DIGITAL REACH Environmental Scan - February 2020 Prepared for Prepared by Nordicity and Lord Cultural Resources - The National Ballet of Canada
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DIGITAL REACH Environmental Scan
February 2020
Prepared for Prepared by
Digital Partner Organizations Nordicity and Lord Cultural
Resources
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
Table of Contents
1. Project Overview
2. The Digital Landscape
3. Content Big Review
4. Content Small Review
5. Immersive Experiences
6. Conclusion
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
Purpose of this Document
▪ Digital Reach aims to explore ways that arts organizations can use their
content to connect with existing and new audiences.
▪ This document summarizes the research conducted by Nordicity and Lord
Cultural Resources for Phase One of the project.
▪ This research aims to provide Digital Reach partners with an overview of:
▪ Network broadcasters and production companies with experience in bringing live performance
and exhibitions to the screen
▪ Emerging OTT platforms for streaming arts content
▪ Arts organizations that have used their content for audience engagement in interesting and
successful ways
▪ Digital usage trends and audience engagement with the arts online
▪ This research has been funded by
Fund, with additional support for the City of Toronto.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
Project Overview
Project Overview | Project Partners
Consulting Partners Steering Committee
Lead Organization
Participating Organizations
Funders
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
Project Overview | Project By Phase
Phase One: Phase Two: Pilot Phase Three:
Exploration Projects Implementation and
Sharing
One-on-one OCADU facilitated Evaluation of pilot
meetings with review and projects
organizations** selection session Longer term
Environmental Identification, implementation
Scan** selection and planning
Infrastructure refinement of pilot Formalized sharing
whitepaper* projects of learnings
Informational Launch pilot
sessions and projects
workshops*
* in-progress
** completed
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
How does Digital Reach understand content
Project Overview | How Digital Reach Understands Content
The Digital Reach initiative is exploring content in two buckets, self-defined as
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
THE DIGITAL LANDSCAPE
The Digital Landscape | Overview of Section
▪ This section of research provides insights into audiences in this increasingly
digital world.
▪ This section addressed the following research questions:
▪ Where and how are audiences spending their time online?
▪ What does the increasing time spent online mean for the arts?
▪ How are audience engaging and desiring to engage with arts online?
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.
The Digital Landscape | Audience Trends in a Digital World
▪ , where leisure time is limited and there is increasing
▪ Canadian and global audiences are spending increasingly more of their time online, and
increasingly so on mobile devices.
▪ Audience expectations are shifting. They want to engage with content digitally. They want to
have integrated digital experiences in all aspects of their lives. They want easy access to digital
content, for free. And they want to be able to use that content without restrictions.
▪ In this context, cultural institutions need to respond to audience demands and embrace
integrated digital engagement to maintain relevance and successfully build relationships
with younger audiences.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | What does this mean for Arts Organizations?
▪ organizations are facing
.
▪ Time spent
engaged in arts and culture activities dropped every year from 1994 to 2005, and has
been level since (2016 report).
▪ On average, Canadians are spending about one hour less each month engaged in the arts
(2016 report).
▪ With increased competition for limited leisure time and attention, accessing audiences in new
ways is increasingly important.
Source: Canadian Wellbeing Index, Hill Strategies Cultural Participation 2016
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Where are Audiences Online?
▪ Pretty evenly split, along gender ▪ Skews slightly more female (39% ▪ 74% of females online use
lines (24% of females online of female online use Instagram, to Facebook, vs. 62% of males
compared to 23% of males online 30% of males online) ▪ Older demographic, with 72% of
are engaging on Twitter)
▪ Heavily leans toward a younger 30-49 year old's using the
▪ 40% of those 18-29 years old use audience (72% of 13-17 year old's platform, and 62% of those 50-64,
Twitter, compared to 32% of those use Instagram, 64% of those 18- and 62% of those 65+
aged 3-17, and 27% of those aged 29, and 40% of those 30-49. ▪ Has the most urban penetration of
30-49 years old.
