Download to read offline
Uploaded byKate Stone
Case Study: Creating Compelling Online Content
The document discusses creating compelling online content through access to Australian audiovisual heritage to excite curiosity and inspire creativity. It addresses common questions from audiences around viewing full films online versus in cinemas, using content in mashups, and accessing material for research, documentaries, or personal use. It also covers positioning the collection as an in-depth catalogue, exhibition space, and ways users can browse, search, and navigate the metadata through curriculum, chronological, and locative data to find relevant material.
Case Study: Creating Compelling Online Content
- 1. Kate Stone, Manager,NFSA Online Twitter: @kate__stone @NFSAonline Digital Information Management Summit, Sydney, November 2011 Creating compelling online content
- 2. … excitecuriosity & inspire creativity through online access to Australian audiovisual heritage
- 3. … excitecuriosity & inspire creativity through online access to Australian audiovisual heritage Why can’t I view whole films on your website?! You can’t put that online, it should only be seen in a cinema! Can I use this in my mash up?
- 4. … excitecuriosity & inspire creativity through online access to Australian audiovisual heritage Why can’t I view whole films on your website?! You can’t put that online, it should only be seen in a cinema! Can I use this in my mash up? I want to borrow Mad Max
- 5. … excitecuriosity & inspire creativity through online access to Australian audiovisual heritage Why can’t I view whole films on your website?! You can’t put that online, it should only be seen in a cinema! Can I use this in my mash up? I want to borrow Mad Max I want to research Indigenous Country & western music
- 6. … excitecuriosity & inspire creativity through online access to Australian audiovisual heritage Why can’t I view whole films on your website?! You can’t put that online, it should only be seen in a cinema! Can I use this in my mash up? I want to research Indigenous Country & western music I want to find 50s and 60s footage of families and cars for my documentary series I want to borrow Mad Max
- 7. When audiences goonline they become “users”, customers, researchers, contributors …
- 8.
- 9.
- 10.
- 11. Get me tothe check out
- 12. Get me outtahere
- 13.
- 14. Collection search australianscreen picturesque
- 15.
- 16.
- 17. Sit forward …picturesque
- 18. Sit forward … Lean back … Navigation mode: Search & Filter to access specific resources Navigation mode: Browse, explore, interact, share picturesque
- 19. Sit forward … Lean back … Navigation mode: Search & Filter to access specific resources Positioning: In-depth catalogue Navigation mode: Browse, explore, interact, share Positioning: Exhibition space picturesque
- 20. Sit forward … Lean back … Navigation mode: Search & Filter to access specific resources Positioning: Archival catalogue Access high quality copies Around 750,000 records Navigation mode: Browse, explore, interact, share Positioning: Exhibition space Download watermarked low res Less than 2,000 records picturesque
- 21. Search = MadMax
- 22. Search = MadMax + media = film
- 23. Search = MadMax + access = online
- 24. Search = MadMax + 1970s
- 25.
- 26.
- 27.
- 28. 3 paths throughthe metadata of australianscreen Curriculum metadata Chronological data Geo-locative data
- 29.
- 30.
- 31.
- 32.
- 33.
- 34.
- 35.
- 36.
- 37.
- 38.
- 39.
- 40.
- 41.
- 42.
- 43.
- 44.
- 45.
- 46.
- 47.
- 48.
- 49.
- 50.
- 51.
- 52.
- 53.
- 54.
- 55.
- 56.
- 57.
- 58.
- 59.
- 60.
- 61.
- 62.
- 63.
- 64.
- 65.
- 66.
- 67. Watch Share Mobilevideo and social media
- 68. Near me –location-based content
- 69. Data visualisation Applying one file or record across multiple displays doesn’t always work.
- 70.
- 71.
- 72.
- 73.
- 74.
- 75.
- 76.
- 77.
Editor's Notes
- #3 I’m the manager of NFSA Online at the National Film and Sound Archive We humbly aim to excite curiosity and inspire creativity around our audiovisual heritage.
- #4 There’s a strange phenomenon you might be familiar with, where the more you offer online the higher people’s expectations seems to grow.
- #5 People come to our websites looking for a film to borrow for personal use, for school screenings, or broadcast programming
- #6 … or maybe wanting to research a music doctorate…
- #7 … or because they’re looking for archival material for their latest new film
- #8 We need to deliver a range of experiences and serve different user objectives.
- #9 Are they looking for a nostalgic journey with a clear pathway?
- #10 an elusive rainbow?
- #11 a picturesque wander through without clear pathways or pressing destinations
- #12 Or clearly sign posted pathways to a fixed destination?
- #13 We all have some idea of what they don’t want.
- #14 And with one click of a finger they can go.
- #15 There are two main ways that the NFSA offers information about audiovisual archives are through our ‘Search the Collection’ database, and australianscreen online.
- #16 This is our public facing collection search. It is a subset of the database that records and manages the NFSA’s 1.4 million collection items
- #17 And this is australianscreen – a website that was funded by the government to provide the general public with an overview of ‘Australia’s audiovisual history’ and to deliver a media rich learning resource to the education sector. It includes materials from the collections of the NFSA and its partners , ABC, SBS, the National Archives of Australia and the Australian Institute of Aboriginal and Torres Strait Islander Studies – as well as numerous independent production companies. There are currently around 1600 titles spanning from 1896 to the present day and new titles are being added every week. Almost every piece of metadata attached to each title on the site is a link and I’m going to describe how that creates connections between titles to offer journeys though the site. NEXT
- #19 Here is a bit of a comparison that highlights the differences between these two major information tools that we offer online. There’s some handwringing that goes on by people wishing the collection search tool could be more like ASO. Certainly we are working on improving its user interface. But I am committed to something even more important than its ‘look and feel’ and that’s what’s happening in the backend. I’d like the NFSA to have a collection search that resembles ASO in having clean, exportable, sharable data, discoverable data.
