 Felly mae'n rhoi yma o'r gwrth yn ddod i gyda'r ffordd ac mae'n roed, yng ngyfnod. Felly mae'n rhoi'n rhoi'n rhoi'r ddod i Gweithio? Roeddaeth yn rhoi. Felly mae'n rhoi'n rhoi'n rhoi am Bama, Fynger, mae'n rhoi. Fyny'n rhoi, sy'n rhoi, sy'n rhoi'n rhoi, roeddaeth yn edrych, digitalau a'r cyd Hallogau a Gymraeg. Gymraeg ym mwyn cyntaf Cymru a'r cyd ddefnyddio hi fel a ddylai allanol, ond mae'r ddegynnu credu i'ch meddwl yn GG. Felly, rwy'n ydych chi eich dod o'r Archiwydd ar five ymydd. Felly'r tych yn ei wneud ym ysbryd. Ho, ho, ho. Yn cefn ni, rwyf wedi cyffredinol wedi blaen siaradau ymddian o gyda'r ymddi, Ond ydych chi'n ffawr, mae'n gwybod i ddweud yw'r cyfrifdedd yn ymarfer, bod yma'n goblio'n allu'r agencys. Rydyn ni'n ddyn nhw'n meddwl o'r fawr o'r fawr, ond rwy'n gwybod i'r fawr o iawn i'r fawr o'r gwetheimdau, rydyn ni'n gweithio'r archifau a'n ddweud o'i'r fawr o'r fawr o'r amgylcheddau i'r cyfrifdeddau oherwydd, a wnaeth yw'r gwaith ar hyn. Rwy'n meddwl. Rwy'n meddwl, rwy'n meddwl. Rwy'n meddwl, maen nhw'n meddwl yn 1995 o Mark Getty, rwy'n meddwl'n meddwl'n meddwl ac yn ymddangos chi'n gweithio Jonathan Klein, rwy'n meddwl i'r CEO. Rwy'n meddwl 19 ofysau ar y glob, rwy'n meddwl i'r ofysau. Rwy'n meddwl i'n meddwl i'r 34 oedd, sy'n meddwl i'r sgol yma, a ymgyrchau'n meddwl i'r ofysau. Rwy'n meddwl i'r ffrantraedd, a rwy'n meddwl i'r productau Getty. Mae'n meddwl i'r productau mwyaf, ymddi, ymddi, a rwy'n meddwl i'r productau ac ymddiol sydd wedi gwneud. Rwy'n meddwl i'r 1,800 oedd yn gwych. Rwy'n meddwl 120 oedd yn gweithio'r ffotograffau, ac rwy'n meddwl i'r ffeydd. ac yn dda i'r gael y gyrdau mae'r ddau'r ystod yn gweithio'r gweithio'r edrych. Yn ymgyrch yn ysgrifennu o'r 60 yma, ar y cyfnod yma, yn gweithio'r meddwl, ac yn ymgyrch yn y top 5 o'r ffoto yn ddechrau. Felly mae'r gweithio'r cyfnod yn ymgyrch. A'r cyfnod yma, mae'n gweithio'r cyfnod yma, mae'n gweithio'r cyfnod yma, mae'n dweud ymgyrch yn eich cyfnod yw'r cyfnod yw'r cyfnod, and enables you get stuff up there when it's rubbish it will still sell if the metadata is rubbish it will sell which is absolutely not the case. Quality still wins out, and I'll cover a bit of that later on. Briefly on our editorial division we have new sport entertainment. Archive actually sits under our editorial arm, although we're a bit a bit schizophrenic So we have a consumer offer, we have a creative offer, we have a microstock offer, we have various different offers, so we're not strictly editorial, probably about 50% of our archival images actually sells into the non-editorial marketplace, which again, I'll come back and talk about that at the moment. Next year the Olympics will have 72 photographers there, we are the official partner for the Olympics in terms of photography. We have just under 33 million images on our editorial site, and we have around about six and a half to eight and a half thousand, depending on how busy the news day has been, images coming through our pictures every 24 hours. So where we were born really in 1995 was based on our creative imagery. So the first ever acquisition by Getty Images in 1995 was an agency called Tony Stone that sold into basically the stock market. So they were primarily aimed at the advertising and corporate community, but interestingly probably at least 35% of those sort of stock images were also selling into the editorial market, whether that's books, newspapers, magazines, broadcast, et cetera, et cetera. We also have a relationship now on the creative side with Flickr, so we're getting content through sort of the general public basically out there via Flickr, and we've also gone to the other end of the market. We acquired a company called iStock Photos I think three, four years ago, so we actually offer all types of content and every spectrum in terms of the, from a cost point of view, so all price points. So if you want an image for a buck, and sorry if I'm going to speak in Americanisms and dollars, but that's just how Getty Images talks. So if you want to buy an image for a buck, you can, and if you want to spend 150,000 on an exclusive image, you also can. We actually sold, I think our biggest ever selling set of images was, we did a shoot with Tom Cruise and Angelina Jolie when they had their first child, and we sold that to People magazine for ten and a half million dollars. Sadly, we had to give it all away to charity because that was the deal, but it's still a record for us. Right, so moving on to the archive, so I oversee both the stills and the footage division, so we have around about 80 million wholly owned images and around about 10,000 hours of footage. Regrettably, out of that 80 million images, less than 1% of our content is actually online. So if you actually go to a website, yeah, you can find, with all our partner stuff as well, you can find up to about 3 million archival images. And to us, archival images means anything 20th century and before. That's just how we categorize archive. So we've got the same problem as a lot of people out there. We have a lot of content that we'd love to get digitized. And even if you said 90% of