                  Bitstream                                                
                  Transfer                                                 

  TOTALS                       8.00                              54.80     10,960
  --------------- ------------ -------- ------------ ----------- --------- --------

\*Proposed plan for production preservation reformatting of video:

-   4 nodes

-   Each node has 3 VTRs in a rack, served by a robot

-   2 VTRs are playing at any given time, one is "open"

-   2 operators can manage 4 automated nodes

-   Estimate based on the idea that programs are 30 minutes long

-   Each node runs 2 tapes at once

-   The "cycle" for the 30 min shows is 45 minutes long

-   In a workday of 7 working hours, you get about 10 cycles

-   Each node reformats 20 tapes per day, or 10 hours program time

-   4 nodes sum to 40 hours per day

## Off-site Transfer

+----------------------------------------+-----------------------------+
| Audio Offsite Transfer:                | 3,800.00                    |
|                                        |                             |
| Thruput arbitrarily scaled at 40       |                             |
| percent of onsite.                     |                             |
+----------------------------------------+-----------------------------+
| Video Offsite Transfer:                | 6,600.00                    |
|                                        |                             |
| Thruput arbitrarily scaled at 60       |                             |
| percent of onsite.                     |                             |
+----------------------------------------+-----------------------------+

##### Quality Review of All Production

+---------------------------------+------------------------+-----------+
| ####### Activity                | ####### Note           | no of     |
|                                 |                        | people do |
|                                 |                        | this, av  |
+---------------------------------+------------------------+-----------+
| Housekeeping quality review by  | Processing staff or    | 4.00      |
| processing staff, or staff in   | lab technicians in     |           |
| cubicles                        | cubicles               |           |
+---------------------------------+------------------------+-----------+
| Reproduction quality review,    | Transfer Room          | 4.00      |
| referrals from housekeeping and |                        |           |
| sampling                        |                        |           |
+---------------------------------+------------------------+-----------+

**Total Reformatting Throughput and Estimate of Percentage of Endangered
Collection Preserved During Ten-Year Period (2005-2015) \*\***

+----------------+-------------+--------------+----------+------------+
| ##             | Hours       | Hours        | En       | Percentage |
| ##### Category | preserved   | preserved in | dangered | preserved  |
|                | in 2010,    | 2005-2015    | estimate | 2005-2015  |
|                | rounded     |              | (hours)  |            |
+----------------+-------------+--------------+----------+------------+
| Audio Onsite   | 9,600       | 96,000       | 238,569  | 57         |
| Transfer       |             |              |          |            |
+----------------+-------------+--------------+----------+------------+
| Audio Offsite  | 3,800       | 38,000       |          |            |
| Transfer       |             |              |          |            |
+----------------+-------------+--------------+----------+------------+
| Video Onsite   | 11,000      | 110,000      | 269,500  | > 65       |
| Transfer       |             |              |          |            |
+----------------+-------------+--------------+----------+------------+
| Video Offsite  | 6,600       | 66,000       |          |            |
| Transfer       |             |              |          |            |
+----------------+-------------+--------------+----------+------------+

\*\* The assumption is that from 2005-2009, the throughput will be
*lower* than the 2010 vision, and that from 2011-2015, the throughput
will be *higher*. Thus the 2010 vision is used as an average.

*Exhibit 3.3-1 Throughput Estimates*

The estimates in Exhibit 3.3-1 provide a baseline for the required
capacity of Digital Culpeper, in terms of digital preservation
throughput, measured in program hours per year. Throughput capacity is a
major driver in the design and operation of Digital Culpeper.

**Section 4**

**Operational Description**

This section describes how NAVCC will operate if Digital Culpeper is
developed. It is written as a vision or concept and forms the foundation
for Section 5 - System Concept. Section 4.1 analyzes Digital Culpeper
operations at the system class level and Section 4.2 analyzes use cases
for five of the major Digital Culpeper user classes.

**4.1 Operational Analysis**

For the purpose of visualizing operations, Digital Culpeper is the
backbone of an efficient facility that converts audio-visual material
into digital objects suitable for long-term storage and access. Exhibit
4.1-1 illustrates the operation of Digital Culpeper at the highest
level.

![](media/image3.wmf){width="3.859722222222222in"
height="5.095138888888889in"}

*Exhibit 4.1-1 Digital Culpeper Workflow*

The following sections summarize the capabilities that could be provided
by Digital Culpeper at NAVCC.

**4.1.1 Acquiring Audio Visual Material**

Audio-visual material is acquired by the NAVCC as a result of donation,
purchase, or copyright deposit. It is received in both analog and
digital form.

**4.1.1.1 Receiving of Analog Content at the NAVCC**

Physical analog media will be received by NAVCC at the Loading Dock. It
will be unpacked, sorted, labeled, tagged/coded, and triaged for
condition and accession. Off-air feeds of radio and television
broadcasts will be received in the AV Laboratory and routed via closed
circuit broadband to digital workstations for digitization/reformatting.

**4.1.1.2 Receiving of Digital Content at the NAVCC**

M/B/RS staff envision at least four sources of reformatted-digital or
born-digital content to the NAVCC:

-   Historical content reformatted by contractors at offsite locations

-   Born digital content selected for the permanent collections from the
    flow of copyright registrations or submitted directly by independent
    artists or via special agreements with creators and received in
    physical form at the Loading Dock

-   Born digital content selected for the permanent collections from the
    flow of copyright registrations or submitted directly by independent
    artists or via special agreements with creators and received in
    digital form via telecommunications

-   Digital off-air feeds of broadcast content (HDTV)

A certain amount of this content will be comfortably delivered via
Internet file transfer protocol (ftp) or by a succeeding technology. For
smaller files, e.g., audio or compressed video, this approach is
practical and efficient. It may be impractical, however, to deliver
items like uncompressed video files; for example an uncompressed file
containing a half-hour television program will have an extent of more
than 60 GB. Since the timeframe within which delivery must occur is not
critical\--generally, a one-or two-week period for delivery is not
injurious\--the delivery of large files on data tape (or other media) is
expected to prove far more cost-effective than establishing an online
delivery mode for this category. Digital broadcasts will be received in
the AV Laboratory and routed to digital workstations for reformatting.

**4.1.2 Tracking Material Within NAVCC**

Large quantities of physical audio-visual material, both analog and
digital, will move from location to location within the NAVCC as part of
the digital preservation process. Carts and hand-trucks will transport
most of the material. Some items will be moved by-hand to prevent
damage. To avoid losing or misplacing material the capability will exist
to track and locate audio-visual items anywhere in the facility. Radio
frequency tags or barcodes will be used to identify audio-visual
material at the item level. Scanning/reader stations throughout the
facility will be used to check-in and check-out items as they pass
through each step of the digital preservation process.

**4.1.3 Managing the Flow of Work**

Managing the flow of work through NAVCC will be accomplished in a
largely paperless environment. An online workflow management system will
allow managers to schedule and monitor the progress of audio-visual
material from receipt-to-storage. Electronic signatures will be used to
authorize tasking and processing. On-line reports and queries will
provide up-to-the-minute analysis of progress and performance. Exception
reports will notify management of problems and trends.

