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VRA 2012, Embedded Metadata, Cover Your Assets
 

VRA 2012, Embedded Metadata, Cover Your Assets

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Presented by Joshua Lynn and Heidi Raatz at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico....

Presented by Joshua Lynn and Heidi Raatz at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.

Session: Embedded metadata in cultural image collections and beyond

Over the past few years visual resources professionals have increasingly been using embedded metadata as an effective way to collect initial cataloging data, to ensure the delivery of key information with images, to archive image information, and to link VRA Core 4 with other schemas in the larger digital imaging environment. The activities and case study examples presented by panel members will include improving workflow efficiency within visual resources operations and developing ongoing relations with the International Press Telecommunications Council, a pioneer in embedding metadata into images. While this work addresses the immediate needs of visual resources for art, architecture, and related fields, it simultaneously looks outward to the increasing interoperability of all digital materials available in library collections and on the world wide web.

ORGANIZER & MODERATOR: Steve Tatum, Virginia Tech
PRESENTERS:

1: Sheryl Frisch, California Polytechnic State University, San Luis Obispo
2: Joshua Lynn and Heidi Raatz, Minneapolis Institute of Arts
3: Gregory Reser, University of California, San Diego
4: Steve Tatum, Virginia Tech

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  • Cover Your Assets* *(with both hands)
  • Titlepage:Cover Your Assets (with BOTH HANDS): The Role of Embedded Metadata in Visual Resources Production WorkflowsPresenters – Heidi S. Raatz, Visual Resources Librarian, MIA Visual Resources; Joshua A. Lynn, Digital Production Assistant, MIA Visual ResourcesI’m Heidi Raatz, Visual Resources Librarian at MIA and this is Josh Lynn, our Digital Production Assistant, and we’re going to take you on a whirlwind tour of our embedded metadata workflow at MIA. Ready?
  • Embedded Metadata: Why should I bother?At MIA, we needed a data strategy that would work best with our VirageMB upgrade; an upgrade that offered us some new search and collections features driven by data, particularly as these features could be applied to our non-object photography. Why bother? Description, Organization, Find-ability, Sharing.... In essence, “sod all use otherwise”
  • Embedded Metadata: Why should I bother?EM smoothes museum workflows:From captureThrough productionUpon ingest to and…Accompanying download from our image databaseAnd when we are sharing images and data with our image licensing and distribution partners
  • Embedded Metadata: Why should I bother?EM aids image accessibility and searchingEM triggers image and data sharing between key museum systems, such as Collections management (TMS) DAMS (VMB) Membership and Fundraising Software (iMIS) Museum websites (via API)EM provides essential data for searching within VirageMB via QuickSearch, template search, or advanced search DYNAMICALLY harnessing the data to add assets to collections directly upon ingest
  • Embedded Metadata: Why should I bother?Use of EM assists us to effectively share Visual Resources department created and managed image assets across departments within the museum – in the case of The Circle, a premium membership category aimed at young, art-interested members, featuring invite-only talks, tours, and events, with Membership and Development EM also assists us in our sharing of image assets to our greater museum community, via our museum websites and educational initiatives (ArtsConnectEd), for image sharing sites (Flickr), and increasingly for Social Media initiatives (facebook, YouTube, Twitter, Instagram, Foursquare, MySpace)
  • Embedded Metadata: Why should I bother?EM has high value for museum publishing, rights management and image licensingDescriptive, licensing, and rights management data travels with the imageEssential: when tracking images provided by multiple sources, with myriad use agreements (exhibition catalogues) when sharing image files for external publication – museum rights + artist rights data when providing image files to image licensing and distribution partners
  • Embedded Metadata: Again, Why?Click to switch from The Doryphoros to Shonibare The Sleep of Reason Produces Monsters Image assets removed from the db context without EM = taking a risk that the meaning—identifying and descriptive data—is lostEssential data added at capture or during post-production is therefore critical for accessibility, production, ingestion, data sync, migration, file management, … or when (heaven forbid) your image db crashes(!!!) and backup plan fails; which unfortunately can, and does sometimes happen.
  • Leveraging EM to provide instant access – during production, upon ingestion, and “in the afterlife”At MIA, we have 5 Visual Resources team members: three photographers, a Visual Resources Librarian (Heidi), and a Digital Production Assistant (Josh). While we have different roles and workflows, we all contribute and leverage EM at some point said workflows.
  • Leveraging EM to provide instant access – during production, upon ingestion, and “in the afterlife”Our 2nd workflow or the “everything else” workflow is where EM really shines. Here we are adding EM to images for exhibition support, catalogues, publication, presentation, marketing, and studio portraits to name a few. It is with this workflow that EM is critical for identification (assets and subject depicted), data normalization, file wrangling, key wording and usage instructions. This allows us to eliminate the use of “folders as metadata”, which keeps things neat and tidy in our production servers. At any rate, EM helps to keep everything “front and center” for the quick search in OSX finder or Adobe Bridge allowing us to deliver images to MIA staff who need images NOW.
  • IPTC Core metadata schemaWhy we are concentrating on IPTC for non-object (works of art) image assetsIPTC is an established, well documented metadata schema incorporated into most photographic and asset management systemsIPTC has great guidelines and user support which are frequently and consistently updatedIPTC has widespread cross-disciplinary useIPTC data fields are currently supported by and mappable to our VirageMB database
  • The nature of the material is timely,fleeting. It requires a quick turn-around time for re-purposing the images for: social mediaWebsitesSpecial exhibition websitespublications: ARTS Mag + newslettersmembership and developmentAs a metadata schema developed for effective and timely sharing of news content by the world press, IPTC is very applicable for managing these types of image assets.EM is entered for image identification, classification, search accessibility, archiving, key-wording, credit line and rights management, and use instructions.Also, at the “tail end” of our pre-ingestion EM workflow, it’s my role to check for adherence to standards across the entire workflow process and make any necessary corrections ofdata errors.
  • Here are some of our recommendations for an effective EM workflowUse templates for data consistencyControl vocabulary via keyword listsEstablish standards for metadata fieldsEstablish file naming convention (and try to communicate why it is NOT good to change filenames)Establish classification standardsDOCUMENT all of the above
  • Enough about us… What do our users GET from EM?
  • We also REALLY want to add our growing video content, WITH EM, to VirageMB.Currently we’re experiencing some ”technical difficulties” with VirageMB handling video, no matter the format.
  • Where are we going?We’re not quite there yet. IPTC Extension, VRABeta and PLUS panels are not supported by “out of the box” Virage MediaBin. Exploring the additional EM possibilities will require us to crack open VMB’s XML underpinnings.
  • Special Thanks Folks we’d like to thank –Jeremy OttevangerJanet DavisDan DennehyCharles WalbridgeAmanda HankersonKristen Lynn

