White House Filing in CREW Lawsuit Admits to Destroying Back-up Copies of Emails July 18, 2008
Posted by Unified ECM in Uncategorized.Tags: CREW, Email Policies, George W. Bush, Iraq War, Records Management, Records Policies, Valerie Plame
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Missing Emails Cover Start of Iraq War, Leaking of Valerie Plame
WASHINGTON–(Business Wire)
Yesterday’s midnight filing by the White House in CREW v. Executive Office of the President, a lawsuit challenging the failure of the White House to preserve and restore millions of missing emails, raises some very troubling questions that the White House clearly does not want to answer.
The White House has now admitted that it does not have an
effective system for storing and preserving emails. This is no mere
technicality; it is this failure that led to the likely destruction of
over 10 million email. What the White House has not explained is why
it abandoned the electronic record-keeping system used by the prior
administration — a system that properly preserved White House email
– but did not replace it with another effective and appropriate
system.
The White House has also admitted that the only safeguard it has
to its patently inadequate method for preserving email (dumping them
in files that are put on EOP servers) is back-up tape media. These
back-up copies, however, are only a “snapshot” of what was on the
server at the time of the back-up. In other words they are not
comprehensive, as the White House concedes.
Even more troubling, the White House has now admitted that until
October 2003, the White House recycled its back-up tapes, which
contained the only copies of emails deleted prior to that date. What
the White House has not explained is why it changed its policy of
preserving all back-up tapes — instituted in March of 2000 when the
Clinton administration discovered that its system did not fully
preserve all email from the Office of the Vice President — at the
same time it decided to dismantle the existing electronic
record-keeping system, with no replacement at hand.
The deletion of millions of email beginning in March 2003 coupled
with the White House’s destruction of back-up copies of those deleted
email mean that there are no back-up copies of emails deleted during
the period March 2003 through October 2003. The significance of this
time-period cannot be overstated: the U.S. went to war with Iraq, top
White House officials leaked the covert identity of Valerie Plame
Wilson and the Justice Department opened a criminal investigation into
their actions.
The White House now claims there is a lack of documentation
supporting both the fact that email are missing and the volume of
missing email. Yet in January 2006, Special Counsel Patrick
Fitzgerald, in a letter to Scooter Libby’s lawyers, stated
unequivocally: “We have learned that not all email of the Office of
Vice President and the Executive Office of President for certain time
periods in 2003 was preserved through the normal archiving process on
the White House computer system.” Moreover, when the problem was
uncovered the White House Office of Administration created abundant
documentation that included multiple estimates of the volume of
missing email, not a single chart that the White House now suggests is
the only documentation. Could it be that having now destroyed the
evidence documenting the missing email problem, the White House feels
free to retreat from its acknowledgment to Mr. Fitzgerald that White
House emails are missing?
Also missing from the White House’s latest explanation of the
missing email is why, more than two years after it discovered the
problem, the White House still cannot say what happened, why it
happened and how many email were affected. And the White House has yet
to offer an explanation for why it never acted to recover any of the
missing emails, even when presented with a recovery plan by its own
Office of Administration.
It is perfectly clear why the White House has used every strategic
maneuver it can think of to avoid answering any questions about the
missing email: its answers are likely to raise more questions than
they answer. That, years after the problem was discovered, the White
House is still questioning whether or not there is even a problem is
deeply disturbing.
Anne Weismann, chief counsel to CREW, said today, “With this new
filing, the White House has admitted that although it has long known
about the missing emails, it did nothing to recover them, or discover
how and why they went missing in the first place. The missing emails
are important historical records that belong not to the Bush
administration, but to the American people. As a result, the public
deserves a full accounting and hopefully, now that the matter is
before a federal court, we will get one.”
The White House filing can be found on CREW’s website.
Citizens for Responsibility and Ethics in Washington (CREW) is a
non-profit legal watchdog group dedicated to holding public officials
accountable for their actions. For more information, please visit
www.citizensforethics.org or contact Naomi Seligman Steiner at
202.408.5565/nseligman@citizensforethics.org.
CREW
Naomi Seligman Steiner, 202-408-5565
Copyright Business Wire 2008
FILING at Lestercorp. July 17, 2008
Posted by Unified ECM in Uncategorized.Tags: Being John Malkovich, Filing, Lestercorp
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Secret files lost after ‘clear breach’ of rules July 16, 2008
Posted by Unified ECM in Filing Systems, Records Management.Tags: Don Touhig, Ed Miliband, Frances Maude, Iraq, Lost Files, Secret Files, security awareness, security breach, Susan Kramer, UK Independent
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UK Independent
June 12, 2008
The loss of high-level intelligence documents by a Government official was a “clear breach” of security rules, Cabinet Office Minister Ed Miliband said today.
