 Jessica Vincent, ysgol stemfyn a'r byd yma i'r psysgol yw Antena ym Ymysgol. Jessica, ydw i. Hei. Y ddweud. Mae'n dywch yn ei wneud am yw beth o'r hyffordd hengin cyfnod ymwysig o'r cyfnod am ymysgol ym Ymysgol Huiddor, sy'n gwybod ymwysig o'r hyffordd hengin a gweld ni o'n wneud. Eryd, oes gwybod eu cyfnod o'r bach oed a'r hyffordd hengin gydag i ymwysig. Antenna is the world leader in mobile interpretation for the cultural sector, so we deliver audio guides, multimedia guides, smartphone applications, podcasts to a number of the world's most visited and most iconic cultural attractions. So we create audio multimedia content on the platform of choice, and that's really important, so we try and go on to it later, spread our bets a bit in terms of working with user-owned devices and also devices that we build ourselves specifically for the cultural sector. And with this, we focus on the pre-visit, in-visit and post-visit experience, so we try and create a kind of virtuous circle of visitor engagement with institutions which hopefully will keep them coming back, keep them spending money and keep them engaging with the messages of the institutions we work with. So, we think that mobile is a real low-hanging fruit, and I think it's safe to say that actually mobile interpretation as a revenue stream is tried and tested. Antenna has been in the business for 30 years, and a lot of our key clients consider their audio guide or their multimedia guide that you can pick up at the site as a significant revenue source. So this is a brief snapshot of the museum mobile landscape, as it is now, so on this side there's a couple of devices that we've actually created specifically for the sector. Our favourite audio-only guide up here. We know you can drop that off a battlement of an English heritage castle and it will survive, which is very important when you get the French school trips coming in the summer. Here we've got our new multimedia device, which is Wi-Fi enabled. It has a touchscreen. It also has a keypad, cater for the broadest possible audience. Moving over to the other side, you see we've got smartphones. Apparently 10% of the world's population now owns a smartphone, so I think that in itself is a reason to be looking at this as a significant revenue-generating tool. In the middle there, you've probably seen in the press about the new Nintendo 3DS appearing in the Louvre next month, I believe, to host their new multimedia tool. So that's an interesting signal that actually consumer devices are moving into the art sector as a way to reach a wider audience and tap into that market. So, why do we think it's a low-hanging fruit? Well, as I said, 10% of the world population apparently has a smartphone, but also in the cultural sector, I can tell you that every year 62 million people pick up one of our devices at one of our sites across the world. That's a big number and it's people that are actively engaging with content wanting to learn more. We also have a number of apps on the App Store at the moment, and so we're trying to cater to these big numbers below. 5.9 billion mobile subscribers worldwide, so it seems silly not to be exploiting these numbers. I'm really looking at mobile as a genuine tool for creating new streams. So, and this is what we can do with them. So, some of these things are more traditional than others. Obviously, audio tools, I'm sure you've taken the National Gallery Audio Tool, the British Museum Multimedia Tool, and they are genuine revenue-making opportunities. Social networking and sponsorship vehicles, perhaps more of a marketing tool, but actually if you're marketing out to a new audience, hopefully they're going to come into your institution buying tickets, buying merchandise, so it's all bringing in more money for your institution. Now, we're going to look at a couple of case studies now from Antenna's experience. They are specifically related to the museums and galleries sector, but hopefully you can see some affinities with other sectors as well. So, the National Gallery, we've worked with them for over 10 years now, and we have a huge archive of audio content and multimedia content from their permanent collections, from their temporary exhibitions, from their podcast series. And so, in 2009, we sat down with them and we said, right, no, smartphone apps are making headway, we think we should do something. So, we came up with love art. It basically focuses on key masterpieces in the collection and it integrates different pieces of content to give you a comprehensive guide to that specific artist or artwork. It's received over 280,000 downloads across 75 countries and it's available in English only. Interestingly, there was a big download figure from Korea, so I think it shows that there is an appetite for the arts out there. I'm not sure whether that many people speak English or what the population is, but it's really interesting to look at the breakdown. So, in order to create this, we went through our archives and we looked at the assets we have. Now, theoretically, we have a huge amount of assets, but in reality, it is very, very difficult. We found to repurpose content that might have been created five or 10 years ago. It's not to say that the content isn't as relevant now as it once was, but actually it's more that we haven't necessarily cleared it initially for internet distribution, for a smartphone distribution simply because we didn't know Apple was going to start taking over the world. We didn't know how significant