IP, OA and DAMs! Oh My! Speakers Notes Museum Computer Network, Dallas Texas 2014 Presented Friday November 21st, 2014 - 3:30pm - 5:00pm

1. My
name
is
John
ffrench
and
I
am
the
Director
of
Visual
Resources
at
the
Yale
University
Art
Gallery.
I
oversee
the
imaging
department
which
photographs
the
collecBon
and
also
events,
exhibiBons,
etc
as
well
as
overseeing
the
Rights
and
ReproducBons
office
who
deal
with
the
disseminaBon
of
images
for
external
requests
and
clearing
of
rights
for
internal
projects.
1

2. Last
Year
at
MCN
I
parBcipated
in
the
panel
“Minimal
Fric+on,
Maximal
Use:
Op+mizing
Open
Access
Image
Delivery”
where
I
gave
some
background
on
the
iniBal
steps
we
took
once
adopBng
Open
Access
in
2011.
In
short,
a
simple
Google
of
Yale
Open
Access
will
point
you
to
our
central
site
which
outlines
the
policy
and
answers
some
of
the
more
common
quesBons.
AddiBonally
most
of
the
units
on
campus
have
their
own
web
pages
which
speak
to
Open
Access
and
describe
how
users
can
access
images/material.
2

3. Intellectual
Property
and
Open
Access
all
start
with
the
object,
it
is
core
to
the
process.
At
the
Gallery
we
see
our
CMS
(TMS
–
The
Museum
System)
as
the
data
authority
for
the
objects,
and
our
DAM
(Artesia’s
Media
Manager)
as
the
data
authority
for
images
of
objects.
Within
TMS
we
manage
IP
using
the
Rights
and
ReproducBons
screen.
While
this
area
is
limited
in
what
we
can
record,
it
provides
us
enough
fields
to
record
basic
informaBon.
Here
we
can
record
whether
an
object
is
in
the
public
domain
(based
on
date),
or
is
under
copyright.
By
default,
new
records
created
in
TMS
fall
into
two
categories.
Public
Domain
(pre-­‐1923)
or
‘Not
Assigned’
which
means
research
needs
to
be
done
to
determine
if
it
may
be
in
the
public
domain,
or
if
it
is
under
copyright.
3

4. One
of
the
ways
we
have
automated
this
task
is
that
a
script
is
run
against
the
database
each
evening
and
an
e-­‐mail
report
is
sent
out
to
subscribed
users
indicaBng
what
policies
where
applied.
These
are
then
reviewed
and
can
be
addressed
rather
quickly.
More
recently
we
added
in
a
new
policy
which
we
apply
globally
to
3
curatorial
departments.
The
term
‘Cultural
object’
is
applied
to
the
Indo-­‐Pacific,
African
and
the
Coins
and
Medals
departments.
In
these
cases
we
treat
the
object
similar
to
Public
Domain
works
(making
them
freely
available)
but
we
do
not
classify
them
as
‘Public
Domain’
since
that
is
a
legal
term
and
does
not
apply
to
all
of
the
objects
in
the
collecBons.
4

5. Besides
the
automaBon
we
have
built
in
to
our
CMS,
we
also
work
with
the
Registrars
office
to
gather
IP
informaBon
at
the
Bme
of
acquisiBon.
While
not
all
of
the
objects
we
acquire
come
directly
from
the
arBst,
the
form
helps
us
gather
possible
contact
informaBon
to
aid
in
our
search
for
any
arBst
we
do
not
have
contact
for.
5

6. For
works
which
are
not
in
the
public
domain,
the
default
ORT
is
‘Not
Assigned’.
This
allows
us
to
query
the
object
records
and
find
which
objects
need
to
be
updated.
Once
an
object
is
researched
and
rights
determined
we
then
change
the
ORT
accordingly.
Each
ORT
triggers
scripts
which
are
stored
in
our
DAM
and
ulBmately
push
out
to
Amazon
Web
Services
which
describe
the
size
of
an
image
which
can
be
available
on
our
website.
This
same
script
and
also
pushes
out
the
proper
copyright
string
which
appears
beneath
the
image
when
we
know
it.
By
default
the
copyright
byline
reads
either
‘Public
Domain
or
Copyright
ArBst/Estate/FoundaBon.
6

7. When
we
know
who
the
IP
representaBve
is,
Internally
we
can
link
that
individual
or
organizaBon
as
a
consBtuent
so
that
Gallery
staff
can
find
the
appropriate
contact
informaBon
when
we
need
to
clear
permissions.
To
simplify
mahers
more,
a
custom
reports
was
created
using
Crystal
Reports
which
can
export
to
Excel
the
relevant
object
informaBon
and
rights
related
informaBon
into
one
spreadsheet.
This
then
allows
our
staff
who
clear
rights
for
digital
or
print
projects
to
have
all
of
the
material
outside
of
TMS
and
to
add
addiBonal
data
as
needed.
(eg.
Where
in
a
book
the
image
will
land,
image
size,
contacts
made,
fees
assigned,
etc).
At
the
end
of
each
reproducBon
project
we
scan
the
contracts
received
and
link
them
back
into
TMS
and
the
individual
object
record
for
archive
purposes
and
to
keep
them
centrally
accessible.
7

