 Kia ora, garafti mnohi ira mazod. Aion, garafti mazod tato lonely te vi boilerio mazod utم nuat理 g accepts stabilia krama, those experiences out to visitors and students and in situations that better suit them. OK, so the three gallery scan case studies that I'm going to focus on today, the Auckland 1866, which kind of started it all off, touched a little bit on Gallipoli and Minecraft before Qatari and a bit more on the Origins Gallery and tell a bit of a learning and education, learning and engagement story. Sorry Josh. OK, so kicking all off with Centennial Street, Auckland 1866. So the challenge here was we had a much-loved gallery that was coming to the end of its life and we were very interested in capturing some architectural plans for it. Now I'm not sure if anybody's aware of the history of this gallery but it was created back in 1966 by a department store in Auckland down on Queen Street known as Millland Choice and so the set kind of existed there for a time before it was donated up to Auckland Museum and then it became a permanent gallery from that point on. So obviously with the need to—oh sorry, I'll look into that in a minute—so those were the chief challenges that we were wanting to address here, working up those architectural plans, presuming gallery layout and maybe there's a bit of an added bonus thinking about a digital tour. So just taking a little stop there just—sorry—a little stop there just to go back to a bit of inspiration for the type of project or gallery scanning project that we were wanting to undertake for this. My name's David Rooney. I'm the Science Museum's curator of transport. The Shipping Galleries opened up the Science Museum in 1963. It's the biggest gallery space in the museum and it was stuffed full over a thousand absolutely remarkable exhibits, genuinely historic stuff. Every time I walked through I found something I'd never seen before. After half a century though it was time to close the doors. It was time to make way for new exhibits but we wanted some way to preserve the old shipping galleries and I was really excited when we got the chance to have the whole display laser scanned. Two billion precisely measured points and so now we can make a virtual model of the galleries. We can see them in an entirely new way. It's the unique permanent record of a unique historic exhibition. It lets us— So that was very much what we were wanting to do with Auckland 1866. We also create a unique permanent record but also to reverse engineer those architectural plans. There were no plans available to us that came through from 1966. So that's why we chose to work with a team of architects to carry out those laser scans. The other side of that is once we had those laser scans that once the exhibition came off display and was in storage then at a later date would we be able to rebuild it? We'd be able to put parts of it back together for complimentary displays either at Auckland Museum or elsewhere at other institutions. And now touching again on another little bit of inspiration for this. As I mentioned a little bit earlier there, one of the little serendipitous outcomes we were hoping for perhaps was a digital tour that might come out of this. So there's this Google really lovely, well-produced Google tour of the Abbey Road Recording Studio. I just got this fantastic intro but what we loved in particular was once you got inside that, take note of that on the bottom left-hand corner of that navigation aid, what we really liked is that the visitor could go through points, lead the own journey through the gallery and call out points of interest and get more information on those. They could also easily navigate around the space and quickly move to points of interest. So that was the challenge. So the opportunity to address those challenges was to work with a team of architects to create those plans and the method that the architects chose was laser scanning. They also did some photo stitching, setting a camera up in the gallery and doing some photo stitching but the laser scan was really well suited to the creation of those architectural plans. As you'll see in a video coming up, it was also the ability to create an opportunity to create an active lead experience within the gallery. So we'll get to that. So this video will just take us through a kind of a comparison between the laser scanning of Auckland 1866 and swap between the photo stitching as well. As you can see, there's that really atmospheric layer there that you get from the laser scanning. All those wonderful point clouds and lasers are getting all that accurately capturing that record of the gallery. Then as we move in here, I'm going to swap over to the photos. So at the end of that scanning exercise, we'd successfully created those new plans. These are the reverse engineered architectural plans that we got back from the architects. So we've got those plans and then that layering of the atmosphere over top as well. So the valuable thing about this is, of course, from the scanning we've got a record that the museum can keep forever more. And this little video is then that second stage of the exercise. So with a more of a photo stitching approach, we're able to capture the gallery so that people can move through it more of a Google style tour. But we also worked with our learning and engagement team to create an actor-led experience. So we had two actors that created fictionalised accounts of personalities from two of the retail spaces within 1866 and created backstories for those. So we captured