Appendix E: Choosing an Online Platform for Audiovisual Materials

Many thanks to Ashley Blewer for creating and maintaining the Collection Management System Collection which helped inform this resource.

Digital audiovisual files often require their own set of considerations when choosing how to share them with users. For example, audio and video files can have several different related parts and their file size can take up much more room than manuscript or photo files.

Digital file storage focuses on the preservation and management of original, high-quality, digital files. Digital access, by contrast, focuses on providing users with a user-friendly means to access and interact with those files. For instance, watching a video on YouTube is an access point. But YouTube isn’t (or shouldn’t be) where the large preservation-quality video file is stored; the preservation-quality video file should be stored and backed up internally in your organization. This resource guide focuses on online access, not content management systems or internal storage options (though some content management systems provide both preservation and access options).

Note: Technology in a state of constant change may mean these recommendations have changed or become obsolete. Some good places to check for any updates are AMIA and SAA conferences, professional communities of practice, or the Collection Management System Collection spreadsheet linked above.

When choosing a software or streaming option to provide access to your digital audiovisual files, some questions to ask internally or of vendors include:

• What is the cost?
  Some software might be open source, which means there isn’t an up-front cost to the software, but this can mean that there isn’t a lot of support available. Other software can be very expensive up-front.
• Does the software integrate with other software or content management systems?
  For instance, one popular A/V access platform, Aviary, can’t be harvested, which means that aggregators like the Digital Public Library of America can’t access those collections. Are there other integrations necessary for your organization?
• How does the software provide access to users?
  Can you provide differing levels of access to specific sets of users? For instance, can you set permissions for some people, password-protect sensitive content, etc?

• How does the software handle sensitive content?
  Is there an option to blur images, add a harmful content statement, or restrict access to content?
• How does the software or platform handle copyright?
  For instance, YouTube might restrict or remove videos with copyright content. See this resource for more information on copyright for A/V materials.

• Does the software have the option to generate or include transcripts?
  The Oral History Metadata Synchronizer (OHMS) can synchronize transcripts and index points with audio recordings, but the transcripts need to be created elsewhere (by a transcriptionist or software for that purpose). YouTube has an automatic caption generator that can serve as a rough transcript, though it may require some editing.

• Do you need audiovisual capabilities or just audio?

• Does the storage provide access and storage/hosting, or just access? Which do you need for your project?

Below are a few commonly used access solutions and examples of their use. This is by no means a complete list and should not be construed as an endorsement of any service over another.

Tools

• Oral History Metadata Synchronizer (OHMS) – Example: Listening to War collection

Options for all media – storage and access

These options can provide storage for media files, though storage is nearly always the most expensive portion of sharing digitized audiovisual files.

• CONTENTdm – CONTENTdm is an expensive solution for storage but is a good access point for linked files. Example
• Internet Archive – Free with customizable options. Example
• Kaltura
• Mukurtu – An open source platform with robust permissions controls; designed by and for Indigenous communities. Example
• Omeka – Inexpensive and easy to use but does not have a lot of customizable options. Example
• Preservica – could be expensive for data storage
• Aviary – can’t be harvested by aggregators. Example

Video options – access only

In some cases, it is advisable to host content at a free or inexpensive streaming site such as YouTube, Vimeo, or Internet Archive. Those hosted files can then be linked into your content management system.

• YouTube – Free
• Vimeo – Relatively inexpensive with robust privacy controls.
• Internet Archive – Free with customizable options. Example