DLF Wiki - User contributions [en]

User talk:Huangjq

2023-11-02T14:47:10Z

Gayle: Welcome!

'''Welcome to ''DLF Wiki''!'''
We hope you will contribute much and well.
You will probably want to read the [https://www.mediawiki.org/wiki/Special:MyLanguage/Help:Contents help pages].
Again, welcome and have fun! [[User:Gayle|Gayle]] ([[User talk:Gayle|talk]]) 10:47, 2 November 2023 (EDT)

User:Huangjq

2023-11-02T14:47:08Z

Gayle: Creating user page for new user.

Co-facilitator for the cultural assessment working group

User talk:RachelJane

2023-07-18T20:09:47Z

Gayle: Welcome!

User:RachelJane

2023-07-18T20:09:45Z

Gayle: Creating user page for new user.

Rachel Wittmann, MLIS, is an Associate Librarian at the University of Utah’s J. Willard Marriott Library. In her current role as Digital Curation Librarian, Rachel creates metadata for digital collections, develops digital exhibits, and explores ways to interpret metadata with data visualizations. Prior to working at the University of Utah, Rachel was the National Parks Metadata Specialist on the Open Parks Network project, a digital archive of National Park Service material hosted at Clemson University Libraries. Rachel achieved a Master’s in Library Information Science from Pratt Institute's School of Information.

User talk:Dreijer

2023-07-18T20:08:09Z

Gayle: Welcome!

User:Dreijer

2023-07-18T20:08:07Z

Gayle: Creating user page for new user.

Dana Reijerkerk is the Knowledge Management and Digital Assets Librarian at Stony Brook University.

User talk:Mbrett

2023-06-27T16:24:44Z

Gayle: Welcome!

User:Mbrett

2023-06-27T16:24:43Z

Gayle: Creating user page for new user.

A second-generation digital humanist with a background in metadata, project management, and American history.

User talk:Max eckard

2023-05-18T22:30:02Z

Gayle: Welcome!

User:Max eckard

2023-05-18T22:30:00Z

Gayle: Creating user page for new user.

Assistant Director for Curation at the University of Michigan Bentley Historical Library

User talk:Jlwebster

2023-05-18T22:28:48Z

Gayle: Welcome!

User:Jlwebster

2023-05-18T22:28:47Z

Gayle: Creating user page for new user.

Jessica Webster is one of the co-facilitators of the Technology Strategy for Archives Working Group.

User talk:Crugas

2023-05-10T18:06:14Z

Gayle: Welcome!

User:Crugas

2023-05-10T18:06:12Z

Gayle: Creating user page for new user.

Project Management Librarian/Archivist at the University of Georgia

User talk:RebFried

2023-04-10T17:30:11Z

Gayle: Welcome!

User:RebFried

2023-04-10T17:30:10Z

Gayle: Creating user page for new user.

Becky Fried is the Digital Projects and Metadata Librarian at Union College in Schenectady, New York where she has worked since 2015 and held her current position since 2019. She earned her MSIS from the University at Albany, SUNY.

Main Page

2023-03-22T16:36:21Z

Gayle: /* DLF Organizers' Toolkit */

'''Welcome!''' DLF's wiki was created in 2014 for our various [https://www.diglib.org/groups/ interest groups] and affiliated organizations to share information, best practices, and community notes. (See the main [https://diglib.org/ Digital Library Federation website] for info on DLF programs, fellowships, publications, and events.)

'''This wiki is also the home of our DLF Organizers' Toolkit!'''

== DLF Organizers' Toolkit ==
{| class="wikitable" border="1"
|'''''
THE DLF ORGANIZER'S TOOLKIT HAS MOVED. THE UPDATED TOOLKIT IS AVAILABLE ON [https://www.diglib.org/dlf-organizers-toolkit/ DLF'S WEBSITE]
'''''
|}

== Hosted/Sponsored Groups and Projects ==

*[[NDSA:Main Page|National Digital Stewardship Alliance]] ([http://ndsa.org NDSA])
*DLF [[eResearch Network]]
* [[Home|OpenLab]] Workshop 2015
*annual [[AMIA-DLF Hack Days]] (2013-present)
*annual [[Endangered Data Week]]

== DLF Working Groups ==
Not all DLF groups maintain wiki pages. Find more activity [https://www.diglib.org/groups/ here]. [[File:DLFgroupsposter.jpg|thumb]]
*DLF Working Group on [[Labor | Labor in Digital Libraries]]
*DLF [[Transparency-Accountability | Government Records Transparency & Accountability]] Interest Group
*DLF [[Assessment | Assessment Interest Group]] (AIG)
# [[Assessment:Costs | AIG Cost Assessment Group]] (home of the [http://dashboard.diglib.org DLF Digitization Cost Calculator])
# [[Assessment:Cultural Assessment | AIG Cultural Assessment Group]]
# [[Assessment:Metadata | AIG Metadata Assessment Group]]
# [[Assessment:User Studies | AIG User Studies Group]]
## [[Assessment:User/UX | AIG User/UX Group]]
## [[Assessment:User/Reuse | AIG Content Reuse Group]]
*DLF [[Pedagogy | Digital Library Pedagogy Group]] (aka #DLFteach)
# [[Pedagogy:Outreach | #DLFteach Outreach Group]]
# [[Pedagogy:Professional Development | #DLFteach Professional Development Group]]
# [[Pedagogy:DOCC | #DLFteach DOCC Group]]
*DLF [[DLF Project Managers Group | Project Managers Group]] (PMG)
*DLF [[Metadata Support Group]] (MSG)
*DLF Working Group on [[Privacy and Ethics in Technology]] (formerly known as Technologies of Surveillance)
*DLF [[Digital Scholarship Working Group]]
* DLF [[Committee for Equity and Inclusion]]
*DLF [[Born-Digital Access Working Group]]
*DLF [[Digital Accessibility Group]] (DAWG)
*DLF [[Museums Cohort]]
*DLF [[TS4A|Technology Strategy for Archives Working Group (TS4A)]]

== Digitization and CLIR Hidden Collections Resources ==
These resources will be of particular interest to grant applicants for CLIR's [https://www.clir.org/fellowships/hiddencollections Hidden Collections] and [https://www.clir.org/recordings-at-risk Recordings at Risk] programs and to anyone planning a digitization project.
*[http://dashboard.diglib.org DLF Digitization Cost Calculator]
*[[Digitizing Special Formats]] (resource library)
*[[Strategies for Advancing Hidden Collections]] free webinars and helpful guides
*[https://www.clir.org/hiddencollections/applicant-resources/#toolkit Hidden Collections Applicant Toolkit videos] created by DLF
# [https://www.youtube.com/watch?v=Epk3OwOQqvI Common Challenges]
# [https://www.youtube.com/watch?v=s18DaM6TXHE Rights, Ethics, and Re-Use]
# [https://www.youtube.com/watch?v=XNPvuWnTJhg Sustainability]
# [https://www.youtube.com/watch?v=qd4tWzlelWs Institutional Capacity + Community]

== Need help? ==
Contact [https://www.diglib.org/about/staff/ Team DLF] or email info(at)diglib.org to have editing privileges enabled or to ask for help at any time!
* Editing syntax, etc: [//meta.wikimedia.org/wiki/Help:Contents MediaWiki User's Guide]
* [//www.mediawiki.org/wiki/Manual:FAQ MediaWiki FAQ]

Planning Virtual Meetings and Webinars

2023-03-22T16:31:24Z

Gayle:

{| class="wikitable" border="1"
|'''''
<big>THE DLF ORGANIZER'S TOOLKIT HAS MOVED. THE UPDATED TOOLKIT IS AVAILABLE ON [https://www.diglib.org/dlf-organizers-toolkit/ DLF'S WEBSITE]</big>
'''''
|}

[[File:Organizing-with-DLF.png|thumb]]
This section of the [[About DLF and the Organizers' Toolkit|DLF Organizers' Toolkit]] provides general guidelines for presenting and/or hosting an online meeting or educational experience. It was originally created in 2017 by '''Library & Archives Consultant [https://joymbanksconsulting.wordpress.com/ Joy M. Banks, MSLS],''' as part of the [https://www.clir.org/hiddencollections/sahc CLIR Strategies for Advancing Hidden Collections project (SAHC)]. More resources related to that project, which was funded by The Andrew W. Mellon Foundation, can be found in the [https://wiki.diglib.org/Strategies_for_Advancing_Hidden_Collections SAHC Resource Library].

== Formats ==
In today’s online environment, the possibilities for virtual learning are nearly limitless. From Facebook Live to Adobe Connect, choosing the right platform may be challenging. Careful consideration of content and goals will help guide you to the right platform.

=== Casual v. Formal ===
There is a significant difference between the platform needs for a gathering of colleagues casually chatting about something and a professional presentation of ideas to a large group. The former requires minimal technology, and the latter likely requires a much more robust system.

For the '''causal''' experience, consider basic VOIP conference lines, Skype group, Google Hangouts, and the like.

* Do you actually need to see a screen or is voice access enough?
* Will everyone be able to participate via audio connections or will some need a chat feature?
* Will everyone be able to use their computer for audio or will a phone line be necessary?
* Consider the time of day for the meetup. If during work hours, some may not have access to platforms that require any sort of download. If after work hours, some may not have access to robust internet connections.
* Talk to your group, and find out what works best for you.

For the '''formal''' experience, consider more robust platforms that allow for greater flexibility such as UberConference (DLF maintains a [[Setting Up Year-Round Meetings#DLF Web.2FPhone Conferencing Support|Pro account]]), Adobe Connect, GoToMeeting, and the like.
* Will you need the ability to screen share, chat, and file share?
* Will your participants need to access audio via VOIP, computer, and/or phone audio connections?
* Will your presenters need training on the platform in advance?
* Even in the most robust systems, there is value in keeping things simple so that participants can focus on the content rather than the platform.

=== Collaborative v. Lecture ===
While most educators agree that engaged learning is the best educational model, there is still value in lecture for presenting certain types of information. Recreating lecture in a virtual environment is relatively easy. Virtual collaboration can be a bit more challenging.

If you need a '''collaborative''' online environment:
* Limit the size of your group. The larger the group, the more difficult collaboration can be. Some web conferencing platforms allow breaking into groups, but be sure to test the feature before the meeting so you understand how it works for everyone.
* Consider creating large chat spaces to allow contribution even if someone is unable to participate via audio connection.
* Combine technologies. Using a conference line and a collaborative work space such as GoogleDocs can allow live feedback and tracking when working together on a project.

When presenting information in a '''lecture''' environment:
* It’s still important to create an interactive environment. Allow a way for participants to ask questions and engage with the presenter and other attendees.
* Intersperse lecture with engagement. Create chat opportunities that allow an exchange of ideas. Give participants a way to stretch their brain with simple activities like polls or sharing reactions.

=== Meeting v. Learning ===
You may think that planning an online meeting is as simple as sending out a link for people to join, but the best online meeting planners follow many of the same best practices as virtual learning.

If you are planning a '''meeting''', consider the following:
* Have a detailed agenda including time estimates for each part of the discussion. This will not only keep everyone on track during the meeting but also allow participants to plan ahead to enter and leave the meeting if needed.
* Keep in mind if everyone in the meeting will have access to an audio line and/or any thing you put on the screen. Those who may only be able to hear the meeting will need to have verbal descriptions of anything on the screen and have any chat discussions summarized for them. Those who will be unable to participate with a microphone will need to have access to chat.
* Since time is crucial when meeting online, distribute any documents to be discussed in advance so participants can review them. This will allow more meaningful discussions when everyone is together.

If you are interested in creating a '''learning''' environment:
* Planning should begin far in advance of the date of presentation.
* A more robust virtual platform is often necessary to create an engaging learning experience for everyone.
* For more details on planning a virtual learning experience, see the [[Planning Virtual Meetings and Webinars#Hosts|Hosts]] section of this handbook and check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] listed below.

=== Recorded v. Live ===
The experience of a live virtual event will be much different than a recorded one. Perhaps you decide to focus on one or the other or create a learning experience that uses both.

If you are recording a '''live''' presentation for use later:
* Be sure that you designate someone to start and end the recording.
* Have a plan for storage of the recording. Where will it live? Who will have access? Will editing be necessary? How long will you provide access?
* If possible, mark on the live script sections that will be cut from the recording to make editing easier.
* Recognize that not all activities of a live event can be recreated for someone listening to a recording.

It’s OK if you only offer something live. Everyone may not be able to attend, but that is the nature of life. Provide ample notice of the event (or purposely plan a pop-up event), and those who are more interested will attend.

If you plan to only provide a '''recorded''' presentation:
* Follow best practices for presentation and consider how you will engage your audience if the content is educational.
* Plan for a way that viewers can ask questions or provide feedback whether through your email, a specific Twitter hashtag you can track, a GoogleForm, or some other means.
* Be sure you have all of the necessary software and hardware to make a quality recording and determine in advance where the recording will live.
* Consider including your script as captions in the recording to offer an additional way users can access the materials.

=== Audio v. Video ===
For some virtual experiences, audio may be sufficient but sometimes, in order to build trust or a team spirit, video can help.

When thinking about '''audio''' only:
* Audio only options often require less robust systems and can often be accessed through a phone line without the need for a computer.
* This can be great for a simple conference call with a small group of individuals already familiar with each other.
* For those who are visual learners, be sure to supply any documents to be discussed in advance so everyone can follow the conversation.

When thinking about '''video''' options:
* Remember everyone may not have access to a webcam. Will participants still be able to participate another way?
* Video includes screen sharing, not just webcam sharing. Sometimes it is valuable to be able to visually share documents or other information.
* If you expect everyone to participate through video, give advance notice so no one is surprised.

== Speakers ==
=== Virtual v. Face to Face ===
While webinars have many similarities with standard F2F presentations, those presenting webinars must be aware of several distinct differences:

'''Your audience is not in the same room''' - Unless you are participating in an online video chat that includes participant video, you will not be able to gauge your audience’s non-verbal response to your presentation. For anyone who has relied on eye contact, body language, and other visual signs to make adjustments to a presentation, the format of a webinar can be a bit uncomfortable.

'''Solution''':
* ''Create engaging chats'' - Think of these as opportunities for participants to stretch their brain. Encourage participants to get to know each other before the session starts. Set aside a 60 second chat blitz as a way to quickly participate in the webinar. Ask participants for suggestions and ideas that have worked in real life.
* ''Ask questions to boost active participation'' - When using a question to start a chat, be sure it is open enough to engage participants. Questions with one word answers are best left to polls and blitz activities. It’s ok to consider phrasing that will lead participants where you want them to go in their thinking. In a webinar geared towards higher level engagement, allow participants to share their experiences, good or bad, as a way to enrich the content of your presentation. Setting time limits will encourage people to contribute without waiting and also allow a distinct end point to move the webinar forward if needed.
* ''Embed polls and other simple activities'' - Polls are a quick and easy way to gauge your audience before and during a webinar. Questions can be about the participants or the content of the webinar. Choose simple questions with distinct responses. Depending on the webinar platform, you may also have the ability to allow participants to draw on the screen, add quick responses to a chat box, raise their hand virtually, share reaction emojis, etc. All of these activities break up the content of your talk and refocus the group.

'''Timing is essential''' - Webinars will have set start and end times that often cannot be adjusted. You may be asked to login to the webinar system early and perhaps end early (i.e., before you’re ready to stop talking) if the end time approaches. Because of this, reading from a script is often recommended to avoid unexpected timing issues.

'''Solution''':
* ''Practice, practice, practice'' - Read your script and make sure the text flows as well verbally as it does in writing. Plan your timing with a slower voice and enunciated speech. During the live event, you will likely speak faster than when you practiced.
* ''Add buffers to account for discussions that may run long'' - While you will be asked to plan how long discussions will last, you may find participants are highly engaged during a certain time. Plan ahead to allow buffers in your presentation content to allow for engaged participation (keeping in mind, though, that all good things must eventually come to an end). Mark sections of your script that can be easily cut if needed.

'''Interaction must be carefully crafted''' - Most webinar platforms allow for some interaction between the speaker and audience as well as between attendees. The most successful virtual engagement activities are not something you can do effectively on the fly. Careful planning (and testing) of interactive activities will help create a dynamic learning environment that will help all participants engage with the educational content.

'''Solution''':
* ''Plan ahead and test everything'' - Work closely with your webinar host to assure that everything is in place and functional prior to the live date. Set up any polls. Practice chat sessions. Test your ideas with several people on various devices. Leave nothing to chance but always remain flexible.

'''Not everyone will be participating in the same way''' - Even in the smallest virtual settings, not everyone will have access to the full webinar experience. Some may only be able to participate through the audio. Others may not have access to a microphone. Be considerate of any accessibility limitations.

'''Solution''':
* Repeat any questions or thoughtful comments that are typed in the chat box so everyone has access to the content.
* Describe verbally any important visual aids.
* Enunciation not only helps participants hear you better, but it also helps any transcription of your speech for captioning. Speaking too fast will jumble your words both through audio and captioning technology.
* Try to avoid experiences which will require a very high internet speed connection.
* Will the session be recorded? Consider how what you do live will translate to a recorded viewing experience.

=== Delivering an Engaging Virtual Presentation ===
* Start with a brief bio, usually presented by the host/moderator. Include details other than the mundane that will engage your audience and connect them more personally to you. Your bio will also serve to show why you are qualified to present the content of the webinar and establish you as an expert.
* Include an image of yourself. This can be on your slide template or, if possible, as a video feed (even if only briefly).
* Depending on the form of your webinar, plan to have an activity every 15-20 minutes or so to re-engage your audience and avoid long periods of lecture. These can be directed chats, polls, blitz chats, or Q&A sessions. Some webinars may require a large amount of lecture due to the depth of the topic. In those cases, consider breaking up sessions into a series to allow greater interaction.
* Remember to smile when you speak (which feels strange if you are alone in a room somewhere). When you are smiling, your words tend to be clearer and your tone is more welcoming. This will also help you avoid extreme changes in your volume (e.g., starting a sentence with power and fading off as your sentence ends).
* Before your webinar, practice your script and record it. Listen to your recording and try to adjust any bad habits. Try to avoid “um”, “so”, and other speech fillers. Listen for habits like starting loud and fading off at the end of a sentence. Practice your breathing so it sounds natural. Presenting is different than natural speech, so the extra practice and self-evaluation will help you deliver a clear presentation to your audience.
* Consider framing your presentation using the rule of three. Begin by telling your audience what they will hear (perhaps having three points or sections), tell them those points, and end by summarizing what they heard. The number of main ideas you will effectively be able to share depends on the length of time you have. Avoid trying to cram too much into too short a time slot. Better to share less content of a higher quality. While many sources suggest listeners have a 5-10 minute attention span, framing your content to the highest denominator of [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 18-20 minutes] will likely produce higher quality content.
* Even in an online environment, you might encourage your audience to set aside distractions during the session: turn off cell phones, don’t check email, hang a sign on your door, and truly focus on the content. These simple steps will help everyone have a better webinar experience.
* Insert humor throughout your presentation. Tell an appropriate, personal funny story, but keep it succinct and relevant. If you are speaking on a particular topic but you lack a personally relevant experience, consider gathering stories before the event, either from registered participants or colleagues (and always seek permission to share!).
* Relax, be sure to have a cup of water, and enjoy the experience.

== Hosts ==
=== General Tips ===
For Virtual '''Business Meetings''':
* Try to limit the meeting to one hour.
* If a recurring meeting, set the time and day well in advance so everyone can mark their calendars and set aside time for the meeting. Everyone will appreciate not having to do a poll every month to schedule a meeting time.
* Allow a few minutes at the beginning and/or end for watercooler talk. Encourage those who want to catch up to arrive early or plan to stay a few minutes later (depending on whether or not you can stay in the virtual space).
* Don’t assume that everyone knows each other. Do introductions if necessary, and, if taking minutes, be sure the secretary feels comfortable enough to speak up if it’s unclear who is speaking. While some platforms identify the speaker, that often relies on the participant to enter their name and/or an individual passcode.
* Check in each meeting to see how everyone is participating. Some may only have chat (if available), some may only have audio (if you’ve also set up screen sharing). Repeat questions and describe what’s going on so everyone stays engaged.
* Will the meeting need to be recorded? If so,
** Where will the recording live and how will members access it?
** Will there be usage restrictions based on the content of the meeting?

For Virtual '''Educational Webinars''':
* Most online learning experiences should last no more than ninety minutes.
* Plan ahead if you would like to charge attendees. You’ll need a way to accept payment in addition to tracking registration.
* Most webinar platforms will require some level of training so that presenters and hosts are familiar with the features.
* Wired internet is always preferred for speakers and hosts to avoid delivery glitches. Make this clear from the beginning of planning.
* Will the webinar be recorded? If the answer is yes, consider:
** Where will the recordings live and how long they will need to last?
** Will you need to edit the recordings or be able to post as is?
** Will the recording need to capture the entire webinar environment or just the presentation slides?
** How will the experience differ for those who view the recording?
** Will captioning need to be added to the recording?

=== Planning ===
Planning a virtual webinar or meeting begins in much the same way as a face to face event: Choose a topic, find a speaker, and set a date (not necessarily always in that order). Additionally, hosts also need to consider how communication will occur, especially since everyone is likely dispersed, and how registration will be handled.

Jump to: [[Planning Virtual Meetings and Webinars#Choosing a Topic|Choosing a Topic]] | [[Planning Virtual Meetings and Webinars#Finding a Speaker|Finding a Speaker]] | [[Planning Virtual Meetings and Webinars#Setting a Date|Setting a Date]] | [[Planning Virtual Meetings and Webinars#Communication|Communication]] | [[Planning Virtual Meetings and Webinars#Registration|Registration]]

==== Choosing a Topic ====
If you are hosting a '''business meeting''', your topic will be the items on your agenda. Be sure to supply the agenda and any documents for review at least one week prior to the meeting.

Selecting a topic for a '''webinar''' can be a bit more involved. Perhaps your team has recently completed a project, and you would like to share the results with a larger audience. Or you recently attended an in-person meeting, heard a great speaker, and think the session should be captured for further distribution. Regardless of the idea, here are some tips:
* Make sure the topic hasn’t been covered sufficiently elsewhere.
* Some topics may be stand alone (a conference summary, an introductory session, etc.) while other ideas may lend themselves to serial delivery. Series may occur weekly, monthly, or at some other set interval. A few more thoughts on series:
** Webinars in a series should have a common theme, but don’t necessarily need to build directly from each other. For example, you could plan a series focusing on how individual institutions are tackling a particular problem, highlighting a new institution each month. This can be marketed as a series, but doesn’t require participants to attend all sessions. Alternatively, a series may also be developed to tackle a complex topic with sessions building on each other. Attendees would be expected to attend all sessions (to the best of their ability).
** There is no set amount of sessions a series must contain: some may be as little as two and some may last for years (though, [[Planning Virtual Meetings and Webinars#Assessing|assessment]] of long-term series is important to determine continued viability and relevance).
** A highly effective way to create a cohesive feel between the sessions is to create a uniform presentation template and/or classroom setup.
** When multiple speakers are involved in a series, be sure to facilitate engagement and conversation to encourage unity in the topics and refer to the other parts in the series. Slack and other collaborative software can be useful tools in this process.
* All webinars should have a clear scope, including objectives and outcomes, so that those interested will know what to expect during the event. Developing these will also help hosts determine if the topic is too broad for an individual session so that the scope can either be condensed to fit the time or expanded into a series.

==== Finding a Speaker ====
As host for a '''business meeting''', you will likely do most of the speaking. If others will need to speak or give reports, provide them with advance notice of that expectation so they are prepared. You may need to manage the audio using the mute feature for those in the virtual meeting space to avoid background noise and other distractions.

When considering a speaker for a '''webinar''', first explore your own professional network and associations. You may have someone in your own network who is a perfect candidate to cover the topic. If not, gradually expand your search and reach out to others for recommendations.
Be sure you have answers to the following:
* Will the speaker be reimbursed?
* How much time do you anticipate the speaker will invest in the planning, practicing, and presenting of the webinar?
* Has the potential speaker delivered a webinar before? If not, how much additional time are you willing to invest to coach the speaker though the process?
* Speakers will likely expect at least a general idea of the date and time for the webinar as well as the webinar length broken down so they are clear on how long they will be expected to speak.
* When communicating with your speaker, be sure to explain your expectations for accessibility (e.g., adding [https://support.office.com/en-us/article/Add-alternative-text-to-a-shape-picture-chart-table-SmartArt-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669 Alt Text for images] in a PowerPoint) at the beginning of the planning process to allow ample time for testing, if needed.

==== Setting a Date ====
The DLF Wiki has some excellent suggestions on setting a date and time in the [[Setting Up Year-Round Meetings]] section of their Organizers’ Toolkit. As mentioned above, recurring meetings or webinars are best planned in advance (e.g., the second Tuesday of every month at 2pm ET). A simple poll can make this process straightforward. Remember time zone differences, especially for meetings, and communicate any changes or cancellations well in advance.

If you are using a shared conferencing or online learning platform, be sure to document and mark your scheduled events in the appropriate way so that others do not plan an event at the same time. There’s nothing quite as awkward as walking in on another meeting when you expected the line to yourself.

==== Communication ====
With so many ways to communicate, this may be the most overwhelming element of the planning process. It is critical to have accurate contact information for all involved, whether for a business meeting or webinar.
* Using a platform like Slack can allow collaboration in planning, though be sure that everyone is familiar with the features.
* Email works well for critical information, but only if everyone checks the email address provided.
* When all else fails, phone calls may be in order to be sure that those parties involved are understanding your expectations and their responsibilities.
Be willing to communicate a number of different ways to encourage the highest level of participation. Also, be sure that those with whom you are working can communicate their own issues with you so that you can solve problems before they become significant issues.

Another aspect of communication for the host or planner involves continued conversation between meetings, series offerings, or after a webinar ends.
* '''Between Meetings''' - If the group attending the meeting stays mostly the same, consider establishing a Slack Channel or other collaborative platform on which participants can contribute information relevant to the group between official meetings. This is also a great way to set up a watercooler space to share personal updates.
* '''Between Series''' - Consider encouraging assigned reading selections or video viewings with a designated check in time and place where participants can provide feedback and additional thoughts on an issue. Participation in the continued conversation can be part of a certification process that participants receive after completion of the program.
* '''After the Webinar''' - When presenting a webinar, collecting registrant information is important to engage new audience members with your group. Consider sending a tailored welcome message to anyone not already subscribed to your services. Sign them up for your newsletter. Invite them to your group chat page. Send a quick follow-up survey several months later to see how they are applying what they learn. Remember, though, to always allow them to opt out of future communications.

==== Registration ====
When planning a '''business meeting''', registration is probably unnecessary. You will, however, need to supply the login information to those who need to attend the meeting. This could be a URL or a phone number and may include a passcode for your specific meeting. Encourage anyone unable to attend to communicate that information in a timely manner in case there are matters that need a quorum.

As host, you can choose a variety of ways to approach registration for '''webinars'''.
* Advanced registration through the webinar platform - most allow you to collect basic information (name, email, institution) and set caps on registration if necessary. Usually, the system will then send out the information to login to the webinar and, if you set it up, scheduled reminders.
* Advanced registration through alternative means - If you need to collect additional demographic information or payment for participants, using something like SurveyMonkey or a GoogleForm can allow you to customize and analyze registrants. This will require additional work on your part, though, since you will be responsible for distributing login information and reminders.
* No registration - On occasion, you may wish to simply share the link for a scheduled webinar and hope for the best. This can work well for those events where you are unconcerned with reaching any limits that your virtual classroom may have or trust that those who are interested will show up before the limit is reached. Be sure to market your webinar widely enough to generate interest and be flexible with the audience that does attend.

Several tips for registration:
* If you are allowing advanced registration, start promoting and open registration no more than one month prior to the event; two weeks notice is often the most ideal. Any longer notice will often cause a greater no-show rate, especially for free events.
* Allow for about a 20% attrition rate between registrants and attendees. This means if you have a classroom for 100, you may wish to allow 120 to register to allow the greatest attendance.
* If you are not requiring registration, consider in advance how you will communicate any classroom size limits. Typically, rooms open 15 minutes prior to the start of an event, and you will need to be sure the room is closed before that to discourage people from entering early and to allow everyone equal opportunity to enter.

=== Moderating ===
When hosting an online '''meeting''', you will likely control all aspects of the time: controlling the screen, monitoring the agenda, and keeping track of the time. If necessary, appoint a parliamentarian who can help especially with time and keeping the meeting on track.

While educational '''webinars''' can function with just two people (the host/moderator and the speaker), best practices recommend having a third, often silent partner to handle any technical aspects of the session. This can include issues participants have, any tricky transitions during the presentation, and unexpected technical emergencies. Having dedicated technical support means that the host can focus on content and timing issues, and the speaker can simply focus on speaking.

Useful tips for moderating a webinar:
* Create a master script document that includes not only what everyone will say but also blocking for various tasks (e.g., Amy starts recording, Joy stops music, Louise pulls up survey, etc.).
* Have clear time estimates for each stage of the presentation. Be prepared to encourage the speaker to speed up, slow down, or move on when necessary.
* Always have questions on hand to promote conversation if a Q&A time is included at the end.
* After asking a question or prompting participation, slowly count to 10 to allow people to respond.
* Don’t panic if something goes wrong. Technology is difficult to predict, and often you can simply work around the issue.
* Be mindful of the webinar’s level of interactivity for both live participants as well as those who may view a recording later, if applicable.

=== Assessing ===
While most '''business meetings''' won’t need constant assessment, it is important to check in with participants to evaluate how things are working.
* Is everyone able to use the selected platform or should another be tried?
* Are the times still convenient for most involved?
* Does everyone feel like the frequency is sufficient or should that be reevaluated?
* Are the meetings productive or could that use some work?
By encouraging your participants to provide feedback, you’ll soon find the best virtual meeting environment for your group.

