 OK, welcome back to the afternoon streamed sessions. We have a session starting with talk, tip-tops, and tools from our vendors here. First, I'm going to introduce Rebecca from New Zealand MicroGraphics. Afterwards, we're going to have Paul Rohl from Vernon Systems and Emily Lofnen from Curio. Thank you very much. Hello, everyone. I'm Rebecca Rogers from New Zealand MicroGraphics based here in Wellington, but we have officers, of course, in Auckland and Christchurch. I'm going to be talking about digitisation projects and essential, planning essentials. So it's pretty much a rundown on the basic bullet points of how we run a project within our digitisation team and NZMS. So the first thing, I've got to get my remote, is planning. So planning is a huge part of any project. And those of you who are in the previous session with Tim Barnett would have seen a massive couple of spreadsheets around how they plan the large project. So determining the goal was a huge part. Why are you digitising? And the intended use of the immediate end is a huge component you should be thinking of. WBS, Work Breakdown Structure, so essentially a project plan, determine the scope, the resources, develop an estimate and budget, and then turn that total scope of the project into smaller, manageable tasks based on size, costs, duration and responsibilities. What has to be done in order to get from A to B and estimate how long each of those tasks will take and how many hours they will cost on people and equipment. The big one, of course, is quality. These little metrics that we use there is that quality equals time plus costs. If you change any of those three variables and you'll change the outcome of your project. So it's really important to establish your quality, your level of quality, at the project outset. Implementation. So this is the fun bit. This is where stuff gets done. You've done your planning and you've got all the fun bits. So you assemble your team. You want to make sure that you've identified skill sets that are going to suit the project. You want to schedule and start with a kick-off meeting. And that means that you go over the project plan, the objectives in detail. You review the time frame, clarify roles and responsibilities that everyone knows what they have to do to get everything done. More importantly, identify any risks and issues. Do that at the outset and that way there won't be a surprise as you go through the project. Review the time frame. I've done that. Items with the conservation requirements. Now they're often a delay factor that things you've scheduled to digitize actually have to go through quite a process to be conserved before they get captured. Reduce the risk. So we really recommend using a pilot to prove your process and test your assumptions. And that's on workflows, timings, image quality, end deliverables. It's also a chance to identify health and safety risks. People come in different shapes and sizes. They have different requirements. And it's good to be adaptable to a change in your workflows to suit an individual. And out of that, you need to update your project plan to reflect discoveries or lessons learned. So once you have the pilot outcome signed off, you can scale up to full production with confidence. Consider daily stand-ups weekly, in some cases, depending on the size of the project. This means that your project team have handover and feedback, which will ensure smooth everyday operations. Analytics, know your data. Can't stress that enough. You can monitor your process and your budget. You can meet the expected throughput and forecast your completion dates and be open to changing and improving. Your data will help you drive fact-based decisions to re-evaluate your project needs. Reporting stakeholders. In this case, we've got clients versus in-house management. So make sure they're updated and informed. No surprises. And sharing the metrics as well across the team. Giving you the numbers. Graphs are always fun. Everyone loves watching that progress bar move upwards. No one likes a flat line or a drop. And momentum. Now, momentum's quite a thing you forget. We had a long project, recently, 18 months. And it was scaled up quite quickly in the last six to seven days a week. A lot of stress, a lot of impact on the team. And we found that having visual references and guides around the office throughout progress and making sure that that kept the momentum going and the quality of the project was maintained. Data. We touched on data quickly. But data is actually quite often forgotten that the more you, in terms of quality, the more data you're going to be storing. So always think about the end storage, digital preservation. Know why you're keeping it. Do you need to have those unmodified masters? Or if you do, make sure they're stored appropriately. And what master formats to keep and how many? And what type of derivative you're going to have for the access? And obviously, at some point, you want to have some rules around deletion. Unmodified masters versus modified masters. What are you keeping? Why aren't you keeping? Into the project. So long or short, projects always come to an end. And there are a few things to cover before you can say it's undusted performance. So you want to actually revisit the original goals and compare the final outcome to whatever was agreed in the original scope and how well that project has performed. Heritage items are challenging. And if it has all gone well, then you want to celebrate their successes. And even if it hasn't gone as well as you hoped, it's important to recognize your team's effort. Ownership is really important in terms of how we deliver the information and the content to the client. It's really important to have those deliverables signed off. And a debrief, regardless of the outcome, it's important to make sure you take the time to look back. What worked well? What didn't? Document that? What would you do different next time? And these are all lessons learned that can be passed on to future projects. Post-evaluation is a really good chance for discovery. And it's not a time to criticize or blame. It's a time for everyone to learn where errors are made, what was successful. Better to try and identify that rather than have someone or a team member hide that and find better ways in managing those negative outcomes next time. So that's pretty much project management of a digitization 101. So thank you very much. Tena koutou, tena koutou, tena koutou katoa. Now I'm not sure if somebody's responsible for opening up the PowerPoint. So one of the things that I really love about my job is helping organizations share their collection online. And so what I wanted to do today was share some tips based on our experience with those projects. In 2015, we ran a survey internationally on the experience that different organizations had had once they'd shared their collections online. And so while a lot of the responses to those things were positive, there were some challenges there. So many people said that their workload actually increased after putting collections online. So