them and they were also there on site for the closing weekend. So this is the little... So as you can see... So there's lots of fantastic work going into the script writing for that actor-led experience and also capturing that and then layering that within this Google style 3D tour. And then you can see that navigation aid in the left hand corner that's calling back to that Abbey Road tour. And again, back to the Abbey Road, this gallery is jam-packed full of objects and stories. So the shop fronts and the objects or key shop fronts and key objects within the gallery are tappable. And then visitors can get more information on those. There's really fantastic photography going on. So visitors can really zoom in and see a lot of detail there. And once that... And that tour exists online at the moment, so that's Auckland 1866 Auckland Museum dot com. I can put those links up later. But then that becomes this fantastic tour that then provides context for the collection stories that we have on the rest of the site. So this is just one of our many fantastic topic pages that provide a bit of an introduction to the breadth of the Auckland Museum's collection, and this one's focusing on objects of colonial Auckland. And then we're able to embed that tour within that so people can get a bit more of a sense of how these objects are made, created and were used in Auckland at the time. So just wrapping up the outcome of that case study, it really fulfilled the objectives of the pilot. So we got those fantastic architectural plans that we can keep forever, and added bonus. We got that digital tour created on top of that. We were able to extend a digitisation project into something far more engaging with a storytelling component embedded within it. So just moving on to the next case study. Now, some of you might have heard a lot about Gili Blinga Minecraft. We talked about it a few times, but we fell on it too much. But it proved a little bit of a turning point for us with the 3D scanning technology. This is where we'd come to contact with the firm that was dealing with technological Matterport. If any bodies are familiar with it, I must correct me if I'm wrong. Matterport's a technology that's made its name, well, it's based in the US, it's made its name within the real estate industry. It's got very cost-effective means and quick means of going into a house and capturing the whole 3D layer of the house that can then be put online and people can view through... go on their own visits of houses at their leisure. So we decided to... So with Gili Blinga Minecraft, we decided to give Matterport a try on that to see if it was a good use of the technology. If it captured the gallery in a way that we really liked. So we conducted a pilot. Compare that with the different technologies we've been using up until this stage and assess if it was the best product for scanning. All right. We touched on Matterport there, a little bit of background. So the outcome of that, let's say, for us it was a fairly new technology, but a really promising one. The firm behind it is bringing in new features all the time. So when we first started dealing with it, there wasn't that big opportunity to kind of layer more text and those embedded elements within it, like we did with 1866, but more of that is being developed and brought online with revisions of the product. We found it to be reasonably cost-effective. Another bonus is it supports virtual reality right out of the box, which I'll point to in one of the upcoming videos. So these Google Cardboard and other devices, you can get straight into the scans using those. As I said, there are a few options to layer content, but that's improving. One of the downsides for us is though there's no original files to get hold of. So if we are a little bit at the mercy of the vendor, so if they do go away, there's plenty of children to lose that. Onto the Origins Gallery. So something I probably didn't preview up front. What I'm really trying to tell here with this story is that it's very much like a future museum story for us. So a future museum, for all the museum, is a guiding 20-year strategy and one of the components of that is to spread digital thinking and digital capability out from the digital team to all teams around the museum. So this story, going through these cases very much, going from technical pilot to a situation where teams outside of digital can work on their own digital experience, digital product and work directly with the vendor and own that and develop that themselves. The story behind the Origins Gallery very much sits within that. So the Origins Gallery, the challenge for us, well, the challenge for our learning engagement team was at one stage that they're teaching modules within the gallery. That's modules the right word, Josh. Programmes. They're teaching programmes within the gallery, but finding that the gallery is not really adapted for learning. There's various problems they're encountering with noise, traffic flow so we'll dive into those challenges now one by one. So a big one is noise. I mean there's lots of dinosaurs in this gallery. Kids love dinosaurs. So this programme in question is being aimed at secondary school students and there's lots of noise being generated by younger children. There's lots of gallery congestion in this gallery. There's self-led school groups. There's tour groups going through there's general public going through. So it's really hard for the educators to find space find quiet space within the gallery to conduct the