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ApracticalguideforBand2and3NPOs
DigitalPlanningandPolicy
27 / 09 / 2017
FionaMorris– CEOandCreativeDirector
JohnWhite– ChiefOperatingOfficer
Introductions:TheSpace
27/09/ 20173
• NPO requirements
• Audiences
• Audienceplanningandreach
• Usabilityandaccessibility
• Effectiveuseofdata
• DistributionandPlatforms
• Online
• Broadcast
• Cinema
Agenda
27/09/ 20174
• ContentCreation
• Longformcapture
• Shortformcontent
• Immersiveandinteractive
• Culturallearningcontent
• Preservationandarchiving
Agenda(2)
27/09/ 20175
• Organisational
• Operations,resilienceandsustainability
• Incomegeneration
• Rightsmanagement
• Leadershipandskills
• Questionsandsuggestions
Agenda(3)
27/09/ 20176
NPOrequirements
27 / 09 / 2017
• Linktooverallmission
• Currentstatusofdigitalpractice
• Opportunitiesfordigitaltosupportmissionandobjectives
• Keydigitalpriorities
• Responsibilityforpolicyandreviewprocess
• Whatwillsuccesslooklike?
DigitalPolicy
27/09/ 20178
• Digitalobjectives
• Keyactivitiestomeeteachdigitalobjective
• Targets:setclear,ambitiousbutrealistictargets
• Budget/resourcesforeachactivity
• Deadlines:includeacleartimeframeandmilestones
• Responsibilities:identifywhowilloverseeandwhowilldelivereachactivity
DigitalPlan
27/09/ 20179
• Integratedwithbusinessplan:mission/objectives,creative/curatorial,marketing,education,staffingandbudget
• Focusedonstrengthsoropportunitiesspecifictotheorganisation ratherthanspreadingeffortstoothinly
• Audience-led:putsaudiencereachandengagementatheartoftheplan
• Realistic:recognisescurrentstartingpoint,skillsandresourcesavailableandimportanceofeffectiveadvocates,partnersandsuppliers
• Adaptable:digitallandscapechangesrapidlysoplanshouldbetop-levelandhavescopetoevolve
• Seniorstakeholdersinvolvedinpolicyandplanratherthane.g.limitedtodigitalmarketingfunction
Principlesforagooddigitalpolicyandplan
27/09/ 201710
Audiences
27 / 09 / 201711
Areyourplansbasedonaclearunderstandingofyouraudiences?
• Startingpoint:doyouhaveagoodunderstandingofyourcurrentonlinereach/engagement?
• Segments:areyoutargetingactivitiestospecificaudiencesegments(e.g.AudienceSpectrum)orbybehaviour/interest?
• Thinklaterallyaboutwhomightbeinterestedinyourwork
Audiences:whoandwhy?
27/09/ 201712
Areyourplansbasedonaclearunderstandingofyouraudiences?
• Audienceoutcomes:areactivitiesfocusedonachievingclearoutcomes(e.g.buildingbrandawareness,marketingthecreativeprogramme,engagingwithcreativecontent,buildingbrandloyalty,generatingonlineincome,gainingfeedback)?
• Audienceinterests:haveyouconsidereddifferentaudienceneeds/interests(e.g.newaudiencesvsexisting,traditionalartsaudiencesvsothers,inareavsoutofarea,diverseaudiences,childrenandyoungpeople)?
Audiences:whoandwhy?
27/09/ 201713
• Haveyouselectedappropriatechannelsforyouraudiencesandcontent?
• Sustainability:doyourplanssupportregularcontent/communicationoneachchannelordotheyriskspreadingeffortstoothinly?
• Platformdemographic:haveyouselectedchannelswhereyouraudiencesegmentsalreadyconsumecontent?
• Contentusage:doescontentworkwiththedevicesthoseaudiencesuseandtypicalinteractionpatterns(duration,frequency)?
• Usabilityandaccessibility:doestheplanconsideraudienceaccess(e.g.mobilevsotherdevices,subtitlingofdialogue,usertestingofsignificantbuilds)?
Audiences:channels
27/09/ 201714
• Contentdiscovery:haveyouconsideredhowtheaudiencewillfindthecontent?
• Socialmedia:paidforpromotionofcontent(canbeverytargetedandcost-effective)
• Influencers:usingyourcontactsnetworktopromotecontentviasocialmedia
• Searchengineoptimisation:ensuringtexthaskeysearchtermsandnewwebsitesareoptimised
Audiences:marketing
27/09/ 201715
OperaNorth:TheRingCycle
• Marketingbudget:isthebudget/resourceallocatedtomarketingatleast10%ofcontent/productionbudget(ideallygreater,especiallyifthere’sahighexpectationofnewaudienceacquisition)
• Retention:doesyourmarketingplanincludedrivingrepeatengagementswithexistingaudiences(cheapertoretainthantoacquirenew)?
Audiences:marketing
27/09/ 201716
Doyouhaverealistictargetsforreach,engagementandaudienceoutcomes?