**4.1.4 Processing Collections for Accession and Preservation**

It is a goal of Digital Culpeper to automate the capture of metadata to
the greatest degree possible. A unified metadata management information
system will standardize the look and feel of metadata entry for moving
image and recorded sound and provide interfaces with workflow
management, material tracking, and warehouse management. Barcode and/or
RF tags will be integrated with the metadata management information
system. Tools for extracting metadata from data sources such as the ILS
will minimize metadata re-keying. A capability will be provided to
extract technical metadata from digital essence files. Digital object
templates will be provided to build models of similar objects and for
capturing common metadata once and applying it to many audio-visual
objects. Cataloging efficiency will be improved by allowing metadata
captured in the unified metadata management system to be uploaded to the
ILS automatically. The project will seek to maximize the utility of
MAVIS collection management software in this area.

**4.1.5 Converting Audio-Visual Material for Digital Preservation**

As previously described in Section 3, the conversion workload is divided
into three modes of operation: Expert, Standard, and Production. In all
three modes the goal of Digital Culpeper is to improve efficiency and
increase productivity. In the production mode a major emphasis will be
placed on the use of robotics to automate the operator function and
increase throughput. Automated listening and viewing systems will be
used to monitor quality control. A workflow management system and
material tracking system will control the flow of original audio-visual
material to conversion stations/rooms and the delivery of digital
objects to a centralized staging store for pre-ingestion processing.
Audio and video workstations will automatically extract technical
metadata about the digital objects produced and record detailed metadata
about the devices and settings used in the digitization process.

**4.1.6 Managing Laboratory Equipment and Supplies**

Effective management and maintenance of the equipment and supplies used
in the laboratory is essential to meet the quality, efficiency, and
productivity goals outlined on the NAVCC Program and Vision document.
Digital Culpeper will provide a system to schedule and track equipment
maintenance. It will record the maintenance history of each piece of
equipment and calculate preventive maintenance schedules based upon
break-fix trends. All equipment will be bar-coded to allow technicians
to easily and quickly enter/retrieve information about any piece of
equipment. In addition, Digital Culpeper will manage the inventory of
supplies and provide automatic order notifications when supplies are
running low.

**4.1.7 Accounting for Digital Preservation Costs and Income**

Digital Culpeper will provide management with information about the cost
of digital preservation activities and income derived from NAVCC
operation. It will provide a largely paperless interface to Library
financial systems and produce NAVCC-specific reports.

**4.1.8 Supporting the User**

All Digital Culpeper users will have access to desktop computers. All
Digital Culpeper user interfaces will be web-based and accessible from
personal computers using standard web browsers. Some of the functions
performed by Digital Culpeper will be supported by normal office
automation tools such as word processing, spreadsheets, presentation,
graphics, and personal databases. Digital Culpeper will also provide the
necessary infrastructure to support the digital preservation process
including networks, servers, and telecommunications.

**4.2 Use Case Analysis**

This section depicts, in diagram form, the major use cases of Digital
Culpeper. A use case defines the interactions between and a particular
class of user. A use case diagram illustrates these interactions.
Actions are represented by ellipses, users by stick-figures and systems
by rectangles. Sections 4.2.1 through 4.2.5 analyze these use cases by
user class. Appendix B illustrates the use cases of Digital Culpeper for
5 of the major user classes. The use cases are grouped by user class and
coincide with the five major processes. In Appendix B the flow of
actions proceeds counter-clockwise beginning with Acquisition
Specialist.

**4.2.1 Acquisition Specialist**

The Acquisition Specialist user class interacts primarily with the
Office Automation System and the Business System. The Acquisition
Specialist uses the Office Automation System to help identify and keep
track of potential acquisitions, to interact with donors and sellers,
and store documentation about acquisitions. The Acquisition Specialist
uses the Business System to manage financial transactions with donors
and sellers. The Business System is also used to manage the AV
acquisition budget and provide financial reports to management. However,
in addition, the Acquisition Specialist uses the Catalog System (ILS) to
check Library holdings, and the Workflow Management System to
schedule/notify the Receiving/Shipping Specialist of incoming
audio/visual material. Exhibit 4.2.1-1 depicts the major use cases
involving the Acquisition Specialist user class.

![](media/image4.wmf){width="5.175in" height="4.013888888888889in"}

*Exhibit 4.2.1-1 Acquisition Specialist*

**4.2.2 Receive/Ship Specialist**

The Receive/Ship Specialist user class encompasses staff working at the
Loading Dock(s). The Receive/Ship Specialist interacts primarily with
the Workflow Management System and the Material Tracking System.

On the receiving side, the Receive/Ship Specialist uses the Workflow
Management System to acknowledge the receipt of audio/visual material
received at the NAVCC. The RSS unpacks the audio/visual material and
accompanying documentation, stages the audio/visual items in a holding
area and notifies the appropriate Collection Specialist to perform
triage. The Collection Specialist uses the Material Tracking System to
tag and track audio/visual items.

![](media/image5.wmf){width="5.100694444444445in"
height="3.966666666666667in"}On the shipping side, the Receive/Ship
Specialist packs the items for shipment and records the package in the
Workflow Management System. When the package is shipped the Receive/Ship
Specialist records the disposition of the package in the Workflow
Management System. The Receive/Ship Specialist uses the Laboratory
Management System to order equipment and supplies. Exhibit 4.2.2-1
illustrates the major use cases of the Receive/Ship Specialist user
class.

*Exhibit 4.2.2-1 Receive/Ship Specialist*

**4.2.3 Collection Specialist**

The Collection Specialist user class encompasses staff belonging to the
Recorded Sound Section and the Moving Image Section. As the hub of
digital preservation, the Collection Specialist interacts with virtually
all Digital Culpeper systems.

The Collection Specialist uses the Workflow Management System to
identify items requiring triage and to schedule items for conversion
and/or storage. During triage, the Collection Specialist uses the
Material Tracking System to barcode/RF tag and record the location of
the items as they move within the collection processing section. The
Collection Specialist uses the Collection Management System to capture
descriptive, structural, and administrative metadata about the items and
their digital copies, and to provide the information needed to make
conservation decisions. The Collection Specialist uses the Catalog
System (ILS) to catalog the items and/or the collection to which they
belong. The Collection Specialist uses the Collection Management System
to capture technical metadata and record administrative information
produced during the digital conversion process. The Collection
Specialist uses the Laboratory Management System to order equipment and
supplies. Exhibit 4.2.3-1 illustrates the major use cases of the
Collection Specialist user class.

![](media/image6.wmf){width="5.995833333333334in"
height="4.779166666666667in"}*Exhibit 4.2.3-1 Collection Specialist*

**4.2.4 Conversion Specialist**

The Conversion Specialist user class encompasses the recording engineers
and equipment operators who digitally reformat audio/visual items in
preparation for long-term digital storage. Also included in this user
class are the maintenance personnel responsible for maintaining and
repairing the playback and recording hardware and the personnel
responsible for managing laboratory supplies.

The Conversion Specialist uses the Workflow Management System to
identify items selected for conversion and to schedule the original
audio/visual items for shipping or storage after conversion. The
Conversion Specialist uses the Material Tracking System to record the
location of items during the conversion process. The Conversion
Specialist uses the Conversion System to digitally reformat audio/visual
items, to extract technical metadata about the digital files produced
and to generate digital provenance information about the conversion
process. The Conversion Specialist uses the Laboratory Management System
to keep track of the maintenance and repair status of equipment and the
inventory of supplies. The Conversion Specialist uses the Laboratory
Management System to order equipment and supplies. Exhibit 4.2.4-1
illustrates the major use cases of the Conversion Specialist user class.