the number of inquiries often ballooned after collections were available for the first time. There was also challenges with the copyright. So just working through the backlog of establishing copyright for each of the works in their collection and deciding how to document that on the website, how to provide different search options. There's also the question of the quality of the data. And I think ultimately everyone has to realize that the data is never going to be perfect. There's always new data that you can add. And there's definite advantages with sharing your entire collection online, even if it isn't perfect. There'll be more eyes on that data to identify mistakes and help you correct those. And people will be more aware of what actually exists in your collection. And so the number of inquiries had increased significantly. And so that was often because people were finding that those collections existed for the first time. People also found increases in other activity, such as more requests for loans or reproductions. And there was also strong evidence that the types of questions being raised changed. So a lot of the simpler questions might now be answered by people finding your content online, but that will raise more complex questions, which might actually require more staff time to go through and come back with a suitable response. And so now I wanted to look at how we could possibly cope with some of those challenges. So one way that you could look at is by applying for funding based on the success of digital projects. So look at interests that's been raised and current work that you've done online and use those successes as a way of applying for further funding to increase both staff levels or do one-off projects to help ease those resources. You should also be measuring against desired outcomes. So there's tools like Google Analytics, which is free that can provide a wealth of statistics for how your online content's being used. So for example, if one of your outcomes is getting increased engagement with your audience, you might use Google Analytics to measure how many visitors are returning visitors and see how that changes over time. Volunteers can also help. So volunteers, one of the things that's most exciting for them is to have direct contact with your community to be able to help answer those questions, to be able to be more closely involved in the work that you're doing. And so that's only really possible if you've got clear standards. So you should all be looking at implementing cataloging standards regardless of what software you use. So thinking about minimum data, field rules, terminology standards, style guidelines for your text fields. You should also be trying to do reviews of the data, and that might be a combination of periodic bulk reviews, say all of the things that are currently missing the title field that you could go back to, and random spot checks to see that there's not some kind of consistent error that's creeping in. And hopefully that's more than just the office cat that's doing the checking for you. Using terminology fields can then aid how that content is explored online so that can provide links between records. So here's a standard piece of terminology that's done by the Powerhouse Museum and is available free online. And then here's an example of an online record that then has standard terminology and is providing links to other records related based on that. So we can see here, for instance, that based on the object type we could jump to all of the other photographs that are online. Now you might also want to introduce broad groups for people that don't actually know about your collection in advance. They may not have something specific that they're wanting to find. And so having those broad categories, which might just initiate simple searches on some of those term fields, provide a new way to enter into the collection. On the copyright side, you could look at managing some of the low-hanging fruit. So you may have social history collections where you've photographed the items and you own the copyright, and they might be ones to start first marking as Creative Commons licenses. You can also look at things where you know the production date and bulk mark those as being out of copyright and clearly note that on the website so that people can reuse that content. And so Creative Commons is one of the popular ways for marking that content. So use the least restrictive copyright license you can to enable the most possible reuse by the people that are discovering that. You may also have copyright or funds. You've done your best possible job to identify the copyright holder and you haven't been able to find them. In Auckland Art Gallery's case, they've actually shared online all of the things that are in copyright but where they couldn't identify the owner. And that's proved really successful. They've been able to draw some of those copyright holders out of the woodwork and then update their information. And in almost all cases, those copyright holders have been excited to see that their content is living on and is available on a website. As part of that, though, you do need to have a takedown policy so if somebody does dispute the copyright or has any concern over the quality or type of content, you can just immediately take it down off the website and then spend the time to review whatever choices are ahead of you on that piece of work. You can also assign roles for different parts that the online collection relates to and that can involve the social media team. They can help respond to comments as people engage with your online collections. You can also make sure that your content's more widely discovered by connecting into some of the larger aggregators so sites like Digital NZ can automatically copy your online collection records into their much bigger database and people can discover them first and then be directed to your website so it just widens your audience being part of those projects. You can also provide services like comments functions as a way of gathering feedback so that can be a way of identifying new information. In the case of here in Pukeariki's photo archive, they had one serial commenter who was adding captions for all the school photographs while he was at that school and they were able to identify all of the individuals in each of these photographs. And so across the survey, there was almost unanimous feedback. People were saying that it had revitalized their collection teams and provided renewed interest. And then I just wanted to close with this last quote. I have loved the new Digitized Museum records to see my granddad's gorgeous big ears popping out of a photo online is truly heartwarming. And so these are the kind of end results that you can get by sharing your content and doing it in a generous way. Thank you. Kia ora everybody. Kōi Mili Loughnan Aho. Many of you will know me from the last 25 years creating bespoke digital media for museums and galleries and all kinds of visitor experiences. Not sure if my video's gonna play. Just one moment please, Kōla. Yeah, so