 a exhibition dade. Winike tikakau sy AUK esumanaania Maian hos haldi sebaru positions at Ngātonga a ndi kurrently the head of the audience department for the archive. And James here is a fellow research coordinator with responsibility for looking after public access to the moving image collection. Over recent years, Ngātonga has been a key player in several World War I commemoration initiatives. These include Ngātonga's partnership with the National Film and Sound Archive in Australia to produce an ANZAC-themed website and their contribution to the Wellington City Council light shows for embarkation day in October 2014 and at the opening of Pukiaho Park in April this year. To hear all about this work and the digital challenges they faced along the way, it's now my pleasure to hand over to Diane and James. Hi, I just thought I'd have a quick sound check. I'm not really clearly loud. Can you hear me? Awesome, I don't need a microphone. Thanks, Sarah. Kia ora koutou. World War I commemoration... I think you have to have a microphone. It's not going to work on this. Okey-dokey. Rādo, how's that? All good? Kia ora koutou katoa. World War I commemorations have loomed large in our sector and most organisations have contributed in some way to the many events, exhibitions and publications that have proliferated since the beginning of the centenary last October. As the custodian of the largest collection of sound and moving images relating to Aotearoa and the war, Ngā Tonga's sound and vision has been flat out making material available for reuse. We have supplied film to more than 25 projects from the large scale such as to Papa's Gallipoli exhibition and the television series Great War Stories to performances such as Auckland Philharmonic's Soldiers Tales and to the Armed Man Dance Show. We have also supplied numerous sound clips to projects and Radio New Zealand stories and documentaries. There was a flurry of activity around Anzac Day this year and as the commemoration rolls on, so do the requests for film and sound. We have worked on a number of our own projects and that is what James and I are here to talk about, but before we get to the projects, James will give us an overview of the World War I collection. Thanks, Lai, so prior to the start of the World War I commemorative period, the film archive held approximately 60 films that were shot during the First World War as well as countless documentary shorts and TV programmes that have been made since. These films came to the archive from a number of different sources. Some were part of the National Film Library collection. Others have come from private depositors and we've also received copies from archives in the UK and Australia. Over the years, these have been preserved to film or tallysine ed with access copies made available on VHS, DVD or more recently as digital files. From the late 1980s, the archives worked with the military historian Chris Pugsley to identify and to closely catalogue this collection and he was awarded a stout fellowship to do the majority of this work in 1990. So the films in the World War I collection are all silent and black and white as you can imagine. They show troop departures, training and fundraising at home through to NZFV soldiers serving overseas at Gallipoli, the Western Front and in the Middle East and they were made by cameramen connected to local cinemas or to official government or New Zealand Army cinematographers. There's no footage of action or fighting per se which is what people often ask us for. The camera technology of the time was big and bulky and to aim a camera above a trench was an invitation to a sniper for a free shot. However, we do see trench conditions. We see scenes of no man's land and lots of troop inspections, drills and marching. While much of the action is staged, the shattered landscape isn't fake nor are the often-exhausted soldiers. Though it's remarkable how often they perk up when a camera is nearby. So as with many other glams, funding from the Lottery Grants World War I fund enabled us to undertake two major projects. The first, Sites and Sounds of the Great War was a project planned in five phases. First, repatriation. To locate and retrieve original film material relating to New Zealand's participation in an experience of World War I from archives in Australia, France and the UK, in which James will talk about soon. Two, to research. Compile a comprehensive catalogue information about all the World War I holdings in the archive collection. James has already mentioned our work with Chris Pugsley. In this current project, we have added more information to those original records and we've also begun cataloging the newly repatriated material too. In the refut search phase, also included the sound archives, Ngā Tāunga Kōrero Collection, and all of the World War I audio material has been cataloged. In case you don't know, Ngā Tāunga is a recent merger of the former film archive, Radio New Zealand Sound Archive and Television New Zealand Archive. So we suddenly had a wonderful collection of sound as well. Fourth, preservation. Third, actually preservation. Ensure all material held in the Ngā Tāunga collection is preserved to the highest possible standards. All of the film shot at the time of the war was made on 35mm nitrate stock, and in most cases, the nitrate film in our collections had already been transferred to safety film. However, ongoing research of the foreign collection of nitrate has located new film in our vault that relates to the war. Most significantly, we have found an episode from the series World Pool of War, which was thought to be lost to the world. It is now undergoing preservation work to prepare the nitrate for scanning digitisation. Scan and transfer all the material collected as part of the project to uncompressed