These new techniques and innovations were often announced with great optimism. Take for example the introduction of a new sort of an electricity factory, the atomic power station in Dodewaard, announced with quit some enthusiasm. As where nowadays nuclear energy generally appears in an unfavourable light, in a news item from 1966 no attention was paid to the possible dangers entailing nuclear energy. The emphasis lay on the new possibilities: the station would supply the people with all the conveniences they needed in a time of mass use of energy.

Not only new methods to meet the growing need for energy among the Dutch were searched for. The need for better communication techniques became relevant in an age of mass communication. More and more people found their way to Schiphol airport and air cargo traffic grew continually. These developments put much pressure on the air traffic controllers. With the introduction of the radar, the Dutch airspace could be mapped in great detail so that the air traffic controllers had a better overview of air traffic approaching and leaving the Dutch air space. A Polygoon newsreel from 1951 shows how an air traffic controller from Schiphol ‘talks an airplane down’ with the assistance of a at that time new radar technique.

Attention was also paid to remarkable ‘close to home’ innovations which would make life much easier. As early as in 1963 Polygoon made a news item on the precursor of the contemporary late-night shops: the automatic store in Boxtel.

The ever more industrializing Netherlands provided its inhabitants not only with more energy, but also with new consumer goods. Many of these products came onto the market thanks to new technological innovations. New techniques were often shown in the Polygoon newsreels, and in retrospect can now give an indication on how fast new technologies follow each other up. For example, in 1978 a precursor of the contemporary DVD, the videodisc, was shown in a Polygoon news item. As was often the case with Polygoon news items, this particular item had a highly educative character, but with a comic flavour. In the item is demonstrated how with videodisc equipment connected to a regular television, among other things, images can be winded back in slow motion. Thanks to this new technique the bottom of a model walking on the catwalk can be seen again in slow motion. Putting the news in this ‘visual’ way, Polygoon continually captured the attention of its viewers.

Sound and Vision has been preserving, digitalizing and opening up Dutch audiovisual heritage together with 5 other institutions since 2007 for the Images for the Future project. In 2010 the central theme for Images for the Future will be Indonesia. Therefore almost 50 items with this theme from the Polygoon collection have been added to Open Images.

Polygoon newsreels did several reports on the former Dutch East Indies and Indonesia over the years. In these reports the Dutch viewers got an impression of the day-to-day life in the Dutch East Indies, for example of the market in Batavia in 1946:

Besides the day-to-day life, Polygoon newsreels also captured the difficult road to independence. Reports were made on the politionele acties (police actions) as well as the diplomatic negotiations. One of these was the signing of the truce agreement on the American ship ‚Renville’ in 1948 (from 00:46):

In the Netherlands there was also interest in the rich Indonesian culture. In 1948 the youth of Zeeland, Brabant and Limburg could get acquainted with the Indonesian culture at a traveling exhibition, showing a.o. wayang puppets and the gamelan:

After the independence of Indonesia, reports about the life in Indonesia were still made. For example a report about the opening of a new research institute for tea and cinchona with development aid from the Netherlands and the World Bank in 1975. In this report are shown beautiful images (in color) of the tea and rice fields in West Java:

To give an impression of what is now available, a small selection of the available content will be shown below. From the early years, when the material was still without sound, is for example this item about the floods in Ridderkerk and Barendrecht in 1928:

From the 1930’s onwards there were more and more items with sound. During the Second World War the Polygoon newsreels were primarily used as propaganda material for the Germans and the NSB. An example of this is a series from 1941 called ‘The Netherlands feeds itself’ which makes propaganda for the national socialistic idea that every country has to be able to provide their own food:

After the Second World War the newsreel is accompanied by the voice-over from Philip Bloemendal. His typical voice is inextricably linked to the Polygoon newsreels:

From the 1970’s onwards some newsreels are in colour. A fine example of this can be seen in the beautiful colours of the butterfly collection of amateur entomologist Hermans:

The selection described above is all the material we’ll be adding to Open Images in 2009. But from next month it will be possible for users to add material to Open Images themselves. This can be material that is based on material from Open Images, but also original work.

In the 2010 we will continue adding audiovisual material to Open Images. We will also actively collaborate with other collection keepers to expand and diversify the content on Open Images and make it even more interesting.