![](media/image7.wmf){width="4.161111111111111in"
height="2.9180555555555556in"}

*Exhibit 4.2.4-1 Conversion Specialist*

**4.2.5 Warehouse Specialist**

The Warehouse Specialist user class encompasses those individuals who
work in the Collections Building and the Nitrate Vaults. The Warehouse
Specialist uses the Warehouse Management System to code/tag items and
associate them with a specific floor/row/shelf location in the
Collection Building. He/she uses the Warehouse Management system to
locate and retrieve items and inventory/audit all items in the
Collections Building and Nitrate Vaults. The Warehouse Specialist uses
the Material Tracking System to record items as they enter and leave the
Collections Building. The Warehouse Specialist uses the Laboratory
Management System to order equipment and supplies. Exhibit 4.2.5-1
illustrates the major use cases of the Warehouse Specialist user class.

![](media/image8.wmf){width="5.1715277777777775in"
height="3.5541666666666667in"}

*Exhibit 4.2.5-1 Warehouse Specialist*

**Section 5**

**System Concept**

**5.1 Overview**

Section 5 describes a system concept for Digital Culpeper. Exhibit 5.1-1
illustrates Digital Culpeper and shows the relationship to key related
systems elsewhere in the Library.

![](media/image9.wmf){width="5.995138888888889in"
height="4.215972222222222in"}

*Exhibit 5.1-1 Digital Culpeper (left) and Related LC Systems (right)*

Digital Culpeper consists of eight individual systems, many of which are
composed of multiple systems themselves. For example, the Conversion
System is a collection of analog and digital hardware and software
systems designed to digitally reformat audio-visual items. The Cube-Tec
Quadriga audio workstations or Cognitech video workstations are examples
of such systems.

As indicated in the right-hand portion of the preceding diagram, Digital
Culpeper will operate in synergy with the Library of Congress systems
that exist (or will exist) in Manassas and on Capitol Hill. The diagram
shows the planned digital repository system; in the interim (not shown),
this niche is filled by the Library\'s storage area network. Digital
Culpeper will be connected to these LC systems by a high-speed
telecommunications link with sufficient dedicated bandwidth to transfer
large quantities of digital audio and video between the two locations.
Two classes of networks are proposed for each location. The first class
is a 10/100 Mbps Ethernet network designed to handle relatively
low-volume administrative traffic. The second class is a high-speed,
dedicated Gigabit Ethernet or ATM network used to transfer large
quantities of digital audio and video. Readers should note that if the
LC\'s storage area network were to extend to Culpeper, (or the storage
systems that will support the future repository were so extended), this
would significantly reduce the need for and cost of the
telecommunications link from Digital Culpeper to the LC systems,
although it would increase the storage costs within the LC systems
proper. Such an extension, however, would also permit the design of a
modified storage system with dual redundancy: non-AV LC digital content
could be duplicated in Culpeper, just as all of LC\'s AV content would
then be duplicated for safety on Capitol Hill or Manassas.

**5.2 Individual System Descriptions**

This section describes the individual systems that comprise Digital
Culpeper including their capabilities and their classes of users.

**5.2.1 Material Tracking System**

The Material Tracking System consists of the hardware and software that
organizes, tracks, and manages audio-visual items within the
Conservation Building. In the MAVIS software currently used by M/B/RS,
some of the capabilities listed below are part of what is called
\"stocktaking.\" The Material Tracking System provides the following
capabilities:

-   Receiving

-   Radio Frequency (RF) Tagging

-   Location Tracking

-   Shipping

Virtually everyone at the NAVCC who comes in contact with audio-visual
items is a potential user of the Material Tracking System. When material
arrives at the NAVCC loading dock, the MTS is used to tag the
audio-visual items for tracking throughout the facility. Radio frequency
or barcode readers located at strategic points in the digital
preservation process track the physical location of items and identify
bottlenecks, if they occur. Testing will be required to ensure that RF
technology poses no risks to the AV laboratory\'s conversion systems nor
to the magnetically recorded materials in the collection; if risks do in
fact exist, alternate tagging technology such as barcodes will be
proposed.

**5.2.2 Workflow Management System**

The Workflow Management System is an application that works hand-in-hand
with the Material Tracking System to schedule, coordinate, and monitors
the status of digital preservation activities and audio-visual items.
Managers use the Workflow Management System: to coordinate the flow of
digital preservation activities; to define checkpoints; to assign
approval authority; to manage the movement of paperwork; and to monitor
progress. The Workflow Management System provides the following
capabilities:

-   Scheduling

-   Routing

-   Authorization

-   Activity History and Logging

-   Status and Problem Reporting

Once again, virtually everyone who participates in the digital
preservation process is a potential user of the Workflow Management
System. From the Warehouse personnel who receive work orders to put,
pick, and stage items to the Recording Engineer who performs digital
conversion, the Workflow Management System is the tool that captures and
provides information about the flow of items and associated paperwork
through Digital Culpeper.

**5.2.3 Collection Management System**

The Collection Management System consists of at least two applications
that capture and manage information describing the audio-visual
material, digital objects, and the activities involved in digital
preservation. The first application is a system for managing metadata
about physical audio-visual items (analog or digital), the type of data
associated with the MAVIS software currently in use by M/B/RS. The
capabilities of the physical-content management system include:

-   Acquisitions (including pre-acquisition management),

-   Accessioning,

-   Rights,

-   Storage,

-   Preservation/Conservation,

-   Movements (Loans),

-   Item-level Cataloging,

-   Reporting and Management.

The second application is a system used to extract and organize metadata
that will be combined with content-reproduction bitstreams to create
Submission Information Packages (SIPs). The precise boundaries with the
second portion of Conversion Systems (CS) describe below remain to
worked out. The Collection Management System\'s second set of
capabilities include:

-   Metadata Extraction

-   Metadata Input and Editing

-   Essence File Association

-   Metadata Encoding and Storage

The primary users of the Collection Management System are processing
staff, recording engineers, and management.

**5.2.4 Conversion System**

The Conversion System consists of two main elements. First, it includes
a variety of hardware and software systems used reformat historical
audio-visual content or to treat born-digital content, and to capture or
massage associated metadata. These hardware and software systems vary
widely depending upon the media and format. In general, each system
consists of playback equipment, digitization equipment, and computer
equipment to manage the playback/recording equipment and store/process
the resulting stream(s) of digital audio or video and associated
metadata. In some cases, the playback equipment is accompanied by
robotic systems for moving media from storage racks to multiple playback
units and automated \"listening\" and \"viewing\" applications for
quality control. The capabilities of this part of the Conversion System
include:

-   Instrumentation Control

-   Automated Quality Control

-   Media Handling

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-   Digital Reformatting

-   Audio-Visual File Management

The second part of the Conversion System includes one or more
applications running in a local storage system that organize and package
content as Submission Information Packages. The precise boundaries with
the second portion of Collection Management Systems describe above
remain to worked out. Prior to the availability of the LC repository,
the finished Submission Information Packages will be handed off to the
Library\'s existing storage area network (or the \"local\" storage will
be established as a node in the storage area network). After the
repository is ready, the Submission Information Packages in this staging
system will be submitted for ingestion by the repository. The
capabilities of this part of the Conversion System include:

-   Storage system hardware and applications

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-   Submission Information Package Generation

-   Submission Information Package Management

-   Submission Information Package Submission

The primary classes of users of the Conversion System are audio-visual
recording engineers, digital transfer operators, collection processing
personnel, and specialized staff charge with overseeing the submission
process to the staging system and/or repository system.