VRA 2012, Embedded Metadata, Cover Your Assets VRA 2012, Embedded Metadata, Cover Your Assets Presentation Transcript

  • COVER YOUR *(with both hands)ASSETS*
  • COVER YOUR ASSETS (with BOTH HANDS): The Role of Embedded Metadata in Visual Resources Production Workflows Presenters: Heidi S. Raatz Visual Resources Librarian, MIA Visual Resources Joshua A. Lynn Digital Production Assistant, MIA Visual Resources
  • Embedded Metadata: Why should I bother? Twitter conversation, Jeremy Ottevanger and Janet E. Davis, March 31, 2012
  • Workflow:  Departmental  Museum-wide  Image Licensing Partners Third Thursday: Bike Night. July 15, 2010 Photo: Charles Walbridge / Minneapolis Institute of Arts
  • Accessibility & Searching:  Machines (TMS, VMB, iMIS, API)  Humans (db users, website visitors) Randolph Rogers, The Lost Pleiad, 1874 Minneapolis Institute of Arts, The Ethel Morrison Van Derlip Fund, 2004.194
  • Sharing:  Museum-wide  Greater museum community The Circle Event: Bronze Pour at the MCAD 3D Studio. January 26, 2012 Photo: Lacey Criswell / Minneapolis Institute of Arts
  • Publishing:  Museum catalogues  Rights management  Image licensing The Sports Show catalogue. David E. Little, Curator of Photography and New Media Photo: Amanda Hankerson / Minneapolis Institute of Arts
  • Embedded Metadata: Again, Why? Cover your assets – Minimize your risk After Polykleitos, The Doryphoros, 120-50 BCE YinkaShonibare, The Sleep of Reason Produces Monsters (Australia), 2008 Minneapolis Institute of Arts, The John R. Van Derlip The C. Curtis Dunnavan Fund for Contemporary Art, 2008.79 Minneapolis Institute of Arts, Fund and Gift of funds from Bruce B. Dayton, an anonymous donor, Mr. and Mrs. Kenneth Dayton, Mr. and Mrs. W. John Driscoll, Mr. and Mrs. Alfred Harrison, Mr. and Mrs. John © YinkaShonibare, Courtesy James Cohan Gallery, New YorkAndrus, Mr. and Mrs. Judson Dayton, Mr. and Mrs. Stephen Keating, Mr. and Mrs. Pierce McNally, Mr. and Mrs. Donald Dayton, Mr. and Mrs. Wayne MacFarlane, and many other generous friends of the Institute, 86.6
  • Leveraging EM to provide instant access –during production, upon ingestion, and “inthe afterlife”Our VR Team  Three Photographers  Digital Production Assistant  Visual Resources Librarian  All team members working together and adding EM at various points in the workflows T. Lux Feininger, Bauhaus Band, ca. 1929 From "Bauhaus I" portfolio, 1985. Published by Rudolf Kicken Gallery Minneapolis Institute of Arts, The Modernism Collection, gift of Norwest Bank Minnesota, 98.276.12.7
  • Works of Art  EM at capture via templates  Assets pushed to departmental production servers  IPTC Contact, Image, and Status sections  IPTC Job Identifier / ObjectID is the key Attributed Everlast Toys,Photographer"Robot Machine Bank" mechanical bank, 20th1590 to BastianoTorrigiani, The Ludovisi Saint Peter (detail), 2nd cen. and ca.studio Hong Kong, Charles Walbridge, Visual Resources Dept. cen. Minneapolis Institute of Arts, The John /R. Van Derlip Institute of Arts Photo: Amanda Hankerson Minneapolis Fund, 2009.58
  • “All The Other Stuff, aka MIA Life” workflow  Exhibition and catalogue images, exhibition installations, events, galler y views, etc.  Images uploaded to dept. production servers  EM at post-production via templates Associate Photographer Amanda Hankerson, The Sports Show: Minnesota exhibition installation, gallery 365 Photo: Heidi Raatz / Minneapolis Institute of Arts
