 Well, while we wait for the AV guy, let me tell you a bit about my museum because I don't think a lot of you may have visited it. Has anyone here visited? Okay, so a couple. So we're in Sydney and the museum was founded about 27 years ago by Holocaust survivors. Many people are actually really surprised to find such a museum in Sydney, but really Australia and New Zealand saw a massive influx of survivors come here. They really wanted to get as far away from Europe as possible. They wanted to start a new life, and this saw a great influx in our communities. And so my museum is a really special place, and this is the feedback we get from visitors, is it's a very personal experience. So when I started there 14 years ago, we always had Holocaust survivors on the floor. As visitors came and learned through this history, they spoke to actual people who had survived it, and this was a really moving encounter. It was very personal, and I think it was very special, particularly compared to some of those really larger institutions overseas, like the United States Holocaust Memorial. And this, especially for the staff who know these survivors, this has been really important to us. I think it's been hard because really we know that this time is ending. We have now about 40 Holocaust survivors who share their stories, many of which though who are children. And these programs, we get the feedback it's really, really popular. And so when schools come, they do a three-hour program. They do one-hour seminar with one of our educators. They listen to a testimony from an actual survivor for one hour, and then they go on a museum for a tour for another hour. And it's always the survivor voice that makes the greatest impact. And we've been doing these Remember Me programs. So once a month, we have a Holocaust survivor give a talk to the public, and they book out all the time. We can facilitate about 250 to 300 people, and they will be sold out before it comes. And so we have this dilemma, because we know that this wonderful experience we can offer is coming to an end. And so we've been really grappling with like, what do we do? How do we preserve this for future generations? And surprisingly, you would be really kind of curious to know that up until the year 2012, the museum actually didn't consider testimony as part of its project, as part of its collection. It's when I launched this moving image and sound archive that it finally was reclassified as actual objects. And I think that was really important for us, because there is an extra kind of care in the preservation. And just since this is a conference, I'll let you know what we're kind of doing. So everything is being accessioned onto our collection management database, which we use an axial product called AdLib for those of you who go and attend the axial conferences. We've been using Trent to do our transcripts. It's an online transcription service. It works pretty well, though a lot of times the transcripts need cleaning. We have volunteers doing that. And we preserve in three different formats, which is an MP4 for access. We're doing a movie file for working and JPEG 2000 for preservation. Now, I'm very interested in preservation. So if anyone is working in this area, it's something that always is the pain of my existence, please come talk to me because I'm really curious to hear what everyone else is doing. So how are we using this? So when we redid our new permanent displays a couple years ago, we were thinking about how to use testimony and we debated this to no end. Do we have those screens where you know it's just on a loop? Do we have one story where a visitor follows a survivor around? Do we have clips? Do we do audio? Do we do audio only? Do we do audio visual? And so one of the things we created is this app called Voices. So Voices is actually based on the technology employed by Mona, the Museum of New and Old Art at Tasmania. So it's their platform, which is really great to reuse because it's not reinventing the wheel. And what you have to do is in our displays, there's these icons. And when a visitor sees that, you can actually listen to testimony. So we made it so you first had to listen to the survivor testimony. It was very important for us. And then once you listen to the survivor testimony, you have the option of listening to a perpetrator, a witness, a curator, a historian. And we even have human rights people in this field of human rights talking about the implications today. And it works very well. We had a lot of debates whether or not it should be the audio only or if it should be the video. And we went with audio because we really felt it was important not to have people staring into their phones. We wanted them to engage with the displays. We wanted them to be looking at the objects as they went through. I'll tell you one thing that didn't really work, though, since we're among friends. We did faces. And the reason we did faces is because we wanted the displays to be personal. Not everyone is very apt at reading the differences in faces. We found for some younger demographics that they had a really difficult time differentiating between older white men. And that was a struggle for us. And we didn't know that at the time. But just if you're thinking of doing that, be warned. We didn't get all away from video. We do have video listening stations throughout the museum where you can select and there's clips that basically speak to different themes. And so most of our material actually comes from the USC Shoah Foundation. And this is a massive archive. They did 2,500 interviews in Australia with Holocaust survivors. And it is a wonderful resource. And basically these are very long interviews. They go for about three hours and they have tons and tons of questions and it's a whole of life interview. So it starts with someone's childhood. It comes right up to their story of migration and their present day. The problem with these are they are, well, they're a really valuable resource. They are really difficult to use in exhibitions. They are hard to cut. They are also hard because they go on for so long that really when the crux of the story is two hours in, the person doesn't really have the energy to really speak to the events like they should. Now I should still say we do continue doing these sorts of testimonies. Anyone who contacts the museum will do these three or four hour blocks and we keep them in our archives and they are great for research. But presentation, they're really hard. So in 1992 when the museum opened, we have this collection of testimonies that were filmed specifically for the opening. And these are my favorite ones and they were done basically with the mindset of they were going to be used in the exhibition. And I think these are really brilliant as well because they are highly produced. So if the survivor starts a story and it doesn't start in the