▪ Lowest penetration in under 30k all the platforms (75% of urban
▪ Lowest penetration among income bracket among all the dwellers), as well as of college
college-educated users (Only 32% platforms. educated users (75%).
of college educated internet users
engage on the platform). Source: 2019 Social Media Demographics, Sprout Social
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Audience Behaviour
More contextually
▪ The ultimate end goal is influenced process
for audiences to consume
or engage with your SITUATION – where are you? time?
content.
▪ Interests, preferences, DEVICE – what device are you using?
and motivations are
more important SERVICE – do I have access to it?
indicators of
consumption behaviour CONTENT – is it good? will I like it?
than demographics.
▪ These consumption
behaviours also impact
discoverability. More active
Source: Ericsson ConsumerLab TV and Media 2015-2018
intentional process
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Where are Audiences Globally?
▪ Global internet use is high and
continues to grow steadily.
▪ 91% of users are accessing the
internet on a mobile device.
▪ Time spent on social media is
increasing globally:
▪ Users spent 135 minutes per day
on social platforms in 2017, up
from 126 minutes daily in 2016.
▪ Online platforms open up
institutions to international
audiences. Source: Statista, Rijksmuseum and Adweek
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital
Digital Landscape
Penetration | Where
Trends are Audiences in Canada?
in Canada
▪ Canadians are spending increasing amounts of time online.
▪ 89% of Canadians use the internet daily.
▪ Canadian adults spend on average 22.8 hours a week online (any device).
▪ People are frequently accessing online content from mobile devices.
▪ 76% of Canadians own a smartphone
▪ 90% own more than one device.
▪ Consumers in Canada spend on average 3 hours a day on smartphones/tablets
(not including voice activities).
▪ Apparent higher tolerance for advertising on mobile vs. desktop
▪ Younger audiences are the primary digital users, but older age groups are also
increasing their use in a limited set of activities. Sources: Arts and Heritage Access and Availability Survey (2016-2017)
Culture Track: Canada
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Online Engagement
▪ Among forms of content, audiences wish to engage with video.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Consumption
▪ Video is the form of content that captures the most of audiences attention.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Digital Engagement with Arts and Culture
▪ Institutions need to embrace digital in order to successfully engage younger
audiences in the future.
▪ The vast majority of younger audiences engage with arts and culture
online.
▪ 81% of Canadians under 35 engage with the arts online.
▪ 84% of youth (16-24) have used technology or the Internet as a way to access the arts
(compared to 66% for the total population).
▪ Indigenous and people of colour also show a higher than average online
engagement.
▪ They are nearly twice as likely to want a digital or virtual component as part of their ideal
cultural experience.
Source: Culture Track Canada
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Digital Experience is Driving Live
▪ Digital experiences are driving people to live experience, not taking away.
▪ Canadians under 35 are most likely to say their online arts consumption has
led to an increase in live attendance (28% vs. 18% aged 35 and older).
▪ Digital engagement can spark relationships that eventually bring people in the
door.
▪ Among Canadians that have streamed or watched pre-recorded content on the
Internet, almost one-quarter (23%) say they attend more live arts events as
a result. And for most people (67%) it is not having any impact on attendance.
Source: Environics Arts and Heritage Access and
Availability Survey 2016-2017
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | Digital Experience is Driving Live (Cont.)
A recent study on streaming opera found that 35.7% of respondents have
watched a livestreamed performance, and 72.8% say they are at least
somewhat interested in doing so there is definitely room to grow.
Source: Digital Opera Research and Intelligence Study
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | The Discoverability Matrix
▪ Content is an additional avenue to
▪ Discoverability is about connecting
the right people, with the right
content, in the right place, at the
right time.
▪ Discoverability is made up of three
key elements audiences, content
and channels.
▪ These three elements are interacting
forces that impact what is discovered,
by whom and how easily.
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.The Digital Landscape | The Discoverability Journey
▪ Discoverability does not end once an audience member finds your organization
or content online, it is a journey that must be constantly maintained and
invested in.
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Copyright 2019 © NGL Nordicity Group Ltd. All Rights Reserved.CONTENT BIG
Content Big | Overview of Section
▪
questions:
▪ In what ways are arts organizations getting their long form content out to
audiences?
▪ What platforms are emerging that are working with arts content steaming
and distribution?