**5.2.5 Business System**

The Business System is a collection of applications designed to support
the accounting and financial activities associated with digital
preservation. The Business System measures digital preservation
productivity and keeps track of the expenses incurred. It is used to
manage the productivity and accounts of contractors hired to outsource
digital preservation. It also accounts for any income derived from NAVCC
operations such as customer copying. The functions of the Business
System include:

-   Production transaction record keeping (\"audit trail\")

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-   Purchasing (drafting purchase requests to be forwarded as
    appropriate)

-   Accounts Receivable (to be developed with the LC Financial Services
    directorate)

-   Accounts Payable (to be developed with the LC Financial Services
    directorate)

-   Contractor Management (COTR functions)

The capabilities of the Business System may be provided by existing or
planned LC enterprise business systems. Section 6 of the CONOP outlines
Business System requirements in the context of existing LC enterprise
business systems including the potential use of MAVIS for some
Acquisition functions.

The users of the Business System are managers, accountants, contract
personnel, and administrative staff involved in the administration and
financial oversight of digital preservation activities.

**5.2.6 Office Automation System**

The Office Automation System is a collection of file, print, and
database servers and personal computers with multiple applications such
as word processing, spreadsheet, graphics, and database software that
support day-to-day operation, management, and administration of digital
preservation activities. In addition, the personal computers in the
Office Automation System provide user access to the other eight systems
of Digital Culpeper. The functions of the Office Automation System
include:

-   Word Processing

-   Spreadsheets

-   Graphics and Presentation

-   Database Management

-   Internet Access

Everyone at the NAVCC is a potential Office Automation System user.

**5.2.7 Laboratory Management System**

The Laboratory Management System is a collection of applications that
organize and track the equipment, supplies, and literature associated
with digital preservation. The Laboratory Management System maintains a
full equipment inventory including status and repair history. It
maintains the inventory of books and documents used by researchers and
NAVCC staff with a check-in and check-out capability. It maintains an
inventory of supplies, and provides a link to the Business System to
order new supplies. The capabilities of the Laboratory Management System
include:

-   Equipment Inventory Management

-   Supply Management

-   Document Management

The users of the Laboratory Management System include managers,
administrators, maintenance specialists, recording engineers, and
operators.

**5.2.8 Warehouse Management System**

The Warehouse Management System is an application that manages
audio-visual items in their original source form within the Collections
Building. The functions include:

-   Put

-   Pick

-   Location management

-   Packing

-   Cycle counting / inventory

-   System security

The Warehouse Management System will use the same bar-code/RF-tag used
by the Material Tracking System to identify each item in the inventory.
The system will be linked to the shelving system used in the Collections
Building and will provide the capability to control shelf movement for
picking and putting.

**Section 6**

**System Analysis**

This section analyzes several of the key technical issues surrounding
the development of Digital Culpeper including such topics as
audio-visual conversion approaches, throughput/capacity analysis, build
vs. buy options, ramp-up plan, technology refreshment, and metadata
standards. Management issues regarding schedule, manpower, cost, and
funding are addressed in the Digital Culpeper Project Plan.

**6.1 Audio-Visual Conversion Approaches**

The most data and computing intensive system class of Digital Culpeper
is Conversion. The approaches for video and audio conversion will
determine the quantity and quality of digital preservation copies and
will have a major impact on the overall cost of Digital Culpeper.
Sections 6.1.1 and 6.1.2 describe the approaches to video and audio
conversion respectively as expressed in this Concept of Operations. In
both cases, digital reformatting is performed by the NAVCC Preservation
Laboratory, and by outsourcing contractors. However, in some cases,
video reformatting will produce conventional digital videotape rather
than digital video files. The volume of material to be converted is
described in detail in Appendix A.

**6.1.1 Video Preservation Approach**

**6.1.1.1 Background**

The Library's curatorial impulse is to (a) reformat video in a manner
that yields an uncompressed signal stream and (b) to retain born-digital
video at the same level of quality as it has been received, although
this may require a normalization process to bring proprietary-format
bitstreams into standardized form. But the achievement of the curatorial
ideal is impeded by two factors active in the current period.

The first impediment to achieving the ideal arises from the sheer size
of digital video data streams and the consequent high cost for the
hardware and networking required to manage them. A video program in
digital-component, standard-definition form carries a data rate of 270
megabits per second (mbps) and represents about 120 gigabytes (GB) for
each hour of content. The high-definition video coming into use by
broadcasters will have higher data rates and the formats under
discussion for the distribution of movies to theaters are significantly
higher yet. Another illustrative example is provided by the United
States Senate, which plans to begin recording its floor proceedings in
high definition digital video during 2002. If these plans go forward,
this is estimated to produce approximately 50 terabytes (TB) of content
each year. The Library is required to receive and retain the Senate
footage\--having always done so using conventional videotape media\--and
now must find a way to accommodate "file-based" video.

It is worth noting one feature of the U.S. Senate effort: the "master"
files that they produce will be compressed using the MPEG-2 standard.
After study, the Senate recording studio found that lightly compressed
files with frame integrity ("all 'I' frames" in MPEG-2 terms) will
provide good quality for the editing processes required by Senators who
wish to use the footage to create products like video news releases. The
Senate's finding is that a high-definition compressed file with a data
rate of about 90-100 mbps will serve these purposes. The NAVCC planners
foresee that a data rate of about 75-80 Mbps will accomplish the same
outcome for standard-definition video; this will be the subject of
feasibility testing as the project continues. Meanwhile, the broadcast
industry has generally settled on a data rate of 8-12 Mbps as offering a
very high-quality viewing copy of a program, albeit one that lacks
integrity for each frame, thus limiting future editing.

The second impediment to achieving the curatorial ideal reflects the
difficulties and high cost of the transfer of high-quality digital video
footage to the Library. The U.S. Senate example above is suggestive:
what is the best way for the Senate to hand off 50 TB to the Library
each year? Whether the handoff occurs via a server-based mirror site or
by the physical movement of data tapes, the proximity of the two
organizations will ease the burden of data transfer. Greater distances
will make similar transfers more challenging or, at least, potentially
more expensive. Current plans call for the offsite reformatting of
significant percentages of selected videocassette formats, e.g.,
1/2-inch VHS and 3/4-inch U-matic, by contractors, in cities like New
York and Los Angeles. Meanwhile, other types of materials, e.g., copies
of television news broadcasts from the archive at Vanderbilt University,
will also be sent to the Library. In time, these transfers will move via
telecommunications but this does not appear to be cost-effective at this
time.

The collections include extensive 16mm film holdings. Some of these are
kinescopes of early television broadcasts, while many others are
instructional films and documentaries of the type used in educational
settings prior to the widespread adoption of videotape playback systems.
In general, these films have a greater life expectancy than magnetically
recorded video and thus are a lower priority for preservation than
videotapes. The collection custodians have determined that these items
may receive preservation reformatting in the form of video rather than
as fresh film copies, and this category has been folded into the video
planning outlined here. In contrast, current plans require that 35mm
film items be preservation reformatted as film. Nevertheless, many 35mm
films (and larger gauges as well) will be transferred to high-definition
compressed video as service copies for playback in the reading rooms,
and these have also been folded into this video planning effort.

**6.1.1.2 Options Under Consideration**

The factors outlined above have led the project team to consider three
high-level options for video reformatting carried out during the period
2006-2015, and these are outlined below. Feasibility tests and market
surveys will continue throughout the development period, and the
planners will adjust plans to the degree possible as new technology
options emerge.