To be able to view the examples in this blog post we kindly recommend you to use Firefox 3.5.

Old Story, New Me

How does history influence your life today? This “mash-up” workshop uses old copyrighted news footage that will be mixed with new created content–and thereby placing history in a more current and personal context. Open Images is an open media platform that offers access to a selection of audiovisual archive material to stimulate creative recycling. And in turn, these new works will be added to the platform. Open Images is based upon the Creative Commons licensing model which enables others to freely use the material under the artist’s conditions-and the artist to be flexible in using copyrights. This “open” approach is carried out throughout the platform, by using open formats, standards and software. Every bit of software developed for Open Images will also become available as open source code.

During the workshop the participants will receive instructions and guidance from established video artists Maartje Jaquet, Nadine Hottenrott and Emile Zile.

We are very curious about the works these talented youngsters will produce! After the workshop we will of course showcase their work on the Open Images platform and on this blog.

On September the 15th Open Images will be presented as a case study and launched as a public beta during the Europeana Plenary 2009 meeting in The Hague:

Europeana is about ideas and inspiration. Europeana plenary 2009 “Creation, Collaboration & Copyright” will bring ideas and inspiration to the next level – it will explore different possibilities of content re-use, mash-up and APIs. The plenary will also address public domain and associated copyright issues.

With Charles Leadbeater as a keynote speaker and a focus on giving open access to cultural heritage this promises to be a relevant event to present Open Images. The whole programme can be found here.

Please feel free to have a look at our public beta: http://openimages.eu/beta

FLOSS Manuals is a great initiative that creates, maintains and gives access to a collection of manuals that explain how to install and use a range of free and open source software. The manuals are friendly and simple, and they are intended to encourage people to explore the wide range of free, open source alternatives to expensive and restrictively licensed software. Since Open Images adopts FLOSS in general and the open video codec Ogg Theora and related open source software in particular, the upcoming Book Sprint looks very valuable:

We will hold Book Sprint about Ogg Theora in August (10-15). We will write a really good manual (book) about Ogg Theora in 5 days. The event will be in Berlin.

We want to cover a lot of stuff, but we hope to get our teeth into at
least some of the following :

about
-what is theora?
-why do you want it?
-codec basics
streaming
-tss (theora streaming studio)
-commandline ffmpeg2theora, dvgrab, oggfwd
-icecast
-gstreamer
-vlc
-jroar
transcoding
-firefogg
-ffmpeg2theora
-thoggen
-ogg convert
editing
-oggchopz
-pivitv
-oggtools
video conferencing
-empathy
-ekiga
-linphone
distribution
-wikipedia
-archive.org
-html5
subtitling
-cli embedding of subtitles in ogg
-web based subtitle replay with jquery.srt
playback
-vlc
-ff

We are keen to get anyone to the sprint that wants to come. There is
some limited travel funds…if anyone would like to attend please let me
know!

adam

The first Open Video Conference was held at NYU Law School on June 19-20. Eminent speakers and practitioners shared their thoughts on the emerging open video movement. The impressive line-up included: Matt Mason (author of The Pirate’s Dilemma), Yochai Benkler and Jonathan Zittrain (both Harvard Law School), Xeni Jardin (Boing Boing), Peter Kaufman (Intelligent Television), Mike Hudack (blip.tv) and Christopher Blizzard (Mozilla Corporation). The conference was put on by Kaltura, Yale Internet Society Project, Participatory Culture Foundation, iCommons and the Open Video Alliance, in partnership with Mozilla, Red Hat, Creative Commons, Level 3, Akamai and many more. Open Images was also actively involved, as Sound and Vision and Kennisland hosted a session “Audiovisual Archives” that investigated how memory institutions could provide access their holdings in a way that enables creative reuse.
Open Video is a broad-based movement of video creators, content distributors, technologists, academics, filmmakers, entrepreneurs, activists, remixers, and many others. From the conference announcement:

When most folks think of “open,” they think of open source and open codecs. They’re right—but there’s more to Open Video than open codecs. Open Video is the growing movement for transparency, interoperability, and further decentralization in online video. These qualities provide more fertile ground for independent producers, bottom-up innovation, and greater protection for free speech online.

