Difference between revisions of "TC 372 Workshop Compendium"
From filmstandards.org
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Working from secondary and from original sources | Working from secondary and from original sources | ||
* [[Working from secondary sources]] | * [[Working from secondary sources]] | ||
| + | * [[Example: Pancéřové Auto / Das Panzerauto]] | ||
* [[Example: Die freudlose Gasse]] | * [[Example: Die freudlose Gasse]] | ||
* [[Example: The Illegals]] | * [[Example: The Illegals]] | ||
Revision as of 12:27, 26 October 2011
Audiovisual metadata: What it is and why it matters
- Setting the scene. Metadata specifications in context.
- Yet another standard? How EN 15744 and EN 15907 came into being.
Obstacles to interoperability and approaches to overcome them
- Yet another database? How fragmentation happens.
- Do we talk about the same thing? The case for reference models.
Some elements of a metadata model
- Events in the lifecycle of an audiovisual creation.
- Relationships: An essential component of art and culture.
- "No entity without identity". Where philosophers can help.
Analysing audiovisual metadata
- Description levels: A worked example.
- Agent and event: Further examples.
- Approaching the subject of a film work
Things must have names (even though EN 15907 doesn't supply them)
- Common pitfalls in vocabulary selection.
- Where to look for suitable vocabularies.
- Titles and proper names: Why some conventions are more useful than others.
Working from secondary and from original sources
- Working from secondary sources
- Example: Pancéřové Auto / Das Panzerauto
- Example: Die freudlose Gasse
- Example: The Illegals
Expressing relationships
- Clarifying the seemingly obvious: Cast and credits.
- Relating artifacts with events: Is this still filmography?
- Relationships with objects in other databases: Taking the internet seriously.
Usage scenarios for EN 15907