 Good morning and welcome to this week's edition of Encompass Live. I'm your host, Krista Porter, here at the Nebraska Library Commission. Encompass Live is the commission's weekly webinar series, where we cover a variety of topics that may be of interest to libraries. We broadcast the show live every Wednesday morning at 10 a.m. Central Time, but if you're unable to join us on Wednesdays, that's fine. We do record the show, and it is posted to our website afterwards, and I'll show you at the end of today's show where you can see our archives. We post a recording of the show itself onto the Nebraska Library Commission's YouTube account, and if there is a presentation, as there is with this one, any slides or handouts, they also get posted along with the recording as well. So if there is anything in this presentation, I have not previewed it myself, with like URLs or things you want to note down. Don't worry about having to try and scribble down all that information. These slides will be made available afterwards along with the archive. Both our live show and our recordings are free and open to anyone to watch, so there's no passwords. You don't have to be a Nebraska library staff person or something. So please do share our website with any of your friends, family, neighbors, colleagues, anyone who might be interested in any of the topics we have on the show. We do a mixture of things here on Encompass Live, so hopefully there's something for everybody who is library related. We do book reviews, interviews, mini-training sessions, demos of services and products. Anything that we find out out there that has to do with libraries is really our only criteria, is it something library-related. The Nebraska Library Commission is the state library agency for all libraries in the state, so we have things for public, academic, K-12, correction facilities, museum libraries. Anything, if it's a library, we're here for you, and we'll have sessions, we'll have shows on about that. We do have Nebraska Library Commission staff that sometimes do presentations for things that we are offering here through the Library Commission or services that we want to promote. But we also bring in guest speakers, that's what we have this morning with us. We have kind of a team thing going here, as you can see from our camera view. With us this morning is Karine Jacobs. Good morning, Karine. Good morning. She's from the Creighton University Law Library, and then up in Omaha is Yumi Ohira. Good morning, Yumi. And she is from the UNO, the University of Nebraska Omaha, the Chris Library. And they have a presentation they did together. This is session, Best Practices for Digital Collections. And this is something that was done most recently at our Nebraska Library Association and School Library Associations Annual Conference. And it was a very well-attended session, and obviously Digital Collections is a big topic. So I, of course, invited them to come on the show to share more and more widely what they presented. So I will just hand it over to you, Karine, since you have control of the presentation here to take it away. All right, so let's go ahead and get started here then. When you are thinking about starting a digital collection, one of the things to remember is why are you doing this? So you create these collections to create new research opportunities for users. It makes it available to them and to a wide variety of people, and it allows them to enhance their understanding of these digital objects that you're putting in the collection. But before you actually start that scanning or whatever, taking photos, you need to do a lot of planning. And the more time you spend planning, the better the rest of the project will go. So this is an important step in the process. So think about your institution's mission and goals. Does this collection fall under the institution's mission and goals? And if it doesn't, perhaps it's not something you should pursue. What are the costs and capabilities that you have for long-term maintenance? Some projects can go on for a long time. And will you have the staff and money to do that? So that might stop a project early on. Think about the standards that you want to follow for a project. And you're going to put together documentation for those standards. You're going to decide what formats you're going to use for the digital objects. And what type of metadata are you going to be using to describe these digital objects? What is the timeline that you, you know, when do you want to start? How long do you think it will take? What's your goal for when you want it to finish? Define your scope. And this is going to be based a lot on the characteristics of the objects that you're digitizing. For example, how many, what formats, again, are you going to use? What are the sizes of these objects? Are there unusual characteristics about them? And what's the condition? If you're working with really fragile objects, that's going to kind of change how you do things. You're going to work out your workflow for the project and then think about the equipment. And you want to use the equipment available to you to provide the best quality and level of production. If you're lucky enough to, you know, have money to buy new equipment, that's great. But many times you make it work with what you have. Also, parting planning and this can apply to individual collections. Individual collections can have their own policies. But if you have a wider institutional repository, you're going to have policies for the whole institutional repository as well. So some of the policies that you need to put together are access. Who are you going to allow to access these collections? Or individual collections might have different access policies. What kind of content are you going to be putting into your institutional repository? At Creighton, the Health Sciences Library, the Reinerd Alumni Library and the Creighton Law Library share an institutional repository. We use dSpace for our platform. And so we have a committee set up between the three libraries. And we have a policy for the committee. For example, you know, who's the chair? When will that rotation? You know, how long are they chair? Who's other things like that? And then what kind of copyright policies are you going to follow? What kind