▪ What are traditional broadcast networks doing in terms of arts streaming?
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | What is the Goal?
What are we trying to
achieve with content online?
Awareness and Accessibility of arts to
promotion new audiences
Archival purposes
The (long road to)
monetization
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Barriers to Success
From our discussions with each partner organization, we heard of many similar
barriers:
▪ Upfront costs of new technologies are often prohibitive (although dropping
rapidly)
▪ Understanding and managing the artist rights related to capturing/sharing
content remains a challenge
▪ Infrastructure limitations to streaming or displaying content once captured
▪ How to file/search/use content with ease once captured, for ease of re-usability
▪ Understanding of what technology might be useful
in the 21st century
▪ Ensuring purity of experience with digital- balance between intimacy of direct
experience and digital content
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Broadcast
Content Big | Rights Landscape
▪ Rights pose a huge challenge in capturing long form content.
▪ No one size fits all solution.
▪ Rights make it difficult to monetize in the new streaming context.
▪ Union regulations add a level of complexity to this issue
▪ There is a lot of negotiation, and therefore time, that goes into putting together
streaming deals in this industry
▪ Changing landscape, e.g. a few years ago CBC excused itself from covering fees for
rights for opera, putting that back on the COC.
▪ Solutions needs to be developed internally, on a contract by contract basis.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Storage Trends
Once you have all this video content, how do you store it in an easily searchable
way?
▪ General Content Management Systems (e.g. Google drive, SharePoint) not designed
to support video.
▪ Different platforms are better, depending on organizations needs (e.g. how much
content they need to store, whether they need to capture and edit video through
platform), and ultimate end goals (e.g. simply storage, or reach audiences).
▪ Video Hosting Services both store content, and also reach audiences when content
is public facing/not protected.
▪ Examples include:
▪ YouTube- free, unlimited videos, but video limited to 15 mins in length unless verified, has ads
unless buy premium YouTube Red, larger audience size and reach, not ideal to host private videos
▪ Vimeo- ad free, free up to 25G/year, more storage requires subscription fee, no limit to length of
video regardless of verification, smaller audience but still very large, offers more privacy options
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Storage Trends (Cont.)
▪ Video Content Management Systems are not generally open platforms for
audiences to find content, but allow for more editing, integration with other internal
systems.
▪ Examples include:
▪ Panopto used by a lot of universities for online videos for learning
▪ Brightcove organize, search, create playlists, restrict viewing. Can integrate with SharePoint,
Wordpress
▪ YuJa storage, video capturing, DAMS integration
▪ Note that this is the type of platform a broadcaster would use, having moved from
storing analog, to digitally, now use (enterprise) Video Content Management
Systems.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Distribution Strategies
Content can reach the public through one of two ways:
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Create Your Own Platform
▪ Metropolitan Opera developed
streaming service with catalogue of
600 Met performances.
▪ HD videos, classic telecasts and radio
broadcast (audio-only) dating from
1935.
▪ Unlimited access subscription for
monthly or yearly fee ($14.99/month or
$149.99/year USD).
▪ Certain members get discount.
▪ Rotating lineup of free opera preview
clips.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Hybrid Approach
▪ Stratford Festival has gone the web portal
route.
▪ Presents catalogue on website, but then
sends visitors to other platforms for
delivery.
▪ CBC Gem free for Canadians.
▪ Rent from Amazon Prime, iTunes, Google Play for a
fee.
▪ Began filming in HD in 2014, On Demand
service launched in 2016 with six Shakespeare
shows.
▪ Sponsored by SunLife Financial.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Marquee TV
▪ Royal Opera House uses third-party platform
Marquee TV for distribution.
▪ B2C VOD platform dedicated specifically to
performing arts.
▪ Monthly subscription model, with potential to
▪ Monthly subscription $10.99 USD.
▪ Current subscriber size: In the low five-figures
▪ Opportunity to help collect audience data and
test engagement.
▪ Seeing highest conversion rate among 25-35,
from trial to subscription.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Stingray Classica
▪ Stingray mainly a B2B company- sells its music
services to cable operators in 55 countries.
▪ Stingray Classica is dedicated to classical music,
opera and ballet (distributed via cable as well as
online).