I've spent the last 25 years working with museums and we work with all major institutions and small museums and Iwi and tourism operators on and offshore. And in that time I've had some really amazing experiences. So things like being back of house with a passionate curator or some real pointy-headed subject matter expert that knows a lot about one particular thing. And they can just tell you the most mesmerizing and fascinating stories about objects. And it's a real privilege to have that happen to you first hand. And it's something that I really know. I've done a lot of visitor observation and design thinking work. And I really know how much visitors love that to be authentically told a story first hand from an expert. And the second thing that has happened a lot to me is institutions see the kind of things that we do and they come to us and go, oh that's amazing, how much to have it, could we have something similar, could you just adjust it and do something for us? And the answer is basically what we're doing is bespoke. It's crafted for that one exhibition. And it means that you've got to start again from scratch while we can definitely leverage our IP and experience and the technology we've developed over the years. It still costs a lot of money to have this kind of stuff made. And it's been kind of niggling away at me for a while about how we could make that more affordable and more systemised and productised if you like. And the other thing that I am really passionate about is accessibility and also about incorporating different voices into exhibitions. I don't just mean language, I mean people who have a completely different perspective to yourself or a different point of view or might even argue the toss over something makes for an interesting discussion in an exhibition and it makes it a lot more engaging for visitors. So a couple of years ago, we spent a few months inside the innovation lab in Te Papa, Mahuki, and we came up with a system to allow institutions to create their own digital labels without needing any specialist development skills at all. And the result of that is Curio and we have been finished at the end of last year and we have been promoting it around various institutions over the course of this year. And thrilled to say that if you go to Tairawhiti, you'll find 10 Curios in there. If you go to MTG in Napier, they have five. If you go to Timanawa, they have five. National Library is about to go live with five. There's one in the Rotorua Library and they're now starting to pop up in all sorts of bizarre places like the Tennessee Agricultural Museum or the Kaiser Heritage Center in Oregon. We're hitting the high spots. So I just wanted to give you a quick introduction to what it is. Basically, you go online and you create your interactive. You can add to it. So you select a sort of hero image and it's going to be the center of your story. And then you add other media to it. So you add in your photos, your audio of your experts talking about something, your video. It's a very creative and easy process and it's not something that you need a developer for. You can customize the look and feel of it to suit your exhibition. And you can add languages and you can use this tool to also add different perspectives. It doesn't have to be a different language translation. It can be, he says, she says, put different perspectives on an object or a story. And then you publish it out to a touchscreen. And of course, once it's published, you can keep it up to date. You can change it every hour of the day if you want to. And it's there for visitors to use on a touchscreen. It's a great example of it as what's on today for the Christchurch Botanic Garden. So the idea there is it's raining. You might wanna go and see this or the Rose Garden demonstration is on or something's blooming or the curators are doing something with a specific specimen today. So really keeping it quite current. And then you get these lovely visual analytics as all as part of the platform to show you which types of media are engaging your visitors the most and where the pinching and zooming and touching so that you can respond to things that is taking their interest but not necessarily where you might have your stories. So super simple, super easy to use. And at 2.30 today, we are doing a demonstration where we will build a digital label, actually a replica of the document tables in Hey Tohu on the Treaty of Waitangi. And you'll be able to see the whole process through from where to go published onto a touchscreen and you can see how simple it is to use and how simple it is to manage. We were lucky to get a Muse Award from the American Alliance of Museums earlier this year which was an enormous thrill for us. And we also have done a little bit of engagement work to go, okay, this is a lovely idea but does it actually work? So we did a study using the waharua in the reception area here in Tapapa and it's a magnificent object and it gets photographed an enormous amount but I would beg to suggest that 99% of the people who take photographs of it couldn't tell you what it was, what it meant, what it was for, who made it, when it was made or anything. And that is where I feel that the visitor engagement, the storytelling is really missing even though it does have rather a fancy object label. So we did some observations. We sat and counted people coming past the waharua and we missed out any tour groups or school groups because they kind of move en masse and you have to remember we are in the foyer of a National Museum so you do get a little bit of a different profile traffic-wise. Then we put in the interactive that included Jim Schuster who's a descendant of the original kaava telling the story about the details of all the carvings and what they represent and what they mean and how they were made and the tools that were used and that real kind of going back to that authentic voice. It's like he's standing next to you. And then we measured engagement post that and the really interesting thing here is how many more people actually stopped and stared at the object for longer periods. So what it did was it actually drove engagement in the object itself. So active engagement meaning they took a photograph or they read the label or they actually just stopped and really looked at it more than doubled in the visitors in the time that we looked at. So some really interesting high impact results. So our demo is on at 2.30 on our stand and even if you don't get a chance to come to that come over and sign up for our very popular newsletter because we cover all kinds of digital news and you can go in the drawer to win a free Curio license to take back to your institution and that actually comes wrapped up with some free production services because we do have quite deep experience in these things to help you figure out what your story might be and maybe compress some video for you or edit some audio or do any of those things that you might need to help you get your first interactive out the door. So come and see us on the Curio Publisher stand and be in to win. Cheers.