The documents were left on a commuter train on Tuesday morning by a member of the Joint Intelligence Committee assessment staff.
Updating MPs on the situation, Mr Miliband said the official – who has been suspended – had no authorisation to remove the files from Government premises.
Former Permanent Secretary for Security and Intelligence Sir David Omand will carry out a full investigation of the circumstances of the case, Mr Miliband added.
However there was no evidence to suggest vital national security interests had been damaged, or that any individuals or operations were at risk.
Tory spokesman Francis Maude said: “There can scarcely have been a graver breach of intelligence and security procedures than this.”
The documents, containing an assessment of al Qaida’s vulnerabilities and the competence of Iraqi security forces, were handed to the BBC.
Mr Miliband said: “While the documents do not contain the names of individual sources or specific operational details, they are sensitive, high-level intelligence assessments.”
The official told superiors about the loss of the documents yesterday morning and the BBC subsequently handed them over.
Mr Miliband said: “There is no evidence to suggest that our vital national security interests have been damaged or any individuals or operations have been put at risk.
“However the police investigation is continuing.”
He added: “This was a clear breach of well established security rules which forbid the removal of documents of this kind outside secure Government premises without clear authorisation and compliance with special security procedures.”
In this case, “no authorisation was sought for the removal of the documents” and the official has been suspended as part of a standard civil service disciplinary procedure.
All Joint Intelligence Committee staff have been reminded of the rules, as have officials in other Whitehall departments with access to sensitive material.
“It is a matter of utmost concern to the Government that this breach of security has happened,” Mr Miliband said.
Mr Maude said: “The Prime Minister said yesterday: ‘We should take no risks with national security’.
“There can be few greater risks that the casual abandonment of top secret intelligence material on a train.”
He added: “That al Qaida do not today know precisely what Britain know about their activities, and perhaps more importantly what Britain doesn’t know about their activities, is entirely due to the responsible way in which the BBC has behaved and reflects no credit whatsoever on the Government.”
It was, he said, a “lamentable lapse of basic security awareness and procedures”.
Mr Maude said there was “clearly a major systemic problem with data security at the heart of the Government.”
He asked “what reason could there possibly be” for allowing an official to remove such sensitive files.
“Why, now that such powerful encryption is available, why are documents at this extremely high level of security, why are they printed onto paper at all?
“Will anybody and it may be too early to say this, will anybody be prosecuted under the Official Secrets Act?”
Mr Maude suggested the lapse had come after a raft of other data security breaches in previous months.
He went on to suggest there was a “real issue with civil service morale which leads to laxity in the way in which procedures are not complied with”.
Mr Maude said Mr Miliband was responsible for information security across the whole of Government.
“There is no evidence that he takes this crucial part of his responsibilities nearly seriously enough.”
Mr Miliband told Mr Maude the copies of the documents that were returned were the original copies. “Obviously the police will be investigating the question of these originals and looking into any circumstances surrounding these original copies and how they found their way from being lost on the train on Tuesday to the BBC.”
He went on: “This is a clear breach not just of the rules, the rules that people sign up to when they work in the assessment staff.”
He said he would not comment on potential prosecutions.
Mr Miliband said there were “clear rules” for staff. “This is a case where those rules weren’t followed and it is a matter of deep regret that those rules were not followed.”
He rejected Mr Maude’s claim that morale was low. They did an “extraordinary job”.
“I don’t believe that is the reason why this document was left on a train.”
Labour former minister Don Touhig (Islwyn) said: “MPs in this House who serve on the Intelligence and Security Committee have to go to the Cabinet Office and read the documents there.
“They may not be removed. Why on earth does someone who works in the Cabinet Office need to remove documents at all?”
Mr Miliband said: “There are circumstances where people need to have meetings outside secure premises and they need to be transferred from one place to another. There are the most stringent rules in place for that.”
For the Liberal Democrats, Susan Kramer said she hoped the investigators did not dismiss as “simply chance or accident” the fact the documents could have been seen by others.
She asked for clarification on the procedures regarding officials taking away secret documents. “Just a locked box for example doesn’t seem terribly appropriate.”