Assessment of '''webinars''' is often important for a group to determine not only if that webinar was successful but also what types of webinars should be pursued (if any) in the future. While creating a simple survey is easy enough, getting participants to complete the survey can often be difficult.

When planning assessment, consider the following:
* Encourage participants to complete the survey immediately after the webinar by setting the platform to redirect to the survey when the webinar is ended. You can also provide a link to the survey during the final minutes of the webinar to catch those who may wish to leave early.
* Email participants immediately after the event and perhaps one week later. Use the email point of contact to advertise additional webinars or how participants can get involved with your group.
* Connecting completion of the assessment with distribution of a certificate of completion can often encourage greater participation. (Check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] section below to learn how to automate the certificate process using Google’s Autocrat add-on).
* When designing the survey, leave ample room for open comments.
* Phrase your survey questions to be neutral. For example, if asking about the quality of the speaker, using a phrase like "The Presenter was knowledgeable" is less leading than "The Presenter was excellent." Allow the survey taker to express their level of agreement.
* Consider carefully which questions are mandatory and which optional.
* Ask for ideas for future programming and whether or not a participant would like to present a future webinar. This helps build programming ideas and a network of professionals.
* Try to make a survey that would take no longer than 5-10 minutes to complete.

[https://www.clir.org/hiddencollections/sahc/sahc_webinar_evaluation_survey Click here] for a pdf of the assessment survey from CLIR [https://www.clir.org/hiddencollections/sahc/webinar1 SAHC's first webinars].

=== Sample Planning Timeline ===
This sample planning timeline gives a sense of the necessary steps to plan a stand alone, virtual, educational webinar. For more planning help, check out the [[Planning Virtual Meetings and Webinars#Planning 2|Planning Resources]] below.

'''2-3 months prior'''
* You have a fantastic idea for a webinar (or perhaps a colleague approaches you with a fascinating idea). The first step is to investigate whether this idea has been adequately covered somewhere else in the vast universe of GLAM educational material.
* You’ve determined that your idea is new and wonderfully useful to the GLAM world. Set a budget: Will you offer compensation to your speaker? Do you need to cover any technology costs? Is this an entirely volunteer based project?
* Reach out to your professional connections and find a dynamic speaker who is an expert on the subject. Or, if you intend to be the speaker, find someone who is able to be your moderator for the event.
* Discuss dates and create a signed agreement so everyone understands the project. When possible, include all dates (e.g., draft due dates, practice session(s), live event, etc.) in the contract. (For example, [https://www.clir.org/hiddencollections/sahc/curriculum-committee-agreement-template click here] for a Microsoft Word Template of CLIR's Curriculum Committee agreement from the SAHC project).
* Discuss basic technology requirements with the speaker now including the need for reliable (preferably wired) internet and a quality headset.

'''1 month prior'''
* Start sharing scripts and slides. Work on timing and discuss any special technology needs. Try to find the right balance between text and images on slides.
* Check on accessibility issues, including, but not limited to, font sizes and Alt text for images. Avoid slide transitions and fly-ins.
* Determine now if the webinar is going to be recorded and what added concerns you need to keep in mind connected to that.
* Determine if there are any supplemental documents that would be useful for participants to have.
* Collect a bio for the speaker.
* Begin setting up the classroom space, if possible, for the webinar environment. Some platforms, like Adobe Connect, allow hosts to set up several templates for meeting rooms (e.g., lobby, presentation, chat, etc.). By having these in place prior to the technical practice for a session, you will save time and give the speaker an idea of the available room configurations. If conducting a series of webinars, you are able to copy the format and settings of an established meeting.

'''1 week prior'''
* Conduct a practice session in the environment that will be used the day of the event. Make sure that internet speeds are excellent (wifi should be avoided), that telephones are available if needed, and that microphones are clear and balanced between the host and speaker.
* Run through all slides, transitions, and activities to make sure that everything displays as expected. Make notes on anything that needs to be adjusted and schedule additional checks if necessary.
* Have a few people participate in this session, if possible, so that font sizes, images, and display can be checked on a variety of devices (PC/Mac, tablet, desktop, laptop, etc.) and the presentation can be evaluated from several perspectives (host, speaker, attendee).
* Assign individuals to tasks. Tasks may include starting and stopping the recording, ending the session, serving as timekeeper for any discussions, and moderating any questions.
* Open registration for the event and share with target audiences.

'''Day of event'''
* Meet at least 30 minutes prior to the time set for opening the classroom (which is usually 15 minutes before the start of the webinar). Allow more time if there are multiple speakers or unresolved technical issues from the practice session.
* Test and balance the microphone levels for anyone who will be speaking during the event.
* Make sure everyone understands their assigned tasks.
* Relax, get some water, and wait for the event.
* Know that you’ve planned a new and wonderfully useful session, open the classroom, and start.

== Resources ==
=== Planning ===
* [http://www.infotoday.com/OnlineSearcher/Articles/Features/Secrets-of-Successful-Webinars-106050.shtml Secrets of Successful Webinars] (Online Searcher, Vol. 39, no. 5, Sept./Oct. 2015) - Includes checklists and tips from Mary Ellen Bates and Cathy Chiba on planning, creating, and hosting successful webinars.
* [https://mebs.files.wordpress.com/2015/06/webinar-planning-checklist.pdf MEB’s Amazing Webinar Checklist and Templates] (pdf) - A tool created by Mary Ellen Bates to help webinar hosts stay organized through the webinar planning and presentation process.

=== Presenting ===
* [https://helpx.adobe.com/adobe-connect/kb/best-practices-hosts-presenters-using.html Adobe Connect Best Practices for Hosts and Presenters] - While specifically designed for Adobe Connect users, this guide offers useful tips for any virtual meeting planner or presenter.
* [https://www.learningsolutionsmag.com/articles/1388/best-practices-deliver-a-great-virtual-training-event Best Practices: Deliver a Great Virtual Training Event] - by Jaqueline Beck, Learning Solutions Magazine, 2014
* [https://www.elearningguild.com/showfile.cfm?id=3159 Best Practices for Delivering Virtual Classroom Training] (pdf) - Randah McKinnie, Sr., eLearning Solutions, 2008 - Focuses on Adobe’s presentation software, but offers suggestions for any virtual classroom environment.
* [https://www.americanexpress.com/us/small-business/openforum/articles/12-strategies-creating-webinar-wows-crowds/ 12 Strategies for Creating a Webinar that Wows Crowds] - by Bruna Martinuzzi of Clarion Enterprises, American Express Open Forum, December 2016
* [https://hbr.org/2015/03/how-to-run-a-great-virtual-meeting How to Run a Great Virtual Meeting] - by Keith Ferrazzi, Harvard Business Review Online, March 27, 2015
* [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 The 20-Minute Rule for Great Public Speaking--On Attention Spans and Keeping Focus] - by Alf Rehn, Professor and Speaker, The Art of Keynoting, April 11, 2016 - An excellent read on the art of crafting quality presentations
* [http://sixminutes.dlugan.com/speaking-rate/ What is the Average Speaking Rate?] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, Nov. 2012 - An overview to help you calculate your rate of speech (i.e., how quickly you speak) to help you gauge how much content you need for a given time period
* [http://sixminutes.dlugan.com/rule-of-three-speeches-public-speaking/ How to use the Rule of Three in Your Speeches] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, May 2009 - An overview of how to apply the aesthetic Rule of Three to speech

=== Accessibility ===
* [https://www.dor.ca.gov/Home/PlanningAccessiblePresentationsandWebinars Planning Accessible Presentations and Webinars] - A brief resource with links from the California Department of Rehabilitation
* [https://www.fda.gov/AboutFDA/AboutThisWebsite/Accessibility/ucm214503.htm Accessible Web Conferences and Webinar Best Practices] - A guide from the U.S. Food and Drug Administration
* [https://help.blackboard.com/Learn/Student/Ultra/Accessibility/Best_Practice_Caption_Video_Content Best Practice: Captioning Video Content] - a summary resource from Blackboard Help that provides an overview of captioning including basic help for using YouTube to add captions to videos.
* [http://ccacaptioning.org/resources/ Resources: How To's & Best Practices for Closed Captioning] - An extensive list of resources from the [http://ccacaptioning.org/ CCAC] (Collaborative for Communication Access vis Captioning), an advocacy and education group to encourage greater accessibility to content through quality captioning.
* [http://www.3playmedia.com/resources/overview/ 3PlayMedia Resources] - An extensive listing of resources related to captioning and other digital accessibility requirements including related US laws and policies, research reports, white papers, and webinars (recorded and live). [http://www.3playmedia.com/ 3PlayMedia] is a professional captioning service based in Boston, MA.
* [http://bbc.github.io/subtitle-guidelines/ BBC Subtitle Guidelines] - The extensive policy and guidelines from BBC for creating and attaching captions and subtitles to videos. This could provide help with determining fonts, line breaks, and other style assistance as well as other practical information.
* [https://accessibility.blog.gov.uk/2016/09/02/dos-and-donts-on-designing-for-accessibility/ The Dos and Don'ts on Designing for Accessibility] - From the Gov.UK blog, these 2016 visual posters designed by Karwai Pun offer clear suggestions and guidelines for designing content for a variety of disabilities and impairments.

=== Resources and Media ===
When using images, videos, and music for virtual learning, carefully consider any restrictions on the media. If you have any doubt over proper use and/or attribution requirements or limitations, contact the owner or licencor of the media. CLIR and DLF are not responsible for any misuse of media obtained from the following sources.

* [http://edtechteacher.org/tools/research/finding-images/ Finding Public Domain Images for Multimedia Projects] - An extensive list of public domain image sources including a number of government image sources.
* [https://elearningindustry.com/free-stock-photos-sites-for-elearning Free Stock Photos Sites for eLearning] - A listing of sites. Some may require registration and some do have limits to the free use for images.
* [http://freemusicarchive.org/curator/Video/ Free Music Archive (FMA): Music for Video] - A special portal within FMA which pre-screens music contributions for use in video. The search capabilities are robust including basic searches like artist and genre to more specific searches like clip length and license type.
* [https://www.youtube.com/watch?v=L8Z89-q1OnU Create Professional Development Certificates from Google Forms using Autocrat] - YouTube tutorial from Jeffrey Bradbury, Teachercast Podcast (August 11, 2015) showing how to build a certificate using several Google products.
* [https://www.youtube.com/watch?v=vC1Zp-x9bGQ&spfreload=1 Using Autocrat to send personalized PDF certificates via Form Submit] - YouTube tutorial by edtech2020, Tim Chase, May 16, 2013

== Table of Contents ==
# [[About DLF and the Organizers' Toolkit]]
# [[Working with Team DLF]]
# [[Starting a New Initiative or Working Group]]
# [[General Facilitation and Goal-Setting]]
# [[Facilitating for Diversity and Inclusion]]
# [[Communications and Consensus]]
# [[Preventing and Managing Burnout]]
# [[Gathering Info/Building Enthusiasm]]
# [[Planning an In-Person Meetup]]
# [[Setting Up Year-Round Meetings]]
# [[Planning Virtual Meetings and Webinars]]
# [[Talking and Writing]]
# [[Organizing and Sharing Your Work]]
# [[In a Nutshell]]

Starting a New Initiative or Working Group

2023-03-22T16:26:01Z

Gayle:

{| class="wikitable" border="1"
|'''''
<big>THE DLF ORGANIZER'S TOOLKIT HAS MOVED. THE UPDATED TOOLKIT IS AVAILABLE ON [https://www.diglib.org/dlf-organizers-toolkit/ DLF'S WEBSITE]</big>
'''''
|}

[[File:Organizing-with-DLF.png|thumb]]
DLF groups are typically formed by virtue of our being approached by people with good ideas, so there's no annual timeline or formal approval process for affiliation. Simply get in touch with us at [mailto:info@diglib.org info@diglib.org] to discuss the possibilities!

Our working group leaders are self-starters and we encourage them to think creatively about platforms they can use independently to get their work done. The DLF Team works with groups on a case-by-case basis to try to get them the [https://wiki.diglib.org/Working_with_Team_DLF resources] they need. We also make sure to reserve some space for DLF-affiliated groups at the DLF Forum.

In exchange, we ask that your group:

* Operate under the [https://www.diglib.org/about/code-of-conduct/ DLF Code of Conduct] if you use our name (or a similar code, in case of a partnership or pre-existing group)
* Keep your DLF website and OSF and/or wiki pages reasonably up-to-date (even if those are mostly just pointers to information held elsewhere)
* Tag [https://twitter.com/CLIRDLF @CLIRDLF] on Twitter and send messages about your work to our primary listserv, [https://lists.clir.org/cgi-bin/wa?A0=DLF-ANNOUNCE DLF-Announce], so that we can help promote it and drive traffic your way!

Please don’t hesitate to [mailto:info@diglib.org reach out to us] with any questions or ideas! Starting a new initiative or working group could be as simple as: sending out a call for interest to gauge interest in the community; getting in touch with those willing to put in time, to schedule a meeting and develop a plan; and using DLF as a platform to circulate new ideas, resources, and readings, and to make progress on issues.

== Table of Contents ==
# [[About DLF and the Organizers' Toolkit]]
# [[Working with Team DLF]]
# [[Starting a New Initiative or Working Group]]
# [[General Facilitation and Goal-Setting]]
# [[Facilitating for Diversity and Inclusion]]
# [[Communications and Consensus]]
# [[Preventing and Managing Burnout]]
# [[Gathering Info/Building Enthusiasm]]
# [[Planning an In-Person Meetup]]
# [[Setting Up Year-Round Meetings]]
# [[Planning Virtual Meetings and Webinars]]
# [[Talking and Writing]]
# [[Organizing and Sharing Your Work]]
# [[In a Nutshell]]

Pedagogy:Outreach:Twitter

2022-11-28T21:11:51Z

Gayle: Undo revision 16376 by Gayle (talk)

We host Twitter chats every other month using the hashtag [https://twitter.com/search?q=%23DLFteach #DLFteach]. Learn more about the [[Pedagogy|DLF Digital Library Pedagogy Group]] on our wiki page.

== Upcoming chats ==

Twitter chats are usually on the third Tuesday of the month from 2 p.m. to 3 p.m. ET, unless otherwise noted.

2022 chat dates are:
*Tuesday, February 15th, 2:00 pm EST - Love Data Week: “Data Is” vs “Data Are”
*Thursday, April 21st, 2:00 pm EST - Teaching Digital Exhibits
*Thursday, June 16th, 2:00 pm EST - Games and Gamification
*Tuesday, August 16th, 2:00 pm EST - Working with Languages Other than English
*Monday, October 17th, 2:00 pm EST - Supporting and Sustaining Instruction
*Tuesday, December 14th, 2:00 pm EST - Topic TBD

See lists of questions and more information on each chat in the dates linked below.

Would you like to host a #DLFteach Twitter chat? The DLF Digital Library Pedagogy Group welcomes proposals for chat hosts and topics! If you are interested in hosting, please fill out [https://docs.google.com/forms/d/e/1FAIpQLSc00xAPgoi_NxeS70FEJUD6lB3bbmQQANzKA0UTSbv2ZspO4A/viewform '''this Google form'''].

== Previous chats ==
=== 2016 ===
* [[2016.01.12_Digital_Library_Pedagogy_Twitter_Chat|January 12, 2016: Our First Chat!]]
* [[2016.03.08_Digital_Library_Pedagogy_Twitter_Chat|March 8, 2016: Professional Development for Digital Library Pedagogy]]
* [[2016.05.10_Digital_Library_Pedagogy_Twitter_Chat|May 10, 2016: Melissa Dinsman Interviews Laura Mandell]]
* [[2016.07.12_Digital_Library_Pedagogy_Twitter_Chat|July 12, 2016: Supporting Practice in Community]]
* [[2016.09.13_Digital_Library_Pedagogy_Twitter_Chat|September 13, 2016: Commit to DH People, Not Projects]]

=== 2017 ===
* [[2017.01.10_Digital_Library_Pedagogy_Twitter_Chat|January 10, 2017: Teaching Information Privacy and Security]]
* [[2017.03.14_Digital_Library_Pedagogy_Twitter_Chat|March 14, 2017: Critical Approaches to Digital Primary Sources]]
* [[2017.05.09_Digital_Library_Pedagogy_Twitter_Chat|May 9, 2017: Reflection and Restoration]]
* [[2017.07.11_Digital_Library_Pedagogy_Twitter_Chat|July 11, 2017: Sustaining Momentum for Collaborative Digital Pedagogy]]
* [[2017.09.12_Digital_Library_Pedagogy_Twitter_Chat|September 12, 2017: Digital Pedagogy and Service]]

=== 2018 ===
* [[2018.01.09_Digital_Library_Pedagogy_Twitter_Chat|January 9, 2018: Digital Libraries, DH, and Social Justice]]
* [[2018.03.13_Digital_Library_Pedagogy_Twitter_Chat|March 13, 2018: Professional Development for Digital Library Pedagogy]]
* [[2018.05.08_Digital_Library_Pedagogy_Twitter_Chat|May 8, 2018: Nailed It / Failed It]]
* [[2018.07.10_Digital_Library_Pedagogy_Twitter_Chat|July 10, 2018: Reflective Practice for Digital Library Pedagogy]]
* [[2018.09.11_Digital_Library_Pedagogy_Twitter_Chat|September 11, 2018: Teaching Data Visualization]]
* [[2018.11.13 Digital Library Pedagogy Twitter Chat|November 13, 2018: Teaching Digital Scholarship]] (co-sponsored by the DLF Digital Scholarship Working Group)

=== 2019 ===
* [[2019.01.15_Digital_Library_Pedagogy_Twitter_Chat|January 15, 2019: Teaching Ethical Issues of Digital Libraries]]
* [[2019.03.19_Digital_Library_Pedagogy_Twitter_Chat|March 19, 2019: Information Literacy and Digital Scholarship Instruction]]
* [[2019.05.21_Digital_Library_Pedagogy_Twitter_Chat|May 21, 2019: Teaching Online Privacy and Security]] (co-sponsored by the DLF Technologies of Surveillance Working Group)
* [[2019.07.23_Digital_Library_Pedagogy_Twitter_Chat|July 23, 2019: Using Data in the Classroom]]
* [[2019.09.17_Digital_Library_Pedagogy_Twitter_Chat|September 17, 2019: Evaluating Digital Scholarship Projects in the Classroom]]
* [[2019.12.10_Digital_Library_Pedagogy_Twitter_Chat|December 10, 2019: Future #DLFteach projects and initiatives]]

=== 2020 ===
* [[2020.02.18_Digital_Library_Pedagogy_Twitter_Chat|February 18, 2020: Collaboration, Scheduling, and Promotion for Digital Pedagogy Workshops]]
* [[2020.03.25_Digital_Library_Pedagogy_Twitter_Chat|March 25, 2020 - Special Edition: Tools, Strategies, and Pedagogy for Distance Learning]]
* [[2020.04.22_Digital_Library_Pedagogy_Twitter_Chat|April 22, 2020: Collaboration and roles of instructional designers and liaison librarians]]
* June 16, 2020 - Rescheduled for August 18
* [[2020.08.18_Digital_Library_Pedagogy_Twitter_Chat | August 18, 2020: Finding, cultivating, & nurturing collaborations with partners outside of libraries]]
* [[2020.10.20_Digital_Library_Pedagogy_Twitter_Chat | October 20, 2020 (8 p.m. - 9 p.m. ET): Engaging in the work of anti-racism in your library]]
* [[2020.12.15_Digital_Library_Pedagogy_Twitter_Chat | December 15, 2020: Reflecting on digital library pedagogy in a strange 2020, and what can #DLFteach do in 2021 to support our community]]

=== 2021 ===
* [[2021.02.16_Digital_Library_Pedagogy_Twitter_Chat|February 16, 2021 - Invisible labor in 2021: Changes to the workload and balancing new labor demands]]
* [[2021.04.20_Digital_Library_Pedagogy_Twitter_Chat|April 20, 2021 - Transcribing together: Crowdsourcing on Digital Projects]]
* [[2021.05.21_Digital_Library_Pedagogy_Twitter_Chat|May 21, 2021 - Teaching Online and Accessibility]]
* [[2021.08.17_Digital_Library_Pedagogy_Twitter_Chat|August 17, 2021 - Building stronger community engagement for open-source]]
* [[2021.10.18_Digital_Library_Pedagogy_Twitter_Chat|October 18, 2021 - Equity in Digital Pedagogy]]
* [[2021.12.14_Digital_Library_Pedagogy_Twitter_Chat|December 14, 2021 - Hybridity in 2021]]

=== 2022 ===
*[[2022.02.15_Digital_Library_Pedagogy_Twitter_Chat|Tuesday, February 15th, 2:00 pm EST - Love Data Week: “Data Is” vs “Data Are”]]
*[[2022.04.21_Digital_Library_Pedagogy_Twitter_Chat|Thursday, April 21st, 2:00 pm EST - Teaching Digital Exhibits]]
*[[2022.06.16_Digital_Library_Pedagogy_Twitter_Chat|Thursday, June 16th, 2:00 pm EST - Games and Gamification]]
*[[2022.08.16_Digital_Library_Pedagogy_Twitter_Chat|Tuesday, August 16th, 2:00 pm EST - Working with Languages Other than English]]
*[[2022.10.17_Digital_Library_Pedagogy_Twitter_Chat|Monday, October 17th, 2:00 pm EST - Supporting and Sustaining Instruction]]

==Participating in a chat ==
Welcome to the #DLFteach Twitter chats! All are welcome, and we're happy to have you join us. Here are some tips for participating:
* Follow the hashtag of #DLFteach. If you are on the Twitter app, search for the hashtag, and then look at the "Latest" tweets. You may also consider using TweetDeck in a browser window, searching for #DFLteach, and following along in the column for the hashtag in order to follow the chat and other conversations at the same time.
* Look for questions tweeted from the handle of @CLIRDLF. This account will share the questions at regular intervals (usually every 8-10 minutes depending on how many questions there are for the hour). All tweets for the chat will come from this handle and include the hashtag of #DLFteach, so you can count on this account for the source of questions that everyone will be talking about.
* Respond to questions by tweeting your answer with the following structure: include the letter "A" plus the question number in your response. Sample tweet: "A1: When I teach, I've had good response to the method of.... #DLFteach". Note that this well-formed sample tweet includes "A1" to indicate what question the person is responding to, plus the hashtag so that their tweet shows up in the chat conversation for everyone who is following #DLFteach.
* All activities of the DLF, including chats, follow the DLF Code of Conduct, which is available in full at https://www.diglib.org/about/code-of-conduct/.
* Feel free to simply lurk and read, or you may engage by tweeting answers, responding to others' tweets, re-tweeting, and/or liking tweets. Just don't forget to include the hashtag of #DLFteach.
* Questions? Contact the [https://wiki.diglib.org/Pedagogy:Outreach#Who.27s_coordinating.3F outreach coordinators].

== Hosting a chat ==
Interested in hosting a chat? Want to suggest a topic? Get in touch with the [[Pedagogy:Outreach#Who.27s_coordinating.3F | outreach coordinators]] of the [[Pedagogy | DLF Digital Library Pedagogy Group]]!
=== Step by step ===
# '''Identify hosts''' (usually 2 people). The outreach coordinator can schedule the tweets for the hosts, or hosts may need to gain access to the @CLIRDLF Twitter account and the DLF wiki (write to [mailto:info@diglib.org info@diglib.org]to get edit access).
## Take topic proposals from the [https://docs.google.com/forms/d/e/1FAIpQLSc00xAPgoi_NxeS70FEJUD6lB3bbmQQANzKA0UTSbv2ZspO4A/viewform suggestion form] for hosts to sign up.
## Put out an open call for hosts on DLF-Pedagogy and DLF-Announce.
## Invite leaders of the [[Pedagogy | DLF Digital Library Pedagogy Group]] to host.
## Host the chat yourselves, as chairs of the outreach subgroup!
# '''Identify a topic.''' Browse [[Pedagogy:Outreach:Twitter#Previous_chats | previous chats]] for inspiration. Hosts may bring their own ideas.
# '''Write questions''' in advance.
##Use [https://docs.google.com/document/d/1JDSFo3ZYx8v8S8696jxNqI98jSvLnhKkkuIa0HRTukE/edit?usp=sharing this template] (created by host Nicole Wilson).
# '''Post questions''' to [[Pedagogy:Outreach:Twitter#Upcoming_chats | upcoming chats]] on the wiki so that participants are able to view and consider questions ahead of time.
# '''Promote the chat by sending details + questions to listservs, groups, and Twitter'''
##Send messages to DLF-Pedagogy, DLF-Announce, DSS-l, ILI-l, and DHSI email lists '''one week''' in advance.
##Message the DLF Pedagogy Google group with the details and questions, too.
##Promote the chat on @CLIRDLF Twitter (by including promotional tweets when you schedule questions).
##Tweet about it on your own Twitter accounts, too.
# '''Send reminders''' to same channels '''one day''' in advance.
# '''Schedule tweets''' in [https://tweetdeck.twitter.com TweetDeck] to go out from @CLIRDLF account. For more on scheduling tweets, see [https://help.twitter.com/en/using-twitter/advanced-tweetdeck-features advanced TweetDeck features].
# '''Host''' the Twitter chat! Here are some tips for hosts:
##You may model how to respond to questions early in the chat by answering them with the prefix of A# meaning "A" for answer and "#" for the question number (sample tweet: "A1: This happens at my institution, and we handle it by...").
##You might not be able to respond to every single tweet depending on how many participants turn out, which is why it's helpful to have a co-host to help carry the answers, conversations, re-tweets, etc.
##Following the hashtag #DLFteach via TweetDeck in a browser window can make it easier to follow along than on a mobile device and also easier to tweet your responses to questions and tweets. It's up to you for what's most comfortable, though.
##Embrace the fast-paced conversation! You could schedule your own tweets ahead of time if you'd like, but it works really well to let the conversation organically flow with participants. You can engage with participants in many ways, ranging from liking a tweet to responding to, or re-tweeting, their tweets.
# '''Archive''' the chat.
## Create a [https://wakelet.com Wakelet] story using the DLF account (write to [mailto:info@diglib.org info@diglib.org] for login info).
## Create a TAGS archive of the Twitter chat, and upload the CSV to the [https://osf.io/cebsv DLF Digital Library Pedagogy Group space on the Open Science Framework (OSF)].
## Add links to both the Wakelet story and the TAGS spreadsheet on OSF to the page for this Twitter chat on the DLF wiki.
# '''Share''' archived chat to DLF-Pedagogy and DLF-Announce.

=== General Tips ===
* No more than 4–6 questions per hour.
* Share questions ahead of time.
* Encourage participants to answer with “A” and the corresponding number of the question being discussed to make it easier to sort, e.g. "A2: I think that…"
* Consider using [https://tweetdeck.twitter.com TweetDeck] while participating so that you can primarily follow the chat’s hashtag.

=== Example ===
Below is a 6-question chat with intervals of 8 minutes between question tweets. A 5-question chat usually has intervals of 10 minutes (e.g. 2:05, 2:15, 2:25, 2:35, 2:45).
* '''Monday, 10:00 a.m.''' Join us tomorrow at 2:00 p.m. ET for our next #DLFteach chat, focused on digital library instruction successes and failures in the classroom. Details at https://wiki.diglib.org/2018.05.08_Digital_Library_Pedagogy_Twitter_Chat
* '''Tuesday, 1:00 p.m.''' In one hour (at 2:00 p.m. ET), join us for our next #DLFteach chat, focused on digital library instruction successes and failures in the classroom. Details at https://wiki.diglib.org/2018.05.08_Digital_Library_Pedagogy_Twitter_Chat
* '''Tuesday, 2:00 p.m.''' Welcome! This #DLFteach chat is hosted by @eagibes @ararebit & @letsshall
* '''Tuesday, 2:01 p.m.''' Follow along with the #DLFteach hashtag, and don’t forget to include it in your responses along with the question number, e.g. Q1.
* '''Tuesday, 2:02 p.m.''' For this session of #DLFteach, we’re interested in your biggest successes and failures in the classroom. What works, what doesn’t when it comes to digital library instruction.
* '''Tuesday, 2:03 p.m.''' Questions will be Tweeted from @CLIRDLF. Ready? Here we go! #DLFteach
* '''Tuesday, 2:03 p.m.''' First, introduce yourself! #DLFteach
* '''Tuesday, 2:05 p.m.''' Q1: What was the best “nailed it” lesson plan for you? What worked so well? #DLFteach
* '''Tuesday, 2:13 p.m'''. Q2: What was your biggest “failed it” moment? It’s okay to share! We’ve all been there. #DLFteach
* '''Tuesday, 2:21 p.m.''' Q3: When planning for the classroom, what is most essential for you to include in a lesson plan? E.g. tool instructions, discussion questions, example archival docs? #DLFteach
* '''Tuesday, 2:29 p.m.''' Q4: If you could do your worst class again, what advice would you give yourself? #DLFteach
* '''Tuesday, 2:37 p.m.''' Q5: What are some elements of a good faculty/librarian collaboration that leads to a successful lesson plan? #DLFteach
* '''Tuesday, 2:45 p.m.''' Q6: How do you measure success? #DLFteach
* '''Tuesday, 2:55 p.m.''' Thank you for participating in this #DLFteach chat!
* '''Tuesday, 2:56 p.m.''' Learn more about #DLFTeach, what we do, and how you can get involved! https://wiki.diglib.org/Pedagogy
* '''Tuesday, 2:57 p.m.''' Did today’s #DLFteach conversation get you wanting to share more about your teaching? Consider contributing to the Digital Library Pedagogy Cookbook! Here's the CFP. https://docs.google.com/document/d/1ZXM52sb5CGkmRmNiGRt2m33YfqAJHpbX183p5yXKosw/edit?usp=sharing
* '''Tuesday, 2:59 p.m.''' We also host #DLFteach office hours on Slack, for feedback, discussion, and chatting with colleagues. For more info, check out @letsshall’s description on the DLF blog. https://www.diglib.org/dlfteach-slack-channel-office-hours
* '''Tuesday, 3:00 p.m.''' Don’t forget to join our Google Group to stay updated! #DLFteach https://groups.google.com/forum/#!forum/dlf-pedagogy

Pedagogy:Outreach:Twitter

2022-11-28T21:09:58Z

Gayle: Reverted edits by Hillaryahr (talk) to last revision by Stuitm

We host Twitter chats every other month using the hashtag [https://twitter.com/search?q=%23DLFteach #DLFteach]. Learn more about the [[Pedagogy|DLF Digital Library Pedagogy Group]] on our wiki page.