  • IPTC Core metadata schema  “Finding images is the Established (early 1990s), well documented metadata schema, incorporated into most photographic and asset management key to an effective systems; Adobe CS and VirageMB   photo use Widespread cross-disciplinary business.” Great guidelines, user support; frequently and consistently updated – IPTC Media Release  Currently supported by and mappable to VirageMB database
  • EM for ExhibitionImages, Publications, Marketing & More MIA “Art ReMix” series Artist in Residence Willie Cole, January 2010. Photo: Dan Dennehy / Minneapolis Institute of Arts
  • Don’t cover your eyes... Cover your assets Screenshots, Adobe Bridge
  • The Sports Show catalogue. David E. Little, Curator of Photography and New Media Photo: Amanda Hankerson / Minneapolis Institute of Arts
  • Portrait of Brandon Werth for “Come as you are” campaign, March 2011 Photo: Dan Dennehy / Minneapolis Institute of Arts
  • Screenshot, VirageMediaBin. Exhibition support image for Titian and the Golden Age of Venetian Painting Billboard, Long Lake, Minnesota: Photographer unknown, February 2011
  • EM for Gallery Views, ExhibitionInstallations, Events & More MIA Staff Tour“Bowlingsite,Brancusi”, Third Thursday: Day: David General Mills Welcome 4,Prints MIA Flickr Dan MIA Inside/Out: Battle of ArtTheHôtelLittle. Monday AugustforGallery of The forGallery hunt. Target Edo Pop-Up Park. Northern Spark.EM 19, 318 Show, with exhibition Pop: the Graphic Impact February 12, 2011 Salon from Perchance. Thursday March 18, 2011 Dennehy, Grand MIA’s curator Dragons. la Bouëxière, June 2012 Chief PhotographerSports Installation view, FamilyEveryouth at de Sunday of Japaneseevents Screenshot, Adobe Bridge, gallery Photo: Jayme Halbritter / Minneapolis Institute Arts Photo: Lacey Criswell Photo: Photo: Donna Kelly, Minneapolis Institute ofof Arts Amanda Hankerson
  • Screenshot, Adobe Bridge, EM for exhibition images w/ Martin Parr New Pictures
  • Recommendations for an effectiveEM workflow  Use templates for data consistency  Control vocabulary via keyword lists  Establish standards for metadata fields  Establish file naming convention  Establish classifications standards  DOCUMENT all of the above
  • Enough about us...What do our users GET from EM? Art Swap, Saturday August 6, 2011 Photo: Lacey Criswell / Minneapolis Institute of Arts
  • Virage MediaBin DYNAMIC collection, “Art In Bloom”
  • Virage MediaBin STATIC collection, “Current Exhibitions”
  • VirageMediaBin Advanced Search Template
  • artsmia -Bubbler, MIA’s Blog website, New Pictures The Minneapolis series and Social Media Hub Featured Exhibition website, Arts YouTube site Exhibition Institute of The Sports Show
  • Where are we going? Third Thursday: Bike Night, July 15, 2010 Photo: Lacey Criswell / Minneapolis Institute of Arts
  •  Works of art in contextual photography Expanded IP data management Installation view of gallery 376, Modern and Contemporary Art, with Theodoros Stamos, "First Cyclops, #1", 2010.31.2 Photo: Amanda Hankerson / Minneapolis Institute of Arts
  •  IPTC Extension, VRABeta, and PLUS panels not supported by “out of box” VirageMB Exploring additional EM possibilities will require us to crack open VMB’s XML underpinnings Family Day: Open and Closed, Sunday October 11, 2009 Photo: Ann Marsden / Minneapolis Institute of Arts
  • Special Thanks  Jeremy “@jottevanger” Ottevanger  Janet “@janetedavis” Davis  Dan “El Jefe” Dennehy  Charles “Zen” Walbridge  Amanda “Kamanda” Hankerson  Kristen “The Piston” Lynn Mfg. unknown, “Sputnik Bank” still bank Minneapolis Institute of Arts, Gift of Katherine Kierland Herberger, 2003.236.738
  • http://www.youtube.com/watch?v=3PkODD8lZhE&feature=youtube_gdata_player