8. As
a
quick
visual
representaBon,
this
chart
correlates
the
ORT
dropdowns
into
varying
image
availability
sejngs.
Depending
on
rights
and
permissions
we
deliver
files
from
249
pixel
thumbs
up
to
20
MB
Bff
files
online.
Anything
larger,
or
with
Rights
restricBons
requires
users
to
submit
a
request
to
R&R
where
we
then
send
the
files
electronically
noBng
any
restricBons
or
permissions
which
may
need
to
be
secured
by
3rd
parBes.
8

9. A
more
recent
development
is
the
internal
creaBon
of
what
we
call
the
Media
Editor
tool.
The
Media
Editor
allows
us
to
assign
varying
permissions
which
allow
staff
to
view
and
edit
various
rights
informaBon
stored
in
TMS
and
our
DAM.
The
lem
panel
is
a
view
into
TMS
and
its
varying
tabs,
and
the
right
is
a
view
into
the
DAM.
Users
can
edit
the
various
fields
and
CDS
sejngs
on
one
locaBon
and
select
assets
by
individual
object
number,
accession
number
or
by
object
package
group.
9

10. This
same
tool
allows
us
to
edit
or
update
rights
related
informaBon
in
TMS.
For
records
under
10
records
we
use
this
method,
if
we
have
a
larger
set
of
records
our
IT
staff
have
a
SQL
script
they
can
run
against
TMS
to
insert
the
data
in
bulk
for
us
10

11. CDS
uBlizes
Amazon
Web
Services
to
deliver
to
our
website.
The
advantage
of
AWS
is
that
the
data
can
be
made
available
to
our
3rd
party
distribuBon
partners
so
we
are
only
having
to
maintain
one
feed
and
can
ensure
that
the
data
they
receive
is
as
fresh/accurate
as
possible.
ARTstor
is
one
organizaBon
that
Yale
is
working
with
to
deliver
images
and
data
via
AWS.
In
turn
ARTstor
is
then
providing
that
data
to
DPLA
(Digital
Public
Library
of
America).
11

12. On
our
website,
objects
which
are
under
copyright
appear
on
our
website
with
informaBon
similar
to
what
you
see
here.
In
this
parBcular
example,
we
have
an
agreement
in
place
with
the
arBst
to
display
larger
than
a
thumbnail
file
online
(but
not
allow
for
‘click-­‐download’
of
images).
Where
possible,
we
aim
to
give
the
user
of
our
website
as
much
informaBon
about
the
image
as
possible.
By
clicking
on
the
Copyright
string
you
are
taken
to
a
page
which
describes
using
our
images
and
has
links
to
some
of
the
more
popular
3rd
party
rights
organizaBons.
The
Rights
and
ReproducBons
link
takes
you
to
our
R&R
page
where
users
can
fill
out
an
online
form
to
request
images
be
sent,
or
request
new
photography
if
none
exists.
The
Gallery
does
not
charge
any
fees
for
the
use/request
of
our
images.
12

13. Objects
which
are
in
the
public
domain,
or
are
cultural
objects
(Indo-­‐pacific,
African,
and
Coins
and
Medals)
are
made
available
for
download
via
our
website
as
either
a
Powerpoint
sized
JPG
or
as
a
20MB
Tiff
file
(following
ARTstors
IAP
model).
We
have
found
that
in
most
cases
these
two
sizes
are
suitable
for
our
users
needs.
Those
who
desire
a
larger
file
can
contact
our
R&R
office
for
the
full
sized
Tiff
file
free
of
charge.
Our
website
also
has
the
ability
to
display
mulBple
images
whose
order
is
determined
by
our
DAM.
13

14. Internally
we
offer
most
of
our
staff
access
to
our
CMS
and
to
our
DAM.
Within
our
DAM
we
have
several
categories
of
users
who
have
varying
permission
to
image
assets.
Our
DAM
allows
us
to
place
security
policies
on
assets
so
that
some
groups
can
see
them
and
download
them,
and
other
assets
–
such
as
some
of
our
conservaBon
state
images
–
are
not
even
visible.
Each
month
we
generate
a
report
which
idenBfies
which
assets
have
been
downloaded
and
by
whom.
This
largely
allows
us
to
have
a
sense
of
who
is
using
the
system
more
than
playing
Big
Brother
and
looking
for
people
who
are
doing
mass
exports.
But
is
is
a
useful
way
to
demonstrate
the
validity
of
our
system.
14

15. Just
prior
to
this
talk,
I
ran
a
query
against
our
DAM
and
CMS,
the
Gallery
currently
has
just
over
110,000
records
with
images
available
online.
Roughly
¾
of
those
are
what
we
consider
presentaBon
or
publicaBon
quality,
The
remaining
¼
of
the
images
are
ID
photos
taken
by
our
curators
or
collecBons
staff.
These
images
allow
an
individual
to
beher
idenBfy
the
object,
but
are
not
what
we
would
consider
‘studio
quality’.
Of
the
82,000
presentaBon
quality
images,
65,000
of
them
are
part
of
our
Open
Access
policy
and
free
to
download.
Our
total
number
of
objects
online
is
approximately
150,000
objects.
15

16. 16