As presented by Jan Muller (NFSA) at the 2019 FIAT/IFTA World Conference in Dubrovnik, Croatia.

1. 23 October, 2019
FIAT/IFTA 2019 | DUBROVNIK
Jan Müller – CEO National Film and Sound Archive of Australia
23 October 2019

2. DIGITAL TRANSFORMATION
&
DIGITAL TRUST

3. Becoming Digital by Design
whilst remaining trustworthy

4. - Media archives are at the forefront of a shift towards the digital, ’always
on’ archive
- Leading the sector in how to collect, preserve and share AV heritage
- Digital Transformation: about the evolution from a first generation hybrid
analogue/digital archive to an archive that is Digital by Design
- Digital by Design: think, act and be digital first
- At the same time: we are the stewards for a vast analogue collection –
covering AV creation over the last 100 years

9. 1.
To become Digital by Design…

10. FOCUS ON
DIGITAL
TRANSFORMATION

11. KEY AREAS
DIGITAL TRANSFORMATION
Collections Exhibitions/
Presentations
Processes People and culture

13. STRATEGIC PRIORITIES
Digitise the
national
audiovisual
collection
Establish the
National Centre
for Excellence in
Audiovisual
Heritage
Build our
national profile
Collect, preserve
and share
multimedia and
new media
Redefine our
physical
presence

14. UNDERPINNING THEMES
Indigenous
connections
Knowledge and
innovation
Collective
genius

16. abc.net.au
31 May 2018

18. GAMES PRESERVATION

19. • Australian games
• 80’s – now
• All carriers/formats: cassette, cartridge, disc, console, mobile, VR, online
• Context collections: artwork, soundtracks, press kits
• Digitally preserved and playable
• Interaction with exhibitions

25. WE KEEP
MEMORIES
ALIVE
BY TELLING
STORIES
WITH OUR
ARCHIVE

28. ‘DIGITAL’ IS NOT
A DEPARTMENT
- IT’S EVERYBODY’S
RESPONSIBILITY

29. SUSTAINABLE DIGITAL
WORKFORCE
Build and recruit digital capabilities
‘Digital’ in every job description
Gap analysis
Succession
Training
Internships
Living Labs

30. #8
Build a sustainable
digital organisation
To become Digital by Design

31. Corporate
Enabling
Digital
Focus
Collection
Core
Engagement
Users
Enterprise Program

32. Digital
Corporate
Collection Engagement

33. Digital
Corporate
Collection Engagement
Strategic
Focus

35. #9
Be Visible
Be Relevant
To become Digital by Design

36. From analogue to digital in 7 years:
Increase in use of the archive of the Netherlands Institute for
Sound and Vision 2006 - 2014.
Digitisation Programme ‘Images for the Future’: 2007 - 2014.
ACCESS
=
USE
=
VALUE
Source:

38. NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA ACMI | PRESERVING THE NEAR FUTURE - DIGITAL PRESERVATION & COLLABORATION 38

39. #10
Never Settle
To become Digital by Design

40. To become Digital by Design
#1 Align your digital vision, mission, strategy
#2 Define your digital collection policy
#3 Know your users: digital engagement
#4 Embrace the Power of Data: data analytics
#5 Develop a Digital Positioning
#6 Build digital partnerships: Collective Genius
#7 Focus on your people
#8 Build a sustainable digital organisation
#9 Be Visible | Be Relevant
#10 Never Settle!

41. 2.
…whilst remaining trustworthy

42. TRUST.

44. Prof. Kwok Kian-Woon,
SEAPAVAA 2019

45. ‘TRUSTWORTHY’ = ABOUT BIG QUESTIONS
• How can we demonstrate that the record you see today is the same
record that was entrusted to the archive 20 years previously?
• How do we prove that the only changes made to it were legitimate
and have not affected the content?
• How do we ensure that citizens continue to see archives as trusted
custodians of the digital public record?