wrong stop, the actual director stops them and has them stop like at a very good point where it can be edited. And the fifth or the sixth days, you know, memory doesn't serve me right anymore. We were put into cattle wagons to go to concentration camps. You know what? A big relief. A big relief because I was so naive, we were so badly informed, it was kept so well secret that I thought I'm going to meet my first husband and my parents and my sister. It never entered my head that it could be extermination camps. I was sure I'm going to meet them so that when we were herded into the wagons and the terrible conditions, I'm sure that you heard it. I mean, we just, we couldn't lay down, nobody wanted to lay down anyhow, but we just could sit under, shoulder to shoulder, under boards, I mean floorboards, and there was a pail for usages of the toilet, men, women, children, old people, young people, newborn children, you name it, it was there, and no food, I mean for the trip who cared about us, nobody. I started with my girlfriend singing because we were happy we are going to meet our parents and everybody shushed us up. You made who wants to sing because we were happy, you know, we thought we are going to meet them, but more do we want, we will be reunited. And so then, so we've had a few testimony projects like that, and so they're on various backgrounds and we have quite a big collection, but starting around in 2012, we started to realize that our objects, our collection is also stories, like we knew that, but like we started talking about more of them as actual placeholders for people's stories, these containers of memory. And so we became very interested in going back to our donors and filming them regarding items that they have collected in the museum. And for me, I think really when the survivor generation passes, it's going to be our collections that are really going to come to the forefront. And having them talk in their own words about the meanings of these collections, I think is going to actually come to the forefront. So we started this project going back to their homes. Now I'll also say, because we've gone back to a show of style filming, because we always have these debates, should you do it in the studio or should you do it in somebody's home? And there's pluses and minuses for both, because in the studio you have a very nice consistent look. It's very easy for exhibition. You have control of sound and lighting very easily. But in their homes, there's something special, I think the person is more comfortable. They can be a little bit more relaxed in their interview. Also, you can you get a sense of who they are by their surroundings, the pictures on the end table. And so I think it does add a little bit of personal touch to it. And we do go back and forth and we film in both ways. My name is Judith Nechum, N-A-C-H-U-M. I was born the 7th of July, 1928, on the German check border, which was called Sudeten. And we live there in that place in our house with my father and my sister till 1938. This number I got in Germany, it must have been issued in Erderand, because I don't think that I got a number in Auschwitz. I had a blue frock and nothing else, no coat, no undies, not anything. This number was stitched to my overalls, always on the left side, was here. And that number stayed with me till we came back home. I had to have it. It had a meaning for me. I thought if I survived the war and I have got something to prove it, then my father is going to come back, because whatever I worked hard, I would tell myself, if I can do it, my dad will be able to do it. I also had my first love. I was 16 years and I fell in love with a boy who came from Westerbork, from Holland. He was a Dutch boy and to my eyes he was the most beautiful human being that I have ever seen. I had always a complex that I had neither good-looking nor have I got a good figure and that this boy fell in love with me was just something special. So this was the number that my father and my boyfriend whose name was Thomas would survive the war and would come back not wanted, not my father and not Tommy and not his mother and not his father. I just had to have it. I needed something to prove after my hair grew back again that I was really there. That's why I kept it. So our latest filming project, because one of the things I'm always asked is how do we keep their voices alive? How do we preserve things, this material for the future? And so going through our archives, one of the things that struck me is we actually didn't have any full-length testimony of our survivors. It's one thing that just wasn't present. And I was particularly inspired, I don't know if anyone saw the Stong Lines exhibition at the National Museum of Australia. It was a fantastic one where they had filmed Aboriginal elders full-length and they were placed through the exhibition and it brought a real feeling of community in. And so we embarked on another filming project. It was actually quite a big setup to film our survivors. And what we did in this filming is we were trying to accomplish three things. So again, we were going with the object interviews. And one of the ideas is, too, is we can create pepper's ghosts with the exhibitions. We can have full screens, you know, them with their object there. But we also did two other things. So we were trying to capture very short vignettes of their story, something from three to five minutes that could be edited, either for educational purposes or for displays to use as certain junctures. And then we also did FAQs. So frequently asked questions, because there's some that the students always ask. You know, they ask questions like, do you hate the Germans? And so we asked everybody these sorts of questions and how we're going to use it. I actually don't know, but it was felt that we should do this for a time when they're not here to answer these questions that, you know, we do have the possibility. I'll show you some of this footage as well. Welcome to the Sydney Jewish Museum. My name is George Kronowski. I was born in Poland and I am 91 years old. She came back with one of the officers. I had to jump into the cupboard and hide behind the clothes. And I would be as quiet as a mouse. It was dark. It was so dark. It was dark. It was so dark you couldn't see anything. And I had lice and I was itching. And I couldn't scratch because the slightest movement would have given me away. And I could hear the creaking, the noise, the laughing. It was an eternity. I thought the night would never end. I carried always a piece of bread. It was a definite hang-up because the hunger, what I have experienced, it always left me with the fear that I won't have something to eat. One day, with a colleague of my son, I asked, so she's a psychiatrist. I said, what's wrong with me? Look, I'm carrying a piece of bread. So she said to me, Carmel, say her name. Even it's