Yochai Benkler, Professor of Harvard Law School and Faculty Co-Director, Berkman Center for Internet and Society, delivered the opening keynote. He mentioned how “the smartest, most creative people never work for the same companies; open innovation platforms allow innovation to speed up.” His talk evidenced how distributed action and innovation is key to both business innovation (and technologic and/or legal restrictions aren’t) as well as a more participatory and democratic public sphere. It provided a good backdrop for discussions in the sessions that followed.

Some conference highlights

[1] Later this year Wikipedia will release new functionality that allows the easy inclusion of video in Wikipedia later this year. The Mediawiki software will feature a new button labelled Add Media. Users can search through open repositories (initially Internet Archive, Wikimedia Commons and Metavid) containing and drag chosen portions into Wikipedia articles. Further down the road, Wikipedia will include more repositories, and also provide tools to edit the clips within the Wikipedia website, comparable with the way it is currently done with text. Considering the influential position of Wikipedia (the only non-profit website in the top-10 of most-visited sites), it is safe to predict this will mean a great push in strengthening the role of video within the collaborative production and sharing of knowledge online. This is one important platform where an open video infrastructure and an active user base will come together.

[2] Chris Blizzard from Mozilla was applauded as he showcased some innovative features on Firefox 3.5. The release of Firefox 3.5 will come with HTML 5 support, which allows video to be embedded into the Web page without needing to install plug-ins. When asked what type of content Open Video will enable, Blizzard answered, “The killer app for Open Video will come once the environment is created. Mozilla won’t create it.” 300 million people are using Firefox, so this is indeed a big step forward towards open video. Although this is indeed an important breakthrough, the open video ecosystem is not quite there yet. On the second day of the conference the HTML5 and <video> Working Group described some of the current issues with the actual implementation and adoption of the HTML5 specification. Because there is no universal approach yet – Chrome, Firefox and Safari all differ in their approach and Internet Explorer seems reluctant to even adopt HTML5 any time soon – this severely hinders HTML5 <video> being an actual standard for video on the web.

[3] Developers from the P2P Next consortium showcased the Swarmplayer, which is capable of streaming live video in true 4th generation P2P style using a zero-server approach. This could be a real breakthrough in the way broadcasting is delivered. With Swarmplayer technology viewers help serving videos in a peer-to-peer fashion, hence reducing or even removing the need for a central server solution.

[4] In a fascinating talk, Matt Mason, author of The Pirate’s Dilemma described how industries could innovate when they not only compete with pirates, but also think about novel ways to work with them. He made a convincing argument by putting the concept of ‘piracy’ in a historical context uncovering the importance of piracy for the establishment of many powerful industries (Hollywood) and even countries (USA). He concluded with the advice that “one of the best ways to grow your business is to give pirates the space to do things you can’t do or don’t think of.” His book (including many examples) can be downloaded from: http://thepiratesdilemma.com/

[5] During his talk How to Make a Political Remix Video Jonathan McIntosh premiered his short film Buffy vs. Edward (Twilight Remixed). Apart from being an enjoyable, his video is primarily a statement about what constitutes ‘fair-use’ of copyrighted works. This important wake-up-call for filmmakers shows that open video doesn’t necessarily conflict with “all rights reserved”, but that it is also a matter of actively claiming the freedoms that the law already grants citizens (of the United States). Since its premiere the movie has gone ‘viral’ and claims over a million views.

Session on “Audiovisual Archives”

The break out session focused on a couple of key questions that we found influence how successful the networked archive will be in establishing themselves as a key node in media consumption; and how memory institutions will continue to serve as care keepers and storytellers of our mediated past.
Audiovisual archives across the globe are engaged in large-scale migration programmes. An important driver behind the investments related to these programmes is the physical state of the analogue carriers; the films, the tapes, the optical discs and so on. Migration is a way to preserve the information on these physical carriers and securing access for future generations, a key mission of these institutions. However, migration also opens the door to the establishment of the networked archive; where material can be made available online to an infinitely large audience. Different services can be built with this ever-growing resource, such as specialized services for education, video on demand, and access through portals such as YouTube and Blip.tv. Also, as viewing has shifted away from television and onto the Internet, the public interest in access to archive resources online has exploded. Some collection owners go a step further and allow their material to be downloaded so everyone can truly engage with the material and use it as building blocks for new productions. Back in 2003, the BBC coined the term “the creative archive” and entities across the globe are bringing this concept to life. Archive.org is another one of the leading examples.