== Upcoming chats ==

Twitter chats are on the third Tuesday of the month from 2 p.m. to 3 p.m. ET unless otherwise noted.

*2021 chat dates and topics to be announced. Check back later!

Would you like to host a #DLFteach Twitter chat? The DLF Digital Library Pedagogy Group welcomes proposals for chat hosts and topics! If you are interested in hosting, please fill out [https://docs.google.com/forms/d/e/1FAIpQLSc00xAPgoi_NxeS70FEJUD6lB3bbmQQANzKA0UTSbv2ZspO4A/viewform '''this Google form'''].

== Previous chats ==
=== 2016 ===
* [[2016.01.12_Digital_Library_Pedagogy_Twitter_Chat|January 12, 2016: Our First Chat!]]
* [[2016.03.08_Digital_Library_Pedagogy_Twitter_Chat|March 8, 2016: Professional Development for Digital Library Pedagogy]]
* [[2016.05.10_Digital_Library_Pedagogy_Twitter_Chat|May 10, 2016: Melissa Dinsman Interviews Laura Mandell]]
* [[2016.07.12_Digital_Library_Pedagogy_Twitter_Chat|July 12, 2016: Supporting Practice in Community]]
* [[2016.09.13_Digital_Library_Pedagogy_Twitter_Chat|September 13, 2016: Commit to DH People, Not Projects]]

=== 2017 ===
* [[2017.01.10_Digital_Library_Pedagogy_Twitter_Chat|January 10, 2017: Teaching Information Privacy and Security]]
* [[2017.03.14_Digital_Library_Pedagogy_Twitter_Chat|March 14, 2017: Critical Approaches to Digital Primary Sources]]
* [[2017.05.09_Digital_Library_Pedagogy_Twitter_Chat|May 9, 2017: Reflection and Restoration]]
* [[2017.07.11_Digital_Library_Pedagogy_Twitter_Chat|July 11, 2017: Sustaining Momentum for Collaborative Digital Pedagogy]]
* [[2017.09.12_Digital_Library_Pedagogy_Twitter_Chat|September 12, 2017: Digital Pedagogy and Service]]

=== 2018 ===
* [[2018.01.09_Digital_Library_Pedagogy_Twitter_Chat|January 9, 2018: Digital Libraries, DH, and Social Justice]]
* [[2018.03.13_Digital_Library_Pedagogy_Twitter_Chat|March 13, 2018: Professional Development for Digital Library Pedagogy]]
* [[2018.05.08_Digital_Library_Pedagogy_Twitter_Chat|May 8, 2018: Nailed It / Failed It]]
* [[2018.07.10_Digital_Library_Pedagogy_Twitter_Chat|July 10, 2018: Reflective Practice for Digital Library Pedagogy]]
* [[2018.09.11_Digital_Library_Pedagogy_Twitter_Chat|September 11, 2018: Teaching Data Visualization]]
* [[2018.11.13 Digital Library Pedagogy Twitter Chat|November 13, 2018: Teaching Digital Scholarship]] (co-sponsored by the DLF Digital Scholarship Working Group)

=== 2019 ===
* [[2019.01.15_Digital_Library_Pedagogy_Twitter_Chat|January 15, 2019: Teaching Ethical Issues of Digital Libraries]]
* [[2019.03.19_Digital_Library_Pedagogy_Twitter_Chat|March 19, 2019: Information Literacy and Digital Scholarship Instruction]]
* [[2019.05.21_Digital_Library_Pedagogy_Twitter_Chat|May 21, 2019: Teaching Online Privacy and Security]] (co-sponsored by the DLF Technologies of Surveillance Working Group)
* [[2019.07.23_Digital_Library_Pedagogy_Twitter_Chat|July 23, 2019: Using Data in the Classroom]]
* [[2019.09.17_Digital_Library_Pedagogy_Twitter_Chat|September 17, 2019: Evaluating Digital Scholarship Projects in the Classroom]]
* [[2019.12.10_Digital_Library_Pedagogy_Twitter_Chat|December 10, 2019: Future #DLFteach projects and initiatives]]

=== 2020 ===
* [[2020.02.18_Digital_Library_Pedagogy_Twitter_Chat|February 18, 2020: Collaboration, Scheduling, and Promotion for Digital Pedagogy Workshops]]
* [[2020.03.25_Digital_Library_Pedagogy_Twitter_Chat|March 25, 2020 - Special Edition: Tools, Strategies, and Pedagogy for Distance Learning]]
* [[2020.04.22_Digital_Library_Pedagogy_Twitter_Chat|April 22, 2020: Collaboration and roles of instructional designers and liaison librarians]]
* June 16, 2020 - Rescheduled for August 18
* [[2020.08.18_Digital_Library_Pedagogy_Twitter_Chat | August 18, 2020: Finding, cultivating, & nurturing collaborations with partners outside of libraries]]
* [[2020.10.20_Digital_Library_Pedagogy_Twitter_Chat | October 20, 2020 (8 p.m. - 9 p.m. ET): Engaging in the work of anti-racism in your library]]
* [[2020.12.15_Digital_Library_Pedagogy_Twitter_Chat | December 15, 2020: Reflecting on digital library pedagogy in a strange 2020, and what can #DLFteach do in 2021 to support our community]]

==Participating in a chat ==
Welcome to the #DLFteach Twitter chats! All are welcome, and we're happy to have you join us. Here are some tips for participating:
* Follow the hashtag of #DLFteach. If you are on the Twitter app, search for the hashtag, and then look at the "Latest" tweets. You may also consider using TweetDeck in a browser window, searching for #DFLteach, and following along in the column for the hashtag in order to follow the chat and other conversations at the same time.
* Look for questions tweeted from the handle of @CLIRDLF. This account will share the questions at regular intervals (usually every 8-10 minutes depending on how many questions there are for the hour). All tweets for the chat will come from this handle and include the hashtag of #DLFteach, so you can count on this account for the source of questions that everyone will be talking about.
* Respond to questions by tweeting your answer with the following structure: include the letter "A" plus the question number in your response. Sample tweet: "A1: When I teach, I've had good response to the method of.... #DLFteach". Note that this well-formed sample tweet includes "A1" to indicate what question the person is responding to, plus the hashtag so that their tweet shows up in the chat conversation for everyone who is following #DLFteach.
* Feel free to simply lurk and read, or you may engage by tweeting answers, responding to others' tweets, re-tweeting, and/or liking tweets. Just don't forget to include the hashtag of #DLFteach.
* Questions? Contact the [https://wiki.diglib.org/Pedagogy:Outreach#Who.27s_coordinating.3F outreach coordinators].

== Hosting a chat ==
Interested in hosting a chat? Want to suggest a topic? Get in touch with the [[Pedagogy:Outreach#Who.27s_coordinating.3F | outreach coordinators]] of the [[Pedagogy | DLF Digital Library Pedagogy Group]]!
=== Step by step ===
# '''Identify hosts''' (usually 2 people). The outreach coordinator can schedule the tweets for the hosts, or hosts may need to gain access to the @CLIRDLF Twitter account and the DLF wiki (write to [mailto:info@diglib.org info@diglib.org]to get edit access).
## Take topic proposals from the [https://docs.google.com/forms/d/e/1FAIpQLSc00xAPgoi_NxeS70FEJUD6lB3bbmQQANzKA0UTSbv2ZspO4A/viewform suggestion form] for hosts to sign up.
## Put out an open call for hosts on DLF-Pedagogy and DLF-Announce.
## Invite leaders of the [[Pedagogy | DLF Digital Library Pedagogy Group]] to host.
## Host the chat yourselves, as chairs of the outreach subgroup!
# '''Identify a topic.''' Browse [[Pedagogy:Outreach:Twitter#Previous_chats | previous chats]] for inspiration. Hosts may bring their own ideas.
# '''Write questions''' in advance.
##Use [https://docs.google.com/document/d/1JDSFo3ZYx8v8S8696jxNqI98jSvLnhKkkuIa0HRTukE/edit?usp=sharing this template] (created by host Nicole Wilson).
# '''Post questions''' to [[Pedagogy:Outreach:Twitter#Upcoming_chats | upcoming chats]] on the wiki so that participants are able to view and consider questions ahead of time.
# '''Promote the chat by sending details + questions to listservs, groups, and Twitter'''
##Send messages to DLF-Pedagogy, DLF-Announce, DSS-l, ILI-l, and DHSI email lists '''one week''' in advance.
##Message the DLF Pedagogy Google group with the details and questions, too.
##Promote the chat on @CLIRDLF Twitter (by including promotional tweets when you schedule questions).
##Tweet about it on your own Twitter accounts, too.
# '''Send reminders''' to same channels '''one day''' in advance.
# '''Schedule tweets''' in [https://tweetdeck.twitter.com TweetDeck] to go out from @CLIRDLF account. For more on scheduling tweets, see [https://help.twitter.com/en/using-twitter/advanced-tweetdeck-features advanced TweetDeck features].
# '''Host''' the Twitter chat! Here are some tips for hosts:
##You may model how to respond to questions early in the chat by answering them with the prefix of A# meaning "A" for answer and "#" for the question number (sample tweet: "A1: This happens at my institution, and we handle it by...").
##You might not be able to respond to every single tweet depending on how many participants turn out, which is why it's helpful to have a co-host to help carry the answers, conversations, re-tweets, etc.
##Following the hashtag #DLFteach via TweetDeck in a browser window can make it easier to follow along than on a mobile device and also easier to tweet your responses to questions and tweets. It's up to you for what's most comfortable, though.
##Embrace the fast-paced conversation! You could schedule your own tweets ahead of time if you'd like, but it works really well to let the conversation organically flow with participants. You can engage with participants in many ways, ranging from liking a tweet to responding to, or re-tweeting, their tweets.
# '''Archive''' the chat.
## Create a [https://wakelet.com Wakelet] story using the DLF account (write to [mailto:info@diglib.org info@diglib.org] for login info).
## Create a TAGS archive of the Twitter chat, and upload the CSV to the [https://osf.io/cebsv DLF Digital Library Pedagogy Group space on the Open Science Framework (OSF)].
## Add links to both the Wakelet story and the TAGS spreadsheet on OSF to the page for this Twitter chat on the DLF wiki.
# '''Share''' archived chat to DLF-Pedagogy and DLF-Announce.

=== General Tips ===
* No more than 4–6 questions per hour.
* Share questions ahead of time.
* Encourage participants to answer with “A” and the corresponding number of the question being discussed to make it easier to sort, e.g. "A2: I think that…"
* Consider using [https://tweetdeck.twitter.com TweetDeck] while participating so that you can primarily follow the chat’s hashtag.

=== Example ===
Below is a 6-question chat with intervals of 8 minutes between question tweets. A 5-question chat usually has intervals of 10 minutes (e.g. 2:05, 2:15, 2:25, 2:35, 2:45).
* '''Monday, 10:00 a.m.''' Join us tomorrow at 2:00 p.m. ET for our next #DLFteach chat, focused on digital library instruction successes and failures in the classroom. Details at https://wiki.diglib.org/2018.05.08_Digital_Library_Pedagogy_Twitter_Chat
* '''Tuesday, 1:00 p.m.''' In one hour (at 2:00 p.m. ET), join us for our next #DLFteach chat, focused on digital library instruction successes and failures in the classroom. Details at https://wiki.diglib.org/2018.05.08_Digital_Library_Pedagogy_Twitter_Chat
* '''Tuesday, 2:00 p.m.''' Welcome! This #DLFteach chat is hosted by @eagibes @ararebit & @letsshall
* '''Tuesday, 2:01 p.m.''' Follow along with the #DLFteach hashtag, and don’t forget to include it in your responses along with the question number, e.g. Q1.
* '''Tuesday, 2:02 p.m.''' For this session of #DLFteach, we’re interested in your biggest successes and failures in the classroom. What works, what doesn’t when it comes to digital library instruction.
* '''Tuesday, 2:03 p.m.''' Questions will be Tweeted from @CLIRDLF. Ready? Here we go! #DLFteach
* '''Tuesday, 2:03 p.m.''' First, introduce yourself! #DLFteach
* '''Tuesday, 2:05 p.m.''' Q1: What was the best “nailed it” lesson plan for you? What worked so well? #DLFteach
* '''Tuesday, 2:13 p.m'''. Q2: What was your biggest “failed it” moment? It’s okay to share! We’ve all been there. #DLFteach
* '''Tuesday, 2:21 p.m.''' Q3: When planning for the classroom, what is most essential for you to include in a lesson plan? E.g. tool instructions, discussion questions, example archival docs? #DLFteach
* '''Tuesday, 2:29 p.m.''' Q4: If you could do your worst class again, what advice would you give yourself? #DLFteach
* '''Tuesday, 2:37 p.m.''' Q5: What are some elements of a good faculty/librarian collaboration that leads to a successful lesson plan? #DLFteach
* '''Tuesday, 2:45 p.m.''' Q6: How do you measure success? #DLFteach
* '''Tuesday, 2:55 p.m.''' Thank you for participating in this #DLFteach chat!
* '''Tuesday, 2:56 p.m.''' Learn more about #DLFTeach, what we do, and how you can get involved! https://wiki.diglib.org/Pedagogy
* '''Tuesday, 2:57 p.m.''' Did today’s #DLFteach conversation get you wanting to share more about your teaching? Consider contributing to the Digital Library Pedagogy Cookbook! Here's the CFP. https://docs.google.com/document/d/1ZXM52sb5CGkmRmNiGRt2m33YfqAJHpbX183p5yXKosw/edit?usp=sharing
* '''Tuesday, 2:59 p.m.''' We also host #DLFteach office hours on Slack, for feedback, discussion, and chatting with colleagues. For more info, check out @letsshall’s description on the DLF blog. https://www.diglib.org/dlfteach-slack-channel-office-hours
* '''Tuesday, 3:00 p.m.''' Don’t forget to join our Google Group to stay updated! #DLFteach https://groups.google.com/forum/#!forum/dlf-pedagogy

User talk:KelleyCoyne

2022-11-07T20:02:56Z

Gayle: Welcome!

User:KelleyCoyne

2022-11-07T20:02:54Z

Gayle: Creating user page for new user.

Kelley Coyne is the Lead Preservation Technician and Audio Learning Specialist at BAVC. She specializes in transferring open-reel audio tapes and video cassette formats. She recently digitized a large VHS collection for the University of South Dakota, from which many of the tapes had extensive deterioration and alignment issues. Preserving this collection required hands-on remediation work and meticulous custom alignment of playback decks for each tape. She graduated with a BA from American University in Washington D.C. and received a Music and Recording Industry Certificate from San Francisco State University. Since then she has worked as a freelance audio engineer, as an educator for Women's Audio Mission, and was featured in KQED’s “Woman to Watch” documentary series.

User talk:Nicolenajera

2022-10-12T16:21:28Z

Gayle: Welcome!

User:Nicolenajera

2022-10-12T16:21:24Z

Gayle: Creating user page for new user.

Nicole Najera (she/her) is a Project Manager in Digital Library Technology Services (DLTS) at NYU Libraries. She leads projects big and small, helping DLTS fulfill its commitment to digitize, preserve, and enable access to materials that come from both the NYU community and collaborating partner organizations. Prior to joining DLTS, Nicole spent 12 years at NYU IT, where she grew her career in Project Management and Program Management. Nicole has a master’s degree in Food Studies from NYU Steinhardt.

User talk:Rsenese

2022-10-05T19:23:37Z

Gayle: Welcome!

User:Rsenese

2022-10-05T19:23:33Z

Gayle: Creating user page for new user.

I am the Digital Projects Coordinator at Georgia State University. I oversee the digitization lab, metadata creation, our digital collections platform, and our digital preservation system.

User talk:Gwiedeman

2022-10-05T19:21:13Z

Gayle: Welcome!

User:Gwiedeman

2022-10-05T19:21:10Z

Gayle: Creating user page for new user.

University Archivist at University at Albany, SUNY

User talk:Hye

2022-07-26T19:06:18Z

Gayle: Welcome!

User:Hye

2022-07-26T19:06:15Z

Gayle: Creating user page for new user.

Hao Ye is the Reproducibility Librarian at the University of Florida Health Science Center Libraries. After a meandering route through computer science, psychology, oceanography, and ecology, he now focuses on developing and promoting tools and practices to empower researchers across all disciplines, backgrounds, and career stages. Hao is passionate about open science and reproducible research as a lever to shift academic culture towards more equity and inclusion, facilitate collaborations, and dismantle gatekeeping. Hao currently serves as an Associate Editor at Methods in Ecology & Evolution, on the selection committee of the Code for Science & Society's Event Fund, on the Code of Conduct committee for Reproducibility 4 Everyone, and as an instructor trainer for The Carpentries. Hao's dog is named Falafel.

User talk:Matienzo

2022-06-20T13:06:58Z

Gayle: Welcome!

User:Matienzo

2022-06-20T13:06:56Z

Gayle: Creating user page for new user.

co-facilitator of the technology strategy for archives working group

User talk:Jesswaggoner

2022-05-25T21:55:33Z

Gayle: Welcome!

User:Jesswaggoner

2022-05-25T21:55:27Z

Gayle: Creating user page for new user.

Jess Waggoner is a User Experience Librarian at the University of California, Santa Cruz

Jess focuses on system design and user experience. She works with staff throughout the library to foster a positive user experience across a variety of digital systems. Her professional goals include maintaining a user-centered approach across projects, embracing iteration, and incorporating DEI practices into all of her user experience work.
She holds a Master of Library and Information Studies from the University of British Columbia and a Master of Arts in Education with a focus on Instructional Technologies from San Francisco State University.

LinkedIn: https://www.linkedin.com/in/jess-waggoner-b0499283/

User talk:Rgibson1

2022-02-22T21:10:57Z

Gayle: Welcome!

User:Rgibson1

2022-02-22T21:10:52Z

Gayle: Creating user page for new user.

Robert is currently the Director of Learning Technologies at Emporia State University. In this role, he and his team provide a variety of learning technology support for the campus. He has served in this capacity since 2008. Robert also teaches several graduate courses in instructional design, corporate eLearning, Universal Design, and project management for instructional designers.
Robert has worked in higher education since 1988. He began his career at the University of Wyoming working with early distance education systems. After completing his master’s degree, he accepted a position at WSU where he served as the first instructional designer for a video-based distance education program in the early 1990s. In 1995 – the dawn of the modern web browser – Rob and a nursing faculty member launched the first online course in Kansas. He later worked for Friends University before accepting a position at CU Online in Denver.
Robert holds a BS in Business; a BFA and BA in Graphic Design; a MS in Instructional Technology and Design; an MBA in Information Technology; and an EdD in Instructional Technology and Distance Education. His dissertation research investigated the effectiveness of various faculty development programs regarding online learning.
Robert has been a champion of emergent technologies that have the potential to shape education. He has published numerous peer-reviewed articles and book chapters and presents nationally at a variety of conferences. His research interests include accessibility and Universal Design; Artificial Intelligence; Open Pedagogy; AR/VR; usability and interface design; online course design/quality assurance; instructional systems design; academic integrity; project management; and competency-based learning. Rob has served on product advisory boards and has been the recipient of outstanding course awards. He holds multiple certifications from Creative Commons, IAAP, Quality Matters, Google, and IBM among others. He is also an EDUCAUSE faculty and SME.

Digitizing Special Formats

2021-11-11T21:23:35Z

Gayle: /* Information from Digitization Service Providers */

This list of resources is curated by the Digital Library Federation for the benefit of cultural heritage professionals planning projects involving the digitization of rare and unique materials. Applicants to the [http://www.clir.org/hiddencollections/ Digitizing Hidden Special Collections and Archives] and [https://www.clir.org/recordings-at-risk Recordings at Risk] programs of the [http://www.clir.org/ Council on Library and Information Resources] may find these helpful in planning project proposals.

Rather than providing comprehensive coverage, this list includes introductory and reference materials that are good places to begin an exploration of issues of broad import to digitizing cultural heritage materials.

Content for this wiki page is currently being curated by program staff at the [https://www.clir.org/ Council on Library and Information Resources]. This page was originally developed and edited by the following team: Nicholas Graham, Project Coordinator, [https://www.digitalnc.org North Carolina Digital Heritage Center], Lisa Gregory, Digital Projects Librarian, North Carolina Digital Heritage Center, and Tamsyn Rose-Steel, CLIR/DLF Postdoctoral Fellow for Data Curation in Medieval Studies at Johns Hopkins University.

If you would like to suggest a resource for inclusion on this page, send your suggestion to [mailto:info@diglib.org info@diglib.org]. The DLF is currently seeking professionals from DLF member institutions who would like to participate in a curatorial group to develop and maintain the content of this page. Prospective volunteers for this group should also send expressions of interest to [mailto:info@diglib.org info@diglib.org].

== Getting Started with Designing a Digital Preservation Plan ==
This section includes resources that will give an overview of the concepts that a cultural heritage institution will consider as it designs a digital preservation plan for digitally reformatted materials. Many of these resources give special attention to concepts and strategies that will be of particular use to institutions working to construct a plan from scratch or with limited financial and technical means. Resources that focus on particular types of collections are included in separate categories.

'''General'''

* Thanks to the [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Digital_Preservation WikiProject Digital Preservation], the information about [http://en.wikipedia.org/wiki/Digital_preservation digital preservation on Wikipedia] is substantial and current.

* The [http://www.digitalpreservation.gov/ndsa/index.html National Digital Stewardship Alliance] (NDSA) has published the [http://ndsa.org/activities/levels-of-digital-preservation/ NDSA Levels of Digital Preservation], “a tiered set of recommendations for how organizations should begin to build or enhance their digital preservation activities.” Additionally, the [http://www.digitalpreservation.gov/ndsa/documents/2015NationalAgenda.pdf 2015 NDSA National Agenda for Digital Stewardship] provides a broad overview of current "challenges, opportunities, gaps, and trends" related to building and maintaining digital collections in the United States.

* The [http://www.dpconline.org/ Digital Preservation Coalition’s] [https://www.dpconline.org/handbook Digital Preservation Handbook] (now in its second edition) is “an internationally authoritative and practical guide to the subject of managing digital resources over time and the issues in sustaining access to them.” The Handbook includes a useful [http://handbook.dpconline.org/content-specific-preservation/moving-pictures-and-sound overview of audio and audiovisual content], including links to many other resources.

* [http://www.dpworkshop.org/ Digital Preservation Management: Short-Term Strategies for Long-Term Problems] is a comprehensive tutorial created by Cornell University Libraries with funding from the National Endowment for the Humanities. It is now hosted by the MIT Libraries.

* [http://commons.lib.niu.edu/handle/10843/13610 From Theory to Action: “Good Enough” Digital Preservation Solutions for Under-Resourced Cultural Heritage Institutions] (2014) is a white paper compiling the results of a three-year study of affordable, scalable digital preservation solutions suitable for under-resourced organizations.

* The [https://www.nedcc.org Northeast Document Conservation Center] (NEDCC) has compiled a [https://www.nedcc.org/assets/media/documents/DigiPres_Biblio_Digital_Directions_2014_update.pdf Digital Preservation Reading List] that provides a thorough introduction to the challenges of digital preservation as they relate to cultural heritage collections. Additional links to resources related to digital preservation are provided on [https://www.nedcc.org/free-resources/digital-preservation NEDCC's website].

'''Data Integrity'''
* [http://digitalomnium.com/simple-act-of-digital-preservation-the-checksum/ The "Checksum" and the Digital Preservation of Oral History], from [http://digitalomnium.com/ Digitalomnium], provides an excellent broad overview and discusses freely available tools that are easily incorporated into workflows.

'''Newspaper Collections'''
* The [http://educopia.org/sites/educopia.org/files/publications/Guidelines_for_Digital_Newspaper_Preservation_Readiness_0.pdf Guidelines for Digital Newspaper Preservation Readiness] address a specific set of preservation challenges faced by libraries, archives, historical societies, and other organizations that curate substantial collections of digital newspaper content. ''Guidelines'' was written by Katherine Skinner and Mat Schultz and was published by the [http://educopia.org Educopia Institute] in 2014.

== Enhancing Access and Discoverability ==

'''Metadata Aggregation'''
* The [http://dp.la/ Digital Public Library of America] (DPLA) aggregates the metadata of digital collections held in educational and cultural heritage institutions across the United States. Institutions with large digital collections may contribute data as [https://dp.la/info/hubs/#our-content-hubs Content Hubs], while smaller organizations may contribute through local or regional [https://dp.la/info/hubs/ Service Hubs]. Contributors must abide by the [http://dp.la/info/about/policies/ DPLA's data policies] in order to participate.
* See also: [http://dp.la/info/wp-content/uploads/2014/03/Intro-to-DPLA-metadata-model-2014.pdf An Introduction to the DPLA Metadata Model] (pdf);
* The [http://dp.la/info/developers/map/ DPLA Metadata Application Profile];
* [http://vimeo.com/117617171 DPLA Metadata Aggregation Webinar Recording], 1/22/15;
* North Carolina Digital Heritage Center’s [https://github.com/ncdhc DPLA Aggregation Tools on Github];
* [http://mwdl.org/index.php Setting Up a Repository for Harvest], Mountain West Digital Library;
* [http://texashistory.unt.edu/ Portal Partners Page], The Portal to Texas History

'''Registries'''
* [http://papr.crl.edu/ The Print Archives Preservation Registry] (PAPR) collects information about serial titles, print holdings, and archiving terms and conditions. It is a valuable resource for assessing the uniqueness of serial collections and determining the degree of need for digitization of those collections.

'''Search Engine Optimization'''
* [http://www.clir.org/pubs/reports/pub165 Getting Found: the SEO Cookbook] provides a step-by-step video guide to help libraries measure and monitor the search engine optimization (SEO) performance of their digital repositories. The Cookbook includes everything necessary to implement a preconfigured Google Analytics dashboard that continuously monitors SEO performance metrics relevant to digital repositories.
* [https://en.wikipedia.org/wiki/Wikipedia:The_Wikipedia_Library/About The Wikipedia Library] offers resources to help cultural heritage institutions expose their collections through Wikipedia. As a common starting point for research, Wikipedia can be used to direct researchers to libraries where the resources can be accessed directly.

'''Accessibility'''
* The Association of Research Libraries (ARL) [http://accessibility.arl.org/ Web Accessibility Toolkit] explains the principles of accessibility, universal design, and digital inclusion, and offers tips about best practices and checklists for digital repository creators that can help them ensure digitized content is as broadly accessible as possible.

'''Enhancing Access and Discoverability to Media Collections'''
* [http://sites.dartmouth.edu/mediaecology/ The Media Ecology Project] (Dartmouth College) "provides online access to primary moving image research materials, and engages dynamic new forms of scholarly production and online publishing."

== Digital Repositories ==

'''General'''
* [https://public.ccsds.org/pubs/650x0m2.pdf Reference Model for an Open Archival Information System (OAIS)]
* [http://www.crl.edu/archiving-preservation/digital-archives/metrics-assessing-and-certifying/trac The Trustworthy Repositories Audit & Certification: Criteria and Checklist (TRAC)] describes the characteristics of secure and sustainable digital repository management.
* [http://www.opendoar.org/index.html The Directory of Open Access Repositories (OpenDOAR)] is an international directory of academic open access repositories, useful for those seeking options for depositing digital collections or models for developing new digital repositories.

'''Storage'''
* [https://lockss.org/locksswp/wp-content/uploads/2013/01/IDCC2013.pdf Distributed Digital Preservation in the Cloud]

* [https://www.avpreserve.com/ AVPreserve's] [https://www.avpreserve.com/papers-and-presentations/cloud-storage-vendor-profiles/ Cloud Storage Vendor Profiles] breaks down the offerings of third party cloud storage providers from a preservation point of view. Assessment points include Data Management, Reporting/Metadata, Redundancy, Accessibility, Security, End of Service, and adherence to the [http://www.digitalpreservation.gov:8081/ndsa/activities/levels.html NDSA’s Levels of Preservation].

== Digital Reformatting ==

'''General'''
* The [http://www.digitalpreservation.gov/formats/intro/intro.shtml Sustainability of Digital Formats page] provides detailed descriptions and notes on sustainability issues for [http://www.digitalpreservation.gov/formats/fdd/browse_list.shtml hundreds of digital file formats].
* The [http://dashboard.diglib.org/ Digitization Cost Calculator] was created by the Digital Library Federation's [https://wiki.diglib.org/Assessment:Costs Cost Assessment working group] as a tool to "assist organizations in digitization project planning and benchmarking." The calculator currently supports projects involving image capture, but the Cost Assessment working group has plans to incorporate audio and audiovisual digitization in the future.