▪ Arts organization can share 25% of the
subscription revenues.
▪ Remaining revenue is split 50-50 with the acquired music owners,
and the allocation is based on # of plays.
▪ They pay about ~$2000 for digital rights per hour of performance
on a non-exclusive basis
▪ Opportunity to work with a platform that has a
broad reach (e.g. cross-promotion through cable
channels).
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Stingray Classica (Cont.)
▪ Stingray is in the midst of making deals with LG,
Apple, Panasonic, Roku and soon Comcast for
integration into their subscription services and
physical products
▪ Among their many priorities is the modernization
of the classics
▪ Focus on appealing to youth in response to facing an
elderly market
▪ Their Unique Value Proposition for content
provides (i.e. arts organizaitons) is to work with a
platform that has a broad reach (e.g. cross-
promotion through cable channels).
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Medici TV
▪ Both B2B and B2C streaming platform, which offers the
largest library of classical music.
▪ $12.99/month, $129/year USD.
▪ Approximately 280,000 registered users.
▪ Licenses over 3000 works of classical music, including
concerts, documentaries, operas and master classes from
university libraries and conservatories.
▪ Every year over 200 new videos are added to the catalogue.
▪ Also broadcasts live events in partnership with arts
organizations (e.g. Berliner Philharmoniker, London
Symphony Orchestra, New York Philharmonic)
▪ Offer is to expand audiences through its partnerships with
luxury brands (e.g. Rolex, BMW).
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | BroadwayHD
▪ BroadwayHD is a B2C streaming platform
featuring over 100 stage to screen feature titles, as
well as free behind the scenes and educational
content.
▪ Operates on a subscription model for US
$8.99/month or US $99.99/year.
▪ They cover the cost of capturing the
performances, which range from $300K-$500K for
off-Broadway shows to the excess of $3M for
standard Broadway productions.
▪ Capture and share performances in specific regions after
the company has completed its run.
▪ Streams internationally (specific regions not
provided).
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | OperaVision
▪ OperaVision is a B2C streaming website dedicated
to bringing opera to everybody, in particular young
audiences.
▪ The platform provides videos of performances, live streams
and materials for professional development in the sector
▪ They currently have 29 partners from 17 countries
▪
Programme
▪ OperaVision uses
embedded into their site.
▪ They employ a production company to capture VOD
and Livestreamed performances.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | National Theatre Live
▪
▪ Broadcasts live via satellite, to cinemas around the world.
▪ Live broadcasts are now shown in over 2500 movie theaters in 65 countries,
and it is now financially sustainable.
▪ Average costs for one live broadcast ranges between £250,000 (US$311,900)
and £300,000 (US$374,280).
▪ Use state-of-art technology and tailor each broadcast to the
play. A typical capture will include more than a dozen
cameras, a direct sound linkup, and carefully arranged
angles that recreate the live-theater experience.
▪ Substantial production costs but extends reach
significantly.
▪ The Metropolitan Opera, The Royal Opera House and Paris
Opera also broadcasting in cinemas around the world.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Broadcast
Content Big | Broadcast
▪ Broadcasters have the potential to collaborate with local institutions and bring the
▪ Costs are dropping when it comes to equipment, video capturing, storage and
production. Although, challenges remain for broadcasters around the high cost of
rights.
▪ CBC Gem: -
programming slate, which includes CBC Arts. It is free for registered CBC members
and for $4.99 a month, Canadians can enjoy premium features such as ads free and
live stream CBC News Network.
▪ PBS All Arts: A free, on-demand service that features programs in dance, music,
theater, visual art etc. All Arts also partners with institutions and artists to produce and
promote content.
40
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Arte European Culture Channel
▪ ARTE is a publicly funded public television channel,
based in Germany but offers content for all of Europe.
▪ Founded in 1991, it develops and produces television
programs which are cultural and international in character
and conducive to promoting understanding and
these programmes or to authorise their broadcast.
▪ Recently moved from just traditional broadcasting into
also streaming its content online, and subtitling in English
to launch in North America.