The session addressed two topics in particular:

[1] The first is related to access and licenses. In the case of Archive.org, many videos are in the public domain. But in many cases, holdings are still copyrighted and their exploitations rights belong to their respective owners (archives rarely own the material they hold). Creative Commons is a suitable model to distribute in-copyright heritage content and allowing certain freedoms (“some rights reserved”). But what are the incentives for memory institutions and public broadcasters to adopt open licenses? And how can archives support such a transition? Is there a moral obligation for memory institutions and public broadcasters to provide open access?

[2] The second is related to business models. In providing different access routes, we might ask how free access and traditional revenue streams (i.e. footage sales) can coincide in a new economic eco-system for broadcasters? Can access fund preservation? Should it? When do producers have an interest in ensuring long term access to the materials they create? (e.g. PBS in the US has an educational mission, the more people see it, the better PBS is doing its job)

Cases and discussion

Moeed Ahmad from Al Jazeera, the first independent Arabic news channel in the world talked about the Al Jazeera’s Creative Commons Repository launched earlier this year. This repository provides access to broadcast quality Gaza conflicts, released under the ‘Creative Commons 3.0 Attribution’ license that allows for commercial and non-commercial use. This means that news outlets, filmmakers and bloggers will be able to easily share, remix, subtitle or reuse our footage. The only obligation that comes with this ‘free’ reuse of the material is that Al Jazeera gets attributed. This has been an enormous success for Al Jazeera in terms of reputation, getting more exposure for their material and even attracting commercial leads.

Maarten Brinkerink (Netherlands Institute for Sound and Vision) talked about the Open Images project that will make a corpus of Dutch audiovisual heritage available under a Creative Commons license. Open Images (www.openimages.eu, to launch in September) is an open media platform to stimulate (creative) reuse of archive material by adopting an open infrastructure and Creative Commons licensing. Open Images combines open technology with a curated selection of freely licensed audiovisual heritage and – hopefully – community engagement, to fully explore the possibilities of open video.

Nan Rubin project director of the Preserving Digital Public Television project at CHANNEL 13 was the third speaker. One of the aims of this project is to secure investments in digital preservation in order exploit public broadcasting well into the future. She also talked about the American Archive project and how US-based broadcasters are trying to offer access to their holdings online.

Sara Chapman is Executive Director of the Media Burn Independent Video Archive, an online repository for four decades of nonfiction video work by independent producers. She focussed on the ways in which her organization has broadened their strategies for making online video accessible to a wide audience. Media Burn uses other platforms (including YouTube and many others) to promote their institutional website.

Summary

As mentioned in the introduction, the Open Video Conference covered a wide number of topics, from the nitty-gritty world of metadata interoperability, democratization and journalism, interests of commercial players, to novel ways of production and the role the ‘pirates’ are playing. Although many industrial players where present in the programme, some notable absentees included Microsoft and agencies such as MPAA. If open video is to driven by a movement (cf. Benkler speech), than this movement will operated from the ‘bottom up’; showing the advantage of for instance HTML5, open video codecs, Creative Commons, fair use and so on to a wide audience on the web. Wide, omnipresent adaptation of these essential building blocks by practitioners (consumers, web developers) will eventually force large industrial entities that are still clinging on to closed and proprietary systems to change their current practices and eventually embrace the concept of open video. This might sound overly positive but the main message the Open Video Conference send out to the word is the fact that open video is maturing in a stunning pace. In a short time a great variety of initiatives across the globe have been working to offer alternatives for the closed practices. The chain from production to distribution no longer depends on proprietary software, more and more content is being offered under open licenses. It is the combination of ‘brands’ like Creative Commons, Firefox, Linux, EFF, Wikipedia, OGG, VLC, P2P and so on that manages to offer an alternative ecosystem in which innovation and creativity (but also business opportunities) will be able to flourish.

For further reading the conference website provides a good overview of press coverage of the event.