high-resolution digital formats. We have been working hard to transfer all of the World Pool I collection to high-quality digital file formats, both for preservation and access. As Margaret says, it's a really labour-intensive and long process. For film, it's a real-time situation. It takes longer than the film itself. To achieve this, we've worked with Park Road Post and Internally with our own Ari Scanner to ensure we have high-resolution, uncompressed master files, as well as access files in a variety of codecs and at different levels of compression to suit different purposes, such as web delivery, television broadcast, cinema screenings and good research viewing copies. And, fifth, access. The funding application suggested three areas for access. First, a website to be built in collaboration with our Australian colleagues at the Film and Sound Archive. Second, to provide AV materials for use in other productions. And, third, use project material in the widest possible variety of public programs. As I mentioned earlier, we have been busy providing access to clients for reuse in other projects. And, since embarkation day last year, we have also presented a number of screenings and papers at conferences. We have uploaded the new catalogue records to the website, in some cases with viewing files, and that will continue over the next few years. Our highlight has been our partnership with Wellington City Council and Sarah Hunter, where we worked first in October 2014 on the embarkation day light show projections onto Shed 10 and St James. And, in April this year, on World War I, remembered light and sound show at Pukiahu Park. And, we have created and launched AnzacSitesound.org. We'll talk more about the access projects in a minute, but James will, first of all, go over the repatriation results. OK, so when our World War I project began in 2013, we had a pretty good idea of what we had in the collection and also what films were missing or lost based on records at Archives New Zealand. However, there was another third group of films, which are those featuring New Zealand or New Zealanders that survived in archives overseas. Chris Pugsley has, again, been responsible for much of the detective work here, tracking down films in archives such as the Imperial War Museum, as have other film archive staff members over the past couple of decades. And, of course, online databases have made the job much easier recently. It's this group of films that make up the repatriation side of the project. So, before talking in more detail about this, why are so many films held in archives elsewhere? In part, it's reflective of film as a form of mass media and the way that film moved throughout the world via its various distribution networks and circuits. But it's also the result of a couple of particular historical circumstances. One is that all the films shot by the New Zealand Army cameraman during the war were censored by the War Office Cinematograph Committee. The material which survived there was later deposited at the Imperial War Museum. However, most of the films were found at British Pathé. And this is because of the New Zealand Government's long-standing relationship with Pathé Ferries, which was one of the largest newsreel companies in the first half of the 20th century. This dated back to prior to the war when Pathé filmed and distributed scenic material promoting the country as a tourist destination. This relationship continued throughout the war. And in 1916, Pathé cameramen were contracted to the NZEF as official war cinematographers and still photographers. So the photos that they took make up the H-Series collection, which is available at the National Library. In return for providing cameraman Pathé gained the rights to use the films in their newsreels, which were shown around the world. Because of this, most but not all of the film that survives there are short stories or excerpts from newsreels. So over 100 films were identified in commercial and non-commercial Government archives in Australia, the United Kingdom, USA and Europe. And the process of repatriation or bringing them back to New Zealand shows how much things have changed in the world of film archiving in the past decade. In years past, repatriation would have involved the transfer of a physical object, either the nitrate original or a 16 or 35 mil copy. The project this time around has almost entirely been based on exchanging digital files. Over the last couple of years, we've negotiated the purchase or transfer of films from the eight archives you can see on this slide. So we worked with the National Film and Sound Archive of Australia, the Australian War Memorial, the British Film Institute, the Imperial War Museum, Gaumont Pathé, British Pathé, ECPAD, which is the French Military Audiovisual Archive and Critical Pass, which is a US-based stock footage outfit. We received a really good response from our fellow FIF member archives. So the BFI sent nine films out to be scanned here. The IWM, AWM and NFSA all provided new scans free of charge. On the other hand, Gaumont Pathé, British Pathé and Critical Pass, all of whom are commercial archives, were more than happy to take our money. While this was a slow moving process, the only real hiccup has been one of the French archives not wanting to communicate with us in English. It's been a very interesting process dealing with them. So in all, we've got 97 new films acquired into the collection and they've really enhanced the World War One's film collection. So amongst them are films shot at Gallipoli in Europe, the Middle East and in Occupied Germany. They show troops at play on the rugby field and some lighter moments of rest and recuperation. We also have some really rare films showing soldiers leaving England and including and with them some of the new wives