**Hybrid approach.** This is the preferred approach and has been used in
drafting this Concept of Operations. It is described in detail in the
next section. Its essential features include:

-   Most video items are reformatted as digital files

-   Of these, some are reformatted as uncompressed bitstreams while
    others are reformatted in compressed form in order to reduce
    delivery and storage costs

-   Many items are reformatted onto conventional videotape; this output
    represents a significant percentage of the content that is
    reformatted by contractors offsite

The advantages of the hybrid approach are reasonable overall cost and
easier delivery, resulting from the extensive use of conventional
videotape by offsite operations. It is estimated that the staging system
required to support the hybrid approach would have a capacity of
approximately 380 terabytes.

**Same-cost, no-compression approach.** This approach limits the
production of digital-file versions of reformatted video to a small
number of uncompressed files. The quantity would be selected at a level
that requires a digital-file staging system that is the same size as the
system required to support the hybrid option. All of the remaining
items\--the majority of what will be reformatted\--would be copied onto
conventional videotape.

**Uncompressed file approach.** This approach would produce exclusively
uncompressed files. In addition to the challenge in finding ways for
offsite contractors to deliver extensive numbers of large files, the
staging system would have to have a capacity on the order of 2-3
petabytes, which would add several million dollars to the facility cost,
and incur additional costs for the Library of Congress repository that
will ultimately receive and manage the content. These factors led the
planning team to set this option aside at this time.

**6.1.1.3 The Hybrid Approach**

The following paragraphs outline the ideas that underlie the hybrid
approach for video reformatting during the period 2006-2015.

-   The reformatting effort will produce a mix of "digital-file" copies
    and conventional-tape copies. Items for the two streams will be
    selected by curators based on a variety of factors, including the
    original format and the intrinsic value of the content. In this
    Concept of Operations, the following breakdown has been applied:

> \--100 percent of the items reformatted in the NAVCC will take the
> form of digital files.
>
> \-- 25 percent of the items reformatted offsite will take the form of
> digital files.
>
> \-- 75 percent of the items reformatted offsite will take the form of
> conventional videotape copies; their delivery, however, will be
> accompanied by service copies in compressed video form.

-   The copies of items reformatted in the form of digital files will
    represent a mix of uncompressed and compressed copies. Selections of
    material will be made by curators based on a variety of factors,
    including the original format and the intrinsic value of the
    content. The current priority is on older standard-definition video.
    In this Concept of Operations, the following approach has been
    taken:

> \-- 25 percent of the file-reformatted items will be uncompressed at
> 270.000 Mbps
>
> \-- 50 percent of the file-reformatted items will be compressed at the
> edit-capable rate of 75-80 Mbps
>
> \-- 25 percent of the file-reformatted items will be compressed at the
> viewing rate of 8-12 Mbps

-   Items in the form of 16mm film will be reformatted exclusively as
    digital files. The quantities projected for the period 2006-2015
    will be relatively modest since they fall in a lower priority
    category. The greater portion of the 16mm collection will await the
    development of methods that offer higher levels of cost-efficiency
    in the handling of digital-file video formats.

> \-- Of the 75,000 titles in 16mm form, the target for 2006-2015 is
> 20,000.
>
> \-- 5,000 titles will be selected for reformatting as uncompressed
> files at 270 Mbps
>
> \-- 5,000 titles will be compressed at the edit-capable rate of 75-80
> Mbps
>
> \-- 10,000 titles will be compressed at the viewing rate of 8-12 Mbps

-   The U.S. Senate video effort is acknowledged but not incorporated
    into this Concept of Operations. A plan to accommodate this content
    will require a special cooperative effort with the Library's
    Information Technology Services (ITS) unit. One potential structure
    would include these features:

> \-- Mirror site and/or data-tape receiving system(s) at the Library
>
> \-- Networked availability of this system to NAVCC staff
>
> \-- Reprocessing and packaging of content while held in the receiving
> system
>
> \-- Offline archiving of reprocessed content
>
> \-- Archived content ready for submission to future repository system

-   Items in the form of 35mm film (and some other gauges) are included
    in this document since the production of researcher viewing service
    copies will add a burden to the digital and information technology
    systems. The division's staff has not developed a firm estimate for
    quantities for this category; for this set of calculations, the
    planners are using 2,000 hours/year as a basis for estimating. The
    signal type designated at this time is viewing-quality compressed
    video at 8-12 mbps. Since this rendering is likely to be in a high
    definition mode, the actual data rate may be higher.

**6.1.2 Audio Conversion Approach**

The audio preservation approach is not constrained by the same volume
and cost factors that accompany video. In the Audio-Visual Prototyping
Project, the team determined that a very satisfactory level of quality
can be obtained if historical recordings are digitized using Pulse Code
Modulation (PCM) sampling at a frequency of 96 KHz with a word length of
24 bits.. Although this level of quality generates approximately 1 GB
per hour, the long-term preservation benefit of 96/24 PCM is believed to
outweigh the cost. Therefore, the Library plans to (a) reformat audio in
a manner that yields an uncompressed signal stream at 96/24 PCM and (b)
to retain born-digital audio at the same level of quality as it has been
received.

During the period 2006-2015 (the first decade for full-scale
digitization), the audio effort will produce only "digital-file" copies
within the Laboratory and offsite at outsource contractor facilities.
Curators will select items for outsourcing. The selection will be based
on a variety of factors, including the original format, the intrinsic
value of the content, in-lab capacity, and cost. The following breakdown
is proposed:

> \-- 60 percent of the items will be reformatted onsite.
>
> \-- 40 percent of the items will be reformatted offsite.

A more detailed breakdown of the audio and video conversion estimates by
media and mode is provided in Appendix A.

**6.1.3 Continued Feasibility Testing and Prototyping**

Many of the approaches described in this document\--especially those
involving digital conversion of audio and video content\--are at the
leading edge of current product technology. New ideas about digital
conversion are emerging from university computer science laboratories
and the commercial sector; new hardware and software products are
appearing in the marketplace. This concept of operations represents a
reasonable view of the current state of the art, but it and the
accompanying Digital Culpeper Project Plan are designed to allow for
continued exploration and feasibility testing as system designs are
refined. Similarly, the plans for video conversion in Section 6.1.1 and
audio conversion in Section 6.1.2 will almost certainly be modified
during the development period to take advantage of new discoveries and
the outcome of project-sponsored feasibility tests. A detailed breakdown
of the audio and video conversion estimates by media and mode is
provided in Appendix A M/B/RS Audio-Visual Collection Inventory.

Specific plans are being made for at least three activities involving
design, feasibility testing, and prototyping during the development
period. First, in parallel with the activity covered by this document,
the Motion Picture, Broadcasting, and Recorded Sound Division intends to
work with specialist consultants to design and develop a new
Audio-Visual Preservation Laboratory, in effect the successor to today's
Magnetic Recording Laboratory. Since the new lab will live at the
intersection of the traditional technologies used to extract content
from conventional media and the new technologies that render this
content in digital form, the lab design activity has a very high level
of synergy with the information-technology-oriented operation described
here. Second, plans are being made for some specific explorations of the
formats for digital video. In particular, the suitability of compressed
digital video as a preservation format will be researched. Third, plans
are being made to field-test the Flexible and Extensible Digital Object
and Repository Architecture (FEDORA), developed by the Cornell
University Digital Library Research Group, and now being tested by the
University of Virginia and several other digital library projects.