Johan Oomen and Maarten Brinkerink

Today we’ll give an exclusive preview of the Open Images platform at the exiting Open Video Conference in New York City. This preview is part of the Birds of a Feather session on Audiovisual Archives we are co-hosting. Read more about this session here.

Other interesting cases presented during the session are:

• Al Jazeera Creative Commons Repository
• American Archive
• MediaBurn

You can read our introduction here.

In March we started the development of Open Images. The first task at hand was drafting the Functional Design for our open media platform together with our MMBase developer André van Toly, d+g design. We finished this first phase in the development in April. Since Open Images is an open source media platform, we will also share our Functional Design document under a Creative Commons Attribution-Share Alike 3.0 Netherlands license!

We expect to have a beta version of Open Images online at the end of this June. We will present the platform at the Open Video Conference (more on this in an upcoming post).

Please click here to download the document.

** Submission deadline: March 19 **

The Open Video Alliance is now accepting proposals for panels, workshop sessions, demo sessions, and other programming for the inaugural Open Video Conference in New York. Join us and over 400 participants during our groundbreaking two-day conference and make your imprint on the online video space.

Visit http://openvideoalliance.org/proposals/ to make a submission.

Open Video Conference
June 19-20, 2009
New York City
40 Washington Square South (NYU Law School)

The Open Video Conference
The conference is a co-production of the Yale Law School Information Society Project, the Participatory Culture Foundation, Kaltura, and iCommons. The conference will feature talks from internet luminaries, panels and discussions, screenings of video art, and demonstrations of the newest internet video technology. We expect more than 400 participants. Here are some goals for the gathering:

1. Bring together stakeholders in the online video space (video makers, coders, lawyers, academics, entrepreneurs, etc.) for cross-pollination and development of the Open Video movement.

2. Raise public interest and awareness around the Principles for an Open Video Ecosystem, a community effort to define best practices in online video.

3. Raise the public profile of video creators and artists working in the online space.

4. Foster a narrative — why should organizations and individuals value openness? How does it affect their work?

What Types of Proposals are You Seeking?
We are requesting proposals and ideas for panels, presentations, workshops, and other sessions that will address how we can shape online video and the public debates around the medium. Proposals may be intended for the main conference track, or for more focused unconference-style sessions. Proposal topics may be legal, technical, or cultural in focus, though we encourage proposals in all relevant areas. The more complete and fleshed out a proposal, the more likely it will be accepted—but we welcome the submission of all good ideas.

We are also seeking submissions of video art to showcase the creative potential of artists in the open video space.

To submit a proposal or idea for Open Video, please visit http://openvideoalliance.org/proposals/. The deadline for submissions is March 19, 2009. If you have any questions about the Alliance, the conference, or the submission process, please contact Ben Moskowitz at conference@openvideoalliance.org .

Why is Open Video Important?
YouTube and other online video applications are rightly celebrated for empowering end-users; however, online video lacks some of the essential qualities that make text and images on the web such powerful tools for free speech and technical innovation. Email, blogs, and other staples of the open web rely on ubiquitous and interoperable technologies that have low barriers to entry; they are massively decentralized and resistant to censorship or regulation. Video, meanwhile, relies on centralized distribution and proprietary technologies which can threaten cultural discourse and innovation.

Open Video is the growing movement for transparency, interoperability, and participation in online video. These qualities provide more fertile ground for bottom-up innovation and greater protection for free speech online. Many organizations are already taking steps to change the nature of video on the web: Mozilla is moving to support open video formats in Firefox, the Participatory Culture Foundation promotes open source and standards in video publishing and distribution, and Wikipedia has increased its focus on the open Theora codec.

Yet Open Video is more than just having a functional open source video codec. It’s all the legal and social norms surrounding online video. It’s the ability to attach the license of your choice to videos you publish. It’s about media consolidation, aggregation, and decentralization. It’s about fair use. In short, it covers the new media gamut—and that’s why this conference is guaranteed to be very stimulating.

About the Open Video Alliance
The Open Video Alliance is a coalition of leading organizations dedicated to fostering the growth of open infrastructure, tools, and standards for the online video medium. Yale Law School’s Information Society Project hosted a stakeholder meeting on October 31st, 2008; representatives from nearly 30 organizations convened to discuss common goals for technologists, maker communities, and legal experts.

For more information, see http://openvideoalliance.org.