Digital Planning and - Amazon Web Servicesassets.thespace.org.s3.amazonaws.com/NPO Materials... ·...

ApracticalguideforBand2and3NPOs

DigitalPlanningandPolicy

27 / 09 / 2017

FionaMorris– CEOandCreativeDirector

JohnWhite– ChiefOperatingOfficer

Introductions:TheSpace

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• NPO requirements

• Audiences

• Audienceplanningandreach

• Usabilityandaccessibility

• Effectiveuseofdata

• DistributionandPlatforms

• Online

• Broadcast

• Cinema

Agenda

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• ContentCreation

• Longformcapture

• Shortformcontent

• Immersiveandinteractive

• Culturallearningcontent

• Preservationandarchiving

Agenda(2)

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• Organisational

• Operations,resilienceandsustainability

• Incomegeneration

• Rightsmanagement

• Leadershipandskills

• Questionsandsuggestions

Agenda(3)

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NPOrequirements

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• Linktooverallmission

• Currentstatusofdigitalpractice

• Opportunitiesfordigitaltosupportmissionandobjectives

• Keydigitalpriorities

• Responsibilityforpolicyandreviewprocess

• Whatwillsuccesslooklike?

DigitalPolicy

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• Digitalobjectives

• Keyactivitiestomeeteachdigitalobjective

• Targets:setclear,ambitiousbutrealistictargets

• Budget/resourcesforeachactivity

• Deadlines:includeacleartimeframeandmilestones

• Responsibilities:identifywhowilloverseeandwhowilldelivereachactivity

DigitalPlan

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• Integratedwithbusinessplan:mission/objectives,creative/curatorial,marketing,education,staffingandbudget

• Focusedonstrengthsoropportunitiesspecifictotheorganisation ratherthanspreadingeffortstoothinly

• Audience-led:putsaudiencereachandengagementatheartoftheplan

• Realistic:recognisescurrentstartingpoint,skillsandresourcesavailableandimportanceofeffectiveadvocates,partnersandsuppliers

• Adaptable:digitallandscapechangesrapidlysoplanshouldbetop-levelandhavescopetoevolve

• Seniorstakeholdersinvolvedinpolicyandplanratherthane.g.limitedtodigitalmarketingfunction

Principlesforagooddigitalpolicyandplan

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Audiences

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Areyourplansbasedonaclearunderstandingofyouraudiences?

• Startingpoint:doyouhaveagoodunderstandingofyourcurrentonlinereach/engagement?

• Segments:areyoutargetingactivitiestospecificaudiencesegments(e.g.AudienceSpectrum)orbybehaviour/interest?

• Thinklaterallyaboutwhomightbeinterestedinyourwork

Audiences:whoandwhy?

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Areyourplansbasedonaclearunderstandingofyouraudiences?

• Audienceoutcomes:areactivitiesfocusedonachievingclearoutcomes(e.g.buildingbrandawareness,marketingthecreativeprogramme,engagingwithcreativecontent,buildingbrandloyalty,generatingonlineincome,gainingfeedback)?

• Audienceinterests:haveyouconsidereddifferentaudienceneeds/interests(e.g.newaudiencesvsexisting,traditionalartsaudiencesvsothers,inareavsoutofarea,diverseaudiences,childrenandyoungpeople)?

Audiences:whoandwhy?

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• Haveyouselectedappropriatechannelsforyouraudiencesandcontent?

• Sustainability:doyourplanssupportregularcontent/communicationoneachchannelordotheyriskspreadingeffortstoothinly?

• Platformdemographic:haveyouselectedchannelswhereyouraudiencesegmentsalreadyconsumecontent?

• Contentusage:doescontentworkwiththedevicesthoseaudiencesuseandtypicalinteractionpatterns(duration,frequency)?

• Usabilityandaccessibility:doestheplanconsideraudienceaccess(e.g.mobilevsotherdevices,subtitlingofdialogue,usertestingofsignificantbuilds)?

Audiences:channels

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• Contentdiscovery:haveyouconsideredhowtheaudiencewillfindthecontent?