She was “concerned” that the whole incident should not be “slur” on the civil service as a whole.
“We certainly don’t need to treat this as suggesting in any way that the civil service at large is not conscious of the issues.
“But I do indeed wish the issue of culture be fundamentally addressed.”
Mr Miliband said it was “easy” in such circumstances to criticise the civil service generally.
On the rules for taking documents away from buildings he said: “There was no authorisation for this document to be taken out of the building. The rules were absolutely clear – authorisation should be sought.
“If a document is taken out of the building it should only be in the most exceptional circumstances.”
Tory Julian Lewis (New Forest E) called for officials to be searched when they left the Cabinet Office “to see that they are not removing classified material” and suggested senior staff might think they were “above such procedures”.
Mr Miliband said: “Searching each individual from the assessment staff who left the building each evening would clearly be quite an onerous task. But Sir David will look at all suggestions.”
Chairman of the Home Affairs Select Committee Labour’s Keith Vaz said: “Many of us have been campaigning for many years for more transparency, but this of course is not what we had in mind.” He called for the inquiry to be published “so we can see whether the process was followed”.
Tory Douglas Hogg (Sleaford and N Hykeham), a former Foreign Office minister, said: “I wouldn’t have favoured being searched when I left the Foreign Office.” He said there was a “pattern of failure” and mistakes on security lapses were not being addressed.
Mr Miliband said: “This is one individual within the assessment staff.” But the Minister did recognise the “gravity” of the issue.
Labour’s Andrew Mackinlay (Thurrock) blamed the loss on a seconded MI5 officer and expressed “no confidence” in Sir David’s inquiry, which would be a “cover-up”.
Mr Mackinlay, a member of the foreign affairs select committee, said: “Isn’t it a fact that this official was actually a seconded MI5 officer.”
He told Mr Miliband: “Although you are innocent of responsibility for this cock-up, nevertheless you are responsible for looking at the investigation and the remedy.
“I have no confidence whatsoever in Sir David Omand. He’s a safe pair of hands and will be involved in a cover-up.”
Mr Mackinlay called for proper parliamentary oversight of the security and intelligence services.
Mr Miliband said Mr Mackinlay had strong views about the status of the intelligence and security committee.
“On the question of the status of the individual concerned, I’m not going to get into a discussion of his particular status. I don’t think it is fair to the individual apart from anything else.
“As for your comments about Sir David Omand, I met him this morning. He’s determined to do a rigorous investigation to make sure we, as far as possible, have the necessary safeguards in place.”
My Thoughts On The Paperless Office July 16, 2008
Posted by Unified ECM in Uncategorized.Tags: Paperless Office Cartoon
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Saving Time, Money & Space In A Recession July 16, 2008
Posted by Unified ECM in Records Management.Tags: Recession, Records Storage
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It’s a little known fact that businesses using public or self-storage facilities can sharply cut their storage budget by switching to a commercial provider. “1st Month For A $1″ gimmicks, decrepit storage lockers and lack of retrieval services are not good enough for your most important assets. For a fraction of what you’d pay for self-storage, you can easily index your records inventory and start saving today with a reputable professional storage company.
In particular, companies requiring climate controlled storage facilities such as Production Companies looking to preserve their films must avoid self storage at any cost. Luckily, storing your film reels and media tapes is actually quiete affordable. However, the difference between self or public storage and commercial storage involves disciplined Records Management. That is, you can turn your storage locker(s)over to a professional storage company, but it’s important that you properly index and maintain your file and asset inventory.
Hiring qualified a Records Management Consultant to manage the transition from self or public storage to a professional company will save you time, money and aggravation over the short and long term.
“Entertaining Records” Review by Bill Cohen July 16, 2008
Posted by Unified ECM in Document Management Software, Filing Systems, Records Management.Tags: Moscatel Associates
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Bill Cohen is Manager of Archives and Administration Services at Universal Music Group
Moscatel & Associates recently spoke to the Greater Los Angeles Chapter of ARMA International, the premier records management association in the United States and abroad.
A free copy of the presentation can be found here: http://docs.google.com/Presentation?id=dtxbrwb_77cpph3rc4
Rafael Moscatel is a RIM consultant with special experience in the records management needs of the Entertainment Industry. He provided an introduction to the documentation practices, records series, storage issues, and management attitudes towards records management at the 2,500 small to mid-size entertainment companies in Los Angeles.