this would become. So, we had to go through the archives and we had to look at or use what we had, I should say, which was knowledge. We had the knowledge of our archives. We knew the assets that we had, whether it was an interview or a quote, we knew how to pursue that particular asset and clear the rights for that. Now, interestingly, we actually took the option to re-record a lot of the content simply because the tone, we wanted a consistent tone, so it felt like a comprehensive package, not something that had pulled from our 10-year archive. And because we did this, obviously there was some upfront investment involved, but actually it's been one of the most successful marketing campaigns we've been involved with and has been a really fantastic thing for the National Gallery. So, thinking about IP and the issues with repurposing content, this is another example of how we use an application, but with the Royal Academy and the Degar exhibition, we actually use what we call integrated thinking, which is something we're really keen on, which basically means that when we're creating a project, we have the foresight to clear the rights or create a slightly different angle on the content, which means that it can be redistributed in different ways. So, the Degar exhibition was at the Royal Academy, I believe, at the end of last year. And when you went to the exhibition, there was an audio tool that you could pick up there and rent it as you went around the exhibition. We decided from day one to create a multimedia app to accompany this. Because we decided from the very first moment, it meant that we could work with just one script, which it sounds a really simple thing, but it could have caused a lot of more expense if we'd had to create a new one. So, this one script might have had alternative sentences, things like on the audio guide it will say, look at the painting in front of you, on the app it will say look at the painting on your screen, but those slight changes really make a difference and really mean that we can record it in one go and then our sound designers can cut and edit and create something very, very simply. Obviously, this application hugely extended the reach of the exhibition because even though the exhibition actually finished a couple of months ago, the app is still live on the app store. So, it's creating that longevity for the experience, it's creating enhancing the post-visit experience and it's keeping the visitors engaged or indeed those people who were never able to visit the exhibition. Again, it's not to say that it's not without some additional costs and things though. To create the timeline as you see here, some picture galleries, the interface design, you're looking at another sort of three to four weeks worth of work on top of the audio guide that we'd already created. And just to touch on the pricing, so for love art, we pitched it as a free app for the first three months and then we started charging for it. This enabled us to get the reach of the market and people started downloading it very, very quickly and then we started charging to create some revenue. Dega has been charged from day one at £1.99, but I think it's fair to say it hasn't had quite the reach of love art for the National Gallery. So, we're just going to talk about business models. So, when creating something like an app, it's always difficult to work out whether you want to pitch it as a free or a paid for app. There are arguments supporting both and actually it comes down to reach versus revenue, I think. For free app, the reach will be greater. People will just download it like that and I'd even think about it. And actually, Pinch Media, according to their research, says that as a category free apps tend to be used 6.6 times more often than paid for apps. So, that might mean that your visitors or users are engaging more deeply with the content or simply that they're dipping in and out as you might not do with a paid for app. But obviously, just because it's free doesn't mean, I mean, sorry, because it's free, it's obviously a fantastic marketing tool and actually getting people into your institution may be the thing you're looking to achieve to up revenue through ticket sales. On the other side of it, for paid apps, consumers will pay for content and I put a rather extreme example on here just to show you never know what's going to happen. So, the I am rich app was launched on the iTunes store in 2008 for the cool price of $999.99. By all accounts, the app does nothing. All it does is sit on your iPhone and show that actually you're rich enough slash stupid enough to buy this application and have it sitting on your phone. Now, interestingly, eight people bought this application before Apple took it down. So, I mean, extreme example, but people will pay whether it's for a marketing thing for themselves perhaps or they will pay for content. And I think it just goes to show you never know what the market's going to do. And I can assure you that Armin Heinrich is a very happy man right now. So, one of the business models that we're seeing as a really interesting one that's emerging is the freemium. The idea that you give people a freebie and they will pay more, they will pay, sorry, for more content if they like it. So, 72% of revenue comes from apps featuring in-app purchases. This is from Dostimo about the Apple's App Store. Media companies are doing this really well. So, people like the Guardian, they might give you the headline stories and then