• Socialmedia:paidforpromotionofcontent(canbeverytargetedandcost-effective)

• Influencers:usingyourcontactsnetworktopromotecontentviasocialmedia

• Searchengineoptimisation:ensuringtexthaskeysearchtermsandnewwebsitesareoptimised

Audiences:marketing

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OperaNorth:TheRingCycle

• Marketingbudget:isthebudget/resourceallocatedtomarketingatleast10%ofcontent/productionbudget(ideallygreater,especiallyifthere’sahighexpectationofnewaudienceacquisition)

• Retention:doesyourmarketingplanincludedrivingrepeatengagementswithexistingaudiences(cheapertoretainthantoacquirenew)?

Audiences:marketing

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Doyouhaverealistictargetsforreach,engagementandaudienceoutcomes?

• Aretargetssetfromausefulbaseline?Bewaryofmetricslikesocialmedia“impressions”andFacebookvideoviewswhichdon’tnecessarilymeanthecontenthasbeenengagedwith

• Doyouknowthecurrentlevelandgrowthrateforyourtargetmetrics?Planswhichassumegreaterthana30%improvementingrowthrateonmaturechannelsareambitious

• Doestheplanidentifyacoherentsetofactionable,shareablemetricse.g.websitesessions,YouTubesubscribers?

• Doestheplanincluderegularsharingtheinsightfromthisacrossyourorganisation?

Audiences:effectiveuseofdata

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CathLeCouteur&NickRyan:ProjectAdrift

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• Film,soundinstallationandTwitterinteractivepiecefocusedonsubjectofSpacedebris

• LaunchedatRoyalAstronomicalSociety.Generatednationalandinternationalmediacoverage

• InstallationatTheScienceMuseumandnowtouringsciencefestivals

NorthernBallet:TheBoyintheStripedPyjamas

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Complicite:TheEncounter

DistributionandPlatforms

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Distribution:onlinedistribution

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Distribution:broadcastopportunities

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TheCreation:BalletRambertBBCFour,BBCiPlayer,BBCArtsDigital

Cinema:Liveeventcinema

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Cinema:Cinegi- publicscreeningsoffilmedcontent

• Digitalserviceforpublicscreeningstoreachaudiencesine.g.villagehalls,communitycentres,artscentres,pubs

• Filmedtheatre,dance,ballet,operaandmusic– fromthemajorartscompaniestothemidscaleandsmaller

• Contentofvaryinglengths– from3hoursto10minutes– venuescancreateprogrammesofmultipletitles

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ContentCreation

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• Attheoutset,planforasustainableandregularoutputofcontent,inordertoacquireandretainaudiences

• Anyonlinepresenceneedstobeconstantlyrefreshed

Contentcreation:principles

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Capturedcontent

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Drawnfromyourexistinglivepracticeintheconcerthall,museum,onstageetc.

• Produceoneatatimetogainlearningandapplytonextproject

• Allow3month+pre-productiontimeframeminimum

• Ensureyousecurerightsearlyon

• Clearaudiencetargets,distributionchannelsandmarketingapproach

• Cross-departmentalandseniorbuy-in(e.g.creative/curatorialinconjunctionwitheducationalandmarketing)

• Long-formcapturetypicalbudgetrange£25kto£100k

Contentcreation:long-formcapture

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Long-formcapture:Artichoke- London1666

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• Extendinghighprofileliveeventwithonsiteaudiencetoonlineandbroadcast

• Multisitecapturewithmulticameracrewandcapturedirector

• Howtomanagealive,highprofilebroadcastonline

• FBliveandYouTube,visitlondon.com,BBCFour

Long-formcapture:Talawa- KingLear

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• TalawawantedtobringitsnewproductionofLeartoaswideanaudienceaspossible

• FilmedintheRoundatManchester’sRoyalExchange

• ShownonBBCFourChristmasDayandonBBCiPlayeraspartofShakespeareLivesseason

• CinemascreeningsaspartofBlackHistoryMonth

• Onlineaudiencesdon’tmakethedistinctionbetweenmarketing,educationalandartisticcontent,therefore..