▪ Since its creation, ARTE has been committed to cultural
diversity and multilingualism.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Live Streaming : Big Reveals
▪ Expedition
Unknown: Egypt Live opened an ancient
Egyptian sarcophagus live on TV and
the web during a two-hour show.
▪ During the live broadcast, viewers were
taken into the inner chambers of an
excavation.
▪ Revealed the identity of the mummy
which has been a mystery for
thousands of years.
▪ Keep audience engaged by created
suspense and a narrative.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Live Streaming : Spectacle
▪ finale for a week-long
festival by Artichoke to celebrate the
historic event.
▪ A 120m-long replica of 17th-century
London was fixed on a barge and set
alight on the Thames River.
▪ Maximum physical capacity was 50,000
people bankside.
▪ Live stream resulted in enormous
international reach, with 3.8 million
burn viewers and the wider content
created around the festival reaching 6.7
million.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | New Storytelling Formats
▪ Giselle VR in partnership
with Sky TV and Factory 42.
▪ Mixed leading-edge technology, new
choreography and world-class talent.
▪ First a two-minute piece and behind the scenes
trailer as a teaser.
▪ Full Giselle VR experience became one of the
reality app.
▪
tour of Giselle.
Note: this is example could also be considered an immersive experience (further discussed in
the last section of this report).
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Virtual Concerts
▪ Wave is a platform for creating and
sharing virtual concerts.
▪ In August 2019, 400K live viewers tuned in
of her new album Artemis.
▪ Using an XSens 3D motion capture suit and
Manus VR Gloves, Stirling was able to
capture all her movements and dance
routines and translate them into VR in
real-time.
https://www.youtube.com/watch?time_continue=90&v=mK5Jb1vgrgw
Note: this is example could also be considered an immersive experience
(further discussed in the last section of this report).
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Art On Demand
▪ In 2018, Samsung has released The Frame,
a 4K Smart UHD TV
▪ Has customizable bezel, invisible wiring,
stand and wall-mount, and can be hung at
an angle to replicate a canvas.
▪ Paid membership to the Art Store grants
unlimited access to more than 1,200 works
of art and photography, spanning classics
to contemporary.
▪ Curated from world renowned institutions
like Saatchi Art, Museo del Prado, V&A,
Tate, and the Hermitage.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Big | Virtual Exhibition
▪ The Met developed a companion
website to support the Tim Burton
Exhibition.
▪ Mimics the same graphic design style
and narrative of the physical
exhibition.
▪ Includes information about the objects
and drawings in the exhibition, also
installation images.
▪ Additional interpretive information
and video content layered in; behind
the scenes footage, interviews, and
movie clips.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.CONTENT SMALL
Content Small | Overview of Section
▪ This section will look at examples of what organizations are doing around
▪ How should content be adapted for different platforms?
▪ What are some examples of successful content small implementation?
▪
many considerations around its use.
▪ This section begins with insights gleaned through consultations with Chocolate
Films, a UK-based agency specializing in content creation for arts organizations,
several insights about how to think about platforms and what content to put on
each.
▪
should be integrated within an organizations overall audience development plan.
49
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Audience Viewing Behaviours
▪
▪ Each platform captures audiences in a different way- in a different context
and for a different amount of time.
▪ These platforms can be placed along a spectrum, and different content is
required for each step along this spectrum:
Source: Chocolate Films 50
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | What Content is Best for What Platform?
Identical content does not work on every platform. Content needs to be cut for
each platform.
Source: Chocolate Films
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Think about Video in Three Categories
HERO
A HERO video is your marketing blockbuster; may only commission one every
couple of years.
HELP
HELP videos are designed to provide the answers to practical questions or area of
HUB
HUB videos are content for your loyal visitors to keep in touch with them (e.g.
documentary series, conversations with cast members).
Source: Chocolate Films
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Content Small Applications
▪ The following slides will look at examples of the use of content small for
different applications, including:
▪ Educational Purposes
▪ Innovative storytelling
▪ Apps or partner websites
▪ In-gallery experience
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Dynamic Educational Content
▪ PerformancePlus free multi-media
study tool launched 2016.
▪ Performance is presented side-by-side
with Shakespeare's text, which is
highlighted as it is spoken by the actor.
