ILM: Getting intimate with data

Screensound builds an ILM


Contents
Introduction
The long road to ILM
E-mail is the word
More than just messages
Learning to let go
Screensound builds an ILM
10 things to know about ILM

When you're building a massive archive of content that needs to be accessed for generations, you tend to think a lot about how that content will be accessed over time. For Canberra-based audio-video archivist ScreenSound, a part of the Australian Film Commission, this issue came to the fore when the implications of a comprehensive digital archiving strategy became clear.

ScreenSound long ago began managing its collection using MAVIS (Merged A/V Information System), an inhouse system that tracks massive volumes of physical assets as they're cycled through various storage facilities and other locations.

With MAVIS recently enhanced to manage digital content as well -- ScreenSound has archived over 3TB of digital audio content in the last three years alone -- the situation has changed substantially.

Volumes of data stored are increasing, with the coming addition of film archiving expected to further push ScreenSound's storage demands through the roof. Supporting this demand is a StorageTek L700 automated tape library, which will eventually provide online storage up to 200TB.

ScreenSound has worked carefully to use metadata standards that will help it track its growing library of content. Once content is described appropriately it can be moved between storage locations and tiers according to priority thanks to the capabilities of VERITAS Storage Migrator (VSM).

This setup has effectively split the responsibilities for various parts of ILM: MAVIS manages individual asset information, tracking tapes, disks and files from the moment they're acquired. For its part, VSM handles the mechanics of moving data throughout its lifetime.

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