Besides providing an overview, his presentation was intended to alert records management consultants to potential consulting opportunities with these firms. There are several records series that consultants should be familiar with if they desire to work with this industry. These include Production Files, Day Files, Cast & Crew Files, Wrap and Closing Binders, and Delivery Requirements files as well as the financial, employee, insurance, legal, and tax files used by other types of businesses.
Much of Mr. Moscatel’s presentation focused on the unique records issues at production companies. These firms often staff up and down quickly, create a large number of documents for companies of their size, have special documentation needs, and yet are not knowledgeable or even interested in professional records management. Documents are often compiled and filed by a high turnover staff of temporary employees with inadequate direction or future stake in the company. Active records are often needlessly duplicated between company business units and owners are reluctant to use web-based document management solutions out of concern that valuable intellectual property could leak to competitors. Inactive records are often warehoused and neglected in public storage facilities.
Document research is costly, time consuming, inefficient and uncoordinated. Records Management vendors have an unusually difficult time approaching entertainment firms, and sometimes offer costly and complicated solutions. However, with persistence and luck, records management consultants may have the opportunity to offer records practices, procedures, software and storage solutions that could truly benefit small to mid-size entertainment firms.
Vinegar Syndrome July 16, 2008
Posted by Unified ECM in Uncategorized.Tags: Vinegar Syndrome
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Two opinions from a rec.arts.movies.tech thread:
OPINION 1
There are many “wive’stales” out there, but none of them has had any scientific backing as ofyet.What causes vinegar syndrome? Well, there are many. The most commoncause is improper storage in overly humid environments. Other causes arepoor processing and some types of scratch rejuvenation.So what are molecular sieves? They are small packets which are placed inthe cans of deteriorating film. They absorb most of the acetic acidvapors which are being released from the film base. These vapors (whichsmell like vinegar) are what attack the emulsion as well as the plasticacetate base support. If the sieves are used in tandem with proper coldstorage (below 50 degrees F and 40% relative humidity) then this will slowthe deterioration down to a crawl.[snip]Cleaning your film with commercial film cleaners should be limited tothose which do not have any oils in them, if you’re cleaning films withvinegar syndrome. Trichloroethane based cleaners, or just straighttrichloroethane, is very good. Ecco brand and J&R Film cleaner are good.Vitafilm and Surfaset have silicons &oils in them. Oils tend to trap in the acetic acid vapors, which willhasten the deterioration. Make sure you use a clean velvet or Webril Wipewhen doing a cleaning. Unless the print is dirty, however, it’s best toleave well enough alone. Passing a film through a cloth can potentiallycause scratches. Be very careful to stop periodically and shake out therag in case dirt builds up in it.[snip]
OPINION 2
I have heard conflicting advice on the best method for long term storage of>film negative. Room temperature, cool, or frozen?> What humidity is best?Jim,The National Film Board of Canada has begun tests on freezing monopackcolor negs, but beyond that I couldn’t tell you the long-term effectsof freezing your negative. Some members of the AMIA-L (Assoc. ofMoving Image Archivists) listserv expressed concern that if theproceedure was not carried-out with great control, then the base,emulsion or both could be fractured by the excessive moisture contentof the emulsion, due to expansion of the freezing water. There wereother issues as well, but I don’t remember them off-hand.At the present time, I believe the consensus is that the optimalstorage temperature is near, but not below, freezing with a relativehumidity of 30 – 40%.>Will dessicants in the film cans dry out the film too much?In a word, yes. Unless you are storing the film in a very humidplace, I would not put sillica gel in the cans. If you are storingthe film in a humid environment and cannot control the atmosphere inany other way than using sillica gel; store the film in an oversizedcan, on cores and laying flat (you should always store film on coresand laying on-edge – never store on reels and in the uprightposition). I would suggest you attach the gel canister to the can lidwith pop rivets (or other non-chemical based method to avoid harmfuladhesive fumes) over the center of the core. If you lay the packet inon top of the roll, you may cause the film to dry-out in the areadirecly beneath the gel and cause dimensional problems in the future.Check the canister and gel every two-weeks and turn the roll over toequalize the absorption across the web of the film. I really don’tknow how you would monitor the relative humidity of the can, but astable atmosphere is critical. Cycles of humidity and extreme drynesscan cause severe stress on the emulsion; causing fractures, acrossthe web shrinkage and maybe even vinegar syndrome. Who knows?Also, don’t store film in tight-fitting cans; let it breathe. Safetyhas a tendency to go vinegar if sealed-up in a can (not so much if thetemp is low), so keep the film in loose-fitting, oversized cans.If you can afford it, throw in a few molecular sieves per can; can’thurt (at least as far as we know!).