Media digitisation: planning inventory, quality and delivery
Digitisation makes existing picture and sound content usable as files. It does not replace missing information or automatically provide restoration or permanent archiving. A useful quote starts with the actual media, quantity and intended use.
Sort the collection by media type
Separate prints, slides, negatives, film reels, video tapes and audio media. Record recognisable formats and labels. An unknown cassette does not require risky playback experiments; a simple description may be enough for initial assessment.
Count pictures or carriers and give known approximate film or audio duration. Cassette capacity is not always actual recorded time. A mixed collection benefits from one list with type, quantity and known details.
Handle originals carefully
Describe visible damage, heavy dirt, sticking or unusual odour. Do not test-play damaged tapes or force pictures out of albums. Specialist condition assessment may be needed before transfer.
Agree cleaning, repair attempts and handling of unreadable carriers. Successful digitisation cannot be promised for every damaged original. Preserve order and labels so files can be matched later.
Choose quality for the intended use
State screen viewing, printing, editing or demanding collection preservation. These determine suitable file and quality requirements. You do not need to guess technical values initially; request a recommendation based on source and purpose.
A larger output picture or more pixels does not automatically contain more genuine source information. Distinguish capture from later scaling and changes. A sample delivery can help before a complete important collection is processed.
Separate transfer from restoration
Specify a faithful transfer or additional corrections. Colour, brightness, noise, scratches and missing parts are different tasks. A technical copy, improved viewing version and reconstruction should remain identifiable.
For preservation, an unmodified high-quality version may complement an easy-to-play copy. Explicitly agree selection, cutting and interventions. Automatic optimisation should not quietly invent details or replace the only delivered version.
| Desired result | Distinguish in the quote |
|---|---|
| Faithful capture | Transfer without unagreed creative changes |
| Access copy | Convenient viewing or printing version |
| Postprocessing | Precisely named picture or sound correction |
| Preservation | High-quality version, documentation and your backups |
Agree files, order and original return
Define file formats, naming, folders and handover. Download and storage media are delivery methods, not automatic preservation forever. Specify whether existing soundtracks, image edges and labels should be retained.
Agree transport, provider storage, access and return. Owning a carrier does not automatically grant every publication right. Private recordings should only go to authorised people.
Make quantity and additional work comparable
Compare identical formats, pictures or carriers, running time and output quality. Pictures in albums may require more work than loose prints. Film reels, video tapes and audio reels are not equivalent flat-rate items.
Identify assessment, cleaning, repairs, corrections, naming and delivery separately. Minimum orders, shipping and storage media may cost extra. One provider’s price bands do not describe a Swiss average.
| Cost driver | Comparable detail |
|---|---|
| Collection | Type, format, count and known duration |
| Condition | Assessment, cleaning and possible repairs |
| Output | Quality, formats and agreed corrections |
| Organisation | Sorting, naming, media, shipping and return |
Prepare handover and checking
Label groups clearly and agree an inventory at handover. Use suitable packaging and agree transport for fragile originals. Samples and quality criteria should precede processing when special requirements apply.
After delivery, check file count, matching, playback and agreed completeness. Distinguish source defects from transfer errors. Create another backup and retain originals; one file location is not permanent archiving.
Frequently asked questions
Must I know every format?
No. Give recognisable labels and a short description. The provider can identify technical formats.
Is digitisation the same as restoration?
No. Additional picture or sound corrections and reconstruction need explicit agreement.
Does cassette size give the running time?
Only its possible capacity. Actual recording may be shorter; state duration only if known.
Are damaged media always recoverable?
That cannot be guaranteed. Discuss assessment, possible repairs and limits before processing.
Are files automatically archived permanently?
No. Delivery and long-term preservation are separate. Check delivery and create additional backups.
Should I dispose of originals afterwards?
Retain them where possible. The digital version does not replace the historical carrier in every respect.