of metadata policies are you going to establish? What about preservation? And with draw, somebody asks you to remove something from your collection. You want a policy set up ahead of time so you know what you're going to do. So at the bottom of this slide here, I have examples of a couple libraries and what their policies are. So the first one is the University of Chicago Library. So they talk about contributors to their repository, what kind of content, what kind of content types they'll put in their repository, file formats, and so forth with draw, copyright. University of Hawaii and Minoa Library. This policy is more like a collection development policy, but I thought it was very interesting and it's very well developed. So that's worth taking a look at as well. Now you mentioned with your library that you have multiple libraries like a committee. Is there a lot of conflict among each group of what they want or you guys, you know? We work together very well. I think depending on which library it is they're going to have different reasons for having it. I mean all of this is going to vary from institution to institution. Like here's the other multiple libraries, library to library. Well, and that's why early on we developed a policy for what kind of content will we take into the repository and things like that. And that has helped a lot along the way. And it's kind of like, you know, if somebody comes to you with, well, I'd like to digitize this. You know, we just, well, does that fit into, you know, Cretan and what we would want to put out there and that type of thing. And that really kind of helps drive that sort of thing. Yumi, do you have anything to add to that? Yumi, did you have anything to add? No. Okay, no? Okay. Thank you. All right. We're going to go past those. Another thing to think about is your staff. And here's a list of possible roles that I found from the Lucidia Think Clearly blog that doesn't mean you have to have all these people. Most of us aren't going to have these many people. That's a lot of stuff. And also, but the people you do have will probably wear multiple hats here. And it kind of, what I liked about it is it kind of laid out the different kinds of things you have to think about that need to be done as you're doing a digital collection. Of course, you need some kind of a project manager who oversees the project and keeps it on time and watches the workflow. You could have a collections assessor. This is the person selecting the originals. Again, that probably for most of us would fall back onto the project manager, actually. You can have a database manager as you're digitizing things. You might have a database you're keeping off on the side to organize all this before you actually put it into your repository or whatever web platform you're going to put this on. You're going to have, we'll have scanning technicians. These are the people who are handling those objects, creating the scans or taking the photos. And that sort of thing. For us, this is students and I think they would love it if we actually call them scanning technicians. A quality control technician, somebody who's going to check those files and make sure they're okay. A cataloger, this is the person who's creating that metadata. And of course, I, of course, think that's a very important role. And then a web manager or maybe a system administrator who is designing and maintaining where this project's going to sit. All right, so let's talk about metadata a little more. I talked about you need to create a metadata policy and you're going to think about, well, what elements do you want to include in your digital collections? So what is metadata? And the definition we hear all the time is data about data and that's not all that helpful. No. So, but if you think of it in terms of it's a description and context of the data, it helps to organize, find and understand the data. But if you look at this little image to the right, the Lego block. And if the block itself is the content, those little nodules on the top are the metadata that help you get to that content. That's a nice visual representation of that. I like that. Yeah, it's not someone who's not a cataloger by, I've catalogued a few things in my career, but it's not my main focus. Yeah. And that's not my original idea, but I thought it was a great way to describe metadata. You want to use a recognized standard of metadata and that is really important if you're going to migrate your data at some point. You want to have a standard that will migrate easily. And there's no single standard can cover all types of materials for all users. So you might end up using multiple metadata standards. There are three types of metadata, descriptive, administrative and structural. So we'll look at each one of those in a little bit more detail. The first one is descriptive metadata. This describes the resources for discovery and identification. And it includes elements such as title, abstract, author and so forth. I don't need to read all through all those for you. But for example, a title, how are you going to enter your titles? Are you going to just capitalize the first word and pronouns? Are you going to capitalize like you would a title of a book? Those are things you need to decide, so you're consistent. Are you going to add an abstract? What about author? So are you going to enter your author last main first name? Are you going to enter them the way you see them? Or are you going to follow some kind of authority control? So that if you look up a person, they'll all come together under one nice result. And then also dates. How are you going to enter dates? Are you going to do month day year? Are you going to do day month year? Are you going to do year month day? With months, are you going to spell them out? I mean, there's all kinds of things to think about. But you want to work towards consistency. So you make your decision, and then that's what you follow. And subjects. If you're going to include subjects, what kind of the story are you going to follow to do that? So some of the general standards for metadata schemas that you can use are Dublin Core. There's also mods. There's Mark. And then there are also some standards for special descriptions. So like data sets has its own schema. Archival materials can have