Institut national de l'audiovisuel’s Post

📢📢📽 Dear European Broadcasting Union (EBU) colleagues working in Archives, it's still time to apply to #FRAME Tech. The best way to keep up to date with tech developments in the field of media archives, including the use of AI in archives restoration, and a great opportunity to network with peers. #AI #mediaarchives #digitization #digitalarchives #mediatraining

In an off-cycle review of video formats, the Library of Congress decided to upgrade FFV1 (version 3) in Matroska (.mkv) container from an “Acceptable Format” to one of five “Preferred Formats” for the preservation and long-term access of video materials, reflecting its ongoing commitment to staying at the forefront of audiovisual preservation. #videopreservation #preservationformat

I’m thrilled the Academy has published my paper on the history of analog workflow in film sound on their Digital Preservation Forum. In my experience, understanding film sound workflow and choosing the best possible audio source is the most important part of sound preservation and restoration. Typically, the best sounding digital restoration is the one with the least amount of digital restoration possible. By selecting the best analog source and transferring it in the best possible way, the bulk of digital processing can be avoided. 

ACT WELCOMES PARLIAMENT’S CLEAR MESSAGE TO KEEP AV OUT OF GEO-BLOCKING REGULATION On 13 December 2023, the European Parliament assembled in Plenary in the Strasbourg hemicycle voted to amend problematic language proposed in the IMCO Committee INI Report on the Geoblocking Regulation.   In so doing, MEPs across party lines have demonstrated their support for and understanding of the foundational principles governing the financial structure of the audiovisual industry. Moreover, they have responded to the call from more than 700 organisations[1] across Europe – under the banner of #Vote4Culture – to support Europe’s audiovisual sector.   Grégoire Polad, Director General of ACT, stated: “We salute the decision taken today in the European Parliament. This is a strong and powerful signal sent to all legislators and particularly the European Commission. Both the European Parliament and the European Council of Ministers[2] have now made it abundantly clear that there is no political support for any present or future inclusion of the audiovisual sector in the scope of the Geoblocking regulation. Territorial exclusivity and the practice of geoblocking are not a limiting factor but rather an enabler[3] for strong audiovisual production, supply and offers across the European Union”. [1] Joint statement: Vote for Culture in the European Parliament INI Report on the EU Geo-blocking Regulation, December 8, 2023 [2] See Slovenian Presidency, November 2021, Council Presidency Conclusions, paragraphs 46&48; Portuguese Presidency, May 2021, Council Presidency Conclusions, paragraphs 9, 34 & 44. [3] As confirmed by the analyses of the European Audiovisual Observatory, Film and TV content in VOD catalogues, European Audiovisual Observatory, April 7 2022; highlighting an increase a steady increase ein the number of works available across the European Union https://lnkd.in/evf393b7

📺 🆕 The latest report from the European Audiovisual Observatory | Observatoire européen de l'audiovisuel shows how players are adapting strategies to meet market needs. A must-read for anyone interested in understanding the evolving trends in media ownership. Published this week, the report delves into the revenue growth and ownership structures of the top 100 audiovisual groups in Europe from 2016 to 2022. 📊Key findings reveal a remarkable surge in revenue, outpacing overall market revenues by twofold, marking a 23% increase over 2016 figures. Also, concentration levels among top players remain consistent, with the top 20 groups consolidating a significant share of revenues. Discover other trends here: https://lnkd.in/dta69xug

Here’s another insightful post on how remembering and understanding where we came from better informs us on how to move forward!!! A great article by newly inducted Academy member Nicholas Bergh and the Audio Adhoc group of the Academy Digital Preservation Forum. You can read it here and start your discussion in the forum. https://lnkd.in/g4DayVSJ #academydigitalpreservationforum #adpf

I have always valued the high quality of European Audiovisual Observatory | Observatoire européen de l'audiovisuel reports under the editorial supervision of Maja Cappello & team and that’s why I am extremely proud to have contributed to the study on Prominence of audiovisual content and services of general interest 👉 https://lnkd.in/eYJiRUdP 💡 Key takeaways:  1️⃣ It is not easy to stand out 🙋♀️ in a crowded market, especially if your competitors are taller and have a louder loudspeaker 📢 2️⃣ Francisco Javier Cabrera Blázquez used the analogy to the priority boarding system in airlines ✈: if every passenger buys priority boarding, the purpose of the system is defeated and everyone needs to wait in the same queue. The same goes for prominence. 3️⃣ Tarlach McGonagle presented 2 main paradoxes of the concept of general interest: lack of precise definition which would square the diversity(ies) of public sphericules and the concerns about individual autonomy ✌ 4️⃣ From tech perspective, presented by @Stuart Savage, devices cannot magically know how to implement prominent conditions. The wording of Article 7a AVMSD cause problems for the standards makers 🤷♂️ 5️⃣ Consumers rarely modify the default settings. If content is not immediately visible upon accessing the TV, it often remains unnoticed 🕵♀️ 6️⃣ 10 member states and the UK have a framework on prominence, shows Michèle Ledger study, although it is not necessarily complete or applicable & national implementation may raise internal market issues ⚡ 7️⃣ As it comes to prominence on online platforms, categorization based on the type of service or speakers may not be appropriate anymore according to Joan Barata. Some bloggers fit that category of the public interest, but not all bloggers do. Who/What deserves some form of protection? ☂ 8️⃣ How it all relates to #EMFA and the #DSA? Time (and research) will show. Stay tuned! 👀 The report is a summary of the workshop in Strasbourg on 5 December 2023. I’m grateful to EOA for having me, to Peggy Valcke for her support and I thank all the experts for exchanges and fun!

I must be hitting the algorithm right... 😀 I did a post just a few weeks ago on a new de-esser for Audacity, and wouldn't you know it, the video is popping up on the recommended views on Audacity's video as recommended right on their HOME PAGE!!! Not bad at all... The tutorial video can be found here if you'd like: https://lnkd.in/evkH97y8 #voiceover #audioproduction #recording #audacity

The European Audiovisual Observatory | Observatoire européen de l'audiovisuel’s mapping report on The application of the AVMS Directive in selected non-EU countries is out!   The selected countries are non-EU countries, which are neither parts of the EFTA nor EEA but which can still take part in the MEDIA Strand of the European Commission’s Creative Europe Programme, granted certain criteria are met. Depending on the country’s status, said criteria are either the full alignment of the country’s legislation with the rules of the AVMS Directive or its compliance with minimum requirements. This report is meant to provide the European Commission with helpful information in order to assess those countries’ alignment with the AVMSD.   It is the result of a long process of continuous exchanges with an excellent coordinating expert and the national experts from each of the countries within the scope of the report!   Weighing in at an impressive 457 pages, it comprises a comparative analysis, national summaries and, of course, an executive summary – particularly useful if you wish to get a grasp of the situation quickly!

Compressing Your Stream or Media Recording: When to Use H.264 and H.265 https://lnkd.in/ePMksqi9