▪ Accompanying toolkit: discussion
questions, cast and creative team
interviews, and step-by-step lesson plans,
curriculum connections, video series that
follows students exploring scenes and
speeches guided by a director.
54
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Adding to Mainstream Databases
▪ National Theatre Live ensures there is a
full profile created for all new
performance recordings. on IMDb
(Internet Movie database).
▪ Does not include full video, but creates
additional opportunity to market the
recorded performance.
▪ 47th most visited website in the world
and averages 570 million monthly
visits.
▪ Has built in recommendation
functions, a space for ratings, etc.
55
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Innovative Storytelling
▪ The New York Public Library
developed graphic versions of
classic books specifically for
Instagram Stories called InstaNovels.
▪ Designed to double as a flip book that
you control with your thumb.
▪ Animated by different artists, each
with a unique conceptual look.
▪ 5 classic literature books so far: Alice's
Adventures in Wonderland, The Yellow
Wallpaper, The Metamorphosis, The
Raven, and A Christmas Carol.
56
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Location-Based Content
▪ Placing content on an app creates additional
opportunities for audiences to engage with organization.
▪ Driftscape app integrates location-based tours or
content onto the platform and is activated as people
are walking around.
▪ Goal is to increase awareness of local arts, culture, and
history.
▪ Free for users, but tiered subscription model for non-
profits and BIAs.
▪ Cultural organizations provide tours and
informational content (e.g. Toronto Public Library,
Fringe, Word on the Street) through dashboard feature,
which now includes an AR mode.
57
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Virtual Events, Gatherings and Collaborations
▪ Content can be used to connect with
audiences and institutions around the world.
▪ Van Gogh Sunflowers - Five masterpieces, from
five different institutions, on three continents
were reunited for the first time in 125 years on
Facebook.
▪ A 360° digital exhibition was created showing
the works side-by-side in a virtual gallery space.
▪ Supported with a consecutive relay of five, 15-
minute Facebook Live broadcasts. Each took
place in front of a different 'Sunflowers'
painting with that gallery director.
58
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Gamification for Education
▪ Paul Gaugin Interpretive Centre created a
multiplayer trivia game to create a fun
and easy way to look closer at the works
and learn about the artist at the same
time.
▪ Tate used Minecraft to build virtual
worlds that were inspired by works in
the collection. Users can explore how
artworks were made, what inspired the
artists and understand stories behind
them. This game offers a combination of
art appreciation, art history and free-
roaming fun.
59
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Layering Digital Art on to Physical Art
▪ Reblink was an in-gallery AR exhibit
launched at the Art Gallery of Ontario.
▪ More than just novelty AR that
encourages greater interactivity with
physical works.
▪ Reblink was a digital artistic
commentary on contemporary life and
each of the works itself.
▪ Heavily researched and layered using AR,
Reblink could be considered a digital
work of art in its own right.
60
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Audience and Donor Development
▪ New Instagram Donate Sticker allows
charities or Instagrammers to add
stickers to their stories to encourage
people to donate to their chosen
charities.
▪ Non-profits receive 100% of the
proceeds made through the donation
sticker.
▪ WWF successfully using it in
combination with Instagram Stories
content to target younger audiences
and donors.
61
Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Donor Recognition
▪ Sunnybrook Hospital Foundation installed a
state-of-the-art digital donor wall in the
atrium.
▪ A custom Content Management System
allows complete control over scheduling and
real-time updates.
▪ CMS controls multiple playlists, screen take
over for events, and instant updates to donor
listings and stories.
▪ Content area of the screens are zoned to
display specific types of content from
multiple categories.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Content Small | Exterior Signage and Trailers
▪ Kipnes Lantern is the signature feature of
rejuvenation.
▪ Transparent LED screens on four sides of
the tower transform into a high-definition
video wall, for both still images and short
video content.
▪ Lighting and animation is done in
partnership with Moment Factory.
▪ Used to promote NAC and other national
arts partners.
▪ Programming is supported by a gift of $5
million.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.IMMERSIVE EXPERIENCES
Immersive Experiences | Overview of Section
▪ Technology is increasingly being incorporated into the content consumption
experience.
