 Kia ora koutou everyone, thank you for bearing with us, hello my name is Lucy, thank you Jane for the lovely introduction, I'm very happy to be here at NDF today, so I'm going to be taking you down the rabbit hole and beyond, taking you through all the work that we've been doing on the Wonderland Exhibition at ACME and also talking further into our current redevelopment that we're going through at the moment to extend our visitors time with us so beyond the four walls of the museum. So a little bit about me, before I was at ACME, I've been there three and a half years now, I was working on the ambitious digital transformation project at Southbank Centre in London, and before that I was here at Te Papa at National Services Te Paerangi, so coming back here always feels like being home. ACME is the Australian Centre for the Moving Image, we are the National Museum of Film, TV, Video Games, Digital Culture and Art. We are located on Federation Square in the heart of Melbourne, and we've actually been closed for almost six months now and we reopen in May-ish next year with our $40 million building redevelopment. ACME is a place for players, watchers and makers of the Moving Image, and a little bit about our audience, we see about one and a half million visitors each year and 82,000 students and teachers come through our doors each year and consistently very high visitor satisfaction. And just for context as well, we have about 50% of our visitors that haven't intended to come to ACME, so they just come in off Federation Square, so we really have to consider that onboarding experience for them. We have exhibitions, so we have a permanent exhibition space, which tells the history of the Moving Image and with a focus on Australia, and that's been completely redeveloped with the renewal. And we have two temporary gallery spaces as well, are soon to become three when we reopen. We have two large cinemas being a film museum, where we run our own film program and we're also a host to 21 film festivals each year. We care for our collection containing over 200,000 Moving Image works. This includes film, tape, disc material, time-based media art, games, television, digital culture and the associated ephemera. We have a 60 seat co-working space for the screen industries and we run accelerator programs every year for the creative and screen industries for them to develop their products. As I said earlier, we have exhibitions. We make our own and we also buy in exhibitions. This is Game Masters that toured internationally and is now on in Canberra, so coming home. And oddly enough, the Dreamworks Animation exhibition is also in Canberra after being in Asia, South America and North America. So now we're done with a preamble on with the show. So for the last three and a half years I've been working with my team and with Seb Chan, our Chief Experience Officer, on ways to create a deeper and more enduring visitor engagement, working in a new way to broaden audience engagement at ACMI. We have made strides in this important work and I'm very pleased to be able to talk to you about it today. At ACMI we work to empower our community to become creative and critical consumers and producers of the Moving Image. We do this by developing the screen, media and digital literacies of our visitors when they are with us in the building. But when they leave us, our museum visitors are on the tram, they're at home, they're all over the place consuming media, watching Stan and Netflix, playing games on Steam. So how do we have an impact and influence over their choices from afar? One way is through a post-visit experience. A place where visitors can go after their time at the museum to go deeper and reinforce some of what they saw and learnt. So why does a post-visit matter? Seb Chan says museum visit should be more than a day out. More than self-care, post-visit offers extension, recall, persistence. It is scaffolding. In preparing for the museum redevelopment we started to use every exhibition as an opportunity to pilot and test new approaches to design, technology and visitor experience, particularly with the post-visit in mind. We started to open up access to content so that our visitors could decide when and how they wanted to engage. And the exhibition is the beginning of the visitors' journey of discovery and curiosity is not linear. So we want our visitors to trust us, to give them different ways to engage with the content and not be bound by the physical walls of the museum. For this Scorsese Exhibition in 2016 we had the opportunity to use some fantastic audio material from Martin Scorsese and his editor Thelma Schoonmaker. And because all of our visitors carried around their own mobile phones, instead of hiring out audio guides we built a web app that visitors could access on their own phone over our free Wi-Fi. Being a web app it meant that this content was also available outside of the museum, giving our content much more reach. Now internationally we did some research and 20% take up of audio guides is considered pretty good. In the first month 58% of the visitors to this exhibition used the audio guide. We were extremely happy with this, it was a huge success and the product has also been adopted by other institutions in South America, the UK and here in New Zealand. So from that experiment we had a hunch that there was definitely a desire from our visitors to have more in depth content and that they could I guess consume in their own time so not necessarily with us. So we tested it by putting the whole Nightingale in the Rose exhibition by Catherine Del Barton on a long form article. 10% of users made it to the bottom of the page and this really proved to us that there is a significant amount of people who are wanting this kind of experience. So all of this work was getting us further towards Wonderland and we used Wonderland as the real test bed for the new visitor experience at Acme. Wonderland is an immersive and theatrical exhibition and it celebrates Lewis Carroll's timeless tale and all of Alice's adventures on film. The more curious you are, the more you will discover. From what we had learnt through experiments visitors had this appetite for the content outside the museum and we looked at how others were achieving this. Seb's work with the pen in Kuba Hewitt, sound and vision in the Netherlands and Disneyland. And museums closer to home, the Australian Music Vault in Melbourne and also Auckland Museum. NFC stands for Near Field Communication and it's the same technology that your hop and snapper cards and also f-post cards use. So we did some experiments around this internally and it seemed like a really cost effective way to deliver this experience to our visitors. So we moved on with that. So introducing the Lost Map of Wonderland. This is an integral part of the experience. The Lost Map of Wonderland is a physical and digital device that unlocks surprising experiences during the exhibition journey and beyond. It was jointly conceived by Acme and Sandpit. They are an experience development team and they were actually in our co-working space with us. There are four map characters, the Queen of Hearts, the Cheshire Cat, the Mad Hatter and the White Rabbit. And each map character reveals animations using NFC and Raspberry Pi technology and saves these experiences later in your post visit. At home visitors can then explore the post visit, a whole world of content and behind the