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Budgeting and Funding - Lecture for Preservation & Presentation of the Moving Image Master (2012)

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Some thoughts about budgeting, funding, the cost structure of an audiovisual archive & new business models

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Budgeting and Funding - Lecture for Preservation & Presentation of the Moving Image Master (2012)

  1. 1. BUDGETING & FUNDING Lecture Preservation & Presentation of the Moving ImageGeert Wissink. 15 oktober 2012 1
  2. 2. 22
  3. 3. PUBLIC VALUE 30
  4. 4. PUBLIC VALUE (ACCORDING TO BBC)• Democratic value - to support active and informed citizenship byproviding trusted, impartial, in-depth news and information that help peoplemake sense of the world• Cultural and creative value - to enrich the cultural life of the nation byenabling the UK’s best creative talents to produce great original work andprovide a broad range of memorable and enjoyable programmes andevents• Educational value - contribute to education for all by creating a widerange of accessible programmes and services that feed curiosity andenable people to learn throughout their lives• Social and community value - help make the UK a more inclusivesociety by providing programmes and services that connect communities,encourage participation and help build a sense of place and belonging• Global value - support the UK’s global role by being the world’s mosttrusted provider of international news and by showcasing the best of Britishculture to a global audience 4 4Source: Annual Report on Preservation Issues for European Audiovisual Collections – Presto Space Deliverable D-22.8(2007)
  5. 5. PUBLIC VALUETo have public value, collections should be1) online; this requires digitisation, encoding and hosting2) public – because any restriction on access is aproportionate restriction of interest, visitors to the site – andultimately any value, public or commercial, associated withthe site3) visible – the hardest condition of all.Cory Doctorrow: “my problem isn’t piracy, it’s obscurity” 5 5
  6. 6. SUSTAINING PUBLIC VALUELong term thinking should be engrained in every culturalproductive processbut- Short-term commercial value is at odds with long termheritage considerations (different views on importance)One way to keep the archive relevant is to engage with the(creative) producers at a much earlier stage in thegeneration of the audiovisual material 6 6
  7. 7. REALLY LONG TERM THINKING 7 7
  8. 8. FROM ANALOGUE TO DIGITAL Text
  9. 9. FALLING COST DIGITAL STORAGESource: Kurzweil. The Singularity is Near 9 9
  10. 10. # HOURS UPLOADED TO YOUTUBE (every hour) 10
  11. 11. ORGANIZATIONAL MODELS 30
  12. 12. PHASES IN MANAGING COLLECTIONSPre-Professional Era- lay collectors, donators, amateursProfessional Era- academic professionals Text- profession defined in cognitive and scientific termsPost-Professional Era- huge increase in museums- seperations between artistic and administrative control- complex bureaucratic institutionsSource: Between the Devil of the Business Model and the Deep Blue Sea of Public Services - KaijaKaitavuori 12
  13. 13. DEPARTMENT WITHIN LARGER ORGANIZATION Text
  14. 14. INAFunding: 60 % government funded, 40 % commercial activityBusiness model:1) Broker for other archives (Tour de France, TextIOC, TF1) - throught ImediaPro (INA keepssmall handling fee per transaction, partners do fullfillment2) Distribution agreementsOther organizations store content at INA’s Archive
  15. 15. PRELINGER ARCHIVES - 60.000 FILMS 15
  16. 16. 2. ORGANIZATION SOUND AND VISION 30 16
  17. 17. PEOPLE 200 FTE 50 FTE EXTRA IMAGES FOR THE FUTURE Text
  18. 18. ORGANOGRAM SOUND AND VISION