'''Audio and Audiovisual'''
* The [https://www.clir.org/ Council on Library and Information Resources] produced [https://www.diglib.org/strategies-audiovisual-digitization-projects/ Strategies for Audiovisual Digitization Projects] (2017), a free two-part webinar series that discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections. [http://clir.adobeconnect.com/pzarj5g51ujk/Effective Outsourcing with Audiovisual Digitization Service Providers] ([https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Effective-Outsourcing-with-Audiovisual-Digitization-Service-Providers-Transcript.pdf Transcript], [https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Effective-Outsourcing-Webinar-compressed.pptx Slides]), features a panel of representatives from a/v digitization vendors who discuss types of services and common hurdles faced by institutions. [http://clir.adobeconnect.com/pkxnnaqe40i9/ Low-Cost, DIY, and Community-Based Approaches to Audiovisual Digitization] ([https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Low-Cost-DIY-and-Community-Based-Approaches-to-Audiovisual-Digitization-Transcript.pdf Transcript], [https://www.diglib.org/wp-content/uploads/sites/3/2017/11/DIY-AV-Dig-Webinar.pdf Slides]), features a panel of speakers who discuss a variety of tools, strategies, and organizations that are focused on creating broader access to resources needed for audiovisual digitization projects, and will provide guidance on how best to implement in-house audiovisual digitization programs.
* The [http://www.arsc-audio.org/index.php Association for Recorded Sound Collections] (ARSC) released the [https://www.clir.org/pubs/reports/pub164/ ARSC Guide to Audio Preservation] in 2015 as a practical introduction to caring for and preserving audio collections. It is aimed at individuals and institutions that have recorded sound collections but lack the expertise in one or more areas to preserve them.
* In 2016, the [http://www.digitizationguidelines.gov/audio-visual/ Audio-Visual Working Group] of the [http://www.digitizationguidelines.gov/ Federal Agencies Digitization Guidelines Initiative's] released [http://www.digitizationguidelines.gov/guidelines/Motion_pic_film_scan.html Guidelines: Motion Picture Film Scanning Projects]. This report includes "an introductory essay, a set of tables that describe a range of film 'inputs' and digital 'outputs,' and concludes with a model statement of work for outsourced conversion of film to video." Film digitization standards are still in the early stages of development, but this report provides a solid understanding of current best practices.
* [http://www.dlib.indiana.edu/projects/sounddirections/facet/facet_formats.pdf Format Characteristics and Preservation Problems] (2007) "succinctly covers the format characteristics and preservation problems identified by [http://www.dlib.indiana.edu/projects/sounddirections/facet/ FACET (Field Audio Collection Evaluation Tool)] as contributing to instability, degradation, and/or increased risk, providing specific information to aid in ranking field collections using the FACET software application." FACET is an open-source application that "helps collection managers construct a prioritized list of audio collections by condition and risk, enabling informed selection for preservation." Even for institutions not using FACET, the publication is a good source of information (with several helpful visual aids) that can aid in the assessment of audio collections.
* [http://archive.library.nyu.edu/preservation/movingimage/vipirshome.html Visual & Playback Inspection Ratings System] (ViPIRS) is a "Microsoft Access database tool designed to assist in the survey and preservation planning of audiovisual collections as part of Developing Principles and Methodologies for Moving Image and Audio Preservation in Research Libraries. ViPIRS is designed with a wide range of users in mind: from audiovisual novices to experts; from small institutions to large." ViPIRS has been developed for magnetic media, which includes modules for videotape, audiocassettes, and 1/4" reel-to-reel.
* NEDCC | Northeast Document Conservation Center provides training on digitization of AV collections, including webinars and workshops. [https://www.nedcc.org]

'''Still Image'''
* The [http://www.digitizationguidelines.gov/ Federal Agencies Digitization Guidelines Initiative’s] (FADGI) [http://www.digitizationguidelines.gov/guidelines/digitize-technical.html Technical Guidelines for Digitizing Cultural Heritage Materials] focuses on defining practical methods and requirements for imaging projects.The FADGI Star System provides institutions with guidance in how to tailor a digitization effort based on a desired level of quality for the end product, from low-quality surrogates that provide only informational value to high quality image capturing.

== Outsourcing Audiovisual Digitization ==
* [https://www.avpreserve.com/ AVPreserve] has published two Request for Proposal (RFP) guides: [https://www.avpreserve.com/wp-content/uploads/2015/05/AVPS_Audio_Digitization_RFP_Guide.pdf Guide to Developing a Request for Proposal for the Digitization of Audio] and [http://www.avpreserve.com/wp-content/uploads/2013/10/AVPS_Digitization_RFP_Guide.pdf Guide to Developing a Request for Proposal for the Digitization of Video (and More)].

* [http://guides.nyu.edu/ld.php?content_id=24817650 Digitizing Video for Long-Term Preservation: An RFP Guide and Template] "is intended to take an institution step-by-step through the process of drafting a Request for Proposals (RFP) for the transfer of analog video formats to digital carriers for preservation. This template can be used by libraries, archives, and other cultural heritage institutions and submitted to qualified transfer vendors."

== Copyright and Intellectual Property ==

'''General'''

* [http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1495365 Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums] by Peter Hirtle, Emily Hudson, and Andrew Kenyon (2009) provides comprehensive coverage of all major copyright issues relevant to digitization in cultural heritage institutions. This work is [http://saa.archivists.org/store/copyright-and-cultural-institutions-guidelines-for-digitization/1598/ also available in print from the Society of American Archivists].

* The [http://www.arl.org/ Association of Research Libraries], in particular its initiatives on [http://www.arl.org/focus-areas/research-collections/special-collections/2482-statements-principles-and-reports-of-arl-special-collections-working-groups#.VL82d0sn8RY Transforming Special Collections in the Digital Age] and on [http://www.arl.org/focus-areas/copyright-ip#.VL81v0sn8RY Copyright and Intellectual Property], has published a variety of documents relevant to the digitization of special collections and archives, including a 2012 special issue of [http://publications.arl.org/rli279/1 Research Library Issues] that covers legal concerns related to digitizing rare and unique materials.

* [http://localcontexts.org/tk-labels/ Traditional Knowledge (TK) Labels] are a tool for Indigenous communities to add existing local protocols for access and use to recorded cultural heritage that is digitally circulating outside community contexts. They can be used to identify and clarify which material has community-specific restrictions regarding access and use.

'''Determining Copyright Status'''

* The [http://librarycopyright.net/resources/digitalslider/ ALA Copyright Slider] is a simple, user-friendly guide to determining copyright status of works.

* [https://copyright.cornell.edu/resources/publicdomain.cfm Copyright Term and the Public Domain in the United States] contains a helpful and very thorough chart for determining the copyright status of works created and/or published in the United States.

* [http://www.clir.org/pubs/abstract/reports/pub144 Copyright and Related Issues Relevant to Digital Preservation and Dissemination of Unpublished Pre-1972 Sound Recordings by Libraries and Archives] describes what libraries and archives can legally do to preserve and make accessible holdings of unpublished sound recordings.

* [http://rightsstatements.org/files/151002recommendations_for_standardized_international_rights_statements.pdf Recommendations for Standardized International Rights Statements] is a white paper summarizing the conclusions of a working group convened by the [http://dp.la/ Digital Public Library of America] and [http://www.europeana.eu/portal/ Europeana].

'''Audiovisual'''
* [http://guides.nyu.edu/ld.php?content_id=24818036 Video at Risk: Strategies for Preserving Commercial Video Collections in Libraries] "seek[s] to clarify exemptions for copying audiovisual works under Section 108(c) of the United States Copyright Act and thereby enhance the ability of librarians to preserve their video collections."

'''Orphan Works'''

* The [http://www.cmsimpact.org/fair-use/best-practices/statement-best-practices-fair-use-orphan-works-libraries-archives Statement of Best Practices in Fair Use of Collections Containing Orphan Works for Libraries, Archives, and Other Memory Institutions] developed by the Center for Media & Social Impact at American University and the UC Berkeley School of Law, includes clear guiding principles for us in determining when to apply fair use in the digitization and online publication of orphan works. The statement was produced after talking with librarians and archivists around the country.

* In 2009, the [http://www2.archivists.org/ Society of American Archivists] issued [http://www2.archivists.org/sites/all/files/OrphanWorks-June2009.pdf Orphan Works: Statement of Best Practices] to guide decision-making in conducting research into the copyright status of unpublished collections. The document includes a variety of useful links and appendices.

== Provenance, Privacy, and Ethics ==

* The [http://www.atalm.org/ Association of Tribal Archives, Libraries, and Museums] maintains a [http://www.atalm.org/node/52 list of resources relevant to the care of cultural materials of indigenous peoples].

* The [http://www2.archivists.org/ Society of American Archivists] (SAA) has convened a [http://www2.archivists.org/groups/native-american-archives-roundtable/protocols-for-native-american-archival-materials-information-and-resources-page task force] to revise and strengthen the Protocols for Native American Archival Materials (PNAAM), based upon [http://www2.nau.edu/libnap-p/protocols.html a document produced in 2007]. The draft document contains [http://www2.nau.edu/libnap-p/resources.html a useful bibliography of general resources on archives and ethics].

* The SAA case study, [http://www2.archivists.org/sites/all/files/AmericanIndianMaterial_CEPC-CaseStudy3.pdf Identifying Culturally Sensitive American Indian Material in a Non-tribal Institution], provides one example of how an institution interpreted the [http://www2.nau.edu/libnap-p/protocols.html Protocols] and the [http://www2.archivists.org/statements/saa-core-values-statement-and-code-of-ethics SAA Code of Ethics].

* [https://archives2016.sched.org/event/7f8V/111-archives-and-digital-inequality Archives and Digital Inequality, annotated collaborative bibliography] is a collections of resources and readings by the ''Archives and Digital Inequality'' pop-up session at SAA 2016.

* The [http://www.mnh.si.edu Smithsonian National Museum of Natural History] has maintained a bibliography of online resources titled the [http://anthropology.si.edu/naa/home/culturally_sensitive.html Ethics of Exhibiting Culturally Sensitive Materials Online]. This bibliography was last updated in 2010.

* [http://www.ala.org/advocacy/privacyconfidentiality/toolkitsprivacy/privacy The ALA Privacy Toolkit]

== Funding Opportunities ==
This section includes a listing of organizations that provide support for projects involving digitization of archival materials for preservation and access. This list is not exhaustive and submissions are encouraged (send submissions to DigiWiki@clir.org).

* The [http://www.neh.gov/ National Endowment for the Humanities] (NEH) supports digitization and related activities through the [http://www.neh.gov/grants/preservation/humanities-collections-and-reference-resourcesHumanities Collections and Reference Resources] program, the [http://www.neh.gov/grants/preservation/national-digital-newspaper-program National Digital Newspaper Program], and the [http://www.neh.gov/grants/preservation/preservation-and-access-research-and-development Preservation and Access Research and Development] grants.

* The [http://www.archives.gov/nhprc/ National Historical Publications & Records Commission] (NHPRC) offers funding for digitization and related activities through the [http://www.archives.gov/nhprc/announcement/access.htmlAccess to Historical Records] program and the [http://www.archives.gov/nhprc/announcement/digital.html Digital Dissemination of Archival Collections] program.

* The [https://bavc.org/preserve-media/preservation-access-program Bay Area Video Coalition] (BAVC) will be offering a sliding scale discount of up to 70% for tape-to-file video preservation transfer services to individual artists and small to medium sized arts and cultural heritage organizations. U.S. based individual artists and visual, performing and cultural arts organizations, historical societies and regional archives with arts-related collections are invited to apply for discounted services through an application process.

* The [http://www.grammymuseum.org/programs/grants-program GRAMMY Museum Grant Program] awards grants to organizations and individuals to support efforts that advance the archiving and preservation of the music and recorded sound heritage of the Americas. The Archiving and Preservation area has two funding categories: Preservation Implementation ($20,000 max award) and Assistance, Assessment and/or Consultation ($5,000 max award).

* The [https://www.filmpreservation.org/nfpf-grants/overview National Film Preservation Foundation] offers several types of preservation grants supporting the creation of preservation and access copies of American orphan films of historic and cultural interest. [https://www.filmpreservation.org/nfpf-grants/basic-preservation-grants Basic Preservation Grants] are the best choice for most institutions. Offered twice yearly, these grants award cash and in some cases services donated by laboratories and post-production houses. The larger [https://www.filmpreservation.org/nfpf-grants/matching-grants Matching Grants] enable experienced preservationists to undertake more extensive projects. The [https://www.filmpreservation.org/nfpf-grants/avant-garde-masters-grants Avant-Garde Masters Grants], funded through the generous support of The Film Foundation, target the preservation of motion pictures significant to the development of the avant-garde in America.

== Education and Training Opportunities ==
* [https://www.diglib.org/strategies-audiovisual-digitization-projects/ Strategies for Audiovisual Digitization Projects] is a free two-part webinar series that discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections. '''Effective Outsourcing with Audiovisual Digitization Service Providers''' includes representatives from a variety of audiovisual digitization service providers who discuss types of available services and common hurdles faced by institutions. '''Low-Cost, DIY, and Community-Based Approaches to Audiovisual Digitization''' has speakers discuss a variety of tools, strategies, and organizations that are focused on creating broader access to resources needed for audiovisual digitization projects. Speakers also provide guidance on how best to implement your own audiovisual digitization program.

* [http://dp.la/ The Digital Public Library of America] (DPLA), working in partnership with trainers at the [https://www.digitalcommonwealth.org/ Digital Commonwealth], the [http://dlg.galileo.usg.edu/?Welcome Digital Library of Georgia], the [http://mndigital.org/ Minnesota Digital Library], the [http://montanamemory.org/ Montana Memory Project], and the [http://mwdl.org/ Mountain West Digital Library], have developed a workshop curriculum based on documented best practices for library digitization. A self-guided version of the curriculum intended for digitization beginners is available on the DPLA website through the [http://dp.la/info/about/projects/public-library-partnerships/ Public Library Partnerships Project].

* [http://www.lyrasis.org/Pages/Main.aspx Lyrasis] offers a variety of classes relevant to digitization and digital content management, such as ''Introduction to Audio Visual Digitization'', ''Introduction to Digital Project Management Planning'', and ''Digitization for Small Institutions''. The [https://www.lyrasis.org/Pages/Events.aspx classes and events schedule] contains up-to-date information about offerings.

* The [https://www.nedcc.org/preservation-training/training-currentlist Northeast Document Conservation Center] (NEDCC) offers a variety of programs, including several related to digital collections, digital preservation, and preservation of audiovisual collections.

* The [http://sustainableheritagenetwork.org/ Sustainable Heritage Network] offers a variety of [http://sustainableheritagenetwork.org/browse?keys=&tid%5B%5D=65&promote=All in-person and online tutorials] related to archival best practices, ethics, appraisal, processing, and digitization.

== Information from Digitization Service Providers ==

'''NOTE''': ''This section is provided for convenience and information only. The Digital Library Federation and the Council on Library and Information Resources do not recommend or endorse any specific digitization service provider, and the use or non-use of any particular provider has no bearing upon any applicant's consideration in the [https://www.clir.org/hiddencollections Digitizing Hidden Special Collections and Archives] or [https://www.clir.org/recordings-at-risk Recordings at Risk] competitions.''
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[http://www.adamsmediapreservation.net/ Adams Media Preservation] (formerly Mass Productions) is an expert Audio, Video, and Film digitization service with over 27 years of experience. Adams Media Preservation specializes in reformatting large archives of obsolete media. They have preserved thousands of audio and video recordings of great historical value for Universities, Museums and Libraries. Adams Media Preservation can transfer any media, including rare and difficult formats such as Audio Wires, Audograph records, and low speed oral history audio reel tapes. Adams Media Preservation has proprietary cleaning equipment and procedures for recovering moldy and damaged media.

Adams Media Preservation services include:
* NARA and Library of Congress archive standards compliance
* Highest Resolution Media Transfers and Reformatting
* Mold removal, Tape baking, and advanced recovery
* Film color restoration
* Information Technology Consultation
* Metadata collection and embedding
* Free access copy files for online streaming
* Raid data storage and backup during production
* Delivery on Hard Drive or Cloud

Please contact Adams Media Preservation at [mailto:sales@adamsmediapreservation.net sales@adamsmediapreservation.net] or call 617-501-1738.
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[http://home.arcasearch.com/ ArcaSearch] is the leader in document preservation and search for historical, educational, corporate, and government archives. ArcaSearch's expertise is digitally preserving original materials, and then creating an easy to use searchable archive. ArcaSearch was awarded a patent in 2010 for its image capture process that produces high quality and fast search results. For a live demonstration, contact Chuck Miotke, ArcaSearch General Manager, at [mailto:chuck.miotke@arcasearch.com chuck.miotke@arcasearch.com] or at 989 430 3877.
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[http://www.audiomechanics.com/ Audio Mechanics] provides detailed evaluation and high quality preservation transfers of archival audio formats including analog audiotapes, digital media, discs and cylinders as well as optical and magnetic film soundtracks. Clients trust our aesthetic sensibilities and proprietary techniques. For over 24 years Audio Mechanics has serviced the preservation needs of domestic and international public and private institutions and the major film studios. Audio Mechanics offers an exclusive, highly successful process for cleaning and transferring deteriorating magnetic film (shrunken/vinegar syndrome).
* Highly experienced staff of audio engineers specializing in transfer/preservation/restoration
* Extensive noise removal software tools (NoNoise, Cedar, Waves, IzotopeRX, Adobe Audition)
* Library inventory metadata prioritization analysis for preservation/migration/archival transfer
* Incubation dehydration preparation and or baking for sticky shed syndrome transfer
* Mold abatement and remediation of audio media
* High Resolution preservation transfers up to 24bit-192K available
* Physical and aural evaluation, JPEG documentation and detailed QC reports during and after capture
* Checksum and digital data integrity confirmation on all deliverable files

Custom analog audio source machines

Audio Mechanics analog transfer equipment utilizes custom or modified audio electronics matching or exceeding original manufacturers specs and audiophile analog-to-digital converters for best possible sound quality capture. Our tape machine transports have been modified to facilitate shrunken material to minimize potential mechanical issues and to improve sound quality and the safety of transferring deteriorating masters.

Location and contact information: 1200 West Magnolia Blvd., Burbank, California 91506 | (818)846-5525 | John Polito
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[https://bavc.org/preserve-media Bay Area Video Coalition] is one of the nation’s longest-standing non-profit video and audio preservation organizations. BAVC remains a leader in the field, developing the highest quality preservation standards and practices while working with individuals and cultural, academic, and media organizations to meet a range of needs for preserving historically and artistically important video and audio materials. BAVC provides [https://bavc.org/preserve-media/services/assessment-and-planning Assessment & Planning] and [https://bavc.org/preserve-media/services/transfer-services Transfer services]. BAVC's [https://bavc.org/preserve-media/preservation-access-program Preservation Access Program] offers reduced rates on video and audio preservation services to artists and small- to mid-sized arts and cultural heritage organizations. Services include analog-to-digital preservation transfers at a discounted rate based on organizational budget size. NEA funding also supports BAVC’s efforts to advance audiovisual preservation practice and theory based on new and innovative developments in the field.

The deadline for the next round of PAP is forthcoming, and will likely be in the late summer of 2017! Questions can be answered by calling 415-558-2131 or by emailing [mailto:preservation-at-bavc.org preservation-at-bavc.org]).
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[https://bmiimaging.com BMI Imaging Systems, Inc.] enables libraries to transform microfilm records into a digital format that provides easy access and image enhancement capabilities never seen before. In addition to the archival TIFF used for inclusion to the State/National repositories, BMI provides a solution that allows patrons to scroll digital microfilm rolls from a computer and use full text search to find records, articles, and photos for interim access. Adjustable grayscale allows users to turn black and white images into real photos. For more information please contact Jake Walker at (800) 488-3456 ext 406 or [mailto:jwalker@bmiimaging.com jwalker@bmiimaging.com].
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[http://creeksidedigital.com/ Creekside Digital] operates 16,000 square foot facilities in Glen Arm, MD dedicated exclusively to standards-compliant, measurably accurate still image digitization, and counts some of our nation's largest and most prestigious cultural institutions as core customers. All of our projects are executed against a strict minimum FADGI 3-Star level of performance across all metrics in accordance with the recommendations found in the [http://www.digitizationguidelines.gov/guidelines/digitize-technical.html current FADGI Technical Guidelines for Digitizing Cultural Heritage Materials]. This balances the delivery of preservation-quality assets with maximizing our customers' budgets, allowing them to convert more content under their grants while minimizing risk. Our experienced project managers guide you through every step of the process from initial quoting and startup to production and delivery of your assets.

Creekside Digital can non-destructively digitize the following types of materials, either onsite at your institution or at our Maryland facilities:
*Books and bound volumes of all sizes and conditions
*Newspapers from paper originals (both bound and loose) as well as from microfilm
**Truly affordable NDNP-compliant asset creation to yield batches which verify using the Library of Congress' DVV2 tool and seamlessly ingest into popular newspaper presentation platforms including Veridian, CONTENTdm and Open ONI / chronam
*Photographic materials including slides, glass plates, photo prints, stereo cards, strip and roll film, single negatives, and more
*Microform including 16mm and 35mm microfilm rolls, microfiche in any format, and aperture cards
*Archival collections, manuscripts, and paper documents
*Large format items including maps, drawings, blueprints, artwork, and aerial and panoramic photos
*Objects, ephemera, and museum collections

Typical master files are TIFF uncompressed or JPEG2000 in strict accordance with FADGI. Common derivatives include METS / ALTO XML, JPEG, GIF thumbnail, and OCR to PDF or PDF/A per your specific use case and selected presentation platform. 100% of the assets we deliver are verified for well-formedness and adherence to your project's specifications using filetype-appropriate tools including JHOVE, Jpylyzer, and veraPDF.

All digitized assets we deliver come with a lifetime warranty (any defects in the digitization process are fixed at our expense, forever).

For more information or to receive a quote for your project, please email our Director of Digital Services Joan DaShiell at [mailto:joan@creeksidedigital.com joan@creeksidedigital.com].
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[https://cuttingcorporation.com The Cutting Corporation] is an Audio Preservation Lab that specializes in preserving obsolete analog audio recordings to high quality digital format. Using both contemporary and vintage audio equipment mixed with years of knowledge and experience, we are able to offer exceptionally high quality analog to digital conversions for practically any type of audio media. Whether you are a university archive with oral histories or an individual with family recordings, we can provide a customized digitization solution for your audio collection.

For additional information, please contact Aaron Coe at 301.654.2887.
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[https://www.danskfilmdigitization.com/ DANSK Film Digitization], now partnered with PostWorks NY, is providing even more robust, comprehensive solutions to digitizing 16mm & 35mm film, as well as video tape. Clients include universities, government agencies, libraries, filmmakers, media companies and news agencies. Our innovative, high-precision Steenbeck Digitizing Table offers best quality, fast-turnaround, affordable results and the best treatment for films which may have deteriorated or shrunken.
We are also proud to offer a state-of-the-art, robust AI Restoration and Color Correction service which produces very impressive results more quickly and at less cost than traditional methods.
*Digitization of 16mm and 35mm film, including sep mag, optical track and all other audio-on-film formats
*Digitize 2K or 4K at up to 60fps
*Steenbeck Digitizing Table highly is tolerant of damaged perforations, fragile splices, warped, brittle and shrunken films
*A.I. Restoration & Color Correction Services – See some samples: [https://vimeo.com/user91936573]
*Expert in analysis and evaluation of archive condition providing best options for preservation and restoration
*Physical repair, splicing and cleaning using Lipsner-Smith Ultrasonic cleaner
*Video digitization from all formats
*Traffic department and climate-controlled vault for careful tracking and storage of your valuable assets
*An expert support team of engineers, programmers, colorists and other film and digital media specialists
*Steenbeck technology allows for the option of quick, simple set-up, on your site, if your archives cannot be moved.
Main offices are located at 110 Leroy Street, New York, NY 10014. Please contact us at 212-894-4000 (Main) or 212-886-5230 (Direct).
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[http://www.databankimx.com DataBank] is a National Document & Information Management Company with over 23 years of experience in document conversion and automation. Their areas of expertise include the conversion of photos, archival documents and legacy microfilm or microfiche collections. They offer seamless integration with repositories for storage and retrieval of scanned media. For additional information contact Kathy Berger, Senior Solutions Consultant, at [mailto:kberger@databankimx.com kberger@databankimx.com] or at (603) 463-0154.
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[http://digitalmediaservices.com/services/high-volume-digitization/ Digital Media Services] has an Archival Digitization program for the preservation and conversion of physical tape and film formats into the latest digital file formats. It has digital archive service centers on both U.S. coasts to minimize shipping costs and times for clients. For a free quote or questions concerning an upcoming project, please contact Keith Eland, Senior Account Executive, by phone at 646-975-6122, or by email at [mailto:keland@digitalmediaservices.com keland@digitalmediaservices.com].
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[http://www.digitalrevolution.tv Digital Revolution] is a full service Multi Media facility located in the heart of San Francisco. Founded by Paul Grippaldi in 2004, Digital Revolution is dedicated to helping clients create high quality digital media. From Legacy Media Digitizing : Preservation : Archiving : Video Creation : Post Production : Disc & USB Copying Services, Digital Revolution is the choice of Corporations, Educational Institutions, Non-Profits, Film Companies, Government Agencies and Individuals for their multi-media needs. For additional information call Digital Revolution at 415-398-1200.
----
[http://www.immurerecords.com/ Immure Records] is a Minnesota-based company that provides video and audio media transfer and restoration services for a variety of formats. Address: 1740 130th Ave. NE Blaine, MN 55449 | Phone: (763) 862-5992 | Email: [mailto:info@immurerecords.com info@immurerecords.com]
----
[http://www.idiimage.com/ Innovative Document Imaging (IDI)] maintains an 8,500 state-of-the-art digital conversion facility in East Brunswick, New Jersey and a 7,500 square facility in Shelton Connecticut. The Ct. site supplies the highest-quality microfilm-from-digital images utilizing electron-beam technology and microfilm mastering and duplication services for the world’s largest publishers.
Our company mission is to deliver the best service possible at reasonable cost for the digital conversion of paper documents, newspapers, maps, books, bound materials, microfilm, and microfiche. IDI balances price, quality, and speed in order to provide clients digital assets at the specifications and with the necessary tools to meet their requirements, where possible we can exceed their expectations. In addition to data conversion, IDI prides itself on its ability to go the extra step and fulfill metadata, data archiving, or enterprise content management needs as they arise.

Innovative Document Imaging’s name directly reflects its approach to serving its clients by focusing on “innovation.” IDI is more than a content conversion facility. It is also a re-seller of digital equipment and enterprise content management systems that has partner relationships with Canon, Konica-Minolta, Kirtas, and Kofax. IDI is also a developer of content management systems for use by libraries and private firms, including its E-File and DigiFind-It Cloud Portal solutions and it is an electronic archive backup system for various enterprises.
In all these endeavors, IDI seeks to present a suite of solutions for content imaging, data management and short and long term digital storage for its clients. Currently, IDI specializes in serving libraries, museums, historical societies and associations, publishers, and pharmaceutical companies.
IDI’s 7,500 square facility in Shelton Ct. supplies the highest-quality microfilm-from- digital images utilizing electron-beam technology and microfilm mastering and duplication services for the world’s largest publishers, museums and libraries.

* [http://idiimage.com/index.php/facility-tour-2017/ Facility tour]
* [http://www.idiimage.com http://www.idiimage.com]
* [http://www.dmmem.com http://www.dmmem.com]
* [http://www.ebeamimaging.com http://www.ebeamimaging.com]
* [http://www.digifind-it.com http://www.digifind-it.com]
----
The [http://www.archive.org Internet Archive] (IA) is one of the world’s largest public digital libraries, with an extensive collection of human culture. The goal is to provide free access to all knowledge in an accessible, digital format for researchers, historians, people with disabilities, and the general public. The Internet Archive also offers online access and discovery of digital content, including [http://archive.org/texts public domain eBooks] and a more selective collection of public domain and non-public domain texts available for lending at [https://openlibrary.org OpenLibrary.org].

IA offers non-destructive digitization with a range of analog and born-digital formats, including: printed materials that are bound and unbound (books, magazines, yearbooks, etc.), archival materials, photographs, microfilm, microfiche, film and video (8mm and 16mm). Services include photographic imaging, digital processing, preservation, and access to digital data. Items to be digitized can be sent to one of 33 regional digitization centers around the world, or portable equipment can be placed on-site within libraries and archives. Questions: DigitalLibraries@archive.org

For an overview of the Internet Archive workflow, please click [http://archive.org/details/ProcessDocument this link]; To reach one of the Internet Archive centers, view contact info at [http://archive.org/scanning this link]; and to purchase digitization equipment, follow [http://archive.org/scanning/tabletopscribe this link].
----
[http://www.lunaimaging.com/#welcome Luna Imaging, Inc.] offers digitization and software & hosting services for building and maintaining digital collections. Digitization services include: Preservation scanning; Access capture; Book capture services; and OCR, PDF, BookReader processing.
----
[http://www.lyrasis.org LYRASIS] can support special collections and archival digitization projects by providing:

* Digitization and Project Management Services – working through its [http://www.lyrasis.org/digitize/ Digitization Collaborative] LYRASIS can digitize a wide range of source materials including print/manuscript/microfilm/photographic materials/audio/video and film and manage the process for you.
* Staff Expertise – information on processes and standards for project planning
* Professional Development Opportunities – LYRASIS offers a wide range of classes and can provide specific digitization classes to suit local needs.
----
[https://ptlp.com/en/mediapreserve/overview/about-us/ The MediaPreserve (a division of Preservation Technologies)]

The MediaPreserve, a division of Preservation Technologies, provides high-quality reformatting services for audio, video and film. Using expertly-modified legacy equipment as well as current technologies, our staff of engineers, librarians, archivists and metadata specialists transfer and document your collection materials according to professional standards and best practices so that your AV assets remain accessible into the futur
----
[http://www.memnon.com Memnon Archiving Services] offers a range of services to digitize, restore, preserve and provide access to audio-visual and cultural archives. Our unique parallel workflow system is designed to ensure quality while allowing larger volumes of materials to be preserved. Memnon’s services are suitable for a wide range of archive owners – from cultural institutions, libraries, universities and record labels. Memnon has accrued over 15 years of experience working with audio-visual technology throughout in Europe, North America, Africa and the Middle East. Our workforce has evolved into a multi-disciplinary team of engineers, computer specialists, documentation and meta-data management experts and project managers. A Sony Company since 2015, Memnon has the flexibility to provide services in a way that best fits our clients’ needs. Our North American headquarters are located in Bloomington, Indiana.