that, you know, 80 million images are rubbish, throw them away, destroy them, give them away, whatever. That will still leave you with about 8 million images and we've got only about 60, 600,000 of our own images online. So there is gold in the Nile Hills, it's just a case of finding it. And that's done two ways. One is we're bringing in content through partners and also a speculative edit of our collection. So literally we're going through negatives and prints and transparencies and editing material that we digitize and then put online. We also have what we call a scan on demand deep file service. So as a customer out there, if you go to the website and you have seen the same old Marilyn Monroe shots, then give us a call. We might have something in our files that hasn't been digitized before and we will actively scan it, put it up on the site so the customer can download it and use it. And that's actually a free service to put in the request. You don't pay a scanning fee or anything like that. We do have another side of what we do, which is from a conservation and curatorial preservation point of view. So we are, even though we're a business to business commercial company, we are preserving our cultural heritage, you know, not just our national cultural heritage, our international cultural heritage. So we're not a museum, but we're fast turning into one whether we like it or not with that type of material. So we're unique in our industry to have a full-time conservator and a full-time curator. So sometimes people look at Getty Images as this sort of big bad commercial beast just making piles and piles of money. There's a lot of stuff that we do do in terms of, say, conservation and preservation. And we're probably unique in this country. There is no National Photographic Archive. The closest we've got to that is the National Archives at Bradford or the National Media Museum and their film and television and they've got a bit of photography. So there may be, you know, we gain keep a term poacher or the other way around. We actually might end up being some sort of museum or cultural institution, you know, further down the road. We've even inspired an award-winning screenplay called Shooting the Past, if anyone has seen that. If not, I'm not going to go into details because that's not what we're necessarily here for. But we've also working on a musical at the moment, which will open in the West End next year, which is even more bizarre. So in terms of our content development, what we're doing to continually build out our offer, we're looking to plug gaps and some of those gaps could be from a local perspective. So we're very UK-US centric, so we're looking out for more French content, Italian content, German content. So we're looking to build out from a local perspective. We're also looking for niche content as well, where we have a certain amount of material, but we're not necessarily known for it, and we need a name to actually raise the sort of profile of that type of content. So we're just in the process of signing up a very famous cricket photographer called Patrick Eager. And you think cricket is quite niche. It will sell into five countries worldwide, basically five or six countries. But having said that, in terms of selling into India, which is a big, big, big market for us, it will be massive. So although it's niche, it's not niche in certain regions around the world. Also what we're doing is looking at generic content. And what I mean by generic content is content that will sell globally, that will licence globally. So a good example would be movie stills. We've got a burgeoning movie stills collection, everything from Charlie Chaplin's silent stuff to blockbusters of today. The other type of generic content that will sell globally is obviously fine art. So we're looking to build that side of our business. And the other area where we've been very successful has been in music stills. So we've acquired a couple of companies in the UK and the US, as well as taken on a lot of photographers who've specifically shot music over the years. And some of them are raps, and some of them we've bought collections. So part of this in terms of aggregating this content is through acquisition, but it's also through partnership. So I'm not going to read all through that, but just to give you an idea of where we came from. And I think this is quite important in our industry to show that we're not just this bad, nasty commercial beast. But there were two agencies that were founded in around 1854 globally. One was Alenari in Italy, who was still going. And the other one was a company called London Stereoscopic, a company who, a long story, but Brian May has perloined that collection, much more chagran, but that's another story. But these were the first ever commercial agencies to be founded globally. And we're based on one of those. So our lineage and heritage and roots go back 157 years. So we feel that's quite important, that we're not just some flyberknightsetup.com company. There's a real basis there. It's a real living, breathing archive. So that's basically what's