46. TRUST | KNOW
BLOCKCHAIN
NFSA is exploring how we can know that a digital record has been
modified and whether the change was legitimate so that ultimately it
can still be trusted as the authentic record. Specifically, the project is
investigating how blockchain technology might be used to achieve
this.

47. TRUST | UNDERSTAND
DATA ANALYTICS
.

48. We want to tell informed stories to our stakeholders
(internal and external) that can be quickly and easily
understood.
DATA ANALYTICS
AT THE NFSA
We want to tell informed stories to our stakeholders
(internal and external) that can be quickly and easily understood.

49. For Example: Digitisation
• What does our Collection look like?
• By format, by condition, by type (e.g. Indigenous material)
• How many carriers? How many versions? Duplicates?
• What have we digitised already? To what standard? What remains?
• How will we prioritise what remains?
• Would we prioritise single copy? By content?
• Apply NFSA Preservation Hierarchy to assist with this process
• How will we plan for this?
• What resources (staff and equipment) do we have? How can we maximise output from this
equipment? What else do we need? What will be our physical footprint in X years? What will
be our digital storage requirements?
› Lets consider some options:
• What happens to our digitisation output if we transfer effort from Format A to Format B?
• What happens to our digitisation output if we outsource a portion of Format C?
• How much will this cost?
We want to tell informed stories to our stakeholders (internal and external) that can be quickly and
easily understood.
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 49

50. For Example: Access
• What percentage of our Collection is accessible to the public?
• Via what platform(s)?
• What is our reach; within Australia? Globally?
• How do our customers want to view our Collection?
• How successful was Exhibition A? When was our busiest period? What demographic was
represented?
We want to tell informed stories to our stakeholders (internal and external) that can be quickly and
easily understood.
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 50

51. The Story of Nitrate Film at the NFSA
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 51

52. NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 52
NFSA’s Audiovisual Collection

53. NFSA’s Nitrate Collection
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 53

54. Nitrate Film: Detailed Data
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 54

55. Nitrate Film: Data Correlations
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 55

56. Nitrate Film: Digitisation
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA DATA ANALYTICS AT THE NFSA 56

57. TRUST | ENGAGE
DEMENTIA – SERIOUS (ARCHIVE) GAMING
.

58. NFSA Pop Up
58
We created a quiz that
allows users to watch,
listen and then interact
with the extensive film and
sound content from the
archive.
OUTCOME

59. NFSA Pop Up
59
NFSA identified an
opportunity for the quiz to
be of benefit for the aged
care sector.
WHAT’S NEXT?

60. NFSA Pop Up
60
Scheduled to be deployed
across 22 aged care
facilities across NSW in
August 2019.
Opportunity for the quiz to
reach over 5,000 people.
WHAT’S NEXT?

61. TRUST | DEVELOP & INNOVATE
DNA STORAGE
.

62. DNA DATA STORAGE

64. Trustworthy Digital Repository
25 petabyte in 2017
1 GRAM DNA = 215 petabyte

65. TRUST | PROVE
INDIGENOUS COLLECTIONS AND RELATIONSHIPS
.

67. The Martu
determination is
13.5 million
hectares
Martu
determination
TWICE the size
of Tasmania.

68. Martu are
among the very
last Indigenous
Australians to
leave a fully
traditional
lifestyle between
1958 and 1967.

69. Knowledge was
traditionally passed on
during everyday life on
country during pujiman
(bushman) days.

70. More and more,
Martu combine
traditional
knowledge with
modern
technologies.
The use of
technology is always
driven by cultural
values and
aspirations of
Martu.

71. Film

81. Our collection
700+ ORAL HISTORIES 500+ FILMS 60,000+ PHOTOS 40+ HISTORICAL
PHOTOS COLLECTIONS
DONATED
400+ LANGUAGE AND
SCHOOL RESOURCES
50+ ARTEFACTS 1,500 WATERHOLES
MAPPED. 600 HAVE
GPS READING
5,000 NAMES IN
GENEALOGY
DATABASE

88. THANK YOU.
jan.muller@nfsa.gov.au
@JanMullerNFSA
.