Current best practices call for creating a 10-bit uncompressed file from an original analog signal.
MIPoPS has chosen to use a Blackmagic Encoding system to create a 10-bit uncompressed file in an .mov (Quicktime) wrapper. Because that file can be as much as 100GB per hour of running time, we have chosen to transcode the preservation master to a lossless compressed FFV1 file with a .mkv (Matroska) wrapper that averages about 50GB per hour of running time.
From the preservation master, which is now the FFV1 file, we can make DVDs, small files to post on the web, or mezzanine files, smaller losslessly compressed files that take up far less room on a network, external hard drive, or raid array.
This document, created by the NYU Video at Risk project, is intended to take an institution step-by-step through the process of drafting a Request for Proposals (RFP) for the transfer of analog video formats to digital carriers for preservation. Whether or not you send a collection to a vendor, this document provides a good roadmap for the entire process.
Compiled by the Association of Moving Image Archivists, this is a good primer on videotape, however it is slightly out of date in its presentation of information regarding reformatting for preservation and tape conversion.
Texas Commission on the Arts
An indispensable visual guide to identify videotape formats
American Archive of Public Broadcasting Listening and Viewing Guide
A helpful guide to efficiently and accurately identifying video content
Digitization Best Practices for Moving Images
CARLI [Consortium of Academic Research Libraries in Illinois] Digital Collections Users' Group
This is a very well-written, easy to understand explanation of the digitization process
Very technical information about metadata and digitization standards. The Audio Visual working group is still drafting recommendations.
Technical information about digital content formats compiled by the Library of Congress
Guidelines, written as part of the Video at Risk project, that seek to clarify exemptions for copying audiovisual works under Section 108(c) of the United States Copyright Act and thereby enhance the ability of librarians to preserve their video collections.
The Bay Area Video Coalition (BAVC) is one of the nation's longest-standing non-profit video and audio preservation organizations. BAVC was and remains a leader in the field, developing the highest quality preservation standards and practices and serving cultural organizations nationally.
The VideoPreservation Website was conceived and constructed by conservators Timothy Vitale and Paul Messier. The project was made possible through a grant by the National Center for Preservation Technology and Training and received additional support from the Bay Area Video Coalition. The authors wish to acknowledge all of the contributors to the site and especially recognize Walter Henry, creator of Conservation OnLine, and Stanford University for hosting this project.
The VideoPreservation Library page has some really interesting links and is worth taking a look:
The Video Guide, a contemporary book about videotape published in 1981, is especially interesting for understanding the history of videotape and how it was used:
Cataloging Guidelines for creating quality metadata for audio visual materials from 2015.
Guidelines to be used for both listening to sound assets and viewing moving image assets. While there are many similarities in cataloging moving image and sound assets, there are some fundamental differences in the type of information each type of asset conveys.
This is a good resource for born digital materials.