at the archive. We also have what we call a vintage room. So we store a lot of valuable originals, whether it's by Manrae, Catech, Brasai, Cardiff, Bresson, and these are vintage prints. Some of them are worth in excess of $200,000. So there's a curatorial aspect of what we do. Now, the issue about digitised content, which I touched on, as I say there, we're getting around that two ways, well three ways in effect. We are accepting digital content from photographers. Some of the photographers we work with are in their 80s. They don't even know what an iPad is, let alone a PC or a scanner. So we're helping to digitise their content. Now we do that two ways, we either do that internally. We have a small production facility, so we have various different scanners and we have what we call a search data team that apply all the metadata. We also are outsourcing, and this is becoming more and more, I think, popular as the wrong word. But in terms of outsourcing large numbers of pictures, you can get actually very, very good deals out there. The days of scanning and costing you 10, 15 pounds of picture are long gone. I mean, for example, Time Life, they digitised, I think about 7 million of their images in the States and they paid less than a cent per scan. The scans are rubbish, but you get what you pay for. But high quality scans, we're working with a company in India. We're paying less than 60 cents a scan and you're getting a nice big file. They do some dust busting, colour correcting and basic retouching and that's for, say, well, less than 50 pence an image. But scanning, as I'll touch on, is not the issue. So what I thought I'd use as a case study was the Science and Society picture library. Science and Society are basically part of the Science Museum, which is part of the National Archives or National Media Museum. So part of that, which I'll touch on, is the National Railway Museum and the National Media Museum in Bradford. Now, Science and Society was a big breakthrough for us. And there I'll say, in the States, the Yanks get it. The Yanks get it in terms of how do they monetise their assets. And we work with George Eastman House, the International Centre of Photography, the Museum City of New York, the Chicago Historical Museum, the Chicago Historical Society, and I could go on and on and on. We work with about 20 to 30 big museums and institutions in the States. And they know that in order to generate funds for themselves, they need an aggregator like us. You don't have to like us, but you can make money off the back of us by us partnering with some of these institutions. We represent the content, we pay them a royalty. Now, as I say, the US gets it, the UK doesn't. And whether that's because of legal issues, because of being partly public funded and what have you, is an issue. Now, so Science and Society was a breakthrough for us. They suddenly realised that we could generate revenue for them by taking on their content. And it filled various gaps for us, certainly on the science and technology side, some rather strange stuff. Every time I spoke to this guy, my contact there, he'd say, he said, you're interested in footage. And I said, you've got footage as well. He said, yeah, I've got footage. All right, OK. And then the next time, he said, you're interested in advertising stuff. I said, you've got advertising. I've got an advertising archive. I thought, yeah, OK. And then he said, you're interested in... What did he say last time? Oh, the work of Tony Ray Jones, who's quite a well-known photographer in the 60s. I thought, you've got his archive. He said, yeah. And every time I sat down with him, they had more and more stuff coming out of all sorts of places. So it was great for us. And I'm not going to mention numbers, but specifically. But within the last couple of years, over 5,000 of their images through our site. And the average price per image is around about $150. So you just got to do the maths. I'm not going to do the maths for you. So that's an enormous amount of revenue coming to the Science Society picture library. They don't have to do a thing. They just give us the content. We put it up. And we push out to all those different countries that I talked about. And a lot of it's about proactive packaging. And that's what you have to do with the archive to show it's relevant. Whether it's an anniversary coming up or an obituary or just something in the news. I mean, obviously a prime example is the riots over the last three to four days. And we can show all the stuff from Toxteth and Brixton, what have you, and the whole history. And even going back to the mobs of the 1700s. So you can show it is always relevant, archive limitury. The thing about us partnering with some of these institutions and agencies is obviously trying not to overlap with what we already have. So certain agencies and third parties will approach us with content. You think that's very nice, but it's what we've got. And we don't want to cannibalise our own sales. So we don't necessarily partner with anyone and everyone. There is a strategy around that. What we do for some of