We’re losing our movies:
The report’s authors state the data explosion could turn into digital movie extinction, unless the studios push the development of storage standards and data management practices that will guarantee long-term access of their content.
As the report points out, even if a 100-year black box were invented that “read data reliably without introducing any errors, required no maintenance and offered sufficient bit density at an affordable price,” there would be nobody alive capable of repairing it if that box were to fail at 99 years. In the real world of data management, digital assets are stored on media with longevities much less than 100 years, vulnerable to temperature changes, humidity and static electricity. It can be misidentified, inadequately indexed and difficult to track.
Also, whereas a well-preserved 35mm negative has traditionally contained enough information to fulfill any requirement for ancillary markets, there’s a question in the minds of some industry observers about whether the quality of masters archived in digital formats will be sufficient for quality duplication. In an age when home movie systems can often provide a better experience than some commercial theaters, that’s not an unimportant concern.
This is a problem that cryonicists face as well. How do you preserve the data that defines your life and identity over an indefinite period of time? No static media can be relied on–they all deteriorate eventually. I know that I have lots of floppies from the eighties that are probably unreadable now.
Data is going to have to be stored dynamically, and continually moved to new systems as the technology evolves. It will also have to be stored holographically, and distributed. Fortunately, the costs of digital data storage are plunging, with terabyte drives now available for the cost of multi-megabytes twenty years ago, and that trend is likely to continue as we get into molecular storage.