very, very, that's all you have a hang-up. You're doing very well. Try one day, just if you go for a walk, go without anything. And I did. And I'm happy to tell you I've lost that fear. I don't carry anything anymore with me. This belt was the only thing they left us from our own position. Every time I changed camps or time passed, I had to make another hole because it became smaller and smaller. Eventually, I don't think even that this was enough to hold up my trousers. So little, so small I was. I actually, what I really love about this format of testimony is that you really get to see all of their gestures. I found when we interviewed the child survivors, they would often kick their feet, like their little kids in school. You can see them gripping their hand. A lot of the information that you actually really lost with the portraits. And it's now my new favorite. And this was done with the anticipation of being able to create a really beautiful exhibition, maybe Pepper's Ghosts. Maybe we could 3D scan our objects and really make something immersive with it. But I'm still being asked, how are we going to preserve for the future? So I don't know if anyone is familiar with the work that the Shoah Foundation is undertaking. Is anyone familiar with this at all? OK. Yeah. So this is their dimensions of testimony project. Now, I should say the Shoah Foundation is located at the University of Southern California. And they have a massive research budget because they actually do a lot of research for the film industry there. And they benefit from a lot of this. And so this is a volumetric filming orb that they created. The original filming was actually 123 cameras all around here. You can kind of see the red lights. I think the British Museum is doing something very similar right now with David Attenborough. And basically what you can do with all of these views is in the future when there is something in the round, you can create a hologram or a hologram like holograms are with lasers. But we'll use the word hologram just for convenience. And so they've been doing this project. And so that has inspired us. And I'll show you one of the things that you can do with this project. So what you could actually do with all of these views, these are all projectors, is you can project all in like a three dimensional array. And so you actually have a sense of volume when you are filming. It doesn't actually come out very well on the screen, but it is actually really fancy. So we are now creating an array. And this is what ours is looking at. Though we are actually experimenting with doing something in the round in 360 degrees. At the moment we're looking at more of 120 degrees. And this is 19 cameras. There are mirrors, these are mirrors in between. So you actually get 52 views out of all of these cameras. And with the 52 views, basically some companies are already kind of experimenting with these screens in the round where the projections come in and you can walk around and you can get a three dimensional view. And the more views you have, the more opportunities you have to create something. One of the issues with this, and why we've kind of gone with 120 degrees rather than the 360, is we have a data management issue. As you can imagine filming with one camera how much data you collect, we are planning on doing at least a nine day shoot up to a 15 day shoot. And we are expecting to generate anywhere between 400 to 800 terabytes worth of data. Which is its own problem, which is giving us a massive headache. It's actually half of the issue, which is why we said, okay, people really don't need to see the back of that. And if you're listening to a testimony, then like, does someone actually have to look behind them? But there are arguments about like, well maybe you should just do it in the round because one day if you do want to have Holocaust survivor stationed in your museum around you will want that back view. I don't know. We're still kind of working out that budget right now and how to manage all of the data. I am pleased to say that the Shoah Foundation is helping us with all of this. So their tech people are working with our tech people here because we're actually looking to build, they do have a traveling rig that is now being sent all around the world. They are using 23 different cameras for it and a green screen, but we're looking at constructing our own that can stay in the Australian New Zealand region and kind of collect stories all around here. And just so you can see with the camera. So if you see this T right here, that's your subject. So this poll is put. So you can see how the poll has moved to the other side. So that's what the mirror does is it just kind of gives you those alternative views. And so this is a project that we are hoping to start in April and fingers crossed it all goes well. As of now, nobody's actually using the kind of three dimensional ish projections as of yet, but hopefully within the next few years, we're gonna be able to actually do a display with all of it and as technology catches up, this is kind of how we're seeing the best way to future proof ourselves. So that's it. If anyone has any questions or if you wanna talk to me during the tea, very happy. It was so brilliant and really compelling and amazing to have it documented and available for the public. So we've got a microphone down the back somewhere for questions. Does anybody have a question for Shannon? Thank you very much. That was really good. I did have a question. You mentioned data management issues, which was what I was thinking when you were showing that. What are you doing? Where are you up to so far in terms of managing all of the video that you have? Yeah, so if we were in the US, it would all be a lot easier because a lot of these servers and infrastructure, we would just be able to loan, but it doesn't actually exist in Australia. So that is becoming a problem. So we're looking to actually borrow the hardware from the Shoah Foundation Institute and bring it back to us. They're actually gonna help us a lot with the data management and backup because it really is past our infrastructure. Right now, we're kind of leaning towards LTO tapes because that is the most economical way and then we would keep, we're doing two hero cameras. So one will be the full length and then we're doing a second, which is portrait because marketing likes that for Facebook and whatnot. And so we would have those two files available on site and then everything else would go into a cold storage is looking because otherwise, like to build a whole server, we're talking about 75,000 is what we're gonna, just for this. Thank you. And I think the mic is working now. I don't think we've got time for any more questions, unfortunately. I'm really sorry, but Shannon will be available in the afternoon tea break and things if people want to have a chat. Thanks, Shannon.