budgeting and funding - lecture for preservation & presentation of the moving image master...
DESCRIPTION
Some thoughts about budgeting, funding, the cost structure of an audiovisual archive & new business modelsTRANSCRIPT
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Geert Wissink. 15 oktober 2012
BUDGETING & FUNDING
Lecture Preservation & Presentation of the Moving Image
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PUBLIC VALUE
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PUBLIC VALUE (ACCORDING TO BBC)
• Democratic value - to support active and informed citizenship by providing trusted, impartial, in-depth news and information that help people make sense of the world
• Cultural and creative value - to enrich the cultural life of the nation by enabling the UK’s best creative talents to produce great original work and provide a broad range of memorable and enjoyable programmes and events
• Educational value - contribute to education for all by creating a wide range of accessible programmes and services that feed curiosity and enable people to learn throughout their lives
• Social and community value - help make the UK a more inclusive society 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 most trusted provider of international news and by showcasing the best of British culture to a global audience
4Source: Annual Report on Preservation Issues for European Audiovisual Collections – Presto Space Deliverable D-22.8 (2007)
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PUBLIC VALUE
To have public value, collections should be
1) online; this requires digitisation, encoding and hosting 2) public – because any restriction on access is a proportionate restriction of interest, visitors to the site – and ultimately any value, public or commercial, associated with the site
3) visible – the hardest condition of all.
Cory Doctorrow: “my problem isn’t piracy, it’s obscurity”
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SUSTAINING PUBLIC VALUE
Long term thinking should be engrained in every cultural productive process
but
- Short-term commercial value is at odds with long term heritage 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 the generation of the audiovisual material
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REALLY LONG TERM THINKING
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FROM ANALOGUE TO DIGITAL
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FALLING COST DIGITAL STORAGE
Source: Kurzweil. The Singularity is Near
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# HOURS UPLOADED TO YOUTUBE (every hour)
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ORGANIZATIONAL MODELS
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PHASES IN MANAGING COLLECTIONS
Pre-Professional Era
- lay collectors, donators, amateurs
Professional Era
- academic professionals
- profession defined in cognitive and scientific terms
Post-Professional Era
- huge increase in museums
- seperations between artistic and administrative control
- complex bureaucratic institutions
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Source: Between the Devil of the Business Model and the Deep Blue Sea of Public Services - Kaija Kaitavuori
DEPARTMENT WITHIN LARGER ORGANIZATION
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INA
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Funding: 60 % government funded, 40 % commercial activity
Business model:
1) Broker for other archives (Tour de France, IOC, TF1) - throught ImediaPro (INA keeps small handling fee per transaction, partners do fullfillment
2) Distribution agreementsOther organizations store content at INA’s Archive
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PRELINGER ARCHIVES - 60.000 FILMS
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2. ORGANIZATION SOUND AND VISION
PEOPLE
200 FTE
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50 FTE EXTRA IMAGES FOR THE FUTURE
ORGANOGRAM SOUND AND VISION
MASS DIGITIZATION & PRESERVATION
9 EU TENDERS in last 5 years (more than 220 K costs)
Video Digibeta Film Preservation Perfo-AcetateFilm Preservation AcetateFilm Preservation NitrateFilm Digitization SDFilm Digitization HDDigitization of Photographic Materials*Photo Digitisation ColorEducation Media Platform
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PROJECT & PROGRAMMES
ITDigitization
Access (portals)
Exhibition
Sponsorships
Depot
Productions (Documentary)Sales
Research Projects (Dutch, EU, internal)
Question: what’s the annual budget of Sound and Vision? 20
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INCOME
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INCOME TOP 5
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EXPENDITURE
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CHART COSTS STRUCTURAL FINANCED ACTIVITIES
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FUNDING
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FUNDING CASE: IMAGES FOR THE FUTURE
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100 YEARS OF CONTENT
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COST BENEFIT ANALYSIS
"The total balance of costs and returns of restoring, preserving and digitizing audio-visual material (excluding costs of tax payments) will be between: 20+ and 60+ million’’ (SEO, 2006). The "plus" represents non-quantifiable indirect effects and social benefits that go beyond the users’ benefits.
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BUSINESS CASE
Total costs: 173 million euro
Cost-Benefits Analysis to support claim
This analysis followed the "Research into Effects on Infrastructure" framework defined by the Dutch Ministry of Economic Affairs and the Ministry of Transport (Eigenraam, 2000). This framework shows how the costs and benefits of infrastructural investments such as roads, railways etc. can be determined. In addition to ‘hard’ numbers, environmental and other ‘soft’ effects are an intrinsic part of the analysis. The socio-economic returns of these structural investments are calculated over a substantial period of time: in the case of Images of the Future, this period was set at 30 years.
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FROM ANALOGUE TO DIGITAL
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FROM ANALOGUE TO DIGITAL
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DIGITAL ARCHIVE
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NEW BUSINESS MODELS
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BUSINESS MODEL CANVAS
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BUSINESS MODEL CANVAS
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ANALOGUE MODEL
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DIGITAL MODEL
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NEW REVENUE MODELS
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1. ORIGINAL.The heritage institution creating the experience
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2. DIGITAL ORIGINALThe heritage institution as a digital heritage broker
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3. DIGITAL CURATORThe heritage institution providing the context
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4. DIGITAL BRANDINGThe heritage institution creating the reputation and building the brand
1. Digital Brand as quality stamp
2. Support for charity
3. Crowd funding
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5. PRODUCT BUNDLEThe heritage institution as the provider of product bundles
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BUSINESS MODELLING THE FUTURE
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ASSIGNMENT
1. Think of a future organizational model for the audiovisual archive
2. Use the business model canvas to write down different aspects of the new model (capture them on PostIts)
3. We’ll discuss the answers together
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CANVAS
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SOURCECollection Netherlands Institute for Source and Vision
LICENSE Creative Commons Attribution - Share Alike
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PHOTO CREDITS