their own schema as well. Now is this something now metadata is not obviously specific just to me. We're talking about digital collections ultimately here. But is this something that most libraries would most places would just use your standards that you set up for your traditional materials? Or would I mean so that everything if everything is crossed their whole online catalog world the same? Or do something different because it's digital rather than an actual book in hand? Well, some of the metadata is certainly different because of the digital aspects. Other things you need to talk about, sure. And I mean, think of it in terms of like for cataloging what we follow for metadata is RDA. Right. So for this, there are other ones that you can follow. Or it's the backbone of what you're putting it into really here. So Mark could, you know, like what we use for cataloging. But like for dSpace what we use at Creighton, it's Dublin Core. So that's the backbone what you're putting the metadata into. And so it has kind of its own things that you follow. Right. Administrative data provides information to help manage your resource. So what does that mean? Well, this tells you things like when and how it was created, your file types, technical data on creation and quality control. And this is really important, again, for migrating and long term sustainability of a digital collection. Administrative data also includes who can access the collection. So some sample elements of what kind of metadata this is over on the right. And then there can also be some subsets of administrative metadata, such as rights management, which is your intellectual property rights, and preservation metadata. So this is information needed to archive and preserve a resource. You know, not only do we reserve our tangible, our paper things, but once you start these digital collections, you're going to want to be able to preserve those digital objects as well. And then finally, there's structural metadata. So on the right, again, are some sample elements of what goes into structural metadata. This is the metadata that facilitates navigation and presentation of electronic resources. So for example, it provides information about the internal structure of resources, like the pages, chapter numbering, and so forth. It can also describe the relationship among materials, like photograph B was included in manuscript A, that sort of thing. And an example of this kind of metadata that can be used for this is METS. So here are some sample metadata policies that have been put together. I'm not going to click on all of these. All the links will be available when you get access to the slides. And notice at the bottom is actually the Nebraska Library Convention's memories, Nebraska Memories. But a lot of these I found would kind of lead back to the first one, the Mountain West Digital. You know, a lot of people use that as a resource for themselves. So to give you an example, we're just going to take a brief look at the Mountain West Digital Library best practices. And that might be a little hard to read. But this is like your table of contents. So if you go down to part three, there you see the different element tables. That's not all of them. But these are the elements that they use. And then, for example, then we'll take Creator. And then this is what the individual element looks like and what they say about it. So the label, the definition, so you know how you should be using it. Is it a required field? Is it repeatable? More about how to use it and so forth. So these are the kinds of things that help you decide how to use your metadata and where to put it. So to talk about metadata a little more, this is one of the collections we have at the Creighton Law Library. It's the Delaney Tokyo papers. These were some papers that were donated to us by an alumni from 1930, Thomas Ronald Delaney. He was on the prosecution team in the Tokyo trials, particularly the Tojo trial of that. So these papers he donated to us were, although some of them are in other digital collections, we had some unique materials, even though our collection is very small. So let's go ahead and go to the collection. So the front end of the collection is in a live guide, actually, that's what this is. And you can read more about the Tokyo trials and so forth. But if you actually want to browse the collection, you can. And we only have like 24 or 25 objects in the collection. So the one I want to look at more specifically is 2988, this one. So from here, you can read a brief description of the document. And then if you click here, it will actually take us, now we're in D-space. We're in our institutional repository. So this is how it displays. This is the metadata that displays. So if there were authors associated with a document like the attorneys involved in that sort of thing, the dates, subjects, and in this case, the story I chose to use for subjects was the fast subject headings. This refers to a finding tool that they have at the University of Nebraska in Lincoln here that was very useful to help me figure out what these documents were. So I included that as well. And then, so that's a, oh, I wanted to point out, here's the rights management, how people can use these documents. So that's what you see up front, but there's more metadata behind the scenes. So this is some of that administrative data and things like that. So for example, here is an element for table of contents. And you can see it's quite lengthy and it's not displaying out front, but we included it because it helps for keyword searching. Let's see here, what else? These fast headings, so this is, you know, what I'll call it the i-readable part of the subject heading, but then this is the link data portion of it. So someday I have, I'm hoping that putting all this behind the scenes will help pull this out for people. And then also this collection, because it's so archival and that type of thing, we did include information about what did we scan this on, what DPI was it at, and that sort of thing. Oh, I don't want to do that. I went too high. I want to go right here. Well, did you want to just go over to the, of the, still in the collection or go back to your slides? I'm going to go back to my slides. Oh, then you can close everything. Oh yeah, I can. That's