and the babies that they took back with them. And the good news is that the licences that we negotiated with the commercial archives and with some of our FIAF partners allows us to distribute these films to non-commercial clients, particularly Glam's for use in New Zealand instead of institutions having to pay the fairly hefty commercial rates that they usually would have to. So once the acquisition project's wrapped up, which will hopefully be by mid next month, we'll have some more details on our website. As Thais already mentioned, we've done quite a lot of digital preservation work on the nitrate films who are already in the collection. This involves making new scans and the results are quite remarkable. So I'm going to show you now one example, which is a before-and-after clip of the visit of the battleship HMS New Zealand. No. There we go. So this is a film that was shot by Charles Neum in 1913 when HMS New Zealand visited. You can't see it that well, but this is the digital copy that we had basically available prior to this project starting. So I have a brief glimpse of this, and you can tell it's very dark. There's not much detail can be seen or anything like that. It's hard to recognise that there's people on the bridge. And so this is the result of the 4K scan. And so the first thing you can see is that the scanner actually takes the colour. And so that title is actually tinted by the cameraman before he produced it. And then this is the brand new scan. You'll see it side to side soon and the results are pretty remarkable in terms of their difference. And this isn't as high-res as we've got a DCP back at the archive where the footage looks absolutely amazing. But you can see that the image has been stabilised. You can see the soldiers on the deck. You can actually also see faces poking through the portholes there, the reflection of the boat and the water. It's a huge, makes a huge difference. And as I was saying to someone last night, this is the way that people would have actually seen it in the cinemas back in 1913, whereas we have an idea that old footage is a sort of old muggy, murky thing. And this is the boats in the harbour where Neum was filming the ship. And you can even see the costumes and the outfits that the woman and the men are wearing. It's quite remarkable. And it's particularly remarkable when you think that Charles Neum would have been on a boat with a great big camera, with no stabilisation or not even a little handheld to do that. But the funding application specified the creation of a website in partnership with our colleagues at the Australian National Film and Sound Archive. The site showcasing the sites and sound of Australia and New Zealand's experience of World War I was launched in April this year. The build began in February 2014 when we went to Sydney to meet colleagues and create a project plan. It was an interesting meeting. We were outnumbered by about 10 to 2 and the differences in our processes soon became obvious. NFSA is a government department and employs around 300 people. Ngā Tunga Sound and Vision is a charitable trust with around 80 staff and even this is recent. Three years ago there was around half that number. They have a lot more documentation and process than us. And even the template for project management was about 90 pages long, a totally foreign language. One thing that we did have in common was that both organisations were going through major transformations at the time and this had an ongoing effect on the project, especially because the NFSA's restructure included staffing changes and consequently the Australian team changed completely, regularly. It was a fun meeting though. Inevitably we got sidetracked by war stories and collection items and what to call the site. We talked about must haves, nice to haves and got briefly bamboozled by the Aussie tech department and details of Australian government internet policy. We came away with a vague idea for a website that was dense with essays and information that would be supported by the AV record. Disasterously, instead of foregrounding the audio visual, we were imagining a wordy site that would have some nice videos and a little bit of audio to support the text. Fortunately, as funders, we had the final word. The site would be built and hosted in New Zealand and we would lead the project management. We agreed to keep the URL anonymous in case of parochialism on either side of the Tasman and because the site would be hosted here, we were able to navigate some of the trickier issues we'd have to have had dressed if the site was coming from a department of the Australian government. We worked with Booth New Media to build the site and from the outset began refining the project, less and less text. We went from thinking to four to six essays and double that of shorter essays to just one, a set of collection stories and short vignettes to describe the content. The text was written by staff from both archives and we employed Mark Darby to create a site style to give consistency and tone. We have translated some of the vignettes into te reo Maori and have plans to translate all of the New Zealand content by the end of this year. We shifted to foregrounding the audio visual. This meant full screen video and sound players and small amounts of text. We've also added further information in a more traditional style and as much as possible point users to other websites for further reference. This was also our first time working with Agile. The initial leap of faith was offset by daily stand-ups, fortnightly planning and review cycles and daily contact through base camp. It was great to see the pieces unfold and the site grow. Using base camp was also helpful in bringing the team in Christchurch, Wellington, Sydney and Canberra together and especially good for