> I definitely appreciate Jim Harwood’s helpful post. If the ideal>condition is below 50 degrees at 40% relative humididy, would it be a>good idea>to devote a refrigerator to storing my original negative for my films?I think so. The greater volume of air would be easier to stabilize andmaintain a good relative humidity level. A fairly inexpensive weatherstation (indoor/outdoor type) could be mounted on the door to keep acheck on the interior without opening the door. I would NOT suggestyou use a “frost-free” type of refrigerator, as they remove humidityto keep-out frost and could freeze-dry your film. If the fridge tendsto keep a dry atmosphere; put a few damp rags in a film can, punch afew holes in the top and place it in the bottom of the refrigerator.If too damp, use sillica gel cansiters to lower the RH. You will haveto experiment to find a method of regulation, but it should not be toohard. Freezing it worse than refrigerating it? Will the wrong temperature or humidity wreak havoc on glue splices?At the present time, I would say cold storage, but don’t freeze just yet. Until more testing is conducted, try a method that has had somesuccess in the past.As for the splices; they would be my least worry. A cement splicecan be remade without too much fuss; and without loosing a frame. Iwould worry about fungus, mold, air pollution, solvents and othernasties attacking the emulsion; along with the natural tendency ofdyes to fade over time.The biggest problems in preservation of color negative are:1. Dye fading – solution: copy when dyes start to fade. That’sabout all you can do. Forget digitizing; the storage medium won’tlast as long as the original negative and “Who the heck can afford itanyway ?”.2. Shrinkage of base – solution: maintiain proper humidity and temp.Make new dupe preservation neg when approaching 0.5% linear shrinkageof the film. Shrinkage should be measured over the length of one-footof film and expressed as a percentage of the total original distanceon a fresh piece of properly-pitched stock (get the right pitch, itmatters!). We use shrinkage-gauges built by Mauer in the 50’s; Idon’t know what to suggest for a homebrew measuring device. You starthaving printing problems (movement and breathing in the printer gate)at about 0.6 % on “standard” printers. When you exceede that amount,you have to have it printed on a modified printer; one with thesprocket teeth cut-down and movement is almost assured when you printthat way.3. Emulsion damage – don’t handle the film excessively, but doexercise the roll at least once a year by rewinding. Some claim youshould store the film emulsion-in (contrary to lab practice!), but weat the LOC store all our originals emulsion-out. Why? I guess it’sjust easier to handle when printing when would emulsion-out.4. Environmental damage – Solvents, ozone, gases, etc. attack thebase, emulsion or both. Keep storage areas clean and free fromvolatile chemicals and or liquids.Whew! Hope that helps somewhat. Frank Wylie fwylie@infinet.com
Rising Costs of Storing New Media, From NY Times, DEC ‘07 July 14, 2008
Posted by Unified ECM in Uncategorized.Tags: Records Management, Storage Costs
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TIME was, a movie studio could pack up a picture and all of its assorted bloopers, alternate takes and other odds and ends as soon as the production staff was done with them, and ship them off to the salt mine. Literally.
Having figured out that really big money comes from reselling old films — on broadcast television, then cable, videocassettes, DVDs, and so on — companies like Warner Brothers and Paramount Pictures for decades have been tucking their 35-millimeter film masters and associated source material into archives, some of which are housed in a Kansas salt mine, or in limestone mines in Kansas and Pennsylvania.
A picture could sit for many, many years, cool and comfortable, until some enterprising executive decided that the time was ripe for, say, a Wallace Beery special collection timed to a 25th-anniversary 3-D rerelease of “Barton Fink,” with a hitherto unseen, behind-the-scenes peek at the Coen brothers trying to explain a Hollywood in-joke to John Turturro.
It was a file-and-forget system that didn’t cost much, and made up for the self-destructive sins of an industry that discarded its earliest works or allowed films on old flammable stock to degrade. (Indeed, only half of the feature films shot before 1950 survive.)
But then came digital. And suddenly the film industry is wrestling again with the possibility that its most precious assets, the pictures, aren’t as durable as they used to be.