just all the browser things. Yeah, sorry. Yep. All right. So we'll skip through these. This is my email, just my backup kind of thing. All right. Always have a backup in case the internet decides to be, you know, difficult. And the last thing I want to talk about is privacy. So think about privacy when you're creating these collections. You're going to have things in your collections about individuals and their private lives. And you're putting it out there for the world to see. So I found this from the Society of American Archivists. And you want to establish procedures and policies to protect your donors, your individuals and groups, and all those types of things that are in these holdings. So you know, you're wanting to put the historical record out there, but be sensitive to the privacy of what you have. Some documents, of course, are more sensitive than others. It might mean that you're going to put access restrictions on a collection. And also think about your users' rights to privacy, you know, just like we do in libraries in general. You know, that's another thing to think about. So an example I have of this. The first collection we started with was the Nebraska Briefs Collection. We started this into that collection in 2010, and we have cut our teeth on this collection. We've learned a lot from it. So these are briefs that are filed with the Nebraska Supreme Court and the Nebraska Court of Appeals. And there are some things in those documents that some people don't want. There's going to be, yeah. They don't. Yes. Personal information. And so when we started this project, that never occurred to us, honestly. And we started getting requests, would you please take that out? We don't want people to see this about it. Is that stuff, is that public record, though? It is public record. So yeah. And we had conversations with our university council, and they were saying it's public record. You're, you know, you're within your rights to do this. But we were also sensitive to what this was doing to people. You know, sometimes people move beyond bad things that have happened in their life, and they don't. They just, you know, they want to go beyond that. And there's public record, as in you'd have to like go to the courts to search on purpose. And then there's this where it is, when you're putting these digital collections out onto the internet, it's like, depending on how well you've done your metadata and whatnot, easily just Google-able by somebody who's looking up someone's name or event or something. And it's a little different. Yeah. It's a little bit more broadly and easier to access. Right. Yeah. It's out there. It's a new world that we're in. And Google picks up so much. Yeah. And it wasn't the metadata so much, but Google actually goes in and searches those PDFs. So the first thing we did was it was possible to add meditakes to the collection to tell Google, please don't go into the PDFs. And that worked for a long time or that worked pretty well. I will say our policy was to not remove the documents because this was part of the collection. And then about a year ago or so, we were starting to get takedown requests again. And it was like, well, is Google not staying out of the PDFs now? So we have now had to lock down the collection. So to the point of the collection itself is actually searchable. The metadata is still actually searchable. You can access the collection. But then if you want to open a PDF, you either have to have a login or ask us for the document. So now Google can't get to those PDFs anymore. So that's kind of our balance with this collection. Yeah. That makes sense. And that sounds typical of Google is trying to get people to access everything it can find that's out there on the internet. And obviously something changed that we need to be able to access. It's out there, so let us get to it and figure out a way to get around. And it is a balancing act. What the person who it's about wants to do, what you as an institution, your rules and what you wanted that PDF to never be searched and indexed by Google. We just want to show everything, you know, we should be deferring to the people who are owning this site and putting it out there what they want to do and let them do, put the restrictions on it they want to. That's my opinion. Yeah. Yeah. But that's something you got to keep an eye on then too, because if things do change, they're always updating and changing their algorithms and how their search works. So you can't just do this as a one shot and think you're done. Yeah. That's right. It's never done. All right. So Yumi, I'm going to go to the next slide. Are you ready? Okay. All right. Can you hear me? Yes, we can. Yep. You're good. Okay. Okay. So next I'm going to talk about the best practice involved in the digital process focusing on the workflow and long-term digital preservation challenges. So on the slide, those are overall steps of a digital process. So first, we receive a digital request indicating the information about the selected materials to digital, digitize, and second, we scan those materials and create a digital object or digital files of the materials. Then third, edit or convert those digital files. Then preserve those digital files in the storage. And the last step, make digitized materials available online. Next slide, please. Okay. So walk flow. Systematic walk flow help us to do the efficient and effective digital process. We know library use that tool called fixit, which is based on the OS ticket system. When digital project or new project come to us, for example, scan materials and creating a digital object for online exhibition, we receive a ticket as a digital request via that fixit system. So that ticket includes the information about the materials and also resolution or DPI of the scanned images. Next slide, please. Then regarding the resolution of the scanned images, UNO uses that resolution chart showing on the slide. So as you can see, scanning resolution depends on the format and the size of the original materials. So for example, 35 millimeter slide use 4,000 DPI and regular document use 400 DPI. So importantly, even though the original size of the item is large, such as a map, if the content of the item includes lots of detailed information, I would use the higher resolution for those