ongoing dialogue and keeping everybody informed about progress. The site was launched in Wellington in April and again in Sydney during the FAF Congress this year. Traffic took off with a hisana raw. In particular, a video of the first Maori contingent performing a haka was watched over 5,000 times within a few days of launch. All right, so now I'm going to try a live site demo which is something that's always slightly fraught with risk. So, hopefully this works. Okay. NZX site sound. It's already in there. There you go. So, this is the site. I'm just going to click through until I can find a New Zealand film here. So what you can see, I mean the first thing to notice about the site is that the users drop straight into an item when they chuck the URL into the box. So, one will come up eventually, I'm sure. And you'll also notice that there's a wash of colour. So, one thing that we decided quite early on, well, we're very conscious of how to make this black and white footage. A lot of it's of soldiers marching. You know, it's very foreign to a modern audience, how to make it accessible for them. So, I'm sure there's one going to be one here somewhere. That was one. Ah, that was one. Okay. So, flauapau. So, that's what we were trying to do. So, we're giving the item snapping names. You can see here that there's this sort of little story that goes with each item to try to draw the viewer in. So, this is the work that Mark did. Both each archive wrote, but Mark did a lot of the editing for us. And then, as you can see, press play here and you drop straight into a full screen video. This is another one of our newly scanned items. So, the viewers drop straight into a high def full screen video. If we go back, you notice that it still plays in the background. But we've got a lot of extra contextual information here as well. So, more information has a little bit of metadata here. There's a reference back to the catalogue. We have people that are hyperlinked. So, if William Massie shows up on more than two or three clips, you can click through and see the films that show him. Location, we've got a mapping function. There's also a bit more context here as well as related links to other online resources. This one doesn't have a shot list, but a lot of the films have shot lists with them. We've also got your usual share buttons and also comments. So, no comments on this one, but we have had quite a few comments from various people. And there's also this feature here about seeing someone that you know and emailing us. So, one thing that we'd like to explore a little bit more, and especially if there's anyone from Senataf here, is just linking some of the films that we have of the various divisions and regiments up to Senataf. As we go into the site, the actual navigation, you can see so, we've divided it into three broad themes. Home France, which is footage and sound of what was happening in Australia and New Zealand. Battle France, with the main focus on Gallipoli this time around. And there's also an aftermath section which will feature some of the Anzac Day collection films that we've got. We've got a really amazing collection of Anzac Day parades from the very first one in London, going right through to the 1970s. And so, within this, then we have our sets, our collections. So, for example, here's the Gallipoli campaign. You can see a contextual essay here that was written by Chris. And then all the different items here. So, just to give you an example of sound, we will just click on this one. So, this is what a sound item looks like again. And just press play and it goes straight into it. That's a nice little story. We also have documentation, so images on here. We haven't brought in any of our images yet, but there's a lot from the Australian collection. So, that's what the images look like. And so, this was all made possible on a custom CMS that was built using Ruby on Rails and developed by a really talented team at Boost New Media. So, as I said, like, as you can see, this is a sort of organic website and we plan on continuing to update it over the remaining period of the commemoration period. So, we'll be bringing in more footage of the soldiers at war. We'll also talk about cinema going during the war and an update that's coming next month and we'll also highlight the preservation work and AV archiving that both organisations do. There's ANZAC updates in the aftermath theme and we'll also be bringing in contemporary short films, TV programmes and documentaries. And I see that we've got two minutes there, so maybe we might skip over the loan program. So, keep an eye out for the loan program that's coming mid next month. We'll just briefly mention that Fernleaf lads in the trenches will be coming middle of next month. It's a 70-minute program that will be freed alone to schools and institutions and clubs and groups. So, if we maybe move on to the conclusion. And I will do that bit as well because that's me too. So, just to quickly wrap up, the first thing to note is that we have 150 moving image items now in the World War I film collection. The newly acquired items will be catalogued in detail over the next year and the entire World War I sound collection has been catalogued in detail as well. The repatriation project involved working with overseas archives and we got a really good response, particularly from our fellow FIF members. So, we're really pleased to have worked towards one of the main aims of the World War I commemorations, which was to cooperate across national borders with institutions and colleagues in the UK, Australia and Europe. And we're also pleased that we'll be able to offer this material to Glam's much, much cheaper than it would have been otherwise. Another lesson we learned was partnerships working with Australia. And I don't mean that