**6.2 Throughput and Capacity Analysis**

Using the workload estimates described in Section 3.2, and the
approaches described in Section 6.1, it is estimated that by the year
2010 Digital Culpeper will be generating approximately 13 terabytes of
digital audio-visual data per day. To store 30 days of data at that rate
will require approximately 379 terabytes of staging storage capacity.
Exhibit 6.2-1 summarizes the throughput and capacity requirements by
media and mode. Additional detail is provided in Appendix C.

+--------+-------------+--------------+---------------+---------------+
| **M    | **Mode**    | ##           | **Program**   | **Storage**   |
| edia** |             | #### Program |               |               |
+--------+-------------+--------------+---------------+---------------+
|        |             | **Hours per  | **Volume per  | **(30 Days in |
|        |             | Day**        | Day**         | MB)**         |
+--------+-------------+--------------+---------------+---------------+
| Total  |             | 93.40        | 12,644,916    | 379,347,476   |
+--------+-------------+--------------+---------------+---------------+
| Audio  |             | 62.60        | 519,190       | 15,575,698    |
+--------+-------------+--------------+---------------+---------------+
|        | Expert      | 5.50         | 45,619        | 1,368,576     |
+--------+-------------+--------------+---------------+---------------+
|        | Standard    | 9.43         | 78,204        | 2,346,130     |
+--------+-------------+--------------+---------------+---------------+
|        | Production  | 47.67        | 395,366       | 11,860,992    |
+--------+-------------+--------------+---------------+---------------+
| Video  |             | 30.80        | 12,125,726    | 363,771,778   |
+--------+-------------+--------------+---------------+---------------+
|        | Expert      | 3.80         | 1,496,031     | 44,880,934    |
+--------+-------------+--------------+---------------+---------------+
|        | Standard    | 5.50         | 2,165,308     | 64,959,246    |
+--------+-------------+--------------+---------------+---------------+
|        | Production  | 21.50        | 8,464,387     | 253,931,598   |
+--------+-------------+--------------+---------------+---------------+

# Exhibit 6.2-1 Throughput and Capacity Requirements in 2010

As expected, the majority of the requirement is attributable to
production mode reformatting of video. The audio estimates were computed
based upon uncompressed audio sampled at 96KHz and 24 bit sample size.
The video estimates were computed based upon a combination of data rates
of 270 Mbps (25%), 75-80 Mbps (50%), and 8-12 Mbps (25%).

The primary focus of the Digital Culpeper throughput analysis is the
volume of digitized video and audio produced. All other types of data
such as metadata and administrative information are dwarfed in size by
comparison. The following factors were considered in the analysis:

-   number of digital audio and video streams being produced,

-   capacity for temporarily storing these streams at the conversion
    station,

-   bandwidth of the network that interconnects the conversion stations
    and the staging facility,

-   capacity of the staging facility used to store the digital
    audio-visual material prior to transmission to a digital repository
    system, and

-   bandwidth of the link that connects the staging facility to a
    digital repository.

Exhibit 6.2-2 summarizes these factors for Digital Culpeper at the
mid-point (2010) of the first operational decade (2006-2015). For the
purposes of estimation, it is assumed that the productivity of Digital
Culpeper will ramp up during the first decade in accordance with the
ramp-up plan in Section 6.4 and that 2010 levels represent the average
productivity for the decade.

![](media/image10.wmf){width="5.998611111111111in"
height="1.5006944444444446in"}

*Exhibit 6.2-2 Throughput and Capacity Factors*

At the audio line, Digital Culpeper will require an average local
storage capacity at the working node of 43 GB, attached to a high-speed
switch with a bandwidth of 144 Mbps, generating a 30-day staging storage
requirement of 16 terabytes, and a link to the digital repository system
with bandwidth of 48 Mbps.

At the video line, Digital Culpeper will require an average local
storage capacity at the working node of 1,102 GB, attached to a
high-speed switch with a bandwidth of 3,368 Mbps, generating a 30-day
staffing storage requirement of 364 terabytes, and a link to the digital
repository system with a bandwidth of 1,123 Mbps.

These parameters are based on several assumptions. First, it was assumed
that each of the nodes should be capable of storing one working day (8
hours) of digital audio or video data in case the staging storage system
is temporarily out of commission. Second, it was assumed that all 23
nodes will be operating concurrently. Third, it was assumed that a
staging requirement of 30 days is sufficient to allow time for
pre-ingestion processing and backup/recovery should the digital
repository system fail. And fourth, it was assumed the upload of data
from the staging facility to the digital repository will operate 24
hours/day.

Given these parameters, the configuration of the Digital Culpeper
conversion system begins to take form. Individual conversion nodes will
be fairly powerful high-end workstations or mid-range servers with
significant online RAID storage. They will be interconnected with one
another and the staging facility by multiple Gigabit Ethernet or ATM
interconnects routed through high-speed switches. The staging storage
facility will be a hierarchical system with online, near-line, and
offline elements, with the proportions driven by access and cost at the
time of purchase.

Today, the cost of storage and bandwidth would make the price tag of
such a conversion system prohibitive, but technology growth will change
those costs significantly before Digital Culpeper is deployed in
2005-2006. Based upon conservative network and storage technology
projections, the analysis factors in Exhibit 6.2-2 are believed to be
within reasonable budget expectations in the 2005-2006 timeframe.
Detailed cost estimates are provided in a companion document entitled
Digital Culpeper - Project Plan.

**6.3 Build vs. Buy Analysis**

Preliminary analysis indicates that 70-80 percent of the functionality
required by Digital Culpeper may potentially be provided by customized
COTS systems in the 2005-2006 timeframe. The remaining 20-30 percent of
the applications will need to be custom-developed. Furthermore,
significant integration software will be required to produce a system
that optimizes efficiency and maximizes throughput.

**6.3.1 Commercial-Off-The-Shelf (COTS) Products**

This section takes a look at examples of COTS products that have the
potential to provide some of the functionality required by Digital
Culpeper. The examples are not meant to recommend any product(s) as the
definitive solution. The purpose is to help determine how much of the
functionality of Digital Culpeper might be purchased off the shelf, how
much might be custom built, and how much integration might be required.

Based on a brief market survey, the products listed in Exhibit 6.3.1-1
are representative of currently available products in the system classes
that comprise Digital Culpeper. It should be noted that many, if not
all, of these products will be obsolete by the time Digital Culpeper is
deployed and therefore are NOT the generation of products that will be
used to build Digital Culpeper. Readers interested in the details of
these products can click on the URLs provided in Exhibit 6.3.1-1.