types of items than the DPI shown on the resolution chart. Next slide, please. So after scanning and creating the digital object of the materials, we currently save those digital files in three different formats. Our first and loaded file, which is an altered, I mean master file, a master file is preserved as a long-term record. A second format is an edited TIF file, which is a derivative file. A derivative file is used for editing and enhancement and conversion to different format. And the last format is edited JPEG file, which is an access file. Access file is mainly an image used for detail on the screen viewing and also user interactive with that image. So when we save the digital file, what name would you give those files? So file naming conventions, file naming standards for digital collection are much discussed topic among people who are working with this like us. So because there is no standard, I mean standard do not exist. Each library has a different collection and different materials. So how can we start a common file naming convention for a digital collection? So on the slide, it's just an example of the file naming convention. As you can see, it's still complicated and we don't see or we cannot see which digital file is which item or collection has been digitized. Next slide, please. When I just started working here, I create file naming rule for our materials. So but while working with the digital process for various types of the collection and materials, I realized that it's still very difficult to following that rule or apply a file name rule for all materials or all collections because each material is different and also materials in the collection differently organized from other collections such as item level or folder level or box level. Next slide, please. So this May, I attended the digital preservation workshop, Power. I highly recommend this workshop. So at the Power workshop, I shared my program or issue regarding a file naming convention, file name standard with team member, my team member or and also my consultant who helped improve or create our digital preservation program. Their answer was very simple. They just advised do not spend much time for file naming convention because each material different, each collection different from others. So but we need to minimum file naming convention at least. And also, for example, when we receive actual new collection, then we can decide depends on what materials contain in this collection or in the project. So for example, on the slide, this is just an example, start with a collection ID and using underscore or space, do not use space. I highly recommend it, especially when you're walking on the patch process. So underscore or other letters to help readability. So anyway, just keep in mind, file naming is should be make sense over time and keep it simple. Next slide, please. So if the materials which you have digitized is a document type of materials, I mean consist of multiple pages after scanning all the pages and creating a digital object or a digital file of each page, then combine JPEG digital images into a single PDF file. So then you will want to the OCR, the PDF document. OCR plays a vital role in the digital process for the types of document materials. OCR helps to reduce the size of the document and also help to support searches in any text world. Then after OCR, you can save the OCR, the PDF document as a further requirement. So here's a question, which format PDF or PDFA format would you save the PDF document or when you receive PDF document in born digital and that document includes the digital signature or link to the external website or link to the external document. Especially if your PDF has a link to the external website or external document, it's not good for a long-term archiving because you cannot be absolutely sure that that website or document will exist even 10 or 20 years from now. Next slide please. So what is PDFA? PDFA format is a PDFISO standard format that supports archiving of file for future use. So PDFA format allows productivity of file in that they can be opened by any software or operation system without losing its format, color, hypertext, font, digital signature, and other information. Especially PDFA format is a format that ensure that external content such as a website or document can be reproduced exactly same way, regardless of what tool or software is used. Next slide please. So Yumi, I might not be on the right slide. Is this the slide you want? Yeah, I think so. Should I talk about PDFA? Yeah. Yes, sorry. So it seems PDFA format is actually excellent format for long-term preservation but here are the things probably you want to know that. So there have been many controversies and then issues surrounding PDF and PDFA format. For example, that report, NDSA report, the benefit and the risk of the PDFA 3 file format for archiving institutions. This report gives an excellent overview of the issue surrounding PDF and PDFA format. So in that report, they say that the PDFA has a number of advantages, especially in terms of encapsulation. But PDFA format could be very bad. Depends on what content your original PDF document contains. For example, if your original document contains the things that PDFA disallow such as a 3D or JavaScript, process for PDFA will discard those things or replace those things with something which is not good. So discarding the original document and keeping only PDFA document could be a very bad idea, but so it depends on the content of your document. So when you are looking for PDF or PDFA support, it's important to determine what content your document contains and also what are your archiving needs. So here's another thing I would like to share with you. It's about institutional reports hosted by B-Bless. It's a digital common system. One of the digital common system functions is to automatically generate a PDF cover page which can be customized. So for example, you can add institutional logo to the cover page as part of the layout. Then when you upload a document to the system, that cover page would be automatically attached to the document. But if the document is in PDFA format, that cover page cannot be attached to the document. So I mean that function doesn't work for the PDFA format document. So when you upload