▪ The following section looks at examples of interesting used of technology, and
how that is bringing content to audiences in new ways.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Simulcasting with 5G
▪ Epiphany is a large-scale immersive theatre, music,
and visual art installation which features spatial
audio.
▪ First global application of 5G technology. Thanks
to unprecedented speeds offered by 5G, audiences
in London and NYC simultaneously experienced
the performance.
▪
alongside soloist Holly Brown live from Guildhall in
London. The performance was streamed into the
Roman Amphitheatre in London, and presented
using innovative, immersive video and audio
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Enter into the Painting
▪ Woofbert VR is a cross-platform app that
allows you to explore rooms in an art
gallery as though walking through it.
▪ Users can also zoom in close to works of art
to see key details and brushwork.
▪ For select pieces like the Courtauld
Foiles-Bergère
the painting.
▪ In the virtual Turner Contemporary, clicking
on the image of artist Helen Frankenthaler,
takes visitors into a VR tour her studio
which no longer exists.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Enter into the Painting
▪
from the William Farquhar Collection at
National Museum of Singapore into 3D
projected and animated mural.
▪ Allows visitors to interact with 19th century
wildlife and plants of Malay Peninsula.
▪ Companion mobile app lets visitors
images and learn more about them.
▪ Collaboration with Japanese artist collective
teamLab and Panasonic.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Binaural (3D) Audio Drama
▪ The Owl Field produces original 3D
audio dramas.
▪ Each audio book/drama places the
listener at the centre of the story and
surrounds them with a full cast of
voices, immersive sound effects and
original music using 3D audio.
▪
recording audio in a way that mimics
this human sound localization and
creates a 3D soundscape.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | New Forms of Performance
▪ Creator Jordan Tannahill and creative tech studio, All
Seeing Eye, in collaboration with the National Film
Board of Canada &
Storytelling Studio created the VR performance
experience
▪ blur the worlds of live
performance, virtual reality and animation
▪ This is an individual immersive experience taking audiences
through a memoir of the relationship between a mother and
-cancer
▪ The audience is entered into the performance as the
protagonist alongside a live performer
▪ It is making its North American debut at Soulpepper Theatre
in June 2020
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Changing the Viewing Experience
▪ The Dutch National Ballet created the first ballet
collaboration with Samhound Media, the
viewer is taken to center stage during this VR
experience, placed among the dancers as
opposed to being in the traditional
audience seat.
▪ In an effort to bring opera to hospital patients
who could not attend live performances, The
Maryland Opera Studio worked with the
Maryland Blended Reality Center to offer 360-
degree videos of the stage and orchestra pit
during live concerts on VR.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Augmented Reality
▪ Theatrical Outfit
MARTA through the augmented reality experience
▪ When visitors connect to the Platform Performance Wi-Fi and visit the experience website
on their phones a 360-degree performance appears before their eyes
▪ The artistic group Mondo Forma created an interactive tech art exhibit in
world that is inspired by integrating cutting-edge technology, performance
and music.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Immersive Experiences | Artificial Intelligence & Holograms
▪ Yamaha AI developed a virtual piano and
had world-famous dancer Kiji Moriyama
play it through dance. The system was able to
accurately transfer his movements onto the
keyboard.
▪ Base Entertainment brought back the opera
▪ The heavy metal band Dio used footage and
audio from lead singer Ronnie James live
performances translated into hologram form to
take the singer with them on a revival tour.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.▪ There are many innovative and interesting use cases around arts content
both big and small.
▪ The examples profiled in this report are stand-outs, although the overall
sector adoption and impact of innovative uses of content is not clear.
▪ So far, innovation around content costs money without evident monetary
return but so much happening, it is a critical type of experimentation to be
a part of.
▪ Content use on a variety of platforms (big and small) seems to be highly related
to audience development, discoverability, and awareness.
▪ Pilot projects are needed to test more in a Canadian context and make more
content from more institutions more accessible.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Public Funding Acknowledgement
We acknowledge the support of the Canada Council for the Arts.
We acknowledge the support of the City of Toronto.
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Copyright 2017 © NGL Nordicity Group Ltd. All Rights Reserved.Thank you! Nordicity.com @NordicityGlobal
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