• Aretargetssetfromausefulbaseline?Bewaryofmetricslikesocialmedia“impressions”andFacebookvideoviewswhichdon’tnecessarilymeanthecontenthasbeenengagedwith
• Doyouknowthecurrentlevelandgrowthrateforyourtargetmetrics?Planswhichassumegreaterthana30%improvementingrowthrateonmaturechannelsareambitious
• Doestheplanidentifyacoherentsetofactionable,shareablemetricse.g.websitesessions,YouTubesubscribers?
• Doestheplanincluderegularsharingtheinsightfromthisacrossyourorganisation?
Audiences:effectiveuseofdata
27/09/ 201717
CathLeCouteur&NickRyan:ProjectAdrift
27/09 / 201718
• Film,soundinstallationandTwitterinteractivepiecefocusedonsubjectofSpacedebris
• LaunchedatRoyalAstronomicalSociety.Generatednationalandinternationalmediacoverage
• InstallationatTheScienceMuseumandnowtouringsciencefestivals
NorthernBallet:TheBoyintheStripedPyjamas
27/09/ 201719
Complicite:TheEncounter
DistributionandPlatforms
27 / 09 / 2017
Distribution:onlinedistribution
27/09 / 201722
Distribution:broadcastopportunities
27/09/ 201723
TheCreation:BalletRambertBBCFour,BBCiPlayer,BBCArtsDigital
Cinema:Liveeventcinema
27/09/ 201724
Cinema:Cinegi- publicscreeningsoffilmedcontent
• Digitalserviceforpublicscreeningstoreachaudiencesine.g.villagehalls,communitycentres,artscentres,pubs
• Filmedtheatre,dance,ballet,operaandmusic– fromthemajorartscompaniestothemidscaleandsmaller
• Contentofvaryinglengths– from3hoursto10minutes– venuescancreateprogrammesofmultipletitles
27/09 / 201725
ContentCreation
27 / 09 / 2017
• Attheoutset,planforasustainableandregularoutputofcontent,inordertoacquireandretainaudiences
• Anyonlinepresenceneedstobeconstantlyrefreshed
Contentcreation:principles
27/09/ 201727
Capturedcontent
27 / 09 / 201728
Drawnfromyourexistinglivepracticeintheconcerthall,museum,onstageetc.
• Produceoneatatimetogainlearningandapplytonextproject
• Allow3month+pre-productiontimeframeminimum
• Ensureyousecurerightsearlyon
• Clearaudiencetargets,distributionchannelsandmarketingapproach
• Cross-departmentalandseniorbuy-in(e.g.creative/curatorialinconjunctionwitheducationalandmarketing)
• Long-formcapturetypicalbudgetrange£25kto£100k
Contentcreation:long-formcapture
27/09/ 201729
Long-formcapture:Artichoke- London1666
27/09/ 201730
• Extendinghighprofileliveeventwithonsiteaudiencetoonlineandbroadcast
• Multisitecapturewithmulticameracrewandcapturedirector
• Howtomanagealive,highprofilebroadcastonline
• FBliveandYouTube,visitlondon.com,BBCFour
Long-formcapture:Talawa- KingLear
27/09/ 201731
• TalawawantedtobringitsnewproductionofLeartoaswideanaudienceaspossible
• FilmedintheRoundatManchester’sRoyalExchange
• ShownonBBCFourChristmasDayandonBBCiPlayeraspartofShakespeareLivesseason
• CinemascreeningsaspartofBlackHistoryMonth
• Onlineaudiencesdon’tmakethedistinctionbetweenmarketing,educationalandartisticcontent,therefore..
• Consistencyofquality,toneofvoiceandapproach
• Joineduppublishingscheduleacrosstheorganisation
• Reviewandevaluatehowcontentisbeingusedandsharedregularly
• Budgets:upto5minutesofcontentassumeabudgetrangeofbetween£250to£5k
Contentcreation:short-formcontent
27/09/ 201732
Short-formcontent:MiracleTheatre- Cinderella
• Partofaseriesof‘lo-fiextends’fromTheSpace
• Usingsocialmediatomarketandextendreachofliveperformances/events
• Short-formcontentandpromotiononFacebook,TwitterandInstagram
• UseofsupportfromTheSpaceincludingfreelanceassociatestoestablishamodelforfuturelow-costprojectsupport
Short-formcontent:BirminghamRep- Stadium
27/09/ 201734
ContentcapturedduringtheStadiumproject(andperformance)re-purposedforsocialmedia,radio,publicscreenings
Creativecontent
27 / 09 / 201735
• Anewtechnologydoesn’tmakeanewexperience:thestoryandcontentcomesfirst- thinkaboutstoryfirst,audienceexperiencenextandthenwhichtechnologiescanhelpyouachievethis
• Ideallytheworkshouldbeanextensionofyourexistinglivepractice
• R&Dphaseforimmersiveprojectsrecommended
• Usertestingandbetaphaseessential
• Considercostandresourcevs.audiencereachandengagementpotential
Contentcreation:immersiveandinteractiveexperiences
27/09/ 201736
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
27/09 / 201738