a document to the digital common system, you need to make sure your document is not in PDFA format. So next, when you store or preserve your digital object, what's the media? And also, how would you store, how would you preserve those digital objects in long-term repository? So here I would like to share that rule, a 3-2-1 rule to preserve a digital object. And this slide also showing the plan for file and folder management at UNO libraries. I mean how to manage, how to preserve digital objects with existing and available system in the library. We use a NAS drive. And in the library NAS, there are two areas, student walking area and access store area. The student walking area is for saving the digital object created by a student. Our student scanning many materials and saving those digital materials in TIFF format as a master file and save those master files in that area. And also student edit and convert those digital files and save those files in JPEG format as an access file in that student area. All digital files are organized by a digital collection and also a collection level. So after project is complete, make a copy of master file and also access file and save those both files in access storage area. After that time, run checksum to ensure those files are not correct or changed. Also make a copy of access file and save those access files in a cloud storage or box. And also make a copy of master file and those master files in the dark archive. We use Amazon Glastia as a dark archive storage. Next slide please. So when saving or preserving a master file in dark archives, our digital preservation plan can include, create, and save preservation metadata. So as Colin just explained, metadata typically is defined data about data and there are three different types of metadata which are descriptive metadata, administrative metadata, and structural metadata. So what is preservation metadata? And what is the different differences between preservation metadata and those three types of metadata? Actually, there is no clear line between what is preservation metadata and what is not. But the purpose of preservation metadata is to support the goal of long-term digital preservation, which are to maintain the survivability, identity, persistence, rendibility, understandability, and authenticity of the digital object over a long period of time. Next slide please. So here is the list of five major areas relevant to preservation metadata. First, preface, who has ownership of the digital object? A second, authenticity, is the digital object, what is proclaimed to be? A third, preservation activity, what has been done to preserve a digital object? So this is very important because the digital object can be easily edit what changed, accident. So this happens when, for example, when a digital object is migrated from one format to another format in order to keep pace with the technology change. So for those reasons or any other reasons, it's essentially important to document how the digital object has been migrated over time by whom and for what's the purpose. And the technical environment, what is needed to render, interact with, and use the digital object? Because digital objects are technology dependent, so it's very important to carefully document technology environment of an archived digital object to ensure it's remain usable for current and next generations. Then lastly, light management, what the intellectual property light must be observed? Because digital objects are bound by intellectual property light, so describe who on and who can use a specific file or object. Next slide, please. So digital preservation is an ongoing activity, so I would like to share this NDSL level of preservation. You can download this table in the PDF format clicking this link on the slide. So anyway, when you set a realistic goal for your digital preservation plan, I would recommend you to use this chart and determine which level of digital preservation you are at with your collections. So for example, UNO, we probably level one or less than level one, but that is okay. So it's important to keep track of your digital preservation activity as one move up each of those categories from current level to the next level in enhancing our digital preservation system or workflows. Next slide, please. So to make digital materials accessible, the last step is to select the proper system or select the proper digital platform for making your digital collection accessible online. So UNO library is using content DM platform, omega.net platform, and the B-Press Digital Common Platform to present our digital collections. So those platforms are part of our library's effort to build and maintain unique digital collections and provide online access. So selection of digital platforms can be a challenge to make your digital collection more visible and accessible. So we need to assess what we need to understand how and what we want to present our digital content, and also we need to understand digital content characteristics, digital platforms, system functionalities, and also our institutional system capability. Next slide, please. So I would like to introduce one of the highlights of our digital collection at UNO libraries. It's the UNO oral history collections. We are currently sharing over 200 oral history interview materials. So all oral interview materials are presented on the content DM platform, and also our omega.net platform. So on the omega.net platform, using the omega's function we organize and present those oral history items by collection, such as the LGBTQ oral history collections, Native American oral history collections, and also by subject, such as a World War II immigrant or Native American and LGBTQ, so that the user can find a specific item from the omega platform. Next slide, please. So our oral history item are created using our oral history metadata synchronizer system. So using this oral system interview materials can be delivered together with corresponding time time, and transcription or captions of the interview. Next slide, please. So after making the digital item available online, so fix it. So create a ticket as a cataloging unit via fix it this system. So that ticket includes a link to the digital materials on the digital platform, such as the omega platform. So