jingoistically, it could be working with anybody. But if you're making a partnership, it pays to do some due diligence. Have you got the same ideas? Are your themes similar? Have you got the same outcome? Do your collections support? Or actually, are there strengths? Are there differences? How does each country remember? Or how does each partner remember? And how can you build together? One of the early things we found was we had to tone down the celebratory aspect, which Australia's really good at. But there's a huge difference as Margaret alluded to, which is conscription. And in 1916, New Zealand introduced conscription. So, we very much remember the war. We commemorate the war. Whereas in Australia, there wasn't conscription. Men volunteered to go. So, it's very much about heroes. It's about celebration. It's about recognising those men who volunteered and went to war. In New Zealand, we're a little bit more circumspect about that. The other point is that this was actually the first project that we undertook is a newly merged AV archive. And it was the first time that we worked on a public programme with our colleagues in the sound archives. The sound collection really complements the film's well and vice versa. And they sort of fill the gaps in the collection really nicely. So, we think that the ANZAC website demonstrates the strength of our newly combined archive and we're really pleased with the way that it turned out at a time that was quite difficult for a lot of people involved. Another thing we learnt, which I'm sure is a no-brainer for everybody, but there's a huge appetite for the war. Margaret alluded to it. In the build-up to April this year, we were run off our feet. Everybody wanted to do something for ANZAC Day. We've found that things mostly come in bursts, particularly around anniversaries. Tionic Bear, we were busy again. We're gearing up for masines and all of the other commemorations that are coming. And one thing that we're really learning is it was a long war. We're enduring it. But imagine what it was like a hundred years ago. And just finally to wrap things up. We understand that there's some ambivalence about the resources that have been poured into the various World War I centenary projects both inside and outside the heritage sector, especially when, as this conference shows, there's so many other worthy projects out there that don't have much money. And me and I both certainly share this ambivalence and, as she just said, it's been a long war already. However, the funding that has been available has given us a chance to experiment with our public programs. And we hope that one of the real lasting legacies of these various World War I projects is that it's allowed us opportunity to rethink and to revise how we present archival footage by blending the best of analogue media with digital preservation and new technology. Thank you. Thank you very much, both Margaret and James. And also to, sorry, Diane and James, and to Margaret earlier, some really great insights from you there. And we're just on 12 o'clock. Lunch will be served in Oceana shortly. We do have an hour and a half for lunch today, and I'm conscious we haven't had opportunity for questions. So those of you who have got prior commitments and do need to depart, please do so. If you'd like to hang around for a few more minutes, I would like to open up the floor for questions for all of our speakers. So questions. Sorry, I know that there were share buttons, but are we able to download footage or are there embed codes that we can use? Are we allowed to reuse your stuff? We're still working through reuse. We hope we'll hopefully be able to offer something along those lines next year, but yeah, that's something that we're still working on at the moment. So if we wanted to use it in a program on our site, we can't do that at the moment. You need to contact us in the first instance. So with the repatriated material, we've worked through agreements with those people so that we can make it available. It's just the getting the digital files is taking some time, so we're still coming up to speed. So unfortunately at the moment, we can't embed from the site. We also ran out of budget, but if you contact us, we can help you out. Thank you. My question's actually for Margaret. I was just wondering if you could talk about how you dealt with the cultural safety implications of using Aboriginal images in Australia. And yeah, I'll leave it there. You can. If you're an Indigenous person, Aboriginal or Torres Strait Islander, you weren't allowed to enlist. And so anyone who did, and there were lots, particularly from Queensland, either hid their aboriginality or the recruiting officer turned an eye sideways. So it's almost impossible to identify Indigenous servicemen from their portraits. So because they were already publicly available, we didn't, you know, there were no sort of considerations around that within this project. Generally speaking, when we have pictures that are, you know, from our archival collections that display people of Aboriginal, Torres Strait Islander ancestry, we talk to the communities and do a community clearance process. So we'll take a bunch of content out. The elders or the family will look at it and they'll say, yep, that's fine, or gee, we don't want that image made public. So that's sort of the standard process. With this, there was no way. There's absolutely no way to identify who's an Indigenous service person in those images. And if you look at, say, Valentine Hair, for example, it's only if you really, really look closely and you already know he's an Aboriginal man. You can possibly say, yes, he's an Aboriginal man. But otherwise, it's very difficult to find them. OK, any more questions? OK, well, please join with me again in thanking both Margaret and Diane.