  --------------- -------------------------- ------------------------------------------------------------------------------
  **System        **Representative           **URL Reference**
  Class**         Products**                 

  Conversion      Cube-Tec, Quadriga Audio   <http://www.hda.de/english/products/audiocube/quadriga/quadriga.html#Intro>
                  Workstation                

                  Cognitech, Video           [http://www.cognitech.com](http://www.cognitech.com/)
                  Workstation                

                  Cube-Tec, CD-Inspector     <http://www.hda.de/english/products/checker/cd-inspector/cd-inspector.html>
                  Jukebox                    

                  Tiltrac, V-300 Video       <http://www.tiltrac.com/v300.html>
                  Library Manager            

                  EMC, Celerra Storage       <http://www.emc.com/>
                  Systems                    

                  Sony, PetaSite Near-Line   <http://bpgprod.sel.sony.com/bpcnav/app/99999/4/20000.99999.subcat.BPC.html>
                  Storage Systems            

                  DataLink, Automated Tape   <http://www.datalinksales.com/tape_cleaners_testers/home.htm>
                  Cleaning Systems           

  Collection      Wizard Information         <http://www.wizardis.com.au/mavis_index.html>
                  Services, MAVIS            

  Workflow        Fujitsu, I-Flow Workflow   <http://www.fujitsu-iflow.com/sitemap.htm>
  Management      Management System          

  Material        Texas Instruments, TI-Rfid <http://www.ti.com/tiris/default.htm>
  Tracking        Tracking System            

  Warehouse       Axiom Warehouse Management <http://axiom-gb.co.uk/>
  Management      System                     

  Business        Oracle, Financial Systems  <http://www.oracle.com/applications/financials/index.html?intro.html>

  Laboratory      Accurate-ID Inventory      <http://www.accurateid.com/>
  Management      Management Software        

  Support         Cisco Systems, Catalyst    <http://www.cisco.com/warp/public/cc/pd/si/casi/ca6000/>
                  6500 Switches              

                  Cisco Systems, Catalyst    <http://www.cisco.com/univercd/cc/td/doc/pcat/ca4000.htm#fea>
                  4000 Wire Closet Switches  

                  Cisco System, Network      <http://www.cisco.com/univercd/cc/td/doc/pcat/nemn__d1.htm>
                  Management Systems         

                  Dell, Personal Computers   <http://www.dell.com/us/en/gen/default.htm>

                  Sun Microsystems, Servers  <http://www.sun.com/>
                  and Storage                

                  Microsoft, Office          <http://www.microsoft.com/ms.htm>

                  Oracle, 9i                 [http://www.oracle.com](http://www.oracle.com/)

                  Symantec, Norton           <http://enterprisesecurity.symantec.com/products/products.cfm?ProductID=23>
                  Anti-Virus                 
  --------------- -------------------------- ------------------------------------------------------------------------------

# Exhibit 6.3.1-1 Examples of Potential COTS Products for Digital Culpeper

The potential exists that a single product may be found that is capable
of providing the functionality required to support the Material
Tracking, Warehouse Management and Laboratory Management system classes.
Although no single product was found in this brief market survey, it is
an area that deserves further research.

MAVIS, the audio-visual management information system from Wizard
Information Services, is a particularly important piece of the Digital
Culpeper puzzle. MAVIS is specifically designed to support audio-visual
information management and has existing or potential interfaces with
several of the Digital Culpeper systems classes including Material
Tracking, Warehouse Management, Workflow Management, and Business
Systems. MAVIS is an Oracle-based product currently in use at the
Library, and as such, may prove to be the hub around which Digital
Culpeper operates. For this reason, it is suggested that the Library
continue the dialog with Wizard Information Services regarding the
future direction of their product. In that regard, the Library should
lobby for the incorporation of capabilities compatible with the Digital
Culpeper architecture.

**6.3.2 Custom Developed Application Software**

The business processes most likely to require custom developed
application software are Collection Processing, Reformatting, and
Storage. Exhibit 6.3.2-1 lists the required capabilities of the custom
application software in these business processes and a brief sample of
open sources of potentially applicable software under development by
government and academia.

+------------------+--------------------+------------------------------+
| **System Class** | **Capability**     | **Open Sources**             |
+------------------+--------------------+------------------------------+
| Collection       | Digital object     | Library of Congress          |
| Processing       | metadata           |                              |
|                  | extraction,        | Audio-Visual Preservation    |
|                  | management,        | Prototyping Project          |
|                  | packaging, and     |                              |
|                  | display            | -   Builder                  |
|                  |                    |                              |
|                  |                    | -   Generator                |
|                  |                    |                              |
|                  |                    | -   Importer                 |
|                  |                    |                              |
|                  |                    | ```{=html}                   |
|                  |                    | <!-- -->                     |
|                  |                    | ```                          |
|                  |                    | -   Viewer                   |
|                  |                    |                              |
|                  |                    | Library of Congress/OSI      |
|                  |                    |                              |
|                  |                    | -   Metadata Extraction      |
|                  |                    |     Tools                    |
|                  |                    |                              |
|                  |                    | ######## Un                  |
|                  |                    | iversity of Virginia/Cornell |
|                  |                    |                              |
|                  |                    | -   FEDORA Project           |
+------------------+--------------------+------------------------------+
|                  | Metadata Standard  | Library of Congress/NDMSO    |
|                  | XML Schemas        |                              |
|                  |                    | -   METS                     |
|                  |                    |                              |
|                  |                    | -   MODS                     |
|                  |                    |                              |
|                  |                    | -   MIX                      |
|                  |                    |                              |
|                  |                    | Audio Engineering Society    |
|                  |                    |                              |
|                  |                    | -   Audio Metadata Schema    |
|                  |                    |                              |
|                  |                    | #####                        |
|                  |                    | ### University of Queensland |
|                  |                    |                              |
|                  |                    | ##                           |
|                  |                    | ###### Video Metadata Schema |
|                  |                    |                              |
|                  |                    | ######## FrameWork, Ltd      |
|                  |                    |                              |
|                  |                    | ######## \<in*d*             |
|                  |                    | ecs\> Rights Metadata Schema |
+------------------+--------------------+------------------------------+
| Reformattting    | Automated audio    | Joanneum PRESTO Project      |
|                  | and video quality  |                              |
|                  | control            | -   Audio QC Software        |
|                  |                    |                              |
|                  |                    | -   Video QC Software        |
+------------------+--------------------+------------------------------+
|                  | Automated digital  | No Open Source Identified    |
|                  | provenance         |                              |
|                  | metadata capture   |                              |
|                  | and management     |                              |
+------------------+--------------------+------------------------------+
|                  | Automated digital  | No Open Source Identified    |
|                  | audio-visual       |                              |
|                  | essence management |                              |
+------------------+--------------------+------------------------------+
|                  | Pre-Ingestion      | No Open Source Identified    |
|                  | Processing         |                              |
+------------------+--------------------+------------------------------+
| Storage          | Long-term storage  | Library of Congress          |
|                  | of digital         |                              |
|                  | audio-visual data  | -   NDIIPP                   |
|                  |                    |                              |
|                  |                    | National Archives            |
|                  |                    |                              |
|                  |                    | -   NARA Project NDIIPP      |
|                  |                    |                              |
|                  |                    | Library of Congress          |
|                  |                    |                              |
|                  |                    | Audio-Visual Preservation    |
|                  |                    | Prototyping Project          |
|                  |                    |                              |
|                  |                    | -   AIP Study                |
+------------------+--------------------+------------------------------+

# Exhibit 6.3.2-1 Custom Developed Application Software

Although the list above is by no means exhaustive, it is an indication
that some of the custom developed application software required by
Digital Culpeper may not have to be built from scratch, but rather may
be acquired from open sources and modified to suit Digital Culpeper
requirements.

######## **6.3.3 Integration Software**

Much of the software that needs to be developed for Digital Culpeper
will be used to integrate the systems that comprise Digital Culpeper.
The key success factors in integration software development will be
adherence to standards for metadata, the use of XML as the currency for
data exchange between applications, and the selection of a common
platform for Digital Culpeper products and applications that will
withstand the test of time.