through that ticket system, the digital unit and the cataloging unit can communicate with each other, most importantly, to add the collection location to the finding aid in the system, such as the archive space, and to add the finding aid or location to the metadata for the digital object on the platform, such as the omega platform. I mean, this workflow can link between digital collections and their finding aid, so that the user can explore other relevant materials, and also the user can find what the physical collection actually contains which is listed on the finding aid. So now, Koni, we'll conclude our presentation. Okay. That ends our presentation, so if there's any questions. Great. Thank you, Yumi. That was a lot of, like I said, I'm not a cataloger, a lot of that is beyond me, but it was very interesting to hear about it, and especially the PDF issues. I did not, I was not aware that there's different types of PDFs that you had to be very, very concerned about, and that could completely shut down what you're trying to do if you're not doing it. So if anybody does have any questions or comments or anything you want to share, type into the questions section of your go-to-web and go-to-web on our interface, and either Karine or Yumi can answer your questions. Is there anything else people are waiting for you to have a question or anything else you wanted to share about what you're doing? I know we showed the, your website for the Tokyo, the Delay Tokyo trial papers, and we want to show the actual oral Omaha's collection, or? Sure, we can do that. I'm not sure if you have a link in there to that, or if we just can go to... I'm going to end this. Yumi, what is your URL for your oral histories? What are the history? Hang on a second, I got to get this open. Can you go to the UNO Chris Library website and click Archive and Special Collection. And please, this is our collection. The very bottom choice on that, hold on. That might be... This one? Hold on. Hold on. Yeah, this is our collection. This is a little bit up. Which one? I'm sorry. Scroll down. Yes, this is our collection. You would see. Digital. This is our collection. More up. More up. Stories. Yeah, yeah. Oh, here, there. If you're going down too far, you're going to pass it a little farther. Yeah. And the UNO Library history collection, there. And then click the browser. Okay. Yeah, anything that you can click. Any of them? Okay. Yeah, any of them. Let's do this one. Then click next to the image. This part of the figure. Right here. This is almost the same. And then I could start to play. Yeah. And also, yeah, jump using index. For example, you can click index. Introduction. Okay. So, you can break it down. Yeah. Okay. All right. So, you can jump to a certain part of the video. I'm not going to say any of them as an example. Yeah. For example, AI in life, you can click. Yeah. Yeah. Yeah. Then play segment. Just click play segment. So, you can jump. And also, you can see the transcript also. Just slide right side. There's an index. Oh, here. Yeah. Oh, it's in the script. Nice. Yeah. Index and the transcript. Yeah. And so, just slide the transcript. There, you just see transcript also. Oh, wow. That's really nice. And also, you can jump like one minute, second minute or so. Okay. Whatever you want. That's very slick. I think you said there's like 200 interviews in there. You could definitely get lost. Yeah. In fact, the collection is a growing and growing. Yeah. Wow. We do have a question that came in. It's going to say two questions from a person. They want to know what platform is UNO using? I know you said, yeah. I think deep press. You're using? The UNO uses a content.dm and content.dm omega.net. And the digital common, B plus digital platform. Yeah. So, they're using three platforms. Yeah. And so, the project. Yeah. So, you mean, yeah. How do you decide which platform is going to be used? The first B plus digital common is an institutional repository. So, mainly, it's available like a faculty paper or ETD or student or some class project. And content.dm is a definitely archival material, a special collection. Then, omega.net, we use omega.net. For example, exhibition. More focused on a specific project. So, for example, lgbtq, clear omaha archive collection or this oral history collection also. Omaha story. It's called omaha stories. So, and also, we have a big collection, Chuck Hegel collection. So, Chuck Hegel collection, they're using omega.net for some exhibition as an exhibition presentation. Okay. So, it's ultimately what your final reason is for it. Yeah. And then the second question, that may be for either one of you. Do you have any recommendations for free or inexpensive platforms to do this? Is there anything open source, baby? Well, this space is open source. There you go. Okay. But there's a big learning curve behind that. That's going to come along with it, yeah. We have a system administrator. I have to rely on our system administrator and the other people that work with that to set up the collections, and then we can put the materials in. We work together like, I'll say, this is the metadata I want to put in here, and then they'll create the collection to make that work. So, I rely on them to do that. I don't, Yumi, are there other open source? Omega.net could be. Some school using our omega.net platform as a repository. So, Omega might have a version of it that's more open source. Yeah. A couple of, yeah, either the space or Amiga's particular version of it. Yes. And also depends on manpower or so which repository we can handle. Is it depends on manpower or so? Sure. Sure. Yeah. So, we use, because of this reason, we use omega.net, not omega.org, because we cannot host. Ah, okay. So, yeah, you have the servers to host that you're going to do either the org or .com, right? Yeah. All right. I just want to throw one last thing, and I think that most people probably already know, but make sure, I mean, Yumi talked about, you should have three copies of your digital objects and so forth, but you need to have a backup of your system. Not just the objects, but the whole, yeah, the system. Yeah. So, that's my last comment. Yeah. Great. Oh, and the person asking is Alice, I said, it'll be a one woman powered. So, yeah, she does need something that she can, and depends on how