the people that we do partner with, we create their own branding page. So we call it a landing page or a splash page. So if you typed in a bad example, no, I suppose a good example would be the International Centre of Photography in New York. So they'll have their own page. So you can go to their own page, you can see their branding, talks about the International Centre of Photography, and then there's a search box, which will just search on their imagery. So there is a certain amount of branding that we can bring to some of our partners. So they don't get lost in this morass of imagery and various partners, other partners that we have. So this is what society brings to us. So, as I say, they've got about 50,000 images online. We can actually go back to them and ask them for a specific image. If someone asks us, have you got, you know, Stevenson's rocket, have you got a photo or an engraving or whatever, they will check their files, they'll scan it, they'll send it to us, we'll put it up on our website and we'll licence it. So, there's various aspects of Science Society, the Science Museum, National Meeting Museum, Daily Herald, blah blah blah blah, as I've covered. And this is what we bring to the table. So we have over 1.3 billion page views in annum, 76 million visitors per annum. We have just under half a million new registrants per year on our site. Our site is available in e-commerce in 12 languages. I've touched on the offices. We have 500 sales people globally. And this all sounds like boasting and stuff and we're this enormous, great beast. But this is a way of, as I say, institutions and museums and libraries and what have you to monetise their assets. You hand it over, we do all the rest. We do the packaging. We push it out through our sales people. We, you know, push push push. We have 300,000 active customers worldwide and we're selling into 150 countries. So, that's what's about that. And just to touch on, we have various different business models. So as a customer, you can buy our imagery allocarts. So you just go to a site. You want that image. You set up an account. You download the image. You pay for it. You can also pay on a credit card. So if you just want one image, you don't want to set up an account. You can do it that way. We also have agreed rate cards. So with certain customers who don't want other types of business dealings, they just want to pay a certain amount per image up to a certain number of images. So we have agreed rate cards, as I say, with certain customers. We have subscriptions. Subscriptions is, you know, fill your boots, basically. And this is largely through for the newspaper industry. So obviously the Times and whoever. The only national newspaper doesn't have a subscription with us is The Sun. But I'm sure Mr Murdoch might want to do that shortly. We also have something we call premium access, which is another business model whereby you can have up to a certain amount of images per annum or per quarter or whatever, and you pay a certain set amount. And that gives you download privileges and all sorts of things. What we've actually found is that people will pay this one amount and they'll download images and then they don't use them, which is just bonkers. So they're sort of like using up their credits. But there we go. And just to sort of finish on, and I've mentioned this a couple of times, what I would say if there's one big takeaway, you know, in terms of digital, the one thing that is absolutely key and key to our business is not the picture, although you want good pictures, is speed absolutely is imperative, especially in the news and entertainment environment, but the one key thing is metadata. And if you've got the wrong metadata or bad metadata, you ain't going to find the image. Going back to the analogue days, and they still come into our library now and they'll have a rummage through and you can find stuff by accident. You know, you're going through, I don't know, again using Mr Murdoch's example, you'll go through the file, oh, I've never seen that before, and you could come across it by accident. You cannot do that on a website, because if the metadata is not there, it's spelt incorrectly, or you're using a strange type of key wording system that makes sense to you, but doesn't make sense to the outside market, you ain't going to find that image. So we've got various things around controlled vocabulary, and so predictive text and semantic key words searching and all sorts of things. We've got 46 patents now around metadata alone, and I can't stress more strongly the need for accurate metadata accurate certainly for archival and editorial stuff, because then you get into whole areas of editorial integrity, and if you're saying that battle took place in Batara and it didn't, it took place in Baghdad, the editorial world will come down like a ton of bricks on you. So we have to make sure that our metadata is absolutely spot on and creatively, again, the use of key words in a controlled vocabulary, so people find our imagery, you know, from a conceptual point of view. So we have to control that as well.