scenes materials by entering their unique code found on their map. There is even a riddle to be solved. And the map does four things. Inside the exhibition it reveals hidden content specific to your character. It saves and triggers and saves experiences. And in the Queen Croquet's Ground you can make your own paper creation on your map, watch it turn digital on the screen behind and then save it for later. This activity was developed by us with creative technologist company Mosta. And last but definitely not least the map is also your access to the post visit. We wanted the post visit to go even deeper into the content, the stories of the exhibition, the makers and raise awareness that Alice is everywhere in the world. We commissioned video essays and a making of Wonderland video so that the visitors could see into the process of actually creating an exhibition. Another pilot for us was the hidden and unpromoted alternate reality game known internally as the riddle. The map holds the first clue and then after that, well, that would be telling. This was a huge success and I completely underestimated our audience. I thought that one person would figure it out and it would take months. With the first weekend we had letters coming in, 174 characters, characters, visitors cracked the code and 46 came back into the museum again to complete the riddle. Look at these faces. It's very satisfying. We did prototyping and usability testing to make sure that people knew what the map was for and how to use it. And this also helped inform the onboarding. The map is a very unique and different experience for visitors and also for visitor services staff to deliver. It replaces a traditional room sheet and there's a lot to communicate because it does a lot of things. So we had workshops with our visitor experience team to script and role play the onboarding of the map. And after a lot of work and some quite theatrical responses to how it could be delivered, we came up with these three key messages. Find the scanning stations, look out for the symbol and there's an online experience afterwards. In the gallery we also had call to actions in the activity room and also at the end of the exhibition on the escalators. And a post visit email reminding people that had booked online that there was something more. As part of the maps, Sandpit created a basic analytics backend for us so that we could see what maps were tapping what stations with timestamps. This helped us to determine the dwell time and engagement. We put a research plan together to kind of covering pre, during and post visit so that we could understand what motivates a post visit experience and test things and make adjustments. The Wonderland exhibition was a huge success for us. We got 172,000 visitors through. The average dwell time was just under an hour and 94% of people used a map and often families chose to share between themselves. 87% used more than one scan point so high engagement with the map and 10% so over 16,000 people went to the post visit experience. Over half of those people scrolled right to the end spending more than eight and a half minutes on the website. And to compare with the transaction on the sort of what's on section it's about a minute 30 so this was really fantastic. Since packing up at Acme, Wonderland is on the road and it's been to the Arts Science Museum in Singapore and audiences have been loving it there just as much. We've been working with the team there to gather the same statistics so we've got a higher number of visitors went in Singapore. It was on for longer and they extended their opening hours so 203,000 less dwell time in the show. 81% of visitors used a map and that was due to like we at Acme had complete control over how the map was delivered but it has a life of its own when we go on tour so we give it to the different venues and they sort of operate it differently. High engagement higher than at Acme so 93% at more than one scan point and 13,000 or over 13,000 went on to the post visit website and half of those people went right to the end. So what did we learn for the redevelopment with all this experimenting? Definitely that you need to integrate the post visit from the very start of the exhibition development process rather than it being an add-on. It needs to be considered the whole way through during design. It makes it much easier for the visitor experience team if you design the onboarding into the exhibition. It was very laborious every single visitor having to be handed a map explained what it was and then sent into the exhibition. Delivering to visitors expectations plus giving them elements of surprise and the offer of depth was definitely a really big learning for us. And through this work we're really changing our audience's expectations of what they get at Acme and also changing their behaviours. Since Wonderland happened people have actually come to exhibitions afterwards saying is there something like the map? So they are kind of starting to think differently about what we do. And changing the visit to be a much more intentional visit so taking something around and actually doing something was it rather than just wandering and not reading labels and then leaving. Visitors are most interested to retrieve things in post visit that they have made themselves or that they feature in. And I know that Auckland Museum had the same experience so that's definitely something that we've thought about for renewal. All of the interactives you can save and continue to edit at home afterwards. And keeping the post visit prompt front and centre is really important and putting those prompts in relevant places where it makes sense for the visitor. So that when they're taking their object or the device around and they're doing things in the museum they're constantly reminded that there's something for them to do later. So what are we working on now at Acme? Since Wonderland we have been focused on the museum redevelopment and not unlike the map there will be a portable technology to transform the impact of a visit to Acme. But this time it will be across the entire museum not just one exhibition so much more to collect. An object like this you'll have and you'll take around the museum with you inspired by magic lantern slides and view master slides. You'll collect objects, media and things that you make throughout the exhibition and the rest of the building via the labels. You'll then be able to explore the connections of the things that you have found or made with other media from other collections in the world and even more broadly outside of institutions. And then you'll be able to log into your post visit and continue the journey of discovery. So now for a sneak peek at the new Acme. We're connecting the floors with a large living staircase so that visitors can see the whole offer at Acme rather than just coming to one floor. All new permanent gallery exploring the makers and the production processes of the moving image. More dwell time and lounge space, a media preservation lab, learning labs, interactives and embedding first nation stories throughout the exhibition including a dedicated area on Australia. Games are in some way to explore all of the connections of the things you've saved at the end. That's all we have got time for today. But I would really encourage you to come back on the 7th of December and have a look at Wonderland for real. And yeah, thank you very much.