GOOD PRACTICE FORM FOR NOMINATIONS

We propose to start the activity of the workgroup on 'good practice' proposing an initial set of some main areas where to put the nominations. In particular we think to start with the basic issue of digitisation itself.
Each project can be 'nominated' for more than one area, following your evaluation of the most important features contained in the example.

AREAS for nominations of 'good practice' for on-going projects on digitisation:
1.	Preservation of physical objects via digitisation and electronic surrogates.
2.	High quality of the digitisation process.
3.	Metadata and Thesaurus.
4.	Usability of project results.
5.	Management of the process and workflow.
6.	Accessibility including copyright issues and web sites

For each project please specify:

•	Area of 'good practice' where you like to nominate your project (you can put more than only one area):   	area 1, 2, 6. 

•	Name:			DADDI

•	Responsible body and/or any specific :	Minister of Culture Heritage
Co-ordinating body/mechanism: 	Soprintendenza Speciale per il Polo Museale Fiorentino - DTA Uffizi

•	Contact person:			Prof. Antonio Paolucci

•	Web site:				http://www.uffizi.firenze.it/Dta/daddi-eng.html

•	Description of the project, objectives and priorities:
Main task is to digitise at very high resolution all the collection of 'Uffizi Gallery' in order to create a reference archive owned by the 'Soprintendenza di Firenze'.
All the digital images are got directly from the art-works using some colour tables in order to grant the quality and colour certification.
IPR is got by using watermarking technologies in conjunction with the University of Florence.
Another objective is to propose a different and wider way of accessing the content navigating through the high-resolution image with a simply browser on Internet.
The very long-term usability of the images is the most important task of the project. 
One of the most significant tasks of DADDI project is to produce such a high-resolution images archive of all the Gallery, in order to avoid, or reduce seriously, future needs of any new photographic campaigns to better preserve physical objects.

•	The main technical features for what you consider the project a 'good practice' example:
The high resolution of the digitisation process and the final images, the standard formats and the colour calibration techniques used, the watermarking technology, and finally the innovative way of publishing content of extremely high-resolution on Internet respecting transmission delays and protecting rights holders.

Capture process
Image capture is obtained directly from the art-works through the highest quality digital systems available on the market: Phase One’s digital camera backs. For the highest resolution the Phase One’s PowerPhase FX digital scanning back is employed. The back, mounted on a Sinar P2 view camera equipped 	with special “Digital” series high resolution Rodenstock lenses, delivers up to 380Mb image files with 12,600 x 10,500 pixels of hardware resolution  at 48 bit colour depth.
Colour certification
Prior to each capture, the system is colour calibrated on Kodak and Gretag Macbeth standard and digital colour charts. The charts are included in each image for future reference.
Accurate lighting is provided by custom designed high frequency HMI type continuous light units.  
These lights have a daylight type colour temperature and are filtered against UV emissions which are potentially noxious to light sensitive artwork.
Accessibility on Internet and IPR
The project is testing an innovative way of publishing content at very high-resolution on Internet with a complete strategy for protection of the rights owned by 'Soprintendenza di Firenze'.
The basic approach is to present an user interface with two windows: a small one for navigation and a big one (e.g. 300x300) for high-resolution contents. User can choice the level of zooming and the zone of the image to be visualised in the big window.
Rights holders are protected in two ways: first of all Internet users receive only small details of the entire image, secondly a watermarking technique hide a mark inside images transmitted on Internet in order to track illegal uses.
Transmission delays are limited due to the fact that only small details are transmitted on Internet for each Internet user-request.
Standards used
TIFF RGB format for master images without compression, images available on Internet are converted in JPG format.
Watermarking technology by University of Florence. 
Nor metadata specification, neither retrieving procedures.

•	Long term sustainability strategy:
The high quality of images due to the digital camera used for acquisition and the TIFF standard format for images, can grant a very long term usability for this digital archive.
Image files are saved in standard TIFF RGB format.

•	Accessibility by users via local network or Internet (describe modalities and IPR issue from a technical point of view):
Accessibility, for the moment, is provided only as demo so it's limited to some examples images on Internet using the innovative technology XLimage for reducing the transmission delays and for protecting the rights holders (in that case the Ministry of Culture).

Problems encountered :

Comments: 

Figures and documents enclosed:

I agree this information could be published/

                              Yes
                               No

Organisation & person completing the questionnaire

•	Formal name of organisation: Galleria degli Uffizi
•	Type of organisation: Museum
•	Field of action:	Museum
•	Address: Firenze
•	Name of director: Petrioli Tofani
•	Name and role of person completing the questionnaire: Paolo De Rocco
•	Tel: 0039-055-2466802
•	Fax:
•	Web site: http://www.uffizi.firenze.it/
•	E-mail:

Date: 3 May 2002