Interactive:ThePlayhouse,Derry/Londonderry-PlaycraftLive
27/09/ 201739
BritishMuseum:GreatShrineofAmaravati
27/09 / 201740
• Galleryvisitorscanusesmartphonetointeractwithprojectedcharacteractors
• Web-userscaninteractwithhi-res3Dmodelofcarvedrelief
• Useslocalwi-ficonnectiontoavoiddataroamingcostsforinternationalvisitors
• UsesSketchfabforonlinedeliveryof3DandVRcontent
DetroitInstituteofArts:Lumin
27/09/ 201741
• 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
42
Culturallearningcontent
27 / 09 / 201743
Glyndebourne- operaguides
27/09/ 201744
• 5differentinteractiveguideswithre-usable,mobilefriendlyframework
• Concisetextwithembeddedvideocontent
• Teacherresourcestailoredtosubject,keystageandlearningformat
• Audiences:4,000childrenfrom120schoolsperyear.60%accessdigitalmaterialbeforeand/orafter
BoyBlue- EmancipationofExpressionism
27/09/ 201745
• UsefulresourcesatCollectionsTrust‘Digitalisn’tDifferent’andMuseumsComputerGroup
• Considertheaudiencesforarchivesprojects,frommuseumstaff,trusteesandsponsorsthroughtopublicaudiences
• Considertheusecasesfromfreeuse,socialsharingtocommercialexploitation
• EnsuresystemshavetechnicalstandardstosupportaCreateOncePublishEverywhere(COPE)strategy
• Forarchivingofdigitalcreativeprojectstherearechallengesaroundfutureaccesstoworksthatdependonhardware/softwarethatmaythenbeunavailable.Videowalk-throughsarealowcostreliablewaytoarchiveaspectsofanexperience
Preservationandarchiving
27/09/ 201746
Organisational
27 / 09 / 201747
• Haveyouadoptedaholisticapproachtodigitalintheorganisation (i.e.notjustmarketingorstandalonesoftware)?
• Haveyouconsideredusinglowercostsoftware-as-serviceprovidersratherthaninvestinginbespokesystems?
• Ifmakinglargeinvestmentshaveyoulookedatoptionstocostsharewithotherorganisationsortobuildsystemsthatcanbereusedinfuture?
• Haveyouconsideredlong-termcosts(e.g.hosting,maintenance,updates)?
• Doyourtimescalesandbudgetsallowforprototypingandthenrefininganditerating(i.e.agiledevelopment)?
Operations,resilienceandsustainability
27/09/ 201748
AreanyonlineincomeassumptionsrealisticandisthereaplanB?
• Forexistingrevenueopportunities(e-ticketing,onlineshopetc.)areyourprojectionsrealisticbasedonpastlevelsandgrowthrates?
• Fornewopportunitieshaveyouresearchedlikelyincomelevels(e.g.veryfewappsgeneratesignificantincomeonappstore)?
• Haveyouconsideredopportunitiesforin-kindsupport(e.g.fromtechnologyproviders)?
• Eventcinemamodel:noadvanceandrevenuesplit25%contentprovider25%distributor,50%venue.Rightspaymentscomefromcontentprovider’s25%
Incomegeneration
27/09/ 201749
• Areyouthinkingaboutfuturedigitalexploitationofnewphysicalpieces(e.g.ensuringdigitalrightsareclearableevenifnotanyimmediateplanforonlinepublication)?
• Haveyouconsideredrightsownershipforanybespokedigitalproduction(e.g.foranewwebsitehaveyouconsideredownershipofcode,designandcontent)?
• TheSpaceisexploringwithindustrystakeholdersthepotentialtodevelopmorestandardiseddigitalrightsframeworksforpubliclyfundedUKarts
Rightsmanagement
27/09/ 201750
Isthereaclearplantogainand/orsustain thefollowingskillseitherin-houseorthroughpartners/suppliers?
• Board/trusteeexperiencewithdigital?
• Skillsindatatrackingandanalysis?
• Digitalmarketingskills?
• Digitalproductionskills?
Leadershipandskills:organisationplanning
27/09/ 201751
Insummary
27 / 09 / 201752
• Integratedwithbusinessplan:mission/objectives,creative/curatorial,marketing,education,staffingandbudget
• Focusedonstrengthsoropportunitiesspecifictoyourorganisation ratherthanspreadingeffortstoothinly
• Audience-led:putsaudiencereachandengagementatheartoftheplan
• Realistic:recognisescurrentstartingpoint,skillsandresourcesavailableandimportanceofeffectiveadvocates,partnersandsuppliers
• Adaptable:digitallandscapechangesrapidlysoplanshouldbetop-levelandhavescopetoevolve
• Seniorstakeholdersinvolvedinpolicyandplanratherthane.g.limitedtodigitalmarketingfunction
Principlesforagooddigitalpolicyandplan
27/09/ 201753
FionaMorris– CEOandCreativeDirector
JohnWhite– ChiefOperatingOfficer
FilmedpresentationwithnoteswillbeonTheSpacewebsitefrom27Sep
http://www.thespace.org
Thankyou!Anyquestionsorsuggestions?
27/09/ 201754