The problem became public, but just barely, last month, when the science and technology council of the Academy of Motion Picture Arts and Sciences released the results of a yearlong study of digital archiving in the movie business. Titled “The Digital Dilemma,” the council’s report surfaced just as Hollywood’s writers began their walkout. Busy walking, or dodging, the picket lines, industry types largely missed the report’s startling bottom line: To store a digital master record of a movie costs about $12,514 a year, versus the $1,059 it costs to keep a conventional film master.
Much worse, to keep the enormous swarm of data produced when a picture is “born digital” — that is, produced using all-electronic processes, rather than relying wholly or partially on film — pushes the cost of preservation to $208,569 a year, vastly higher than the $486 it costs to toss the equivalent camera negatives, audio recordings, on-set photographs and annotated scripts of an all-film production into the cold-storage vault.
All of this may seem counterintuitive. After all, digital magic is supposed to make information of all kinds more available, not less. But ubiquity, it turns out, is not the same as permanence.
In a telephone interview earlier this month, Milton Shefter, a longtime film preservationist who helped prepare the academy’s report, said the problems associated with digital movie storage, if not addressed, could point the industry “back to the early days, when they showed a picture for a week or two, and it was thrown away.”
Mr. Shefter and his associates do not contend that films are actually on the verge of becoming quite that ephemeral. But they do see difficulties and trends that could point many movies or the source material associated with them toward “digital extinction” over a relatively short span of years, unless something changes.
At present, a copy of virtually all studio movies — even those like “Click” or “Miami Vice” that are shot using digital processes — is being stored in film format, protecting the finished product for 100 years or more. For film aficionados, the current practice is already less than perfect. Regardless of how they are shot, most pictures are edited digitally, and then a digital master is transferred to film, which can result in an image of lower quality than a pure film process — and this is what becomes stored for the ages.
But over the next couple of decades, archivists reason, the conversion of theaters to digital projection will sharply reduce the overall demand for film, eventually making it a sunset market for the main manufacturers, Kodak, Fujifilm and Agfa. At that point, pure digital storage will become the norm, bringing with it a whole set of problems that never troubled film.
To begin with, the hardware and storage media — magnetic tapes, disks, whatever — on which a film is encoded are much less enduring than good old film. If not operated occasionally, a hard drive will freeze up in as little as two years. Similarly, DVDs tend to degrade: according to the report, only half of a collection of disks can be expected to last for 15 years, not a reassuring prospect to those who think about centuries. Digital audiotape, it was discovered, tends to hit a “brick wall” when it degrades. While conventional tape becomes scratchy, the digital variety becomes unreadable.
DIFFICULTIES of that sort are compounded by constant change in technology. As one generation of digital magic replaces the next, archived materials must be repeatedly “migrated” to the new format, or risk becoming unreadable. Thus, NASA scientists found in 1999 that they were unable to read digital data saved from a Viking space probe in 1975; the format had long been obsolete.
All of that makes digital archiving a dynamic rather than static process, and one that costs far more than studios have been accustomed to paying in the past — no small matter, given that movie companies rely on their libraries for about one-third of their $36 billion in annual revenue, according to a recent assessment by the research service Global Media Intelligence.
“It’s been in the air since we started talking about doing things digitally,” Chris Cookson, president of Warner’s technical operations and chief technology officer, said of the archiving quandary.
One of the most perplexing realities of a digital production like “Superman Returns” is that it sometimes generates more storable material than conventional film, creating new questions about what to save. Such pile-ups can occur, for instance, when a director or cinematographer who no longer has to husband film stock simply allows cameras to remain running for long stretches while working out scenes.
Much of the resulting data may be no more worth saving that the misspellings and awkward phrases deleted from a newspaper reporter’s word-processing screen. Then again, a telling exchange between star and filmmaker might yield gold as a “special feature” on some future home-viewing format — so who wants to be responsible for tossing it into the digital dustbin?
For now, studios are saving as much of this digital ephemera as possible, storing it on tapes or drives in vaults not unlike those that house traditional film. But how much of that material will be migrated when technology shifts in 7 or 10 years is anyone’s guess. (And archiving practices in the independent film world run the gamut, from studied preservation to complete inattention, noted Andrew Maltz, director of the academy’s science and technology council.)
According to Mr. Shefter, a universal standard for storage technology would go far toward reducing a problem that would otherwise grow every time the geniuses who create digital hardware come up with something a little better than their last bit of wizardry.
As the report put it, “If we allow technological obsolescence to repeat itself, we are tied either to continuously increasing costs — or worse — the failure to save important assets.”
In other words, we could be watching Wallace Beery long after more contemporary images are gone.