you pay to get more content. I actually think this is a really nice fit with the art sector. The idea that you can hook someone in with maybe a piece of content, maybe an image from a gallery. And then if they want to learn more, if they want to create more of an experience, they have to pay for that. I would also like to point out here that in the Android market as well, they launched the in-app purchases in spring 2011. By September 2011, 68% of the revenue from the top 25 grossing apps was coming from in-app purchases. So, it is genuinely making money for these four people. The only thing is, Apple and Android will take 30% of your on-sales. So, it's a bit of a balance. But being able to integrate an on-selling function is really interesting specifically for things like e-commerce. The mobile as a tool is a fantastic platform for e-commerce and for sponsorship. Now, we started dabbling in this a little bit. Last year, we did a project with a print-on-demand partner. So, you were at a museum and on your multimedia guide, and it was a guide that was available at the gallery, not a personal device where you download the app. You picked up the guide and you were standing in front of an image, or a picture rather, and you could click to buy a print, just like that. Because you were engaged with that piece of art, and you were in that kind of motivated mode and you could click to buy. Now, that's a really interesting opportunity, I think, and something that actually we had some really great feedback on. Obviously, this can link to merchandise tickets as well as the additional content or whatever you want to on-sell through your device. In terms of sponsorship, I'll just mention briefly, as everybody is aware, that big commercial sponsors are very interested to align themselves with the arts. Actually, mobile is a really interesting way to do so, because it's so interactive, and it captures a motivated audience when they're in the mode of engagement. You see here a couple of examples, so BNY Mellon sponsored the Dagar exhibition, so they were fully branded all over the application, which obviously had more of a global audience because it was on the iTunes App Store. This is from the Milwaukee Art Museum, where Cole sponsored an interactive kids' tour at the museum. Again, because it's on a mobile device, it's very interactive, it can be blazing with their logo. So, it's a really interesting proposition for sponsors right now. Before we start picking the fruit, I think these are the key things that we really need to think about. As I said, hopefully some of the examples have struck a chord with your institutions, but the most important thing really is the motivation behind it. If you're looking at using mobile, why and who is driving it? If it's your marketing team or your educational team, then maybe a free content is perfect because actually you're just trying to get your audience engaged or you're trying to get them in the door. If you are genuinely looking at a revenue stream, then actually maybe you need to think about the others very, very clearly. Assets, how feasible is it to repurpose content? Do you have assets that can be reused, that give the right message across, that have the right tone? It's very important that you get that right because actually, as I'm sure most of you know, the reviews on the App Stores can be very brutal and unfortunately if you get one really bad review, then it will really put people off. Commercial appetite, as I said, sponsorship and e-commerce, fantastic tools, but are they right for your organisation? Do they fit with your brand guidelines? All these things are very, very important when modelling it. Operations and audience are probably almost part of the same thing. It's really simple things like, are you Wi-Fi enabled in your institution? Because if you're not, if you're creating an application that you want people to use while they're there, then actually it's going to limit the size of the app because as you know 3G you can only download a certain amount. And if your audience is international saying they come over, they're not going to want to get on a 3G network and get landed with a huge data roaming charge from their mobile phone when they get home. Personally, I always turn my phone off as soon as I get on a plane because I'm simply too scared. In case the bill comes the next month. And also your visitors. So the trial and tested method of an audio guide in museums, as I said, does work. And actually it appeals to why demographic of visitors. If you're looking to broaden out to perhaps younger generation then, fantastic, a smartphone application may be the way to go integrating the social networking links. We'll also support that and create a community around your institution. And to be quite honest, most of the multimedia tools we do now, probably about 99% integrate social networking links as standard. So I'm not sure if that has confused a few ideas or helped out some of the issues. But ultimately there are key considerations when looking at mobile as a platform but the opportunities are just huge. And there seems to be a new device coming out every week. And I think it's really important to keep track of that. Keep track of the numbers who are using mobile. And for some institutions, a trial and tested audio, multimedia content, even podcasts are very, very simple way to either get people into your institution or pushing your message out or actually looking at ways to integrate revenue. Thank you.