* ''Outsourced Service'' - In four delivery centers around the world, we propose an easy and paramount solution for all your archiving needs, ensuring high efficiency and fast project completion.
* ''On-site Managed Service'' - Memnon in-a-box is our onsite managed service to provide digitization service in your facilities- planning, setup, ramp up, delivery, completion, removal. Memnon manages and operates the project in your facilities, with optional deployment of your staff and your equipment if requested. Leverage Memnon’s workflows, tools, operational procedures, equipment, staff and expertise, with no further investment for you.
* ''Hybrid Services'' - Depending on your specific requirements, Memnon can implement a mixed approach where part of the digitization process is done in-house while other parts are outsourced.

Specific Services:

* ''Audio Digitization'' - Memnon has a complete range of equipment for reading a wide range of sound formats. We make it our business to constantly acquire equipment of all kinds and have extensive experience of working with delicate and complex formats and innovative new techniques.

* ''Video Digitization'' - Memnon is committed to providing high quality cleaning and processing to enhance media quality while ensuring authenticity of the original content, fast transfer through latest automated preservation processes and excellent cost efficiency.

* ''Film Digitization'' - Film digitization is a sensitive and delicate task requiring a great deal of knowledge and know how. Our highly qualified team handles your material with care and puts all its skills to restore, clean, repack, synchronize sound, catalog and digitize your collections.

* ''Restoration and Treatment'' - Memnon ensures authenticity of the original content through latest, cost efficient and excellent preservation processes by high quality cleaning and treatment, a large panel of media quality enhancements and restoration of the recordings.

* ''QC & Delivery'' - Thanks to its 25-year history in the sector, the company delivers the highest quality in industrial processes and quality control methodologies trough industry and Memnon proprietary tools.

* ''Metadata Management, Content Indexation and Enrichment'' - We help to create, manage and consolidate from different source of metadata in the digitization and we can enrich your context based information with various automated processes.

* ''Project Management'' - To meet expectations precisely, we draw up detailed specifications with the clients representatives prior to the initiation of the project. Safeguarding of the collections fidelity and integrity is a must in any of our logistic and production processes. Specific procedures are in place to ensure a controlled and secured environment and all our employees are well aware of the cultural and historical value of materials and of the sensitivity to content’s nature.

* ''Workflow and Tools'' - Based on the unique expertise in handling large scale digitization and physical carrier handling, Memnon’s in-house R&D unit has develop proprietary workflow management platform and unique toolsets to advance, monitor and manage the entire workflow and carrier handling through the entire process.

* ''Cataloguing and Collections Planning'' - Memnon offers clients support and services for Cataloguing and Collections Planning process. This is often the very first setup to assess what exists in the archives, and to prepare and sort the collections for an accurate quote and shipment planning.

----
[https://www.nedcc.org NEDCC | Northeast Document Conservation Center] is nonprofit conservation and preservation center specializing in conservation, digitization, and audio preservation of cultural heritage collections. NEDCC provides conservation treatment for books, maps, photographs, documents, manuscripts, architectural plans, and works of art on paper, as well as digital imaging for rare, historic, and oversize materials. The Center provides digitization of audio media using traditional and optical-scanning technologies (IRENE) and specializes in 100% attended transfers of unique, damaged, or at-risk recordings on wax cylinder, lacquer disc, and magnetic and digital audiotape. NEDCC is a trusted resource for training and information on care and handling of significant collection materials.
----
[http://northeasterndigital.com/ Northeastern Digital] is a full service digital mastering facility, specializing in the digitization of analog tape. With 35 years of expertise, we have transferred and restored hundreds of legacy music recordings for major artists and labels (David Bowie, Arlo Guthrie, Bob Marley, Alison Krauss, Biograph Records, Rounder Records). Our approach is this: every music recording is unique and requires special attention and custom equipment to optimize the transfer and yield the best results. All tape formats are accepted and all digital target formats are available. If your materials are in the general DC area, we can pick them up, so that you avoid any risk of loss or damage from shipping.
----
[http://www.normicro.com Northern Micrographics] has over 60 years of experience partnering with clients in library, academic, commercial and industrial markets to provide superior preservation imaging products and services. They scan a variety of object types including bound and disbound volumes, photos, maps, microfilm and microfiche. Northern Micrographics can also help place digital collections online with custom software products, ProSeek® and PhotoAtlasTM. They also offer a variety of other services including microfilming, microfilm duplication, metadata development, data conversions, hosting and bookbinding. Contact Northern Micrographics at 800-236-0850 or at [mailto:sales@nmt.com sales@nmt.com] to learn more.
----
[http://www.nestorsalomon.com/ SALOMON MASTERING & RESTORATION] is an audio studio/laboratory, located in San Juan, Puerto Rico. Dedicated to mastering, conservation and restoration of collections of sound documents, recorded in different media and old formats, for organizations and archival institutions. The audio engineer Néstor Salomón also provides consulting services for archival organizations and record labels. Website: [http://www.nestorsalomon.com/ www.nestorsalomon.com] - Tel / Whatsapp: +1 787 949-9065 - Email: [mailto:nestorsalomon_ar@hotmail.com nestorsalomon_ar@hotmail.com]
----
[http://www.twocatdigital.com Two Cat Digital] has been providing world-class digital imaging and consulting services since 2003 with a particular emphasis on cultural heritage institutions and materials. Their passion is in designing and managing efficient digitization workflows, and for helping clients bring their valuable collections to light. Two Cat clients include hundreds of institutions including museums, libraries, universities, government agencies, architects, photographers and non-profit organizations. For additional information contact Two Cat at [mailto:info@twocatdigital.com info@twocatdigital.com].

----
If you would like to suggest a resource for inclusion on this page, send your suggestion to [mailto:info@diglib.org info@diglib.org]. The DLF is currently seeking professionals from DLF member institutions who would like to participate in a working group to develop and maintain the content of this page. Prospective volunteers for this group should also send expressions of interest to DigiWiki@clir.org.

Transparency-Accountability

2021-10-20T21:55:27Z

Gayle:

[[Image:Rta3.png|800px|link=Transparency-Accountability]]

== DLF Government Records Transparency and Accountability Group ==
[[Image:Rta.png|frameless|right|link=Transparency-Accountability]]
=== What is this? ===
'''Note:''' DLF's Government Records Transparency and Accountability Group is currently inactive. If you're interested in reviving this working group, contact us at info@diglib.org

This is the page for the [https://www.diglib.org/groups/transparency-accountability/ '''DLF Working Group on Government Records Transparency and Accountability''']. Read our '''announcement [https://www.diglib.org/new-dlf-interest-group-government-records-transparency-and-accountability/ blog post]'''.

=== Mission ===

The DLF interest group on Government Records Transparency and Accountability seeks to support a broader culture of records transparency in the digital age. Using a range of methods, we work to provoke wide-ranging consideration of, and action related to, the creation, accessibility, and preservation of materials created by local, state, and federal governments - including records, publications, information, data, and documents. In doing this work, we act on our belief that the free flow of government information is fundamental to a democratic society and that, as such, we want to work to ensure that information created by our governments is capably preserved and freely accessible to the public.<ref>[https://docs.google.com/document/d/1ntYoqo-jUflCTmsNatxTlK-7p1MvK06YMbF5VPTzzwc/edit]Draft Mission statement announced at meeting January 23rd, 2018, accepted without changes, and posted March 2nd, 2018</ref> The group's work is aligned with the broader mission of the '''[https://www.diglib.org/about/ Digital Library Federation]''', and abides by its '''[https://www.diglib.org/about/code-of-conduct/ Code of Conduct]'''.

We also work very closely with the [https://endangereddataweek.org/ '''Endangered Data Week'''] project. (Mark your calendars! The next Endangered Data Week is scheduled for February 25 through March 1, 2019.)

=== How to Join ===
We invite you to join this Interest Group! You don’t have to be a DLF member to participate. Simply request membership in our [https://groups.google.com/forum/#%21forum/dlf-records-transparency '''Google Group'''] to stay current on discussions and meeting dates. Meeting dates and minutes will also be posted to this page.

==Upcoming events!==
=== Upcoming Calls ===

==== Next Call: Tuesday, 16 JUNE 2020, 1-2PM EDT====

'''Please [https://zoom.us/j/8442973484 join online here]''' (if you're new to Zoom, you may need to quickly download the software)

Or iPhone one-tap :
US: +16468769923, 8442973484# or +16699006833, 8442973484#
Or Telephone:
Dial(for higher quality, dial a number based on your current location):
US: +1 646 876 9923 or +1 669 900 6833 or +1 408 740 3766
Meeting ID: 844 297 3484
International numbers available: '''[https://zoom.us/j/8442973484 https://zoom.us/j/8442973484]'''

====Meeting schedule for the 2019-20 academic year====

*Meeting Schedule to be determined

===Other upcoming events of possible interest to members of this group===

==Endangered Data Week==
[[Image:Edw-logo.png|frameless|right|100px|link=http://endangereddataweek.org]]
Endangered Data Week is a multi-organizational effort and is the Government Records Accountability and Transparency group's signature event, held annually in late winter-early spring since 2017. The next Endangered Data week will be '''Fall 2020'''. Learn more about the 2019 Endangered Data Week by visiting [https://endangereddataweek.org/ '''endangereddataweek.org''']

==Past Meetings and Events==
=== Webinars ===

[https://wiki.diglib.org/Transparency-Accountability/Webinars '''List of past webinars'''.]
The Government Records Transparency and Accountability interest group has, on several occasions, hosted virtual educational presentations on topics related to government records transparency. These topical webinars, often featuring presentations by special guest speakers, are viewable [[Transparency-Accountability/Webinars | '''here''']]. Past topics have included: the importance of Federal records transparency in immigrant justice work, the Federal Census, Title 44, and the Freedom of Information Act (FOIA). If you have an idea for a future webinar or presentation, please get in touch!

=== Meeting Minutes ===
Records relating to meetings dating back to 2017 are available from the '''[[Transparency-Accountability/Minutes]]''' page.

===DLF Forum Convenings===
Records relating to activities at DLF Forums dating back to 2017 are available from the
'''[[Transparency-Accountability/Forums]]''' page.

==Advocacy==
===Open Letters===
* In December 2019, the Government Records Transparency and Accountability group agreed to host an open letter to the San Diego State University concerning the Detainee Allies Letter Collection. [https://wiki.diglib.org/Transparency-Accountability/SDSULOpenLetter'''The letter and our group's preface statement'''] are available on our wiki.

* In November 2018, members of the Advocacy Committee sent a [https://www.diglib.org/wp-content/uploads/sites/3/2018/11/DLF-GRTA-NARA.pdf letter] to the National Archives with thoughts about how to improve the level of transparency of the processes surrounding records retention change requests. (See also the [https://www.diglib.org/dlf-group-looks-at-us-dept-of-interior-records-disposition-request/ blog post] about this letter, and the process that led up to it.)

* In July 2018, we signed onto a public letter, initiated by the group [https://www.openthegovernment.org/ '''Open the Government'''], that urged the US Congress to immediately investigate the administration’s records management practices relating to the “zero-tolerance” immigration enforcement policy and family reunification efforts. View the letter [https://www.openthegovernment.org/sites/default/files/Letter_Investigate%20records%20destruction.pdf '''here'''.] Open the Government's press release on the topic can be found [https://www.openthegovernment.org/node/5701 '''here'''].

* In September 2017, we co-signed the DLF's [https://www.diglib.org/dlf-on-privacy-preservation-free-access-to-government-info-via-title-44/ '''letter'''] to the Depository Library Council, Joint Committee on Printing, and Committee on House Administration, urging careful action in revising Title 44 of the US Code.

==Reflective Activities==

=== 2017 Conversations Project ===
In the Fall of 2017, a team of facilitators (Rachel Mattson, Brandon Locke, and Purdom Lindblad) proposed that members spend some time engaging in a series of one-one one conversations. These conversations were designed to begin to build a stronger foundation upon which our group could expand and develop, and had three principle initial goals:

* To build a shared vocabulary.
* To begin a process of developing stronger connections between members of this interest group - and supporting more intra-group conversation and collaboration.
* To create an action plan for the group’s future work.

We imagined these conversations as iterative and open to group recommendations. Participants were invited to follow the steps outlined below.

'''Complete [https://docs.google.com/forms/d/e/1FAIpQLSeEaM7levQ3KlCtAviOxaG5KstwKVWxY_48FW937Uc3h7lwiw/viewform?c=0&w=1&includes_info_params=true survey form] (before September 5, 2017).'''
To begin, we invited participants to complete a survey about what motivates them to participate in this group, what issues are of greatest concern to them, what practices they wish to share or to develop, and so on. Responses were sent to the group’s facilitators and also emailed back to the contributor in order to help prompt reflection in paired conversations.

'''Meet with partners (sometime before October 5, 2017).'''
After individual surveys were completed, participating members were matched to another person in the group. Once they had the name of their partner, they reached out via email to set time and platform for shared discussion. Partners were provided with prompts to get the converation started, but were encouraged to expand on those prompts and to use whatever platform they preferred - e.g. email, Skype, or telephone.

Subsequently, participants had the opportunity to share the results of their one-on-one conversations with the larger group. We created a brief synthesis of the results [https://docs.google.com/document/d/1AMYmhZdFjU6L789TxwU5wIfehsDFJh5oLNpOCYZYOxA/edit '''here'''].

=== Other Possible Directions ===

The work of this group is still, always, in development, and we invite you to join us as we consider strategies for moving forward together. Some possible directions in which our endeavors might go:

* Learn, listen, gather info, ask questions. Reach out to organizations already doing smart work in the area of government sunshine, FOIA, public records transparency, and government accountability, and learn all that we can about their work. Where are these groups putting their efforts? What are the central concerns, questions, and debates they consider to be important? Which groups do we want to make connections to? Also: what are librarians and archivists already doing in this area? How might we extend and contribute to this work?
* Consider, discuss, and outline the ways in which this work, these questions, overlaps with our own areas of expertise and labors. How might we bring conversations about transparency and accountability into our schools, workplaces, and professional communities?
* Consider, discuss, and work toward understanding how we might use our expertise and situated-ness to support increased public records transparency and accountability at the local, state, and federal levels.
* Share what we learn with the broader DLF and library/archives community (and beyond?).
<hr>

Digitizing Special Formats

2021-10-07T13:07:20Z

Gayle: /* Information from Digitization Service Providers */

This list of resources is curated by the Digital Library Federation for the benefit of cultural heritage professionals planning projects involving the digitization of rare and unique materials. Applicants to the [http://www.clir.org/hiddencollections/ Digitizing Hidden Special Collections and Archives] and [https://www.clir.org/recordings-at-risk Recordings at Risk] programs of the [http://www.clir.org/ Council on Library and Information Resources] may find these helpful in planning project proposals.

Rather than providing comprehensive coverage, this list includes introductory and reference materials that are good places to begin an exploration of issues of broad import to digitizing cultural heritage materials.

Content for this wiki page is currently being curated by program staff at the [https://www.clir.org/ Council on Library and Information Resources]. This page was originally developed and edited by the following team: Nicholas Graham, Project Coordinator, [https://www.digitalnc.org North Carolina Digital Heritage Center], Lisa Gregory, Digital Projects Librarian, North Carolina Digital Heritage Center, and Tamsyn Rose-Steel, CLIR/DLF Postdoctoral Fellow for Data Curation in Medieval Studies at Johns Hopkins University.

If you would like to suggest a resource for inclusion on this page, send your suggestion to [mailto:info@diglib.org info@diglib.org]. The DLF is currently seeking professionals from DLF member institutions who would like to participate in a curatorial group to develop and maintain the content of this page. Prospective volunteers for this group should also send expressions of interest to [mailto:info@diglib.org info@diglib.org].

== Getting Started with Designing a Digital Preservation Plan ==
This section includes resources that will give an overview of the concepts that a cultural heritage institution will consider as it designs a digital preservation plan for digitally reformatted materials. Many of these resources give special attention to concepts and strategies that will be of particular use to institutions working to construct a plan from scratch or with limited financial and technical means. Resources that focus on particular types of collections are included in separate categories.

'''General'''

* Thanks to the [http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Digital_Preservation WikiProject Digital Preservation], the information about [http://en.wikipedia.org/wiki/Digital_preservation digital preservation on Wikipedia] is substantial and current.

* The [http://www.digitalpreservation.gov/ndsa/index.html National Digital Stewardship Alliance] (NDSA) has published the [http://ndsa.org/activities/levels-of-digital-preservation/ NDSA Levels of Digital Preservation], “a tiered set of recommendations for how organizations should begin to build or enhance their digital preservation activities.” Additionally, the [http://www.digitalpreservation.gov/ndsa/documents/2015NationalAgenda.pdf 2015 NDSA National Agenda for Digital Stewardship] provides a broad overview of current "challenges, opportunities, gaps, and trends" related to building and maintaining digital collections in the United States.

* The [http://www.dpconline.org/ Digital Preservation Coalition’s] [https://www.dpconline.org/handbook Digital Preservation Handbook] (now in its second edition) is “an internationally authoritative and practical guide to the subject of managing digital resources over time and the issues in sustaining access to them.” The Handbook includes a useful [http://handbook.dpconline.org/content-specific-preservation/moving-pictures-and-sound overview of audio and audiovisual content], including links to many other resources.

* [http://www.dpworkshop.org/ Digital Preservation Management: Short-Term Strategies for Long-Term Problems] is a comprehensive tutorial created by Cornell University Libraries with funding from the National Endowment for the Humanities. It is now hosted by the MIT Libraries.

* [http://commons.lib.niu.edu/handle/10843/13610 From Theory to Action: “Good Enough” Digital Preservation Solutions for Under-Resourced Cultural Heritage Institutions] (2014) is a white paper compiling the results of a three-year study of affordable, scalable digital preservation solutions suitable for under-resourced organizations.

* The [https://www.nedcc.org Northeast Document Conservation Center] (NEDCC) has compiled a [https://www.nedcc.org/assets/media/documents/DigiPres_Biblio_Digital_Directions_2014_update.pdf Digital Preservation Reading List] that provides a thorough introduction to the challenges of digital preservation as they relate to cultural heritage collections. Additional links to resources related to digital preservation are provided on [https://www.nedcc.org/free-resources/digital-preservation NEDCC's website].

'''Data Integrity'''
* [http://digitalomnium.com/simple-act-of-digital-preservation-the-checksum/ The "Checksum" and the Digital Preservation of Oral History], from [http://digitalomnium.com/ Digitalomnium], provides an excellent broad overview and discusses freely available tools that are easily incorporated into workflows.

'''Newspaper Collections'''
* The [http://educopia.org/sites/educopia.org/files/publications/Guidelines_for_Digital_Newspaper_Preservation_Readiness_0.pdf Guidelines for Digital Newspaper Preservation Readiness] address a specific set of preservation challenges faced by libraries, archives, historical societies, and other organizations that curate substantial collections of digital newspaper content. ''Guidelines'' was written by Katherine Skinner and Mat Schultz and was published by the [http://educopia.org Educopia Institute] in 2014.

== Enhancing Access and Discoverability ==

'''Metadata Aggregation'''
* The [http://dp.la/ Digital Public Library of America] (DPLA) aggregates the metadata of digital collections held in educational and cultural heritage institutions across the United States. Institutions with large digital collections may contribute data as [https://dp.la/info/hubs/#our-content-hubs Content Hubs], while smaller organizations may contribute through local or regional [https://dp.la/info/hubs/ Service Hubs]. Contributors must abide by the [http://dp.la/info/about/policies/ DPLA's data policies] in order to participate.
* See also: [http://dp.la/info/wp-content/uploads/2014/03/Intro-to-DPLA-metadata-model-2014.pdf An Introduction to the DPLA Metadata Model] (pdf);
* The [http://dp.la/info/developers/map/ DPLA Metadata Application Profile];
* [http://vimeo.com/117617171 DPLA Metadata Aggregation Webinar Recording], 1/22/15;
* North Carolina Digital Heritage Center’s [https://github.com/ncdhc DPLA Aggregation Tools on Github];
* [http://mwdl.org/index.php Setting Up a Repository for Harvest], Mountain West Digital Library;
* [http://texashistory.unt.edu/ Portal Partners Page], The Portal to Texas History

'''Registries'''
* [http://papr.crl.edu/ The Print Archives Preservation Registry] (PAPR) collects information about serial titles, print holdings, and archiving terms and conditions. It is a valuable resource for assessing the uniqueness of serial collections and determining the degree of need for digitization of those collections.

'''Search Engine Optimization'''
* [http://www.clir.org/pubs/reports/pub165 Getting Found: the SEO Cookbook] provides a step-by-step video guide to help libraries measure and monitor the search engine optimization (SEO) performance of their digital repositories. The Cookbook includes everything necessary to implement a preconfigured Google Analytics dashboard that continuously monitors SEO performance metrics relevant to digital repositories.
* [https://en.wikipedia.org/wiki/Wikipedia:The_Wikipedia_Library/About The Wikipedia Library] offers resources to help cultural heritage institutions expose their collections through Wikipedia. As a common starting point for research, Wikipedia can be used to direct researchers to libraries where the resources can be accessed directly.

'''Accessibility'''
* The Association of Research Libraries (ARL) [http://accessibility.arl.org/ Web Accessibility Toolkit] explains the principles of accessibility, universal design, and digital inclusion, and offers tips about best practices and checklists for digital repository creators that can help them ensure digitized content is as broadly accessible as possible.

'''Enhancing Access and Discoverability to Media Collections'''
* [http://sites.dartmouth.edu/mediaecology/ The Media Ecology Project] (Dartmouth College) "provides online access to primary moving image research materials, and engages dynamic new forms of scholarly production and online publishing."

== Digital Repositories ==

'''General'''
* [https://public.ccsds.org/pubs/650x0m2.pdf Reference Model for an Open Archival Information System (OAIS)]
* [http://www.crl.edu/archiving-preservation/digital-archives/metrics-assessing-and-certifying/trac The Trustworthy Repositories Audit & Certification: Criteria and Checklist (TRAC)] describes the characteristics of secure and sustainable digital repository management.
* [http://www.opendoar.org/index.html The Directory of Open Access Repositories (OpenDOAR)] is an international directory of academic open access repositories, useful for those seeking options for depositing digital collections or models for developing new digital repositories.

'''Storage'''
* [https://lockss.org/locksswp/wp-content/uploads/2013/01/IDCC2013.pdf Distributed Digital Preservation in the Cloud]

* [https://www.avpreserve.com/ AVPreserve's] [https://www.avpreserve.com/papers-and-presentations/cloud-storage-vendor-profiles/ Cloud Storage Vendor Profiles] breaks down the offerings of third party cloud storage providers from a preservation point of view. Assessment points include Data Management, Reporting/Metadata, Redundancy, Accessibility, Security, End of Service, and adherence to the [http://www.digitalpreservation.gov:8081/ndsa/activities/levels.html NDSA’s Levels of Preservation].

== Digital Reformatting ==

'''General'''
* The [http://www.digitalpreservation.gov/formats/intro/intro.shtml Sustainability of Digital Formats page] provides detailed descriptions and notes on sustainability issues for [http://www.digitalpreservation.gov/formats/fdd/browse_list.shtml hundreds of digital file formats].
* The [http://dashboard.diglib.org/ Digitization Cost Calculator] was created by the Digital Library Federation's [https://wiki.diglib.org/Assessment:Costs Cost Assessment working group] as a tool to "assist organizations in digitization project planning and benchmarking." The calculator currently supports projects involving image capture, but the Cost Assessment working group has plans to incorporate audio and audiovisual digitization in the future.

'''Audio and Audiovisual'''
* The [https://www.clir.org/ Council on Library and Information Resources] produced [https://www.diglib.org/strategies-audiovisual-digitization-projects/ Strategies for Audiovisual Digitization Projects] (2017), a free two-part webinar series that discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections. [http://clir.adobeconnect.com/pzarj5g51ujk/Effective Outsourcing with Audiovisual Digitization Service Providers] ([https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Effective-Outsourcing-with-Audiovisual-Digitization-Service-Providers-Transcript.pdf Transcript], [https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Effective-Outsourcing-Webinar-compressed.pptx Slides]), features a panel of representatives from a/v digitization vendors who discuss types of services and common hurdles faced by institutions. [http://clir.adobeconnect.com/pkxnnaqe40i9/ Low-Cost, DIY, and Community-Based Approaches to Audiovisual Digitization] ([https://www.diglib.org/wp-content/uploads/sites/3/2017/11/Low-Cost-DIY-and-Community-Based-Approaches-to-Audiovisual-Digitization-Transcript.pdf Transcript], [https://www.diglib.org/wp-content/uploads/sites/3/2017/11/DIY-AV-Dig-Webinar.pdf Slides]), features a panel of speakers who discuss a variety of tools, strategies, and organizations that are focused on creating broader access to resources needed for audiovisual digitization projects, and will provide guidance on how best to implement in-house audiovisual digitization programs.
* The [http://www.arsc-audio.org/index.php Association for Recorded Sound Collections] (ARSC) released the [https://www.clir.org/pubs/reports/pub164/ ARSC Guide to Audio Preservation] in 2015 as a practical introduction to caring for and preserving audio collections. It is aimed at individuals and institutions that have recorded sound collections but lack the expertise in one or more areas to preserve them.
* In 2016, the [http://www.digitizationguidelines.gov/audio-visual/ Audio-Visual Working Group] of the [http://www.digitizationguidelines.gov/ Federal Agencies Digitization Guidelines Initiative's] released [http://www.digitizationguidelines.gov/guidelines/Motion_pic_film_scan.html Guidelines: Motion Picture Film Scanning Projects]. This report includes "an introductory essay, a set of tables that describe a range of film 'inputs' and digital 'outputs,' and concludes with a model statement of work for outsourced conversion of film to video." Film digitization standards are still in the early stages of development, but this report provides a solid understanding of current best practices.
* [http://www.dlib.indiana.edu/projects/sounddirections/facet/facet_formats.pdf Format Characteristics and Preservation Problems] (2007) "succinctly covers the format characteristics and preservation problems identified by [http://www.dlib.indiana.edu/projects/sounddirections/facet/ FACET (Field Audio Collection Evaluation Tool)] as contributing to instability, degradation, and/or increased risk, providing specific information to aid in ranking field collections using the FACET software application." FACET is an open-source application that "helps collection managers construct a prioritized list of audio collections by condition and risk, enabling informed selection for preservation." Even for institutions not using FACET, the publication is a good source of information (with several helpful visual aids) that can aid in the assessment of audio collections.
* [http://archive.library.nyu.edu/preservation/movingimage/vipirshome.html Visual & Playback Inspection Ratings System] (ViPIRS) is a "Microsoft Access database tool designed to assist in the survey and preservation planning of audiovisual collections as part of Developing Principles and Methodologies for Moving Image and Audio Preservation in Research Libraries. ViPIRS is designed with a wide range of users in mind: from audiovisual novices to experts; from small institutions to large." ViPIRS has been developed for magnetic media, which includes modules for videotape, audiocassettes, and 1/4" reel-to-reel.
* NEDCC | Northeast Document Conservation Center provides training on digitization of AV collections, including webinars and workshops. [https://www.nedcc.org]

'''Still Image'''
* The [http://www.digitizationguidelines.gov/ Federal Agencies Digitization Guidelines Initiative’s] (FADGI) [http://www.digitizationguidelines.gov/guidelines/digitize-technical.html Technical Guidelines for Digitizing Cultural Heritage Materials] focuses on defining practical methods and requirements for imaging projects.The FADGI Star System provides institutions with guidance in how to tailor a digitization effort based on a desired level of quality for the end product, from low-quality surrogates that provide only informational value to high quality image capturing.

== Outsourcing Audiovisual Digitization ==
* [https://www.avpreserve.com/ AVPreserve] has published two Request for Proposal (RFP) guides: [https://www.avpreserve.com/wp-content/uploads/2015/05/AVPS_Audio_Digitization_RFP_Guide.pdf Guide to Developing a Request for Proposal for the Digitization of Audio] and [http://www.avpreserve.com/wp-content/uploads/2013/10/AVPS_Digitization_RFP_Guide.pdf Guide to Developing a Request for Proposal for the Digitization of Video (and More)].

* [http://guides.nyu.edu/ld.php?content_id=24817650 Digitizing Video for Long-Term Preservation: An RFP Guide and Template] "is intended to take an institution step-by-step through the process of drafting a Request for Proposals (RFP) for the transfer of analog video formats to digital carriers for preservation. This template can be used by libraries, archives, and other cultural heritage institutions and submitted to qualified transfer vendors."

== Copyright and Intellectual Property ==

'''General'''

* [http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1495365 Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums] by Peter Hirtle, Emily Hudson, and Andrew Kenyon (2009) provides comprehensive coverage of all major copyright issues relevant to digitization in cultural heritage institutions. This work is [http://saa.archivists.org/store/copyright-and-cultural-institutions-guidelines-for-digitization/1598/ also available in print from the Society of American Archivists].

* The [http://www.arl.org/ Association of Research Libraries], in particular its initiatives on [http://www.arl.org/focus-areas/research-collections/special-collections/2482-statements-principles-and-reports-of-arl-special-collections-working-groups#.VL82d0sn8RY Transforming Special Collections in the Digital Age] and on [http://www.arl.org/focus-areas/copyright-ip#.VL81v0sn8RY Copyright and Intellectual Property], has published a variety of documents relevant to the digitization of special collections and archives, including a 2012 special issue of [http://publications.arl.org/rli279/1 Research Library Issues] that covers legal concerns related to digitizing rare and unique materials.

* [http://localcontexts.org/tk-labels/ Traditional Knowledge (TK) Labels] are a tool for Indigenous communities to add existing local protocols for access and use to recorded cultural heritage that is digitally circulating outside community contexts. They can be used to identify and clarify which material has community-specific restrictions regarding access and use.

'''Determining Copyright Status'''

* The [http://librarycopyright.net/resources/digitalslider/ ALA Copyright Slider] is a simple, user-friendly guide to determining copyright status of works.