programme. And as I say they're dealing with secondary school children and secondary school students some of which are bigger than others and it's really hard if we're focusing on one particular case within this gallery it's a tight space. So it's hard to get those groups sitting on the floor if they're all the kids they don't want to be sitting on the floor anymore. So the opportunity then for the Origins Gallery was to do a Matterport scan of this and then kind of linking into what we were saying this morning about taking this experience back up to the and so putting it in a space or delivering it in a method that best suits them into a situation where it's easier for the educated to connect the gallery and the collection and the objects and to engage with the learners. So this is just a quick video of that scan. As you can see down here there's that it's available with the virtual reality of the Google Cardboard. It can easily toggle between Dole House and Floor Plan. This is the Moa Case here so they can go straight to that Moa Case. Easily navigate around the gallery themselves and then when they come back to the Moa Case sort of honing in on the example that for the educators. So say here that they're trying to talk to the students about morphological difference between Moa species and talking about those differences how those differences are represented with the leg bones there and the different sized skeletons. So here's Josh. Say hi Josh. This is Josh, our educator from Auckland Museum he leads this particular programme. So this is Josh taking through the class in Auckland Museum's classroom. We have two built-in classrooms on site. So he's going through that interactive that I just showed you. He's leading it with the iPad there. And so he's able to take the whole group through and easily swap backwards and forwards between the elements he's trying to point out in the gallery with the handling collection there. And so then the next step then is that ability to really engage with the learners. So they were able to easily move from that educators into a whole group to cutting up into smaller groups. So there's smaller groups of four to five children students working with iPads and then they're able to work together in a kind of co-constructed learning. So they're able to navigate themselves around the gallery. They're sitting down so they're able to safely and easily work with those objects. That moa bone was a real moa bone so they can easily pass that around safely and link that back to what's going on in the gallery tour. They're also able to I forgot the phrase now bring in the learning. Working in those groups together in those smaller groups they're able to draw on their prior knowledge from other areas of biology or just general knowledge to kind of really break away from that authoritative voice from one educator, one teacher telling them about the topic helping themselves work through a topic with reference to that handling connection and to the gallery and easily being able to swap backwards and forwards between the two. So just going to just wrapping up with the outcome for that origins gallery we've noticed some improved visitor engagement we have a little bit of reduced feedback from teachers about that noise because obviously after they've gone through this classroom exercise they're able then to go on their own self led visit through the gallery themselves the teacher takes the class themselves through the gallery and then they're already prepared for the gallery, they've already been prepared to have that knowledge so we're finding they're more engaged once they get into the gallery they know what objects they're looking and they've got that background information. They look closer at the objects both in that classroom situation but once they get out into the gallery students really responded well to the ability to lead themselves through a learning exercise though learning engagement teams are still very keen that there's an expert there to help prepare the class and lead them through and explain some of those key concepts to link back to the curriculum. Everyone will have found this whole 3D scanning technology has turned it a really usable tool that's added value to the students themselves who have improved their experience but also really helped with the educators to take the class in a more detailed way. So just wrapping up there, so this is really a story of moving from a technical pilot to a standard piece of digital practice that any team, not just a digital team can take up and lead and that last example I think is my favourite case study in the whole one because it's one that didn't involve the digital team. The previous pilots started off as technical pilots but evolved into valuable tools over time. Digital team was involved in evaluating it, found it useful, so we sort of paved that way but then it's really been something that's been owned by the learning engagement team, now it's a standard part of what not only that team does but the museum is a whole so it's a tool we consider as part of our gallery renewal process when exhibitions come to an end scanning those exhibitions so we've got a permanent record of those and of course that great learning story. So thank you very much everybody I hope for some takeaways that you've got from that and perhaps I'll be happy to talk through after the talk or at a break about how that might be able to pick some of this up for your own situations for your own organisations. Thank you. Thanks Gareth. We do have