much work you want to put into it. You try it on me, because it might be easier. Check out dSpace if you're willing to learn and work that out. And it depends also possibly how big of a collection you're starting with, what you want to, you know, how much you want to put into learning dSpace. If it's just a small collection, it might be okay to put a lot of your time into learning the system and then getting things started. And like anything, once you get going with it, once you've learned, like you said, learning curve, you'll just be able to do them and keep adding things once you get over that hump. Right. Yeah. It's something real basic even. I mean, you could even do live guides. Yeah. You could do it in live guides. You know, you might not have some of the other features that some of these bigger systems have. But if there's something you want to get out there. It'll serve its purpose. It'll serve its purpose. Yeah. All right. It doesn't look like anybody has any different questions they've typed in right now. We are a little after 11 o'clock, so about on our hour time, which is what we started a little after 10. So I think that's perfect. If anybody does have any questions, both you, me, and Corinne, are online at their very respective universities. You can reach out to them with any questions. And all of this information, of course, as we said, the recording and the slides will be up posted with the archive. So thank you, Yumi, for being with us remotely. And thank you, Corinne, for showing up here at the commission to do this. I think that we will then officially wrap up your presentation for now. I'm going to go to our website for Encompass Live. And actually, I think this will go to, here we go. There we go. This is the Nebraska Library Commission's home page, where we have our under education, and we have a link to Encompass Live webcast. You can also search your site. Or if you just, as we did, for Google our name, so far on the internet, we have the only thing called Encompass Live. So nobody ever called yourselves. And so we just come up first and you search yourselves. And this is where we have our upcoming shows. And so what I'll show you was the archive for today will be processed, probably by the end of the day today, as long as YouTube and everything cooperates. It'll be available right here underneath our upcoming shows is our archives, where it is just reversed, the most recent ones at the top of the page. So here's the one from last week. We did our best new children's books of 2018 session. Those links are recording. And then there will also be a single link, unlike this one from last week, where we have multiple presentations to the presentation that Corinne and Yumi used today, so you have access to both of those. Everyone who attended today's show and who registered today, she'll get an email from me, letting you know when it's available and ready to watch. It also goes out to our regular social media as well, just announcing that it's available. And while I'm here, I'll show you. This is our archives. I was mentioning we have lots of resources, lots of sessions for different types of libraries. Encompass Live, this is 2018, or we're getting to the end of 2018. This is the 10th year of Encompass Live. Yeah, I know. When I did the math, I was a little stunned myself. But we do have all of our archives on this page. So if you scroll down, you will see things from previous years, 2014, all the way back to the very first show in 2009. So do be aware when you are looking at, through our archives, just look at the date. Everything is a date, so you know exactly when it was actually broadcast live. And so take that in consideration. Some services and things we presented here may no longer exist. Links may not work anymore, whatever. But we are librarians and we archive things, as we were talking about today, historical things. So as long as these YouTube has our recordings out there, we have backups, too. That's not our only, of course. We will have our archives up. You should just pay attention when you are looking at some of our more older sessions. Watch for what the dates are. So that's all of our archives. I'm going to go back. So that will be it for today's show. I hope you join us next week when our topic is... Oh, we're also on Facebook. I should mention that right now before I pop off here. So if you are a big Facebook user, give us a like over there. We will post when our shows are coming up. Here's a reminder to log in for today's show, when our archives are available. No, I don't want to log in right now. When our recordings are up, we post on here. So if you do like to use Facebook, you can get the data and things there, like us there, and you'll push out and see our push notifications on there. So I hope you join us next week when our topic is public library survey using Bibliostat. This is something that public library timescupry do every year. It's meaning there's data to collect all this data nationwide. But this is specifically about what we're doing here in Nebraska. We have a public library survey. We have a supplemental survey. We have some people answer some questions. So the survey did just open up at the beginning of November. So it is out there for our public libraries to start submitting. And if you want to hear more about it and see what we're doing here and get some tips and tricks on how to use the interface, it has been updated, of course, as they do. Sam Shaw, who is our stats person here at the Nebraska Library Commission, will be with me to talk about all of that next week. So please just sign up for that. And any of our other upcoming shows, we are booked all the way through the end of the year. Oh, I just don't have the last date on. It will be the last session for December. I'm waiting for a special description. But it'll be about our talking book and Braille service here at the Nebraska Library Commission. Updates to that. And then we book you things into January. So please do join us for any of our future shows. So thank you, everyone, for attending. And happy Thanksgiving. If you are traveling anywhere, be safe. Drive safe. And eat all you want. You're not going to say don't. Go for it. It's a special day. And we'll see you next time on Encompass Life. Thank you very much. Bye-bye. Bye.