• Consistencyofquality,toneofvoiceandapproach

• Joineduppublishingscheduleacrosstheorganisation

• Reviewandevaluatehowcontentisbeingusedandsharedregularly

• Budgets:upto5minutesofcontentassumeabudgetrangeofbetween£250to£5k

Contentcreation:short-formcontent

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Short-formcontent:MiracleTheatre- Cinderella

• Partofaseriesof‘lo-fiextends’fromTheSpace

• Usingsocialmediatomarketandextendreachofliveperformances/events

• Short-formcontentandpromotiononFacebook,TwitterandInstagram

• UseofsupportfromTheSpaceincludingfreelanceassociatestoestablishamodelforfuturelow-costprojectsupport

Short-formcontent:BirminghamRep- Stadium

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ContentcapturedduringtheStadiumproject(andperformance)re-purposedforsocialmedia,radio,publicscreenings

Creativecontent

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• Anewtechnologydoesn’tmakeanewexperience:thestoryandcontentcomesfirst- thinkaboutstoryfirst,audienceexperiencenextandthenwhichtechnologiescanhelpyouachievethis

• Ideallytheworkshouldbeanextensionofyourexistinglivepractice

• R&Dphaseforimmersiveprojectsrecommended

• Usertestingandbetaphaseessential

• Considercostandresourcevs.audiencereachandengagementpotential

Contentcreation:immersiveandinteractiveexperiences

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Immersive:59Productions- MynameisPeterStillman

2

fifty nine productions

2

PROJECT SUMMARY

22

MY NAME IS PETER STILLMAN - A VIRTUAL REALITY EXPERIENCE

My Name is Peter Stillman is a free Virtual Reality (VR) experience created by 59 Productions and supported by The Space. The piece is inspired by American novelist Paul Auster’s first work, The New York Trilogy. It opened at HOME, Manchester to great acclaim in February 2017 and transferred to the Lyric, Hammersmith in London in April, with more tour venues lined up throughout 2017.

The project began its development in 2015 when 59 Productions saw a great opportunity to create a VR experience that complimented their stage production of City of Glass. It was created to enhance and transform the experience of the theatre goer before and after they take their seats for the show, however, outside of this theatrical connection, it is a story to be enjoyed and experienced in its own right.

The thrilling, 4 minute experience combines hand-drawn animation and cutting edge technology to distort the line between reality and action, placing audiences at the centre of this narrative as the strange and haunting story of Peter Stillman unfolds. It is this human connection within the story that grips the user and allows them to become totally immersed in this fractured world.

My Name is Peter Stillman is experienced with an Oculus Rift VR headset, in a specially-installed VR booth, which has also been designed by 59 Productions. During its debut in Manchester the experience got over 4500 users in just 4 weeks, proving just how popular, current and well regarded virtual reality is becoming in the world of theatre and film.

My Name is Peter Stillman, HOME Manchester, 2017

AbandonNormalDevices:IntheEyesoftheAnimal

• TakingasitespecificVRexperienceandextendtoengagewithaudiencesonline

• Exploringthevisualworldofdifferentanimalsintheforesttheyinhabit

• Distribution:forestinstallation,festivals,YouTube360

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Interactive:ThePlayhouse,Derry/Londonderry-PlaycraftLive

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BritishMuseum:GreatShrineofAmaravati

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• Galleryvisitorscanusesmartphonetointeractwithprojectedcharacteractors

• Web-userscaninteractwithhi-res3Dmodelofcarvedrelief

• Useslocalwi-ficonnectiontoavoiddataroamingcostsforinternationalvisitors

• UsesSketchfabforonlinedeliveryof3DandVRcontent

DetroitInstituteofArts:Lumin

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• UsesGoogleTango technologywithGuidiGO augmentedrealityplatformcreator:costbenefitsofframeworks

• Tourstopsincludee.g.

• X-rayviewoftheskeletoninsideamummy

• ReconstructionofgatesofancientBabyloninfrontofasectionofwall

• ARKitforiOS11removessomebarrierstoaugmentedrealityappsoniPhoneandiPad

• Planningphasetoconsider:userjourneys,accessibility,mobileoptimisation,SEO,contentmigration/redirectingfromoldsitewhereapplicable

• Clearschedulewithtimefortesting,contentpopulationanditerativedevelopment(3monthsminimum)

• Planforongoingcontentmanagementresponsibilities,maintenanceandhostingrequirements

• SimplewebsitewithopensourceCMSfrom£10k.E-ticketingadditional£5kto£10kforseparatelyhostedsolutionorfrom£30kto£100kforsomethingseamlesslyintegratedintothemainwebsite

• Assumesitewillrequiresubstantialreinvestment/replacementevery3-4years

Contentcreation:newwebsitebuild

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Culturallearningcontent

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Glyndebourne- operaguides

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• 5differentinteractiveguideswithre-usable,mobilefriendlyframework