**6.3.3.1 Metadata Standards**

It is abundantly clear from other institutions\' digital preservation
ventures that success rests to a large degree on the scope and
reliability of the metadata recorded, including administrative metadata
that documents preservation actions, access controls, and other data
critical to managing content. Repository systems manage what are called
*digital objects*, consisting of metadata and content bitstreams or
*files*. The bitstreams include the audio tracks on a recording and
digital files representing the graphic information from the packaging,
label, and sleeves, created by scanning all print components of the
recording. The creation of a substantial amount of structural metadata
for each item is required to control the files and objects. This
metadata -- descriptive, administrative and structural -- is vital to
the logical re-assembly of these components for presentation to users
and access to the files. Metadata also support and make possible the
asset management systems that back up and periodically duplicate files
in a preservation repository. The archiving concept mandates further
requirements, including specialized metadata fields, the maximized
independence from specific technologies, and the ability to communicate
with other formats.

Standards for preservation and repository-related metadata are now being
developed. Library staff is actively contributing to the Digital Library
Federation\'s Metadata Encoding and Transmission Standard (METS)
project. METS, an evolving standard, will also facilitate future
exchange of files between repositories. It is an XML-based format for
structural, administrative, and descriptive metadata. METS can be used
to package digital objects in a manner that is consistent with the Open
Archival Information System (OAIS), a reference model developed by the
Consultative Committee for Space Data Systems at NASA.

In conjunction with the development of METS, the Library of Congress\'
Network Development and MARC Standards Office (NDMSO), with interested
experts, is developing a schema for a bibliographic element set that may
be used for a variety of purposes, and particularly for library
applications. As an XML schema it is intended to be able to carry
selected data from existing MARC 21 records as well as to enable the
creation of original resource description records. It includes a subset
of MARC fields and uses language-based tags rather than numeric ones, in
some cases regrouping elements from the MARC 21 bibliographic format.
This schema is currently in draft status and is being referred to as the
\"Metadata Object Description Schema (MODS).

Also in development by NDMSO is an XML schema for image metadata based
upon the National Imagery Standards Organization (NISO) Technical
Metadata Standards for Digital Still Images. The schema known as MIX
([M]{.underline}etadata for [I]{.underline}mage E[x]{.underline}change)
currently follows the NISO data dictionary but may hopefully be
influenced to reflect Digital Culpeper metadata requirements in the
future.

**6.3.3.2 XML**

XML has emerged as a widely accepted vehicle for the transmission of
data between databases and applications. It possesses the advantage of
being both machine and human readable and has been adopted by industry
and government in many digital preservation projects as the primary
means for encoding metadata. The Audio-Visual Preservation Prototyping
Project has made extensive use of XML in the development of its metadata
management tools and the Library has adopted XML in the development of
metadata schemas and metadata extraction tools. It is highly recommended
that XML be adopted by Digital Culpeper as the vehicle for the
transmission of data between databases and applications.

**6.3.3.3 Common Platform**

Many of the products listed in Exhibit 6.3.1-1 and several of the custom
developed software applications listed in Exhibit 6.3.2-1 operate on a
common platform that contains the following elements:

-   Operating System - Unix

-   Middleware -- Apache/JSP

-   Development Language - Java

-   Database Engine -- Oracle

-   Graphical User Interface -- Web Browser (Internet Explorer or
    Netscape)

Given the scope and complexity of Digital Culpeper and the massive
quantities of data to be processed and stored Unix is a logical choice
as the operating system. Unix has survived decades of evolution and
remained one of the most popular operating systems for
"industrial-strength" systems. Apache/JSP is used extensively by the
Library, widely accepted by industry, and is available at no cost. Java
is the Library standard development language and it too is widely
accepted and available at no cost. The most commonly used ODBC-compliant
database engine in industry and government is Oracle. Oracle is also the
standard relational database engine at the Library. Although web
browsers have only been in common use for less than 10 years they have
become the most widely accepted and ubiquitous graphical user interface
ever devised and are a likely candidate for the Digital Culpeper user
interface. Given this confluence of product/application availability and
Library standards it is preliminarily recommended that all Digital
Culpeper systems operate on this common platform.

**6.4 Ramp-Up Plan**

Realistically, the levels of throughput and capacity are likely to be
more modest in the early years and will ramp up during the period as
more personnel and equipment become available. For purposes of
estimation, it is proposed that the levels of throughput and capacity
are a primarily a function of the staffing applied to Conversion. The AV
Preservation Lab will include other staff members; the net populatin in
2010 is forecast as 30 FTEs, of whom 19 are specifically performing
conversion work. This proposal is based on the assumption that the
staffing levels of the other NAVCC business processes (e.g. Collection
Processing) that affect Digital Culpeper productivity are sufficient to
accommodate the throughput estimates. It is also assumed that sufficient
funding will be available to purchase additional hardware and software
as it is required. Exhibit 6.4-1 provides a projection of the staffing
levels in the NAVCC Preservation Laboratory involved in Conversion. The
throughput and capacity estimates described in Section 6.2 and in
Appendix C represent the levels of productivity to be achieved in 2010,
the mid-point of NAVCC's first decade in operation.

  ------------- -------- -------- -------- -------- -------- -------- -------- -------- -------- --------
  Year          2006     2007     2008     2009     2010     2011     2012     2013     2014     2015

  **Total**     **11**   **13**   **14**   **17**   **19**   **19**   **19**   **19**   **21**   **21**

  **Audio**     6        7        8        9        10       10       10       10       11       11

  Expert        2        2        2        3        3        3        3        3        3        3

  Standard      2        3        3        3        3        3        3        3        4        4

  Production    2        2        3        3        4        4        4        4        4        4

  **Video**     4        5        5        7        8        8        8        8        9        9

  Expert        1        1        1        2        2        2        2        2        2        2

  Standard      2        2        2        2        3        3        3        3        3        3

  Production    1        2        2        3        3        3        3        3        4        4

  Datacine      1        1        1        1        1        1        1        1        1        1
  ------------- -------- -------- -------- -------- -------- -------- -------- -------- -------- --------

# Exhibit 6.4-1 Conversion Staffing Table

**6.5 Technology Refreshment and Expansion**

The rapid pace of technology evolution will impose the need for periodic
refreshment of the hardware and software used in Digital Culpeper. The
industry *"rule of thumb"* is that every three years the hardware and
software will need to be refreshed (replaced) with newer, faster, and
cheaper models. The impact will be greatest in the hardware and software
used by the Collection and Conversion Systems where changes in media,
storage, and bandwidth will be most dramatic. Technology refreshment is
the foundation of digital preservation and is unavoidable once a
commitment has been made to preserve audio-visual materials in digital
form.

The plan to ramp up capacity during the NAVCC\'s first decade will also
incur increasing costs for system expansions during this period. The
inevitability of technology refreshment and expansion capacity places a
premium on designing an open and modular architecture for Digital
Culpeper that will facilitate the transition of technology from one
generation to the next. Interfaces must follow industry standards and
choices of hardware and software must be made with long-term vision.

The cost implications are significant and should be addressed early in
the planning stage to ensure adequate funding is available to sustain
Digital Culpeper for the long haul. The Digital Culpeper - Project Plan
provides an initial assessment of technology refreshment costs but
further analysis will be required to provide accurate estimates.

**Appendices**

*Appendix A - M/B/RS Audio-Visual Collection Inventory*

*Appendix B - Digital Culpeper Use Case Diagram*

*Appendix C - Digital Culpeper Throughput and Capacity Chart*

**Appendix A**

**M/B/RS Audio-Visual Collection Inventory**

**Appendix B**

**Digital Culpeper Use Case Diagram**

**Appendix C**

**Digital Culpeper Throughput and Capacity Chart**