* [https://copyright.cornell.edu/resources/publicdomain.cfm Copyright Term and the Public Domain in the United States] contains a helpful and very thorough chart for determining the copyright status of works created and/or published in the United States.

* [http://www.clir.org/pubs/abstract/reports/pub144 Copyright and Related Issues Relevant to Digital Preservation and Dissemination of Unpublished Pre-1972 Sound Recordings by Libraries and Archives] describes what libraries and archives can legally do to preserve and make accessible holdings of unpublished sound recordings.

* [http://rightsstatements.org/files/151002recommendations_for_standardized_international_rights_statements.pdf Recommendations for Standardized International Rights Statements] is a white paper summarizing the conclusions of a working group convened by the [http://dp.la/ Digital Public Library of America] and [http://www.europeana.eu/portal/ Europeana].

'''Audiovisual'''
* [http://guides.nyu.edu/ld.php?content_id=24818036 Video at Risk: Strategies for Preserving Commercial Video Collections in Libraries] "seek[s] to clarify exemptions for copying audiovisual works under Section 108(c) of the United States Copyright Act and thereby enhance the ability of librarians to preserve their video collections."

'''Orphan Works'''

* The [http://www.cmsimpact.org/fair-use/best-practices/statement-best-practices-fair-use-orphan-works-libraries-archives Statement of Best Practices in Fair Use of Collections Containing Orphan Works for Libraries, Archives, and Other Memory Institutions] developed by the Center for Media & Social Impact at American University and the UC Berkeley School of Law, includes clear guiding principles for us in determining when to apply fair use in the digitization and online publication of orphan works. The statement was produced after talking with librarians and archivists around the country.

* In 2009, the [http://www2.archivists.org/ Society of American Archivists] issued [http://www2.archivists.org/sites/all/files/OrphanWorks-June2009.pdf Orphan Works: Statement of Best Practices] to guide decision-making in conducting research into the copyright status of unpublished collections. The document includes a variety of useful links and appendices.

== Provenance, Privacy, and Ethics ==

* The [http://www.atalm.org/ Association of Tribal Archives, Libraries, and Museums] maintains a [http://www.atalm.org/node/52 list of resources relevant to the care of cultural materials of indigenous peoples].

* The [http://www2.archivists.org/ Society of American Archivists] (SAA) has convened a [http://www2.archivists.org/groups/native-american-archives-roundtable/protocols-for-native-american-archival-materials-information-and-resources-page task force] to revise and strengthen the Protocols for Native American Archival Materials (PNAAM), based upon [http://www2.nau.edu/libnap-p/protocols.html a document produced in 2007]. The draft document contains [http://www2.nau.edu/libnap-p/resources.html a useful bibliography of general resources on archives and ethics].

* The SAA case study, [http://www2.archivists.org/sites/all/files/AmericanIndianMaterial_CEPC-CaseStudy3.pdf Identifying Culturally Sensitive American Indian Material in a Non-tribal Institution], provides one example of how an institution interpreted the [http://www2.nau.edu/libnap-p/protocols.html Protocols] and the [http://www2.archivists.org/statements/saa-core-values-statement-and-code-of-ethics SAA Code of Ethics].

* [https://archives2016.sched.org/event/7f8V/111-archives-and-digital-inequality Archives and Digital Inequality, annotated collaborative bibliography] is a collections of resources and readings by the ''Archives and Digital Inequality'' pop-up session at SAA 2016.

* The [http://www.mnh.si.edu Smithsonian National Museum of Natural History] has maintained a bibliography of online resources titled the [http://anthropology.si.edu/naa/home/culturally_sensitive.html Ethics of Exhibiting Culturally Sensitive Materials Online]. This bibliography was last updated in 2010.

* [http://www.ala.org/advocacy/privacyconfidentiality/toolkitsprivacy/privacy The ALA Privacy Toolkit]

== Funding Opportunities ==
This section includes a listing of organizations that provide support for projects involving digitization of archival materials for preservation and access. This list is not exhaustive and submissions are encouraged (send submissions to DigiWiki@clir.org).

* The [http://www.neh.gov/ National Endowment for the Humanities] (NEH) supports digitization and related activities through the [http://www.neh.gov/grants/preservation/humanities-collections-and-reference-resourcesHumanities Collections and Reference Resources] program, the [http://www.neh.gov/grants/preservation/national-digital-newspaper-program National Digital Newspaper Program], and the [http://www.neh.gov/grants/preservation/preservation-and-access-research-and-development Preservation and Access Research and Development] grants.

* The [http://www.archives.gov/nhprc/ National Historical Publications & Records Commission] (NHPRC) offers funding for digitization and related activities through the [http://www.archives.gov/nhprc/announcement/access.htmlAccess to Historical Records] program and the [http://www.archives.gov/nhprc/announcement/digital.html Digital Dissemination of Archival Collections] program.

* The [https://bavc.org/preserve-media/preservation-access-program Bay Area Video Coalition] (BAVC) will be offering a sliding scale discount of up to 70% for tape-to-file video preservation transfer services to individual artists and small to medium sized arts and cultural heritage organizations. U.S. based individual artists and visual, performing and cultural arts organizations, historical societies and regional archives with arts-related collections are invited to apply for discounted services through an application process.

* The [http://www.grammymuseum.org/programs/grants-program GRAMMY Museum Grant Program] awards grants to organizations and individuals to support efforts that advance the archiving and preservation of the music and recorded sound heritage of the Americas. The Archiving and Preservation area has two funding categories: Preservation Implementation ($20,000 max award) and Assistance, Assessment and/or Consultation ($5,000 max award).

* The [https://www.filmpreservation.org/nfpf-grants/overview National Film Preservation Foundation] offers several types of preservation grants supporting the creation of preservation and access copies of American orphan films of historic and cultural interest. [https://www.filmpreservation.org/nfpf-grants/basic-preservation-grants Basic Preservation Grants] are the best choice for most institutions. Offered twice yearly, these grants award cash and in some cases services donated by laboratories and post-production houses. The larger [https://www.filmpreservation.org/nfpf-grants/matching-grants Matching Grants] enable experienced preservationists to undertake more extensive projects. The [https://www.filmpreservation.org/nfpf-grants/avant-garde-masters-grants Avant-Garde Masters Grants], funded through the generous support of The Film Foundation, target the preservation of motion pictures significant to the development of the avant-garde in America.

== Education and Training Opportunities ==
* [https://www.diglib.org/strategies-audiovisual-digitization-projects/ Strategies for Audiovisual Digitization Projects] is a free two-part webinar series that discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections. '''Effective Outsourcing with Audiovisual Digitization Service Providers''' includes representatives from a variety of audiovisual digitization service providers who discuss types of available services and common hurdles faced by institutions. '''Low-Cost, DIY, and Community-Based Approaches to Audiovisual Digitization''' has speakers discuss a variety of tools, strategies, and organizations that are focused on creating broader access to resources needed for audiovisual digitization projects. Speakers also provide guidance on how best to implement your own audiovisual digitization program.

* [http://dp.la/ The Digital Public Library of America] (DPLA), working in partnership with trainers at the [https://www.digitalcommonwealth.org/ Digital Commonwealth], the [http://dlg.galileo.usg.edu/?Welcome Digital Library of Georgia], the [http://mndigital.org/ Minnesota Digital Library], the [http://montanamemory.org/ Montana Memory Project], and the [http://mwdl.org/ Mountain West Digital Library], have developed a workshop curriculum based on documented best practices for library digitization. A self-guided version of the curriculum intended for digitization beginners is available on the DPLA website through the [http://dp.la/info/about/projects/public-library-partnerships/ Public Library Partnerships Project].

* [http://www.lyrasis.org/Pages/Main.aspx Lyrasis] offers a variety of classes relevant to digitization and digital content management, such as ''Introduction to Audio Visual Digitization'', ''Introduction to Digital Project Management Planning'', and ''Digitization for Small Institutions''. The [https://www.lyrasis.org/Pages/Events.aspx classes and events schedule] contains up-to-date information about offerings.

* The [https://www.nedcc.org/preservation-training/training-currentlist Northeast Document Conservation Center] (NEDCC) offers a variety of programs, including several related to digital collections, digital preservation, and preservation of audiovisual collections.

* The [http://sustainableheritagenetwork.org/ Sustainable Heritage Network] offers a variety of [http://sustainableheritagenetwork.org/browse?keys=&tid%5B%5D=65&promote=All in-person and online tutorials] related to archival best practices, ethics, appraisal, processing, and digitization.

== Information from Digitization Service Providers ==

'''NOTE''': ''This section is provided for convenience and information only. The Digital Library Federation and the Council on Library and Information Resources do not recommend or endorse any specific digitization service provider, and the use or non-use of any particular provider has no bearing upon any applicant's consideration in the [https://www.clir.org/hiddencollections Digitizing Hidden Special Collections and Archives] or [https://www.clir.org/recordings-at-risk Recordings at Risk] competitions.''
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[http://www.adamsmediapreservation.net/ Adams Media Preservation] (formerly Mass Productions) is an expert Audio, Video, and Film digitization service with over 27 years of experience. Adams Media Preservation specializes in reformatting large archives of obsolete media. They have preserved thousands of audio and video recordings of great historical value for Universities, Museums and Libraries. Adams Media Preservation can transfer any media, including rare and difficult formats such as Audio Wires, Audograph records, and low speed oral history audio reel tapes. Adams Media Preservation has proprietary cleaning equipment and procedures for recovering moldy and damaged media.

Adams Media Preservation services include:
* NARA and Library of Congress archive standards compliance
* Highest Resolution Media Transfers and Reformatting
* Mold removal, Tape baking, and advanced recovery
* Film color restoration
* Information Technology Consultation
* Metadata collection and embedding
* Free access copy files for online streaming
* Raid data storage and backup during production
* Delivery on Hard Drive or Cloud

Please contact Adams Media Preservation at [mailto:sales@adamsmediapreservation.net sales@adamsmediapreservation.net] or call 617-501-1738.
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[http://home.arcasearch.com/ ArcaSearch] is the leader in document preservation and search for historical, educational, corporate, and government archives. ArcaSearch's expertise is digitally preserving original materials, and then creating an easy to use searchable archive. ArcaSearch was awarded a patent in 2010 for its image capture process that produces high quality and fast search results. For a live demonstration, contact Chuck Miotke, ArcaSearch General Manager, at [mailto:chuck.miotke@arcasearch.com chuck.miotke@arcasearch.com] or at 989 430 3877.
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[http://www.audiomechanics.com/ Audio Mechanics] provides detailed evaluation and high quality preservation transfers of archival audio formats including analog audiotapes, digital media, discs and cylinders as well as optical and magnetic film soundtracks. Clients trust our aesthetic sensibilities and proprietary techniques. For over 24 years Audio Mechanics has serviced the preservation needs of domestic and international public and private institutions and the major film studios. Audio Mechanics offers an exclusive, highly successful process for cleaning and transferring deteriorating magnetic film (shrunken/vinegar syndrome).
* Highly experienced staff of audio engineers specializing in transfer/preservation/restoration
* Extensive noise removal software tools (NoNoise, Cedar, Waves, IzotopeRX, Adobe Audition)
* Library inventory metadata prioritization analysis for preservation/migration/archival transfer
* Incubation dehydration preparation and or baking for sticky shed syndrome transfer
* Mold abatement and remediation of audio media
* High Resolution preservation transfers up to 24bit-192K available
* Physical and aural evaluation, JPEG documentation and detailed QC reports during and after capture
* Checksum and digital data integrity confirmation on all deliverable files

Custom analog audio source machines

Audio Mechanics analog transfer equipment utilizes custom or modified audio electronics matching or exceeding original manufacturers specs and audiophile analog-to-digital converters for best possible sound quality capture. Our tape machine transports have been modified to facilitate shrunken material to minimize potential mechanical issues and to improve sound quality and the safety of transferring deteriorating masters.

Location and contact information: 1200 West Magnolia Blvd., Burbank, California 91506 | (818)846-5525 | John Polito
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[https://bavc.org/preserve-media Bay Area Video Coalition] is one of the nation’s longest-standing non-profit video and audio preservation organizations. BAVC remains a leader in the field, developing the highest quality preservation standards and practices while working with individuals and cultural, academic, and media organizations to meet a range of needs for preserving historically and artistically important video and audio materials. BAVC provides [https://bavc.org/preserve-media/services/assessment-and-planning Assessment & Planning] and [https://bavc.org/preserve-media/services/transfer-services Transfer services]. BAVC's [https://bavc.org/preserve-media/preservation-access-program Preservation Access Program] offers reduced rates on video and audio preservation services to artists and small- to mid-sized arts and cultural heritage organizations. Services include analog-to-digital preservation transfers at a discounted rate based on organizational budget size. NEA funding also supports BAVC’s efforts to advance audiovisual preservation practice and theory based on new and innovative developments in the field.

The deadline for the next round of PAP is forthcoming, and will likely be in the late summer of 2017! Questions can be answered by calling 415-558-2131 or by emailing [mailto:preservation-at-bavc.org preservation-at-bavc.org]).
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[https://bmiimaging.com BMI Imaging Systems, Inc.] enables libraries to transform microfilm records into a digital format that provides easy access and image enhancement capabilities never seen before. In addition to the archival TIFF used for inclusion to the State/National repositories, BMI provides a solution that allows patrons to scroll digital microfilm rolls from a computer and use full text search to find records, articles, and photos for interim access. Adjustable grayscale allows users to turn black and white images into real photos. For more information please contact Jake Walker at (800) 488-3456 ext 406 or [mailto:jwalker@bmiimaging.com jwalker@bmiimaging.com].
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[http://creeksidedigital.com/ Creekside Digital] operates 16,000 square foot facilities in Glen Arm, MD dedicated exclusively to standards-compliant, measurably accurate still image digitization, and counts some of our nation's largest and most prestigious cultural institutions as core customers. All of our projects are executed against a strict minimum FADGI 3-Star level of performance across all metrics in accordance with the recommendations found in the [http://www.digitizationguidelines.gov/guidelines/digitize-technical.html current FADGI Technical Guidelines for Digitizing Cultural Heritage Materials]. This balances the delivery of preservation-quality assets with maximizing our customers' budgets, allowing them to convert more content under their grants while minimizing risk. Our experienced project managers guide you through every step of the process from initial quoting and startup to production and delivery of your assets.

Creekside Digital can non-destructively digitize the following types of materials, either onsite at your institution or at our Maryland facilities:
*Books and bound volumes of all sizes and conditions
*Newspapers from paper originals (both bound and loose) as well as from microfilm
**Truly affordable NDNP-compliant asset creation to yield batches which verify using the Library of Congress' DVV2 tool and seamlessly ingest into popular newspaper presentation platforms including Veridian, CONTENTdm and Open ONI / chronam
*Photographic materials including slides, glass plates, photo prints, stereo cards, strip and roll film, single negatives, and more
*Microform including 16mm and 35mm microfilm rolls, microfiche in any format, and aperture cards
*Archival collections, manuscripts, and paper documents
*Large format items including maps, drawings, blueprints, artwork, and aerial and panoramic photos
*Objects, ephemera, and museum collections

Typical master files are TIFF uncompressed or JPEG2000 in strict accordance with FADGI. Common derivatives include METS / ALTO XML, JPEG, GIF thumbnail, and OCR to PDF or PDF/A per your specific use case and selected presentation platform. 100% of the assets we deliver are verified for well-formedness and adherence to your project's specifications using filetype-appropriate tools including JHOVE, Jpylyzer, and veraPDF.

All digitized assets we deliver come with a lifetime warranty (any defects in the digitization process are fixed at our expense, forever).

For more information or to receive a quote for your project, please email our Director of Digital Services Joan DaShiell at [mailto:joan@creeksidedigital.com joan@creeksidedigital.com].
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[https://cuttingcorporation.com The Cutting Corporation] is an Audio Preservation Lab that specializes in preserving obsolete analog audio recordings to high quality digital format. Using both contemporary and vintage audio equipment mixed with years of knowledge and experience, we are able to offer exceptionally high quality analog to digital conversions for practically any type of audio media. Whether you are a university archive with oral histories or an individual with family recordings, we can provide a customized digitization solution for your audio collection.

For additional information, please contact Aaron Coe at 301.654.2887.
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[https://www.danskfilmdigitization.com/ DANSK Film Digitization], now partnered with PostWorks NY, is providing even more robust, comprehensive solutions to digitizing 16mm & 35mm film, as well as video tape. Clients include universities, government agencies, libraries, filmmakers, media companies and news agencies. Our innovative, high-precision Steenbeck Digitizing Table offers best quality, fast-turnaround, affordable results and the best treatment for films which may have deteriorated or shrunken.
We are also proud to offer a state-of-the-art, robust AI Restoration and Color Correction service which produces very impressive results more quickly and at less cost than traditional methods.
*Digitization of 16mm and 35mm film, including sep mag, optical track and all other audio-on-film formats
*Digitize 2K or 4K at up to 60fps
*Steenbeck Digitizing Table highly is tolerant of damaged perforations, fragile splices, warped, brittle and shrunken films
*A.I. Restoration & Color Correction Services – See some samples: [https://vimeo.com/user91936573]
*Expert in analysis and evaluation of archive condition providing best options for preservation and restoration
*Physical repair, splicing and cleaning using Lipsner-Smith Ultrasonic cleaner
*Video digitization from all formats
*Traffic department and climate-controlled vault for careful tracking and storage of your valuable assets
*An expert support team of engineers, programmers, colorists and other film and digital media specialists
*Steenbeck technology allows for the option of quick, simple set-up, on your site, if your archives cannot be moved.
Main offices are located at 110 Leroy Street, New York, NY 10014. Please contact us at 212-894-4000 (Main) or 212-886-5230 (Direct).
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[http://www.databankimx.com DataBank] is a National Document & Information Management Company with over 23 years of experience in document conversion and automation. Their areas of expertise include the conversion of photos, archival documents and legacy microfilm or microfiche collections. They offer seamless integration with repositories for storage and retrieval of scanned media. For additional information contact Kathy Berger, Senior Solutions Consultant, at [mailto:kberger@databankimx.com kberger@databankimx.com] or at (603) 463-0154.
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[http://digitalmediaservices.com/services/high-volume-digitization/ Digital Media Services] has an Archival Digitization program for the preservation and conversion of physical tape and film formats into the latest digital file formats. It has digital archive service centers on both U.S. coasts to minimize shipping costs and times for clients. For a free quote or questions concerning an upcoming project, please contact Keith Eland, Senior Account Executive, by phone at 646-975-6122, or by email at [mailto:keland@digitalmediaservices.com keland@digitalmediaservices.com].
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[http://www.digitalrevolution.tv Digital Revolution] is a full service Multi Media facility located in the heart of San Francisco. Founded by Paul Grippaldi in 2004, Digital Revolution is dedicated to helping clients create high quality digital media. From Legacy Media Digitizing : Preservation : Archiving : Video Creation : Post Production : Disc & USB Copying Services, Digital Revolution is the choice of Corporations, Educational Institutions, Non-Profits, Film Companies, Government Agencies and Individuals for their multi-media needs. For additional information call Digital Revolution at 415-398-1200.
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[http://www.immurerecords.com/ Immure Records] is a Minnesota-based company that provides video and audio media transfer and restoration services for a variety of formats. Address: 1740 130th Ave. NE Blaine, MN 55449 | Phone: (763) 862-5992 | Email: [mailto:info@immurerecords.com info@immurerecords.com]
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[http://www.idiimage.com/ Innovative Document Imaging (IDI)] maintains an 8,500 state-of-the-art digital conversion facility in East Brunswick, New Jersey and a 7,500 square facility in Shelton Connecticut. The Ct. site supplies the highest-quality microfilm-from-digital images utilizing electron-beam technology and microfilm mastering and duplication services for the world’s largest publishers.
Our company mission is to deliver the best service possible at reasonable cost for the digital conversion of paper documents, newspapers, maps, books, bound materials, microfilm, and microfiche. IDI balances price, quality, and speed in order to provide clients digital assets at the specifications and with the necessary tools to meet their requirements, where possible we can exceed their expectations. In addition to data conversion, IDI prides itself on its ability to go the extra step and fulfill metadata, data archiving, or enterprise content management needs as they arise.

Innovative Document Imaging’s name directly reflects its approach to serving its clients by focusing on “innovation.” IDI is more than a content conversion facility. It is also a re-seller of digital equipment and enterprise content management systems that has partner relationships with Canon, Konica-Minolta, Kirtas, and Kofax. IDI is also a developer of content management systems for use by libraries and private firms, including its E-File and DigiFind-It Cloud Portal solutions and it is an electronic archive backup system for various enterprises.
In all these endeavors, IDI seeks to present a suite of solutions for content imaging, data management and short and long term digital storage for its clients. Currently, IDI specializes in serving libraries, museums, historical societies and associations, publishers, and pharmaceutical companies.
IDI’s 7,500 square facility in Shelton Ct. supplies the highest-quality microfilm-from- digital images utilizing electron-beam technology and microfilm mastering and duplication services for the world’s largest publishers, museums and libraries.

* [http://idiimage.com/index.php/facility-tour-2017/ Facility tour]
* [http://www.idiimage.com http://www.idiimage.com]
* [http://www.dmmem.com http://www.dmmem.com]
* [http://www.ebeamimaging.com http://www.ebeamimaging.com]
* [http://www.digifind-it.com http://www.digifind-it.com]
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The [http://www.archive.org Internet Archive] (IA) is one of the world’s largest public digital libraries, with an extensive collection of human culture. The goal is to provide free access to all knowledge in an accessible, digital format for researchers, historians, people with disabilities, and the general public. The Internet Archive also offers online access and discovery of digital content, including [http://archive.org/texts public domain eBooks] and a more selective collection of public domain and non-public domain texts available for lending at [https://openlibrary.org OpenLibrary.org].

IA offers non-destructive digitization with a range of analog and born-digital formats, including: printed materials that are bound and unbound (books, magazines, yearbooks, etc.), archival materials, photographs, microfilm, microfiche, film and video (8mm and 16mm). Services include photographic imaging, digital processing, preservation, and access to digital data. Items to be digitized can be sent to one of 33 regional digitization centers around the world, or portable equipment can be placed on-site within libraries and archives. Questions: DigitalLibraries@archive.org

For an overview of the Internet Archive workflow, please click [http://archive.org/details/ProcessDocument this link]; To reach one of the Internet Archive centers, view contact info at [http://archive.org/scanning this link]; and to purchase digitization equipment, follow [http://archive.org/scanning/tabletopscribe this link].
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[http://www.lunaimaging.com/#welcome Luna Imaging, Inc.] offers digitization and software & hosting services for building and maintaining digital collections. Digitization services include: Preservation scanning; Access capture; Book capture services; and OCR, PDF, BookReader processing.
----
[http://www.lyrasis.org LYRASIS] can support special collections and archival digitization projects by providing:

* Digitization and Project Management Services – working through its [http://www.lyrasis.org/digitize/ Digitization Collaborative] LYRASIS can digitize a wide range of source materials including print/manuscript/microfilm/photographic materials/audio/video and film and manage the process for you.
* Staff Expertise – information on processes and standards for project planning
* Professional Development Opportunities – LYRASIS offers a wide range of classes and can provide specific digitization classes to suit local needs.
----
[http://www.memnon.com Memnon Archiving Services] offers a range of services to digitize, restore, preserve and provide access to audio-visual and cultural archives. Our unique parallel workflow system is designed to ensure quality while allowing larger volumes of materials to be preserved. Memnon’s services are suitable for a wide range of archive owners – from cultural institutions, libraries, universities and record labels. Memnon has accrued over 15 years of experience working with audio-visual technology throughout in Europe, North America, Africa and the Middle East. Our workforce has evolved into a multi-disciplinary team of engineers, computer specialists, documentation and meta-data management experts and project managers. A Sony Company since 2015, Memnon has the flexibility to provide services in a way that best fits our clients’ needs. Our North American headquarters are located in Bloomington, Indiana.

* ''Outsourced Service'' - In four delivery centers around the world, we propose an easy and paramount solution for all your archiving needs, ensuring high efficiency and fast project completion.
* ''On-site Managed Service'' - Memnon in-a-box is our onsite managed service to provide digitization service in your facilities- planning, setup, ramp up, delivery, completion, removal. Memnon manages and operates the project in your facilities, with optional deployment of your staff and your equipment if requested. Leverage Memnon’s workflows, tools, operational procedures, equipment, staff and expertise, with no further investment for you.
* ''Hybrid Services'' - Depending on your specific requirements, Memnon can implement a mixed approach where part of the digitization process is done in-house while other parts are outsourced.

Specific Services:

* ''Audio Digitization'' - Memnon has a complete range of equipment for reading a wide range of sound formats. We make it our business to constantly acquire equipment of all kinds and have extensive experience of working with delicate and complex formats and innovative new techniques.

* ''Video Digitization'' - Memnon is committed to providing high quality cleaning and processing to enhance media quality while ensuring authenticity of the original content, fast transfer through latest automated preservation processes and excellent cost efficiency.

* ''Film Digitization'' - Film digitization is a sensitive and delicate task requiring a great deal of knowledge and know how. Our highly qualified team handles your material with care and puts all its skills to restore, clean, repack, synchronize sound, catalog and digitize your collections.

* ''Restoration and Treatment'' - Memnon ensures authenticity of the original content through latest, cost efficient and excellent preservation processes by high quality cleaning and treatment, a large panel of media quality enhancements and restoration of the recordings.

* ''QC & Delivery'' - Thanks to its 25-year history in the sector, the company delivers the highest quality in industrial processes and quality control methodologies trough industry and Memnon proprietary tools.

* ''Metadata Management, Content Indexation and Enrichment'' - We help to create, manage and consolidate from different source of metadata in the digitization and we can enrich your context based information with various automated processes.

* ''Project Management'' - To meet expectations precisely, we draw up detailed specifications with the clients representatives prior to the initiation of the project. Safeguarding of the collections fidelity and integrity is a must in any of our logistic and production processes. Specific procedures are in place to ensure a controlled and secured environment and all our employees are well aware of the cultural and historical value of materials and of the sensitivity to content’s nature.

* ''Workflow and Tools'' - Based on the unique expertise in handling large scale digitization and physical carrier handling, Memnon’s in-house R&D unit has develop proprietary workflow management platform and unique toolsets to advance, monitor and manage the entire workflow and carrier handling through the entire process.

* ''Cataloguing and Collections Planning'' - Memnon offers clients support and services for Cataloguing and Collections Planning process. This is often the very first setup to assess what exists in the archives, and to prepare and sort the collections for an accurate quote and shipment planning.

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[https://www.nedcc.org NEDCC | Northeast Document Conservation Center] is nonprofit conservation and preservation center specializing in conservation, digitization, and audio preservation of cultural heritage collections. NEDCC provides conservation treatment for books, maps, photographs, documents, manuscripts, architectural plans, and works of art on paper, as well as digital imaging for rare, historic, and oversize materials. The Center provides digitization of audio media using traditional and optical-scanning technologies (IRENE) and specializes in 100% attended transfers of unique, damaged, or at-risk recordings on wax cylinder, lacquer disc, and magnetic and digital audiotape. NEDCC is a trusted resource for training and information on care and handling of significant collection materials.
----
[http://northeasterndigital.com/ Northeastern Digital] is a full service digital mastering facility, specializing in the digitization of analog tape. With 35 years of expertise, we have transferred and restored hundreds of legacy music recordings for major artists and labels (David Bowie, Arlo Guthrie, Bob Marley, Alison Krauss, Biograph Records, Rounder Records). Our approach is this: every music recording is unique and requires special attention and custom equipment to optimize the transfer and yield the best results. All tape formats are accepted and all digital target formats are available. If your materials are in the general DC area, we can pick them up, so that you avoid any risk of loss or damage from shipping.
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[http://www.normicro.com Northern Micrographics] has over 60 years of experience partnering with clients in library, academic, commercial and industrial markets to provide superior preservation imaging products and services. They scan a variety of object types including bound and disbound volumes, photos, maps, microfilm and microfiche. Northern Micrographics can also help place digital collections online with custom software products, ProSeek® and PhotoAtlasTM. They also offer a variety of other services including microfilming, microfilm duplication, metadata development, data conversions, hosting and bookbinding. Contact Northern Micrographics at 800-236-0850 or at [mailto:sales@nmt.com sales@nmt.com] to learn more.
----
[http://www.nestorsalomon.com/ SALOMON MASTERING & RESTORATION] is an audio studio/laboratory, located in San Juan, Puerto Rico. Dedicated to mastering, conservation and restoration of collections of sound documents, recorded in different media and old formats, for organizations and archival institutions. The audio engineer Néstor Salomón also provides consulting services for archival organizations and record labels. Website: [http://www.nestorsalomon.com/ www.nestorsalomon.com] - Tel / Whatsapp: +1 787 949-9065 - Email: [mailto:nestorsalomon_ar@hotmail.com nestorsalomon_ar@hotmail.com]
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[http://www.twocatdigital.com Two Cat Digital] has been providing world-class digital imaging and consulting services since 2003 with a particular emphasis on cultural heritage institutions and materials. Their passion is in designing and managing efficient digitization workflows, and for helping clients bring their valuable collections to light. Two Cat clients include hundreds of institutions including museums, libraries, universities, government agencies, architects, photographers and non-profit organizations. For additional information contact Two Cat at [mailto:info@twocatdigital.com info@twocatdigital.com].

----
If you would like to suggest a resource for inclusion on this page, send your suggestion to [mailto:info@diglib.org info@diglib.org]. The DLF is currently seeking professionals from DLF member institutions who would like to participate in a working group to develop and maintain the content of this page. Prospective volunteers for this group should also send expressions of interest to DigiWiki@clir.org.

User talk:Julie Martin NEDCC

2021-09-29T16:09:44Z

Gayle: Welcome!

User:Julie Martin NEDCC

2021-09-29T16:09:43Z

Gayle: Creating user page for new user.

Marketing and Public Relations Manager at NEDCC.org

User talk:Stephbirch

2021-09-29T16:09:20Z

Gayle: Welcome!