  19. 19. MASS DIGITIZATION & PRESERVATION9 EU TENDERS in last 5 years (more than 220 K costs)Video Digibeta Film Preservation Perfo-AcetateFilmPreservation AcetateFilm Preservation NitrateFilm DigitizationSDFilm Digitization HDDigitization of PhotographicMaterials*Photo Digitisation ColorEducation Media Platform
  20. 20. PROJECT & PROGRAMMESITDigitizationAccess (portals)ExhibitionSponsorshipsDepotProductions (Documentary)SalesResearch Projects (Dutch, EU, internal)Question: what’s the annual budget of Sound and Vision? 20 20
  21. 21. INCOME 21
  22. 22. INCOME TOP 5 22
  23. 23. EXPENDITURE 23
  24. 24. CHART COSTS STRUCTURAL FINANCED ACTIVITIES 24
  25. 25. FUNDING 30
  26. 26. FUNDING CASE: IMAGES FOR THE FUTURE 30
  27. 27. 100 YEARS OF CONTENT 27
  28. 28. COST BENEFIT ANALYSIS"The total balance of costs and returns of restoring,preserving and digitizing audio-visual material (excludingcosts of tax payments) will be between: 20+ and 60+million’’ (SEO, 2006). The "plus" represents non-quantifiable indirect effects and social benefits that gobeyond the users’ benefits. 28 28
  29. 29. BUSINESS CASETotal costs: 173 million euroCost-Benefits Analysis to support claimThis analysis followed the "Research into Effects on Infrastructure" frameworkdefined by the Dutch Ministry of Economic Affairs and the Ministry of Transport(Eigenraam, 2000). This framework shows how the costs and benefits ofinfrastructural investments such as roads, railways etc. can be determined. Inaddition to ‘hard’ numbers, environmental and other ‘soft’ effects are an intrinsicpart of the analysis. The socio-economic returns of these structural investmentsare calculated over a substantial period of time: in the case of Images of theFuture, this period was set at 30 years. 29 29
  30. 30. 3030
  31. 31. FROM ANALOGUE TO DIGITAL 31 31
  32. 32. FROM ANALOGUE TO DIGITAL 32 32
  33. 33. DIGITAL ARCHIVE 33
  34. 34. NEW BUSINESS MODELS 30
  35. 35. OPEN BUSINESS MODELS ONLINE1. Subscription model2. Pay per view/ download (Ximon, Netflix, Amazon)3. Free + added quality (Prelinger Archives)4. Freemium (+ service) (Flickr, Linkedin)5. Advertisement (NY Times)6. Sponsorships (Memory of the Netherlands, GoogleBooks)7. Community engagement (Tribler, Mozilla, Drupal) 35 35
  36. 36. BUSINESS MODEL CANVAS 36
  37. 37. BUSINESS MODEL CANVAS 37
  38. 38. ANALOGUE MODEL 38 38
  39. 39. DIGITAL MODEL 39 39
  40. 40. NEW REVENUE MODELS 40 40
  41. 41. The heritage institution creating the experience 41 41
  42. 42. 2. DIGITAL ORIGINALThe heritage institution as a digital heritage brokerThe heritage institution as a digital heritage broker 42
  43. 43. 3. DIGITAL CURATORThe heritage institution providing the contextThe heritage institution providing the context 43
  44. 44. 4. DIGITAL BRANDINGThe heritage institution creating the reputation and building the brandThe heritage institution creating the reputation and building the brand1. Digital Brand as quality stamp2. Support for charity3. Crowd funding 44 44
  45. 45. 5. PRODUCT BUNDLEThe heritage institution as the provider of product bundlesThe heritage institution as the provider of product bundles 45 45
  46. 46. BUSINESS MODELLING THE FUTURE 30 46
  47. 47. ASSIGNMENT1. Think of a future organizational model for the audiovisualarchive2. Use the business model canvas to write down differentaspects of the new model (capture them on PostIts)3. We’ll discuss the answers together 47 47
  48. 48. CANVAS 48 48
  49. 49. FIN!gwissink@beeldengeluid.nl twitter: @geertwissink 30
  50. 50. PHOTO CREDITS SOURCECollection Netherlands Institute for Source and Vision LICENSE Creative Commons Attribution - Share Alike 30

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