- #22 If you search for the film Mad Max in Search the collection, you will be offered hundreds of records that all represent a physical collection item.
- #27 We’re developing a new online search that is ‘Collection Search Plus’ –which aggregates collection records, lending library records, australianscreen as well as other education digital resources we have online.
- #29 I’m going to show you through australianscreen – taking 3 pathways created by different types of metadata we’ve added to each title – educational, chronological and geo-location information.
- #30 This page gives an overview of these exploration paths – telling visitors that they can explore alphabetically, by decade or timeline, by maps, by title type – we have features, documentaries, home movies, newsreels, advertisements and others, by genre … and by tags NEXT
- #31 You can also search australianscreen through a Google search which sits alongside facets to search all titles, all people or all tags.
- #32 Subject specialists are commissioned to write notes and select video or audio excerpts to represent the work. There is also a list of key credits, where to find a copy and many titles have a location map showing where the title was recorded or where a fiction film was set. Metadata accompanying every title includes Date, aspect ratio, original film and literature classification, production company, collection source, title type, genre or genres and tags. The summary text just below the title is called a teaser and is 140 characters long for easy tweeting. The teaser, along with a still frame selected from a clip, the title date and title type eg feature film, all accompany form the portable ‘title record’ wherever it appears in dynamically created lists across the site.
- #34 We partnered with Education Services Australia who selected clips for their curriculum relevance and wrote teacher notes for these clips. All clips have labels which help our production processes as they become individual media assets. Under the advice of the OFLC we self classify every clip and also publish content advisory warnings. Many clips have transcripts to meet accessibility standards, and are also useful for teachers, they also help content discoverability by search engines, as do the curators clip notes. All clips are watermarked, have an ident edited on beginning and end so metadata stays with it if downloaded,
- #35 This is the education landing page which re-presents the clips from titles on the site under curriculum headings.
- #37 I get a list of all clips on the site under the curriculum area agriculture.
- #41 This is a list of all titles tagged with ‘Agriculture’
- #44 Tags are nominated by the people writing the curators notes, but then when we add the title the website, we standardise the terms nominated, using the Schools Online Thesaurus – SCOTS terms which are in our CMS. So if a curators nominates ‘parties’ we could add parties to tags but we would also add ‘celebrations’. This way the site shares metadata with Education Services Australia and the tens of thousand other digital resources that they publish and distribute through school intranets all over Australia.
- #45 And they are keeping the curriculum metadata up to date as the new national curriculum is developed so that teachers will be able to find australianscreen education resources in these distribution systems, under the new curriculum headings.
- #47 One of my favourite ways of browsing the site is by slowly scrolling down a list of ‘all titles from a particular decade. It gives great overview of what was going on in Australia at the time – what we were watching on TV, what was happening in the news – which in turn provides a valuable historical context for the works themselves to be presented in.
- #48 From the earliest works of all
- #49 To the 70s This one looks like strip of film. You can see that by the 70s there was a lot more being produced in Australia.
- #51 As well as browsing by decade or by a single year, we’ve used a number of data sets to create a timeline.
- #52 We called it a ‘fun’ timeline so people wouldn’t take it too seriously as a research tool. Because as with all visualisation, this one is ‘curated’; if you like – with many choices being made to show certain things and hide others, to emphasise certain features and not others, to tell a story. But while it is manipulated, it still brings fresh insights.
- #53 The timeline takes the title type – each title has only one title type attributed to it
- #54 and date
- #55 This is the timeline page – you can see a key below – the colours represent different title types – every title is allocated just one title type where as it can have multiple genres attributed. This means we can sort by this attribute without duplication. If the coloured dots were by genre for example you might have one film showing up under three different colours which wouldn’t be so useful.
- #64 Much as I’d like to say I had the foresight to predict its application on mobile computing 6 years down the track, adding location data to Australianscreen was the steak knives offered by the developer Thomas Ashelford. He just said one day ‘You know something that’d be really easy and quite fun, we could add location maps’. I thought it would be a good tool for the film production sector.
- #67 We are just in the process of launching ASO mobile – it’s a mobile version of the website – not an app – that emphasises the location maps through a ‘near me’ button that will produce either a map or a list of all titles in your current location. Here’s a list of titles near here.
- #71 Most of the time applying one file to multiple displays works beautifully and has given us a site that we can keep adding to and the lists will keep growing. However, it doesn’t always work. People have a record on the site when they are listed with a credit in a title. If they have multiple credits their record displays their work in a nice pictorial grid. However if the person has a credit on one title on the site and that title is represented through a still that happens to be some other actor it can be misleading.
- #73 Most of the time applying one file to multiple displays works beautifully and has given us a site that we can keep adding to and the lists will keep growing. However, it doesn’t always work. People have a record on the site when they are listed with a credit in a title. If they have multiple credits their record displays their work in a nice pictorial grid. However if the person has a credit on one title on the site and that title is represented through a still that happens to be some other actor it can be misleading.
- #76 It’s probably my years in the Channel Ten news room but I’d like to finish with a shaggy dog story if there’s time … PLAY CLIP http://aso.gov.au/titles/documentaries/family-antics/clip1/
- #78 The National Film and Sound Archive is a federal government agency, Canberra based, with over 200 employees.