User:Stephbirch

2021-09-29T16:09:19Z

Gayle: Creating user page for new user.

Stephanie Birch is the African American Studies Librarian at the University of Florida Libraries.

User talk:Tallgood

2021-09-20T20:35:54Z

Gayle: Welcome!

User:Tallgood

2021-09-20T20:35:54Z

Gayle: Creating user page for new user.

Associate Librarian and Digital Learning and Scholarship Strategist at Arizona State University Library.

Planning Virtual Meetings and Webinars

2021-09-09T15:51:18Z

Gayle: /* Resources and Media */

[[File:Organizing-with-DLF.png|thumb]]
This section of the [[About DLF and the Organizers' Toolkit|DLF Organizers' Toolkit]] provides general guidelines for presenting and/or hosting an online meeting or educational experience. It was originally created in 2017 by '''Library & Archives Consultant [https://joymbanksconsulting.wordpress.com/ Joy M. Banks, MSLS],''' as part of the [https://www.clir.org/hiddencollections/sahc CLIR Strategies for Advancing Hidden Collections project (SAHC)]. More resources related to that project, which was funded by The Andrew W. Mellon Foundation, can be found in the [https://wiki.diglib.org/Strategies_for_Advancing_Hidden_Collections SAHC Resource Library].

== Formats ==
In today’s online environment, the possibilities for virtual learning are nearly limitless. From Facebook Live to Adobe Connect, choosing the right platform may be challenging. Careful consideration of content and goals will help guide you to the right platform.

=== Casual v. Formal ===
There is a significant difference between the platform needs for a gathering of colleagues casually chatting about something and a professional presentation of ideas to a large group. The former requires minimal technology, and the latter likely requires a much more robust system.

For the '''causal''' experience, consider basic VOIP conference lines, Skype group, Google Hangouts, and the like.

* Do you actually need to see a screen or is voice access enough?
* Will everyone be able to participate via audio connections or will some need a chat feature?
* Will everyone be able to use their computer for audio or will a phone line be necessary?
* Consider the time of day for the meetup. If during work hours, some may not have access to platforms that require any sort of download. If after work hours, some may not have access to robust internet connections.
* Talk to your group, and find out what works best for you.

For the '''formal''' experience, consider more robust platforms that allow for greater flexibility such as UberConference (DLF maintains a [[Setting Up Year-Round Meetings#DLF Web.2FPhone Conferencing Support|Pro account]]), Adobe Connect, GoToMeeting, and the like.
* Will you need the ability to screen share, chat, and file share?
* Will your participants need to access audio via VOIP, computer, and/or phone audio connections?
* Will your presenters need training on the platform in advance?
* Even in the most robust systems, there is value in keeping things simple so that participants can focus on the content rather than the platform.

=== Collaborative v. Lecture ===
While most educators agree that engaged learning is the best educational model, there is still value in lecture for presenting certain types of information. Recreating lecture in a virtual environment is relatively easy. Virtual collaboration can be a bit more challenging.

If you need a '''collaborative''' online environment:
* Limit the size of your group. The larger the group, the more difficult collaboration can be. Some web conferencing platforms allow breaking into groups, but be sure to test the feature before the meeting so you understand how it works for everyone.
* Consider creating large chat spaces to allow contribution even if someone is unable to participate via audio connection.
* Combine technologies. Using a conference line and a collaborative work space such as GoogleDocs can allow live feedback and tracking when working together on a project.

When presenting information in a '''lecture''' environment:
* It’s still important to create an interactive environment. Allow a way for participants to ask questions and engage with the presenter and other attendees.
* Intersperse lecture with engagement. Create chat opportunities that allow an exchange of ideas. Give participants a way to stretch their brain with simple activities like polls or sharing reactions.

=== Meeting v. Learning ===
You may think that planning an online meeting is as simple as sending out a link for people to join, but the best online meeting planners follow many of the same best practices as virtual learning.

If you are planning a '''meeting''', consider the following:
* Have a detailed agenda including time estimates for each part of the discussion. This will not only keep everyone on track during the meeting but also allow participants to plan ahead to enter and leave the meeting if needed.
* Keep in mind if everyone in the meeting will have access to an audio line and/or any thing you put on the screen. Those who may only be able to hear the meeting will need to have verbal descriptions of anything on the screen and have any chat discussions summarized for them. Those who will be unable to participate with a microphone will need to have access to chat.
* Since time is crucial when meeting online, distribute any documents to be discussed in advance so participants can review them. This will allow more meaningful discussions when everyone is together.

If you are interested in creating a '''learning''' environment:
* Planning should begin far in advance of the date of presentation.
* A more robust virtual platform is often necessary to create an engaging learning experience for everyone.
* For more details on planning a virtual learning experience, see the [[Planning Virtual Meetings and Webinars#Hosts|Hosts]] section of this handbook and check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] listed below.

=== Recorded v. Live ===
The experience of a live virtual event will be much different than a recorded one. Perhaps you decide to focus on one or the other or create a learning experience that uses both.

If you are recording a '''live''' presentation for use later:
* Be sure that you designate someone to start and end the recording.
* Have a plan for storage of the recording. Where will it live? Who will have access? Will editing be necessary? How long will you provide access?
* If possible, mark on the live script sections that will be cut from the recording to make editing easier.
* Recognize that not all activities of a live event can be recreated for someone listening to a recording.

It’s OK if you only offer something live. Everyone may not be able to attend, but that is the nature of life. Provide ample notice of the event (or purposely plan a pop-up event), and those who are more interested will attend.

If you plan to only provide a '''recorded''' presentation:
* Follow best practices for presentation and consider how you will engage your audience if the content is educational.
* Plan for a way that viewers can ask questions or provide feedback whether through your email, a specific Twitter hashtag you can track, a GoogleForm, or some other means.
* Be sure you have all of the necessary software and hardware to make a quality recording and determine in advance where the recording will live.
* Consider including your script as captions in the recording to offer an additional way users can access the materials.

=== Audio v. Video ===
For some virtual experiences, audio may be sufficient but sometimes, in order to build trust or a team spirit, video can help.

When thinking about '''audio''' only:
* Audio only options often require less robust systems and can often be accessed through a phone line without the need for a computer.
* This can be great for a simple conference call with a small group of individuals already familiar with each other.
* For those who are visual learners, be sure to supply any documents to be discussed in advance so everyone can follow the conversation.

When thinking about '''video''' options:
* Remember everyone may not have access to a webcam. Will participants still be able to participate another way?
* Video includes screen sharing, not just webcam sharing. Sometimes it is valuable to be able to visually share documents or other information.
* If you expect everyone to participate through video, give advance notice so no one is surprised.

== Speakers ==
=== Virtual v. Face to Face ===
While webinars have many similarities with standard F2F presentations, those presenting webinars must be aware of several distinct differences:

'''Your audience is not in the same room''' - Unless you are participating in an online video chat that includes participant video, you will not be able to gauge your audience’s non-verbal response to your presentation. For anyone who has relied on eye contact, body language, and other visual signs to make adjustments to a presentation, the format of a webinar can be a bit uncomfortable.

'''Solution''':
* ''Create engaging chats'' - Think of these as opportunities for participants to stretch their brain. Encourage participants to get to know each other before the session starts. Set aside a 60 second chat blitz as a way to quickly participate in the webinar. Ask participants for suggestions and ideas that have worked in real life.
* ''Ask questions to boost active participation'' - When using a question to start a chat, be sure it is open enough to engage participants. Questions with one word answers are best left to polls and blitz activities. It’s ok to consider phrasing that will lead participants where you want them to go in their thinking. In a webinar geared towards higher level engagement, allow participants to share their experiences, good or bad, as a way to enrich the content of your presentation. Setting time limits will encourage people to contribute without waiting and also allow a distinct end point to move the webinar forward if needed.
* ''Embed polls and other simple activities'' - Polls are a quick and easy way to gauge your audience before and during a webinar. Questions can be about the participants or the content of the webinar. Choose simple questions with distinct responses. Depending on the webinar platform, you may also have the ability to allow participants to draw on the screen, add quick responses to a chat box, raise their hand virtually, share reaction emojis, etc. All of these activities break up the content of your talk and refocus the group.

'''Timing is essential''' - Webinars will have set start and end times that often cannot be adjusted. You may be asked to login to the webinar system early and perhaps end early (i.e., before you’re ready to stop talking) if the end time approaches. Because of this, reading from a script is often recommended to avoid unexpected timing issues.

'''Solution''':
* ''Practice, practice, practice'' - Read your script and make sure the text flows as well verbally as it does in writing. Plan your timing with a slower voice and enunciated speech. During the live event, you will likely speak faster than when you practiced.
* ''Add buffers to account for discussions that may run long'' - While you will be asked to plan how long discussions will last, you may find participants are highly engaged during a certain time. Plan ahead to allow buffers in your presentation content to allow for engaged participation (keeping in mind, though, that all good things must eventually come to an end). Mark sections of your script that can be easily cut if needed.

'''Interaction must be carefully crafted''' - Most webinar platforms allow for some interaction between the speaker and audience as well as between attendees. The most successful virtual engagement activities are not something you can do effectively on the fly. Careful planning (and testing) of interactive activities will help create a dynamic learning environment that will help all participants engage with the educational content.

'''Solution''':
* ''Plan ahead and test everything'' - Work closely with your webinar host to assure that everything is in place and functional prior to the live date. Set up any polls. Practice chat sessions. Test your ideas with several people on various devices. Leave nothing to chance but always remain flexible.

'''Not everyone will be participating in the same way''' - Even in the smallest virtual settings, not everyone will have access to the full webinar experience. Some may only be able to participate through the audio. Others may not have access to a microphone. Be considerate of any accessibility limitations.

'''Solution''':
* Repeat any questions or thoughtful comments that are typed in the chat box so everyone has access to the content.
* Describe verbally any important visual aids.
* Enunciation not only helps participants hear you better, but it also helps any transcription of your speech for captioning. Speaking too fast will jumble your words both through audio and captioning technology.
* Try to avoid experiences which will require a very high internet speed connection.
* Will the session be recorded? Consider how what you do live will translate to a recorded viewing experience.

=== Delivering an Engaging Virtual Presentation ===
* Start with a brief bio, usually presented by the host/moderator. Include details other than the mundane that will engage your audience and connect them more personally to you. Your bio will also serve to show why you are qualified to present the content of the webinar and establish you as an expert.
* Include an image of yourself. This can be on your slide template or, if possible, as a video feed (even if only briefly).
* Depending on the form of your webinar, plan to have an activity every 15-20 minutes or so to re-engage your audience and avoid long periods of lecture. These can be directed chats, polls, blitz chats, or Q&A sessions. Some webinars may require a large amount of lecture due to the depth of the topic. In those cases, consider breaking up sessions into a series to allow greater interaction.
* Remember to smile when you speak (which feels strange if you are alone in a room somewhere). When you are smiling, your words tend to be clearer and your tone is more welcoming. This will also help you avoid extreme changes in your volume (e.g., starting a sentence with power and fading off as your sentence ends).
* Before your webinar, practice your script and record it. Listen to your recording and try to adjust any bad habits. Try to avoid “um”, “so”, and other speech fillers. Listen for habits like starting loud and fading off at the end of a sentence. Practice your breathing so it sounds natural. Presenting is different than natural speech, so the extra practice and self-evaluation will help you deliver a clear presentation to your audience.
* Consider framing your presentation using the rule of three. Begin by telling your audience what they will hear (perhaps having three points or sections), tell them those points, and end by summarizing what they heard. The number of main ideas you will effectively be able to share depends on the length of time you have. Avoid trying to cram too much into too short a time slot. Better to share less content of a higher quality. While many sources suggest listeners have a 5-10 minute attention span, framing your content to the highest denominator of [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 18-20 minutes] will likely produce higher quality content.
* Even in an online environment, you might encourage your audience to set aside distractions during the session: turn off cell phones, don’t check email, hang a sign on your door, and truly focus on the content. These simple steps will help everyone have a better webinar experience.
* Insert humor throughout your presentation. Tell an appropriate, personal funny story, but keep it succinct and relevant. If you are speaking on a particular topic but you lack a personally relevant experience, consider gathering stories before the event, either from registered participants or colleagues (and always seek permission to share!).
* Relax, be sure to have a cup of water, and enjoy the experience.

== Hosts ==
=== General Tips ===
For Virtual '''Business Meetings''':
* Try to limit the meeting to one hour.
* If a recurring meeting, set the time and day well in advance so everyone can mark their calendars and set aside time for the meeting. Everyone will appreciate not having to do a poll every month to schedule a meeting time.
* Allow a few minutes at the beginning and/or end for watercooler talk. Encourage those who want to catch up to arrive early or plan to stay a few minutes later (depending on whether or not you can stay in the virtual space).
* Don’t assume that everyone knows each other. Do introductions if necessary, and, if taking minutes, be sure the secretary feels comfortable enough to speak up if it’s unclear who is speaking. While some platforms identify the speaker, that often relies on the participant to enter their name and/or an individual passcode.
* Check in each meeting to see how everyone is participating. Some may only have chat (if available), some may only have audio (if you’ve also set up screen sharing). Repeat questions and describe what’s going on so everyone stays engaged.
* Will the meeting need to be recorded? If so,
** Where will the recording live and how will members access it?
** Will there be usage restrictions based on the content of the meeting?

For Virtual '''Educational Webinars''':
* Most online learning experiences should last no more than ninety minutes.
* Plan ahead if you would like to charge attendees. You’ll need a way to accept payment in addition to tracking registration.
* Most webinar platforms will require some level of training so that presenters and hosts are familiar with the features.
* Wired internet is always preferred for speakers and hosts to avoid delivery glitches. Make this clear from the beginning of planning.
* Will the webinar be recorded? If the answer is yes, consider:
** Where will the recordings live and how long they will need to last?
** Will you need to edit the recordings or be able to post as is?
** Will the recording need to capture the entire webinar environment or just the presentation slides?
** How will the experience differ for those who view the recording?
** Will captioning need to be added to the recording?

=== Planning ===
Planning a virtual webinar or meeting begins in much the same way as a face to face event: Choose a topic, find a speaker, and set a date (not necessarily always in that order). Additionally, hosts also need to consider how communication will occur, especially since everyone is likely dispersed, and how registration will be handled.

Jump to: [[Planning Virtual Meetings and Webinars#Choosing a Topic|Choosing a Topic]] | [[Planning Virtual Meetings and Webinars#Finding a Speaker|Finding a Speaker]] | [[Planning Virtual Meetings and Webinars#Setting a Date|Setting a Date]] | [[Planning Virtual Meetings and Webinars#Communication|Communication]] | [[Planning Virtual Meetings and Webinars#Registration|Registration]]

==== Choosing a Topic ====
If you are hosting a '''business meeting''', your topic will be the items on your agenda. Be sure to supply the agenda and any documents for review at least one week prior to the meeting.

Selecting a topic for a '''webinar''' can be a bit more involved. Perhaps your team has recently completed a project, and you would like to share the results with a larger audience. Or you recently attended an in-person meeting, heard a great speaker, and think the session should be captured for further distribution. Regardless of the idea, here are some tips:
* Make sure the topic hasn’t been covered sufficiently elsewhere.
* Some topics may be stand alone (a conference summary, an introductory session, etc.) while other ideas may lend themselves to serial delivery. Series may occur weekly, monthly, or at some other set interval. A few more thoughts on series:
** Webinars in a series should have a common theme, but don’t necessarily need to build directly from each other. For example, you could plan a series focusing on how individual institutions are tackling a particular problem, highlighting a new institution each month. This can be marketed as a series, but doesn’t require participants to attend all sessions. Alternatively, a series may also be developed to tackle a complex topic with sessions building on each other. Attendees would be expected to attend all sessions (to the best of their ability).
** There is no set amount of sessions a series must contain: some may be as little as two and some may last for years (though, [[Planning Virtual Meetings and Webinars#Assessing|assessment]] of long-term series is important to determine continued viability and relevance).
** A highly effective way to create a cohesive feel between the sessions is to create a uniform presentation template and/or classroom setup.
** When multiple speakers are involved in a series, be sure to facilitate engagement and conversation to encourage unity in the topics and refer to the other parts in the series. Slack and other collaborative software can be useful tools in this process.
* All webinars should have a clear scope, including objectives and outcomes, so that those interested will know what to expect during the event. Developing these will also help hosts determine if the topic is too broad for an individual session so that the scope can either be condensed to fit the time or expanded into a series.

==== Finding a Speaker ====
As host for a '''business meeting''', you will likely do most of the speaking. If others will need to speak or give reports, provide them with advance notice of that expectation so they are prepared. You may need to manage the audio using the mute feature for those in the virtual meeting space to avoid background noise and other distractions.

When considering a speaker for a '''webinar''', first explore your own professional network and associations. You may have someone in your own network who is a perfect candidate to cover the topic. If not, gradually expand your search and reach out to others for recommendations.
Be sure you have answers to the following:
* Will the speaker be reimbursed?
* How much time do you anticipate the speaker will invest in the planning, practicing, and presenting of the webinar?
* Has the potential speaker delivered a webinar before? If not, how much additional time are you willing to invest to coach the speaker though the process?
* Speakers will likely expect at least a general idea of the date and time for the webinar as well as the webinar length broken down so they are clear on how long they will be expected to speak.
* When communicating with your speaker, be sure to explain your expectations for accessibility (e.g., adding [https://support.office.com/en-us/article/Add-alternative-text-to-a-shape-picture-chart-table-SmartArt-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669 Alt Text for images] in a PowerPoint) at the beginning of the planning process to allow ample time for testing, if needed.

==== Setting a Date ====
The DLF Wiki has some excellent suggestions on setting a date and time in the [[Setting Up Year-Round Meetings]] section of their Organizers’ Toolkit. As mentioned above, recurring meetings or webinars are best planned in advance (e.g., the second Tuesday of every month at 2pm ET). A simple poll can make this process straightforward. Remember time zone differences, especially for meetings, and communicate any changes or cancellations well in advance.

If you are using a shared conferencing or online learning platform, be sure to document and mark your scheduled events in the appropriate way so that others do not plan an event at the same time. There’s nothing quite as awkward as walking in on another meeting when you expected the line to yourself.

==== Communication ====
With so many ways to communicate, this may be the most overwhelming element of the planning process. It is critical to have accurate contact information for all involved, whether for a business meeting or webinar.
* Using a platform like Slack can allow collaboration in planning, though be sure that everyone is familiar with the features.
* Email works well for critical information, but only if everyone checks the email address provided.
* When all else fails, phone calls may be in order to be sure that those parties involved are understanding your expectations and their responsibilities.
Be willing to communicate a number of different ways to encourage the highest level of participation. Also, be sure that those with whom you are working can communicate their own issues with you so that you can solve problems before they become significant issues.

Another aspect of communication for the host or planner involves continued conversation between meetings, series offerings, or after a webinar ends.
* '''Between Meetings''' - If the group attending the meeting stays mostly the same, consider establishing a Slack Channel or other collaborative platform on which participants can contribute information relevant to the group between official meetings. This is also a great way to set up a watercooler space to share personal updates.
* '''Between Series''' - Consider encouraging assigned reading selections or video viewings with a designated check in time and place where participants can provide feedback and additional thoughts on an issue. Participation in the continued conversation can be part of a certification process that participants receive after completion of the program.
* '''After the Webinar''' - When presenting a webinar, collecting registrant information is important to engage new audience members with your group. Consider sending a tailored welcome message to anyone not already subscribed to your services. Sign them up for your newsletter. Invite them to your group chat page. Send a quick follow-up survey several months later to see how they are applying what they learn. Remember, though, to always allow them to opt out of future communications.

==== Registration ====
When planning a '''business meeting''', registration is probably unnecessary. You will, however, need to supply the login information to those who need to attend the meeting. This could be a URL or a phone number and may include a passcode for your specific meeting. Encourage anyone unable to attend to communicate that information in a timely manner in case there are matters that need a quorum.

As host, you can choose a variety of ways to approach registration for '''webinars'''.
* Advanced registration through the webinar platform - most allow you to collect basic information (name, email, institution) and set caps on registration if necessary. Usually, the system will then send out the information to login to the webinar and, if you set it up, scheduled reminders.
* Advanced registration through alternative means - If you need to collect additional demographic information or payment for participants, using something like SurveyMonkey or a GoogleForm can allow you to customize and analyze registrants. This will require additional work on your part, though, since you will be responsible for distributing login information and reminders.
* No registration - On occasion, you may wish to simply share the link for a scheduled webinar and hope for the best. This can work well for those events where you are unconcerned with reaching any limits that your virtual classroom may have or trust that those who are interested will show up before the limit is reached. Be sure to market your webinar widely enough to generate interest and be flexible with the audience that does attend.

Several tips for registration:
* If you are allowing advanced registration, start promoting and open registration no more than one month prior to the event; two weeks notice is often the most ideal. Any longer notice will often cause a greater no-show rate, especially for free events.
* Allow for about a 20% attrition rate between registrants and attendees. This means if you have a classroom for 100, you may wish to allow 120 to register to allow the greatest attendance.
* If you are not requiring registration, consider in advance how you will communicate any classroom size limits. Typically, rooms open 15 minutes prior to the start of an event, and you will need to be sure the room is closed before that to discourage people from entering early and to allow everyone equal opportunity to enter.

=== Moderating ===
When hosting an online '''meeting''', you will likely control all aspects of the time: controlling the screen, monitoring the agenda, and keeping track of the time. If necessary, appoint a parliamentarian who can help especially with time and keeping the meeting on track.

While educational '''webinars''' can function with just two people (the host/moderator and the speaker), best practices recommend having a third, often silent partner to handle any technical aspects of the session. This can include issues participants have, any tricky transitions during the presentation, and unexpected technical emergencies. Having dedicated technical support means that the host can focus on content and timing issues, and the speaker can simply focus on speaking.

Useful tips for moderating a webinar:
* Create a master script document that includes not only what everyone will say but also blocking for various tasks (e.g., Amy starts recording, Joy stops music, Louise pulls up survey, etc.).
* Have clear time estimates for each stage of the presentation. Be prepared to encourage the speaker to speed up, slow down, or move on when necessary.
* Always have questions on hand to promote conversation if a Q&A time is included at the end.
* After asking a question or prompting participation, slowly count to 10 to allow people to respond.
* Don’t panic if something goes wrong. Technology is difficult to predict, and often you can simply work around the issue.
* Be mindful of the webinar’s level of interactivity for both live participants as well as those who may view a recording later, if applicable.

=== Assessing ===
While most '''business meetings''' won’t need constant assessment, it is important to check in with participants to evaluate how things are working.
* Is everyone able to use the selected platform or should another be tried?
* Are the times still convenient for most involved?
* Does everyone feel like the frequency is sufficient or should that be reevaluated?
* Are the meetings productive or could that use some work?
By encouraging your participants to provide feedback, you’ll soon find the best virtual meeting environment for your group.

Assessment of '''webinars''' is often important for a group to determine not only if that webinar was successful but also what types of webinars should be pursued (if any) in the future. While creating a simple survey is easy enough, getting participants to complete the survey can often be difficult.

When planning assessment, consider the following:
* Encourage participants to complete the survey immediately after the webinar by setting the platform to redirect to the survey when the webinar is ended. You can also provide a link to the survey during the final minutes of the webinar to catch those who may wish to leave early.
* Email participants immediately after the event and perhaps one week later. Use the email point of contact to advertise additional webinars or how participants can get involved with your group.
* Connecting completion of the assessment with distribution of a certificate of completion can often encourage greater participation. (Check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] section below to learn how to automate the certificate process using Google’s Autocrat add-on).
* When designing the survey, leave ample room for open comments.
* Phrase your survey questions to be neutral. For example, if asking about the quality of the speaker, using a phrase like "The Presenter was knowledgeable" is less leading than "The Presenter was excellent." Allow the survey taker to express their level of agreement.
* Consider carefully which questions are mandatory and which optional.
* Ask for ideas for future programming and whether or not a participant would like to present a future webinar. This helps build programming ideas and a network of professionals.
* Try to make a survey that would take no longer than 5-10 minutes to complete.

[https://www.clir.org/hiddencollections/sahc/sahc_webinar_evaluation_survey Click here] for a pdf of the assessment survey from CLIR [https://www.clir.org/hiddencollections/sahc/webinar1 SAHC's first webinars].

=== Sample Planning Timeline ===
This sample planning timeline gives a sense of the necessary steps to plan a stand alone, virtual, educational webinar. For more planning help, check out the [[Planning Virtual Meetings and Webinars#Planning 2|Planning Resources]] below.

'''2-3 months prior'''
* You have a fantastic idea for a webinar (or perhaps a colleague approaches you with a fascinating idea). The first step is to investigate whether this idea has been adequately covered somewhere else in the vast universe of GLAM educational material.
* You’ve determined that your idea is new and wonderfully useful to the GLAM world. Set a budget: Will you offer compensation to your speaker? Do you need to cover any technology costs? Is this an entirely volunteer based project?
* Reach out to your professional connections and find a dynamic speaker who is an expert on the subject. Or, if you intend to be the speaker, find someone who is able to be your moderator for the event.
* Discuss dates and create a signed agreement so everyone understands the project. When possible, include all dates (e.g., draft due dates, practice session(s), live event, etc.) in the contract. (For example, [https://www.clir.org/hiddencollections/sahc/curriculum-committee-agreement-template click here] for a Microsoft Word Template of CLIR's Curriculum Committee agreement from the SAHC project).
* Discuss basic technology requirements with the speaker now including the need for reliable (preferably wired) internet and a quality headset.

'''1 month prior'''
* Start sharing scripts and slides. Work on timing and discuss any special technology needs. Try to find the right balance between text and images on slides.
* Check on accessibility issues, including, but not limited to, font sizes and Alt text for images. Avoid slide transitions and fly-ins.
* Determine now if the webinar is going to be recorded and what added concerns you need to keep in mind connected to that.
* Determine if there are any supplemental documents that would be useful for participants to have.
* Collect a bio for the speaker.
* Begin setting up the classroom space, if possible, for the webinar environment. Some platforms, like Adobe Connect, allow hosts to set up several templates for meeting rooms (e.g., lobby, presentation, chat, etc.). By having these in place prior to the technical practice for a session, you will save time and give the speaker an idea of the available room configurations. If conducting a series of webinars, you are able to copy the format and settings of an established meeting.

'''1 week prior'''
* Conduct a practice session in the environment that will be used the day of the event. Make sure that internet speeds are excellent (wifi should be avoided), that telephones are available if needed, and that microphones are clear and balanced between the host and speaker.
* Run through all slides, transitions, and activities to make sure that everything displays as expected. Make notes on anything that needs to be adjusted and schedule additional checks if necessary.
* Have a few people participate in this session, if possible, so that font sizes, images, and display can be checked on a variety of devices (PC/Mac, tablet, desktop, laptop, etc.) and the presentation can be evaluated from several perspectives (host, speaker, attendee).
* Assign individuals to tasks. Tasks may include starting and stopping the recording, ending the session, serving as timekeeper for any discussions, and moderating any questions.
* Open registration for the event and share with target audiences.

'''Day of event'''
* Meet at least 30 minutes prior to the time set for opening the classroom (which is usually 15 minutes before the start of the webinar). Allow more time if there are multiple speakers or unresolved technical issues from the practice session.
* Test and balance the microphone levels for anyone who will be speaking during the event.
* Make sure everyone understands their assigned tasks.
* Relax, get some water, and wait for the event.
* Know that you’ve planned a new and wonderfully useful session, open the classroom, and start.

== Resources ==
=== Planning ===
* [http://www.infotoday.com/OnlineSearcher/Articles/Features/Secrets-of-Successful-Webinars-106050.shtml Secrets of Successful Webinars] (Online Searcher, Vol. 39, no. 5, Sept./Oct. 2015) - Includes checklists and tips from Mary Ellen Bates and Cathy Chiba on planning, creating, and hosting successful webinars.
* [https://mebs.files.wordpress.com/2015/06/webinar-planning-checklist.pdf MEB’s Amazing Webinar Checklist and Templates] (pdf) - A tool created by Mary Ellen Bates to help webinar hosts stay organized through the webinar planning and presentation process.