• Concisetextwithembeddedvideocontent

• Teacherresourcestailoredtosubject,keystageandlearningformat

• Audiences:4,000childrenfrom120schoolsperyear.60%accessdigitalmaterialbeforeand/orafter

BoyBlue- EmancipationofExpressionism

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• UsefulresourcesatCollectionsTrust‘Digitalisn’tDifferent’andMuseumsComputerGroup

• Considertheaudiencesforarchivesprojects,frommuseumstaff,trusteesandsponsorsthroughtopublicaudiences

• Considertheusecasesfromfreeuse,socialsharingtocommercialexploitation

• EnsuresystemshavetechnicalstandardstosupportaCreateOncePublishEverywhere(COPE)strategy

• Forarchivingofdigitalcreativeprojectstherearechallengesaroundfutureaccesstoworksthatdependonhardware/softwarethatmaythenbeunavailable.Videowalk-throughsarealowcostreliablewaytoarchiveaspectsofanexperience

Preservationandarchiving

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Organisational

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• Haveyouadoptedaholisticapproachtodigitalintheorganisation (i.e.notjustmarketingorstandalonesoftware)?

• Haveyouconsideredusinglowercostsoftware-as-serviceprovidersratherthaninvestinginbespokesystems?

• Ifmakinglargeinvestmentshaveyoulookedatoptionstocostsharewithotherorganisationsortobuildsystemsthatcanbereusedinfuture?

• Haveyouconsideredlong-termcosts(e.g.hosting,maintenance,updates)?

• Doyourtimescalesandbudgetsallowforprototypingandthenrefininganditerating(i.e.agiledevelopment)?

Operations,resilienceandsustainability

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AreanyonlineincomeassumptionsrealisticandisthereaplanB?

• Forexistingrevenueopportunities(e-ticketing,onlineshopetc.)areyourprojectionsrealisticbasedonpastlevelsandgrowthrates?

• Fornewopportunitieshaveyouresearchedlikelyincomelevels(e.g.veryfewappsgeneratesignificantincomeonappstore)?

• Haveyouconsideredopportunitiesforin-kindsupport(e.g.fromtechnologyproviders)?

• Eventcinemamodel:noadvanceandrevenuesplit25%contentprovider25%distributor,50%venue.Rightspaymentscomefromcontentprovider’s25%

Incomegeneration

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• Areyouthinkingaboutfuturedigitalexploitationofnewphysicalpieces(e.g.ensuringdigitalrightsareclearableevenifnotanyimmediateplanforonlinepublication)?

• Haveyouconsideredrightsownershipforanybespokedigitalproduction(e.g.foranewwebsitehaveyouconsideredownershipofcode,designandcontent)?

• TheSpaceisexploringwithindustrystakeholdersthepotentialtodevelopmorestandardiseddigitalrightsframeworksforpubliclyfundedUKarts

Rightsmanagement

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Isthereaclearplantogainand/orsustain thefollowingskillseitherin-houseorthroughpartners/suppliers?

• Board/trusteeexperiencewithdigital?

• Skillsindatatrackingandanalysis?

• Digitalmarketingskills?

• Digitalproductionskills?

Leadershipandskills:organisationplanning

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Insummary

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• Integratedwithbusinessplan:mission/objectives,creative/curatorial,marketing,education,staffingandbudget

• Focusedonstrengthsoropportunitiesspecifictoyourorganisation ratherthanspreadingeffortstoothinly

• Audience-led:putsaudiencereachandengagementatheartoftheplan

• Realistic:recognisescurrentstartingpoint,skillsandresourcesavailableandimportanceofeffectiveadvocates,partnersandsuppliers

• Adaptable:digitallandscapechangesrapidlysoplanshouldbetop-levelandhavescopetoevolve

• Seniorstakeholdersinvolvedinpolicyandplanratherthane.g.limitedtodigitalmarketingfunction

Principlesforagooddigitalpolicyandplan

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FionaMorris– CEOandCreativeDirector

JohnWhite– ChiefOperatingOfficer

FilmedpresentationwithnoteswillbeonTheSpacewebsitefrom27Sep

http://www.thespace.org

Thankyou!Anyquestionsorsuggestions?

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