about 10 minutes for questions so does anyone have any questions for Gareth at all? We have a microphone so so amazing and as an educator it's excited me so much but I was just wondering when you were looking for the people to do the work, was there millions of people to choose from or is there only a few companies that actually do the 3D scanning and was that easy or hard? I think the Niels, do you want to talk to that one? Niels was involved early on scoping out that landscape for the firms that they are out there doing that and then it kind of moved over into a content production phase. So as Gareth was saying before it is sort of an architectural discipline or like a serving tool really so there's quite a few contesters in that market space that we could choose from and it was just completely coincidental that the people that we've worked with there do 3D scanning and you should really try this so there was an opportunity for us but there's many companies operating in that space and then as Gareth also said there increasingly there are businesses that work in the real estate field as well which are probably not to that same level of detail and precision as the architectural ones but are much quicker in the way they turn around things and we were lucky to work with a company in Auckland who we had a relationship with and they they're really kind of front footing that technology and it was a great opportunity for us to kind of walk that journey with them together but I think it's just going to increase and we're going to see more of it and that said the hardware itself is also quite affordable if you wanted to do it yourself the hardware probably around $5,000 would get you in the game $10,000 $20,000 no I think it's it's affordable ish but not affordable enough for us to go out and just buy and do it ourselves Meredith How big is the Auckland Museum's digital team? How many people are devoted to pursuing digital realm stuff? Most of us are here at the conference today quite a few of us in this room we're how big is the digital team we're about six people but as I kind of touched on the talk it's very much about we've been through like about a year long project of taking digital capability out to other teams and making digital a normal part of what they do so we kind of a bunch of our weight for six people but we wouldn't be able to do it without the help and expertise from teams throughout the museum learning engagement in particular Go Josh Was there any hesitation in using Matterport given that you don't seem to kind of get the data at the end of it Yeah it is a problem for me I like to have control of all the assets I mean it's we're bringing a digital asset management system online later this year so we want to make that a normal part of what we do for any digital project any exhibition content related project that you've got you've got the assets right there from the start I mean it's something that we're asking more and more when we're going to third party vendors if they're developing an interactive for us we want that maybe we can't recode stuff but we want the assets so we can go and make those lightweight text and image edits because it's just too expensive to go back out again and do that so where possible we always want the original stuff Yeah It doesn't have the experiential side of it and the ability to navigate it but what do you get what we haven't done yet It's a very good problem and they want to help with the data and that's where it stops us because we don't as a supplier we can't supply that because they want to help any other questions we've got one more minute so final question from Adrian just in the front there Who else put their hand up and I'll come and find them afterwards And as she follows on from that so Manaport kind of talked about but the others so you talked about having an archive of exhibitions but what's the long term prognosis of the files that you're collecting so in terms of the digital preservation of what it is that you're doing you're doing some fairly maybe not cutting edge but more complex digital files that you can get architectural models but what about the actual 3D themselves Is it even a consideration I guess Yeah of course it's a consideration I guess we're quite at the early stages of it so we're still testing out what's possible and in this phase it's been more about that creating those cool customer experiences like working with L&E we've wrapped up a one I haven't touched on is a recent exhibition that closed Kororomai Kororatu and there's a chance to link to Maori art practice curriculum links in that so I guess it's something we do need to think more about that whole preservation side of it but right now we've been focusing on the experience but yeah I think it's a fair call so the dance system the dance hello, how are you? the dance system that we're about to put into place supports 3D files so we will be able to keep a permanent 3D record of those scans not really knowing what we're doing with it but we will keep a record of it and that's both for reference, back of house purposes that we can go back to things that we've done in the past or maybe rebuild some things that we've done in the past like 1866 that's what we wanted to do or to build experiences on top of it but we have the ability to store it we have the ability to create it and what comes after we'll see cool and a quick plug for Meredith's talk later this afternoon she'll be talking about objects scanning within galleries at Nelson Provincial Museum check it out