=== Presenting ===
* [https://helpx.adobe.com/adobe-connect/kb/best-practices-hosts-presenters-using.html Adobe Connect Best Practices for Hosts and Presenters] - While specifically designed for Adobe Connect users, this guide offers useful tips for any virtual meeting planner or presenter.
* [https://www.learningsolutionsmag.com/articles/1388/best-practices-deliver-a-great-virtual-training-event Best Practices: Deliver a Great Virtual Training Event] - by Jaqueline Beck, Learning Solutions Magazine, 2014
* [https://www.elearningguild.com/showfile.cfm?id=3159 Best Practices for Delivering Virtual Classroom Training] (pdf) - Randah McKinnie, Sr., eLearning Solutions, 2008 - Focuses on Adobe’s presentation software, but offers suggestions for any virtual classroom environment.
* [https://www.americanexpress.com/us/small-business/openforum/articles/12-strategies-creating-webinar-wows-crowds/ 12 Strategies for Creating a Webinar that Wows Crowds] - by Bruna Martinuzzi of Clarion Enterprises, American Express Open Forum, December 2016
* [https://hbr.org/2015/03/how-to-run-a-great-virtual-meeting How to Run a Great Virtual Meeting] - by Keith Ferrazzi, Harvard Business Review Online, March 27, 2015
* [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 The 20-Minute Rule for Great Public Speaking--On Attention Spans and Keeping Focus] - by Alf Rehn, Professor and Speaker, The Art of Keynoting, April 11, 2016 - An excellent read on the art of crafting quality presentations
* [http://sixminutes.dlugan.com/speaking-rate/ What is the Average Speaking Rate?] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, Nov. 2012 - An overview to help you calculate your rate of speech (i.e., how quickly you speak) to help you gauge how much content you need for a given time period
* [http://sixminutes.dlugan.com/rule-of-three-speeches-public-speaking/ How to use the Rule of Three in Your Speeches] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, May 2009 - An overview of how to apply the aesthetic Rule of Three to speech

=== Accessibility ===
* [https://www.dor.ca.gov/Home/PlanningAccessiblePresentationsandWebinars Planning Accessible Presentations and Webinars] - A brief resource with links from the California Department of Rehabilitation
* [https://www.fda.gov/AboutFDA/AboutThisWebsite/Accessibility/ucm214503.htm Accessible Web Conferences and Webinar Best Practices] - A guide from the U.S. Food and Drug Administration
* [https://help.blackboard.com/Learn/Student/Ultra/Accessibility/Best_Practice_Caption_Video_Content Best Practice: Captioning Video Content] - a summary resource from Blackboard Help that provides an overview of captioning including basic help for using YouTube to add captions to videos.
* [http://ccacaptioning.org/resources/ Resources: How To's & Best Practices for Closed Captioning] - An extensive list of resources from the [http://ccacaptioning.org/ CCAC] (Collaborative for Communication Access vis Captioning), an advocacy and education group to encourage greater accessibility to content through quality captioning.
* [http://www.3playmedia.com/resources/overview/ 3PlayMedia Resources] - An extensive listing of resources related to captioning and other digital accessibility requirements including related US laws and policies, research reports, white papers, and webinars (recorded and live). [http://www.3playmedia.com/ 3PlayMedia] is a professional captioning service based in Boston, MA.
* [http://bbc.github.io/subtitle-guidelines/ BBC Subtitle Guidelines] - The extensive policy and guidelines from BBC for creating and attaching captions and subtitles to videos. This could provide help with determining fonts, line breaks, and other style assistance as well as other practical information.
* [https://accessibility.blog.gov.uk/2016/09/02/dos-and-donts-on-designing-for-accessibility/ The Dos and Don'ts on Designing for Accessibility] - From the Gov.UK blog, these 2016 visual posters designed by Karwai Pun offer clear suggestions and guidelines for designing content for a variety of disabilities and impairments.

=== Resources and Media ===
When using images, videos, and music for virtual learning, carefully consider any restrictions on the media. If you have any doubt over proper use and/or attribution requirements or limitations, contact the owner or licencor of the media. CLIR and DLF are not responsible for any misuse of media obtained from the following sources.

* [http://edtechteacher.org/tools/research/finding-images/ Finding Public Domain Images for Multimedia Projects] - An extensive list of public domain image sources including a number of government image sources.
* [https://elearningindustry.com/free-stock-photos-sites-for-elearning Free Stock Photos Sites for eLearning] - A listing of sites. Some may require registration and some do have limits to the free use for images.
* [http://freemusicarchive.org/curator/Video/ Free Music Archive (FMA): Music for Video] - A special portal within FMA which pre-screens music contributions for use in video. The search capabilities are robust including basic searches like artist and genre to more specific searches like clip length and license type.
* [https://www.youtube.com/watch?v=L8Z89-q1OnU Create Professional Development Certificates from Google Forms using Autocrat] - YouTube tutorial from Jeffrey Bradbury, Teachercast Podcast (August 11, 2015) showing how to build a certificate using several Google products.
* [https://www.youtube.com/watch?v=vC1Zp-x9bGQ&spfreload=1 Using Autocrat to send personalized PDF certificates via Form Submit] - YouTube tutorial by edtech2020, Tim Chase, May 16, 2013

== Table of Contents ==
# [[About DLF and the Organizers' Toolkit]]
# [[Working with Team DLF]]
# [[Starting a New Initiative or Working Group]]
# [[General Facilitation and Goal-Setting]]
# [[Facilitating for Diversity and Inclusion]]
# [[Communications and Consensus]]
# [[Preventing and Managing Burnout]]
# [[Gathering Info/Building Enthusiasm]]
# [[Planning an In-Person Meetup]]
# [[Setting Up Year-Round Meetings]]
# [[Planning Virtual Meetings and Webinars]]
# [[Talking and Writing]]
# [[Organizing and Sharing Your Work]]
# [[In a Nutshell]]

Planning Virtual Meetings and Webinars

2021-09-09T15:48:53Z

Gayle: /* Accessibility */

[[File:Organizing-with-DLF.png|thumb]]
This section of the [[About DLF and the Organizers' Toolkit|DLF Organizers' Toolkit]] provides general guidelines for presenting and/or hosting an online meeting or educational experience. It was originally created in 2017 by '''Library & Archives Consultant [https://joymbanksconsulting.wordpress.com/ Joy M. Banks, MSLS],''' as part of the [https://www.clir.org/hiddencollections/sahc CLIR Strategies for Advancing Hidden Collections project (SAHC)]. More resources related to that project, which was funded by The Andrew W. Mellon Foundation, can be found in the [https://wiki.diglib.org/Strategies_for_Advancing_Hidden_Collections SAHC Resource Library].

== Formats ==
In today’s online environment, the possibilities for virtual learning are nearly limitless. From Facebook Live to Adobe Connect, choosing the right platform may be challenging. Careful consideration of content and goals will help guide you to the right platform.

=== Casual v. Formal ===
There is a significant difference between the platform needs for a gathering of colleagues casually chatting about something and a professional presentation of ideas to a large group. The former requires minimal technology, and the latter likely requires a much more robust system.

For the '''causal''' experience, consider basic VOIP conference lines, Skype group, Google Hangouts, and the like.

* Do you actually need to see a screen or is voice access enough?
* Will everyone be able to participate via audio connections or will some need a chat feature?
* Will everyone be able to use their computer for audio or will a phone line be necessary?
* Consider the time of day for the meetup. If during work hours, some may not have access to platforms that require any sort of download. If after work hours, some may not have access to robust internet connections.
* Talk to your group, and find out what works best for you.

For the '''formal''' experience, consider more robust platforms that allow for greater flexibility such as UberConference (DLF maintains a [[Setting Up Year-Round Meetings#DLF Web.2FPhone Conferencing Support|Pro account]]), Adobe Connect, GoToMeeting, and the like.
* Will you need the ability to screen share, chat, and file share?
* Will your participants need to access audio via VOIP, computer, and/or phone audio connections?
* Will your presenters need training on the platform in advance?
* Even in the most robust systems, there is value in keeping things simple so that participants can focus on the content rather than the platform.

=== Collaborative v. Lecture ===
While most educators agree that engaged learning is the best educational model, there is still value in lecture for presenting certain types of information. Recreating lecture in a virtual environment is relatively easy. Virtual collaboration can be a bit more challenging.

If you need a '''collaborative''' online environment:
* Limit the size of your group. The larger the group, the more difficult collaboration can be. Some web conferencing platforms allow breaking into groups, but be sure to test the feature before the meeting so you understand how it works for everyone.
* Consider creating large chat spaces to allow contribution even if someone is unable to participate via audio connection.
* Combine technologies. Using a conference line and a collaborative work space such as GoogleDocs can allow live feedback and tracking when working together on a project.

When presenting information in a '''lecture''' environment:
* It’s still important to create an interactive environment. Allow a way for participants to ask questions and engage with the presenter and other attendees.
* Intersperse lecture with engagement. Create chat opportunities that allow an exchange of ideas. Give participants a way to stretch their brain with simple activities like polls or sharing reactions.

=== Meeting v. Learning ===
You may think that planning an online meeting is as simple as sending out a link for people to join, but the best online meeting planners follow many of the same best practices as virtual learning.

If you are planning a '''meeting''', consider the following:
* Have a detailed agenda including time estimates for each part of the discussion. This will not only keep everyone on track during the meeting but also allow participants to plan ahead to enter and leave the meeting if needed.
* Keep in mind if everyone in the meeting will have access to an audio line and/or any thing you put on the screen. Those who may only be able to hear the meeting will need to have verbal descriptions of anything on the screen and have any chat discussions summarized for them. Those who will be unable to participate with a microphone will need to have access to chat.
* Since time is crucial when meeting online, distribute any documents to be discussed in advance so participants can review them. This will allow more meaningful discussions when everyone is together.

If you are interested in creating a '''learning''' environment:
* Planning should begin far in advance of the date of presentation.
* A more robust virtual platform is often necessary to create an engaging learning experience for everyone.
* For more details on planning a virtual learning experience, see the [[Planning Virtual Meetings and Webinars#Hosts|Hosts]] section of this handbook and check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] listed below.

=== Recorded v. Live ===
The experience of a live virtual event will be much different than a recorded one. Perhaps you decide to focus on one or the other or create a learning experience that uses both.

If you are recording a '''live''' presentation for use later:
* Be sure that you designate someone to start and end the recording.
* Have a plan for storage of the recording. Where will it live? Who will have access? Will editing be necessary? How long will you provide access?
* If possible, mark on the live script sections that will be cut from the recording to make editing easier.
* Recognize that not all activities of a live event can be recreated for someone listening to a recording.

It’s OK if you only offer something live. Everyone may not be able to attend, but that is the nature of life. Provide ample notice of the event (or purposely plan a pop-up event), and those who are more interested will attend.

If you plan to only provide a '''recorded''' presentation:
* Follow best practices for presentation and consider how you will engage your audience if the content is educational.
* Plan for a way that viewers can ask questions or provide feedback whether through your email, a specific Twitter hashtag you can track, a GoogleForm, or some other means.
* Be sure you have all of the necessary software and hardware to make a quality recording and determine in advance where the recording will live.
* Consider including your script as captions in the recording to offer an additional way users can access the materials.

=== Audio v. Video ===
For some virtual experiences, audio may be sufficient but sometimes, in order to build trust or a team spirit, video can help.

When thinking about '''audio''' only:
* Audio only options often require less robust systems and can often be accessed through a phone line without the need for a computer.
* This can be great for a simple conference call with a small group of individuals already familiar with each other.
* For those who are visual learners, be sure to supply any documents to be discussed in advance so everyone can follow the conversation.

When thinking about '''video''' options:
* Remember everyone may not have access to a webcam. Will participants still be able to participate another way?
* Video includes screen sharing, not just webcam sharing. Sometimes it is valuable to be able to visually share documents or other information.
* If you expect everyone to participate through video, give advance notice so no one is surprised.

== Speakers ==
=== Virtual v. Face to Face ===
While webinars have many similarities with standard F2F presentations, those presenting webinars must be aware of several distinct differences:

'''Your audience is not in the same room''' - Unless you are participating in an online video chat that includes participant video, you will not be able to gauge your audience’s non-verbal response to your presentation. For anyone who has relied on eye contact, body language, and other visual signs to make adjustments to a presentation, the format of a webinar can be a bit uncomfortable.

'''Solution''':
* ''Create engaging chats'' - Think of these as opportunities for participants to stretch their brain. Encourage participants to get to know each other before the session starts. Set aside a 60 second chat blitz as a way to quickly participate in the webinar. Ask participants for suggestions and ideas that have worked in real life.
* ''Ask questions to boost active participation'' - When using a question to start a chat, be sure it is open enough to engage participants. Questions with one word answers are best left to polls and blitz activities. It’s ok to consider phrasing that will lead participants where you want them to go in their thinking. In a webinar geared towards higher level engagement, allow participants to share their experiences, good or bad, as a way to enrich the content of your presentation. Setting time limits will encourage people to contribute without waiting and also allow a distinct end point to move the webinar forward if needed.
* ''Embed polls and other simple activities'' - Polls are a quick and easy way to gauge your audience before and during a webinar. Questions can be about the participants or the content of the webinar. Choose simple questions with distinct responses. Depending on the webinar platform, you may also have the ability to allow participants to draw on the screen, add quick responses to a chat box, raise their hand virtually, share reaction emojis, etc. All of these activities break up the content of your talk and refocus the group.

'''Timing is essential''' - Webinars will have set start and end times that often cannot be adjusted. You may be asked to login to the webinar system early and perhaps end early (i.e., before you’re ready to stop talking) if the end time approaches. Because of this, reading from a script is often recommended to avoid unexpected timing issues.

'''Solution''':
* ''Practice, practice, practice'' - Read your script and make sure the text flows as well verbally as it does in writing. Plan your timing with a slower voice and enunciated speech. During the live event, you will likely speak faster than when you practiced.
* ''Add buffers to account for discussions that may run long'' - While you will be asked to plan how long discussions will last, you may find participants are highly engaged during a certain time. Plan ahead to allow buffers in your presentation content to allow for engaged participation (keeping in mind, though, that all good things must eventually come to an end). Mark sections of your script that can be easily cut if needed.

'''Interaction must be carefully crafted''' - Most webinar platforms allow for some interaction between the speaker and audience as well as between attendees. The most successful virtual engagement activities are not something you can do effectively on the fly. Careful planning (and testing) of interactive activities will help create a dynamic learning environment that will help all participants engage with the educational content.

'''Solution''':
* ''Plan ahead and test everything'' - Work closely with your webinar host to assure that everything is in place and functional prior to the live date. Set up any polls. Practice chat sessions. Test your ideas with several people on various devices. Leave nothing to chance but always remain flexible.

'''Not everyone will be participating in the same way''' - Even in the smallest virtual settings, not everyone will have access to the full webinar experience. Some may only be able to participate through the audio. Others may not have access to a microphone. Be considerate of any accessibility limitations.

'''Solution''':
* Repeat any questions or thoughtful comments that are typed in the chat box so everyone has access to the content.
* Describe verbally any important visual aids.
* Enunciation not only helps participants hear you better, but it also helps any transcription of your speech for captioning. Speaking too fast will jumble your words both through audio and captioning technology.
* Try to avoid experiences which will require a very high internet speed connection.
* Will the session be recorded? Consider how what you do live will translate to a recorded viewing experience.

=== Delivering an Engaging Virtual Presentation ===
* Start with a brief bio, usually presented by the host/moderator. Include details other than the mundane that will engage your audience and connect them more personally to you. Your bio will also serve to show why you are qualified to present the content of the webinar and establish you as an expert.
* Include an image of yourself. This can be on your slide template or, if possible, as a video feed (even if only briefly).
* Depending on the form of your webinar, plan to have an activity every 15-20 minutes or so to re-engage your audience and avoid long periods of lecture. These can be directed chats, polls, blitz chats, or Q&A sessions. Some webinars may require a large amount of lecture due to the depth of the topic. In those cases, consider breaking up sessions into a series to allow greater interaction.
* Remember to smile when you speak (which feels strange if you are alone in a room somewhere). When you are smiling, your words tend to be clearer and your tone is more welcoming. This will also help you avoid extreme changes in your volume (e.g., starting a sentence with power and fading off as your sentence ends).
* Before your webinar, practice your script and record it. Listen to your recording and try to adjust any bad habits. Try to avoid “um”, “so”, and other speech fillers. Listen for habits like starting loud and fading off at the end of a sentence. Practice your breathing so it sounds natural. Presenting is different than natural speech, so the extra practice and self-evaluation will help you deliver a clear presentation to your audience.
* Consider framing your presentation using the rule of three. Begin by telling your audience what they will hear (perhaps having three points or sections), tell them those points, and end by summarizing what they heard. The number of main ideas you will effectively be able to share depends on the length of time you have. Avoid trying to cram too much into too short a time slot. Better to share less content of a higher quality. While many sources suggest listeners have a 5-10 minute attention span, framing your content to the highest denominator of [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 18-20 minutes] will likely produce higher quality content.
* Even in an online environment, you might encourage your audience to set aside distractions during the session: turn off cell phones, don’t check email, hang a sign on your door, and truly focus on the content. These simple steps will help everyone have a better webinar experience.
* Insert humor throughout your presentation. Tell an appropriate, personal funny story, but keep it succinct and relevant. If you are speaking on a particular topic but you lack a personally relevant experience, consider gathering stories before the event, either from registered participants or colleagues (and always seek permission to share!).
* Relax, be sure to have a cup of water, and enjoy the experience.

== Hosts ==
=== General Tips ===
For Virtual '''Business Meetings''':
* Try to limit the meeting to one hour.
* If a recurring meeting, set the time and day well in advance so everyone can mark their calendars and set aside time for the meeting. Everyone will appreciate not having to do a poll every month to schedule a meeting time.
* Allow a few minutes at the beginning and/or end for watercooler talk. Encourage those who want to catch up to arrive early or plan to stay a few minutes later (depending on whether or not you can stay in the virtual space).
* Don’t assume that everyone knows each other. Do introductions if necessary, and, if taking minutes, be sure the secretary feels comfortable enough to speak up if it’s unclear who is speaking. While some platforms identify the speaker, that often relies on the participant to enter their name and/or an individual passcode.
* Check in each meeting to see how everyone is participating. Some may only have chat (if available), some may only have audio (if you’ve also set up screen sharing). Repeat questions and describe what’s going on so everyone stays engaged.
* Will the meeting need to be recorded? If so,
** Where will the recording live and how will members access it?
** Will there be usage restrictions based on the content of the meeting?

For Virtual '''Educational Webinars''':
* Most online learning experiences should last no more than ninety minutes.
* Plan ahead if you would like to charge attendees. You’ll need a way to accept payment in addition to tracking registration.
* Most webinar platforms will require some level of training so that presenters and hosts are familiar with the features.
* Wired internet is always preferred for speakers and hosts to avoid delivery glitches. Make this clear from the beginning of planning.
* Will the webinar be recorded? If the answer is yes, consider:
** Where will the recordings live and how long they will need to last?
** Will you need to edit the recordings or be able to post as is?
** Will the recording need to capture the entire webinar environment or just the presentation slides?
** How will the experience differ for those who view the recording?
** Will captioning need to be added to the recording?

=== Planning ===
Planning a virtual webinar or meeting begins in much the same way as a face to face event: Choose a topic, find a speaker, and set a date (not necessarily always in that order). Additionally, hosts also need to consider how communication will occur, especially since everyone is likely dispersed, and how registration will be handled.

Jump to: [[Planning Virtual Meetings and Webinars#Choosing a Topic|Choosing a Topic]] | [[Planning Virtual Meetings and Webinars#Finding a Speaker|Finding a Speaker]] | [[Planning Virtual Meetings and Webinars#Setting a Date|Setting a Date]] | [[Planning Virtual Meetings and Webinars#Communication|Communication]] | [[Planning Virtual Meetings and Webinars#Registration|Registration]]

==== Choosing a Topic ====
If you are hosting a '''business meeting''', your topic will be the items on your agenda. Be sure to supply the agenda and any documents for review at least one week prior to the meeting.

Selecting a topic for a '''webinar''' can be a bit more involved. Perhaps your team has recently completed a project, and you would like to share the results with a larger audience. Or you recently attended an in-person meeting, heard a great speaker, and think the session should be captured for further distribution. Regardless of the idea, here are some tips:
* Make sure the topic hasn’t been covered sufficiently elsewhere.
* Some topics may be stand alone (a conference summary, an introductory session, etc.) while other ideas may lend themselves to serial delivery. Series may occur weekly, monthly, or at some other set interval. A few more thoughts on series:
** Webinars in a series should have a common theme, but don’t necessarily need to build directly from each other. For example, you could plan a series focusing on how individual institutions are tackling a particular problem, highlighting a new institution each month. This can be marketed as a series, but doesn’t require participants to attend all sessions. Alternatively, a series may also be developed to tackle a complex topic with sessions building on each other. Attendees would be expected to attend all sessions (to the best of their ability).
** There is no set amount of sessions a series must contain: some may be as little as two and some may last for years (though, [[Planning Virtual Meetings and Webinars#Assessing|assessment]] of long-term series is important to determine continued viability and relevance).
** A highly effective way to create a cohesive feel between the sessions is to create a uniform presentation template and/or classroom setup.
** When multiple speakers are involved in a series, be sure to facilitate engagement and conversation to encourage unity in the topics and refer to the other parts in the series. Slack and other collaborative software can be useful tools in this process.
* All webinars should have a clear scope, including objectives and outcomes, so that those interested will know what to expect during the event. Developing these will also help hosts determine if the topic is too broad for an individual session so that the scope can either be condensed to fit the time or expanded into a series.

==== Finding a Speaker ====
As host for a '''business meeting''', you will likely do most of the speaking. If others will need to speak or give reports, provide them with advance notice of that expectation so they are prepared. You may need to manage the audio using the mute feature for those in the virtual meeting space to avoid background noise and other distractions.

When considering a speaker for a '''webinar''', first explore your own professional network and associations. You may have someone in your own network who is a perfect candidate to cover the topic. If not, gradually expand your search and reach out to others for recommendations.
Be sure you have answers to the following:
* Will the speaker be reimbursed?
* How much time do you anticipate the speaker will invest in the planning, practicing, and presenting of the webinar?
* Has the potential speaker delivered a webinar before? If not, how much additional time are you willing to invest to coach the speaker though the process?
* Speakers will likely expect at least a general idea of the date and time for the webinar as well as the webinar length broken down so they are clear on how long they will be expected to speak.
* When communicating with your speaker, be sure to explain your expectations for accessibility (e.g., adding [https://support.office.com/en-us/article/Add-alternative-text-to-a-shape-picture-chart-table-SmartArt-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669 Alt Text for images] in a PowerPoint) at the beginning of the planning process to allow ample time for testing, if needed.

==== Setting a Date ====
The DLF Wiki has some excellent suggestions on setting a date and time in the [[Setting Up Year-Round Meetings]] section of their Organizers’ Toolkit. As mentioned above, recurring meetings or webinars are best planned in advance (e.g., the second Tuesday of every month at 2pm ET). A simple poll can make this process straightforward. Remember time zone differences, especially for meetings, and communicate any changes or cancellations well in advance.

If you are using a shared conferencing or online learning platform, be sure to document and mark your scheduled events in the appropriate way so that others do not plan an event at the same time. There’s nothing quite as awkward as walking in on another meeting when you expected the line to yourself.

==== Communication ====
With so many ways to communicate, this may be the most overwhelming element of the planning process. It is critical to have accurate contact information for all involved, whether for a business meeting or webinar.
* Using a platform like Slack can allow collaboration in planning, though be sure that everyone is familiar with the features.
* Email works well for critical information, but only if everyone checks the email address provided.
* When all else fails, phone calls may be in order to be sure that those parties involved are understanding your expectations and their responsibilities.
Be willing to communicate a number of different ways to encourage the highest level of participation. Also, be sure that those with whom you are working can communicate their own issues with you so that you can solve problems before they become significant issues.

Another aspect of communication for the host or planner involves continued conversation between meetings, series offerings, or after a webinar ends.
* '''Between Meetings''' - If the group attending the meeting stays mostly the same, consider establishing a Slack Channel or other collaborative platform on which participants can contribute information relevant to the group between official meetings. This is also a great way to set up a watercooler space to share personal updates.
* '''Between Series''' - Consider encouraging assigned reading selections or video viewings with a designated check in time and place where participants can provide feedback and additional thoughts on an issue. Participation in the continued conversation can be part of a certification process that participants receive after completion of the program.
* '''After the Webinar''' - When presenting a webinar, collecting registrant information is important to engage new audience members with your group. Consider sending a tailored welcome message to anyone not already subscribed to your services. Sign them up for your newsletter. Invite them to your group chat page. Send a quick follow-up survey several months later to see how they are applying what they learn. Remember, though, to always allow them to opt out of future communications.

==== Registration ====
When planning a '''business meeting''', registration is probably unnecessary. You will, however, need to supply the login information to those who need to attend the meeting. This could be a URL or a phone number and may include a passcode for your specific meeting. Encourage anyone unable to attend to communicate that information in a timely manner in case there are matters that need a quorum.

As host, you can choose a variety of ways to approach registration for '''webinars'''.
* Advanced registration through the webinar platform - most allow you to collect basic information (name, email, institution) and set caps on registration if necessary. Usually, the system will then send out the information to login to the webinar and, if you set it up, scheduled reminders.
* Advanced registration through alternative means - If you need to collect additional demographic information or payment for participants, using something like SurveyMonkey or a GoogleForm can allow you to customize and analyze registrants. This will require additional work on your part, though, since you will be responsible for distributing login information and reminders.
* No registration - On occasion, you may wish to simply share the link for a scheduled webinar and hope for the best. This can work well for those events where you are unconcerned with reaching any limits that your virtual classroom may have or trust that those who are interested will show up before the limit is reached. Be sure to market your webinar widely enough to generate interest and be flexible with the audience that does attend.

Several tips for registration:
* If you are allowing advanced registration, start promoting and open registration no more than one month prior to the event; two weeks notice is often the most ideal. Any longer notice will often cause a greater no-show rate, especially for free events.
* Allow for about a 20% attrition rate between registrants and attendees. This means if you have a classroom for 100, you may wish to allow 120 to register to allow the greatest attendance.
* If you are not requiring registration, consider in advance how you will communicate any classroom size limits. Typically, rooms open 15 minutes prior to the start of an event, and you will need to be sure the room is closed before that to discourage people from entering early and to allow everyone equal opportunity to enter.

=== Moderating ===
When hosting an online '''meeting''', you will likely control all aspects of the time: controlling the screen, monitoring the agenda, and keeping track of the time. If necessary, appoint a parliamentarian who can help especially with time and keeping the meeting on track.

While educational '''webinars''' can function with just two people (the host/moderator and the speaker), best practices recommend having a third, often silent partner to handle any technical aspects of the session. This can include issues participants have, any tricky transitions during the presentation, and unexpected technical emergencies. Having dedicated technical support means that the host can focus on content and timing issues, and the speaker can simply focus on speaking.

Useful tips for moderating a webinar:
* Create a master script document that includes not only what everyone will say but also blocking for various tasks (e.g., Amy starts recording, Joy stops music, Louise pulls up survey, etc.).
* Have clear time estimates for each stage of the presentation. Be prepared to encourage the speaker to speed up, slow down, or move on when necessary.
* Always have questions on hand to promote conversation if a Q&A time is included at the end.
* After asking a question or prompting participation, slowly count to 10 to allow people to respond.
* Don’t panic if something goes wrong. Technology is difficult to predict, and often you can simply work around the issue.
* Be mindful of the webinar’s level of interactivity for both live participants as well as those who may view a recording later, if applicable.

=== Assessing ===
While most '''business meetings''' won’t need constant assessment, it is important to check in with participants to evaluate how things are working.
* Is everyone able to use the selected platform or should another be tried?
* Are the times still convenient for most involved?
* Does everyone feel like the frequency is sufficient or should that be reevaluated?
* Are the meetings productive or could that use some work?
By encouraging your participants to provide feedback, you’ll soon find the best virtual meeting environment for your group.

Assessment of '''webinars''' is often important for a group to determine not only if that webinar was successful but also what types of webinars should be pursued (if any) in the future. While creating a simple survey is easy enough, getting participants to complete the survey can often be difficult.

When planning assessment, consider the following:
* Encourage participants to complete the survey immediately after the webinar by setting the platform to redirect to the survey when the webinar is ended. You can also provide a link to the survey during the final minutes of the webinar to catch those who may wish to leave early.
* Email participants immediately after the event and perhaps one week later. Use the email point of contact to advertise additional webinars or how participants can get involved with your group.
* Connecting completion of the assessment with distribution of a certificate of completion can often encourage greater participation. (Check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] section below to learn how to automate the certificate process using Google’s Autocrat add-on).
* When designing the survey, leave ample room for open comments.
* Phrase your survey questions to be neutral. For example, if asking about the quality of the speaker, using a phrase like "The Presenter was knowledgeable" is less leading than "The Presenter was excellent." Allow the survey taker to express their level of agreement.
* Consider carefully which questions are mandatory and which optional.
* Ask for ideas for future programming and whether or not a participant would like to present a future webinar. This helps build programming ideas and a network of professionals.
* Try to make a survey that would take no longer than 5-10 minutes to complete.

[https://www.clir.org/hiddencollections/sahc/sahc_webinar_evaluation_survey Click here] for a pdf of the assessment survey from CLIR [https://www.clir.org/hiddencollections/sahc/webinar1 SAHC's first webinars].

=== Sample Planning Timeline ===
This sample planning timeline gives a sense of the necessary steps to plan a stand alone, virtual, educational webinar. For more planning help, check out the [[Planning Virtual Meetings and Webinars#Planning 2|Planning Resources]] below.

'''2-3 months prior'''
* You have a fantastic idea for a webinar (or perhaps a colleague approaches you with a fascinating idea). The first step is to investigate whether this idea has been adequately covered somewhere else in the vast universe of GLAM educational material.
* You’ve determined that your idea is new and wonderfully useful to the GLAM world. Set a budget: Will you offer compensation to your speaker? Do you need to cover any technology costs? Is this an entirely volunteer based project?
* Reach out to your professional connections and find a dynamic speaker who is an expert on the subject. Or, if you intend to be the speaker, find someone who is able to be your moderator for the event.
* Discuss dates and create a signed agreement so everyone understands the project. When possible, include all dates (e.g., draft due dates, practice session(s), live event, etc.) in the contract. (For example, [https://www.clir.org/hiddencollections/sahc/curriculum-committee-agreement-template click here] for a Microsoft Word Template of CLIR's Curriculum Committee agreement from the SAHC project).
* Discuss basic technology requirements with the speaker now including the need for reliable (preferably wired) internet and a quality headset.

'''1 month prior'''
* Start sharing scripts and slides. Work on timing and discuss any special technology needs. Try to find the right balance between text and images on slides.
* Check on accessibility issues, including, but not limited to, font sizes and Alt text for images. Avoid slide transitions and fly-ins.
* Determine now if the webinar is going to be recorded and what added concerns you need to keep in mind connected to that.
* Determine if there are any supplemental documents that would be useful for participants to have.
* Collect a bio for the speaker.
* Begin setting up the classroom space, if possible, for the webinar environment. Some platforms, like Adobe Connect, allow hosts to set up several templates for meeting rooms (e.g., lobby, presentation, chat, etc.). By having these in place prior to the technical practice for a session, you will save time and give the speaker an idea of the available room configurations. If conducting a series of webinars, you are able to copy the format and settings of an established meeting.

'''1 week prior'''
* Conduct a practice session in the environment that will be used the day of the event. Make sure that internet speeds are excellent (wifi should be avoided), that telephones are available if needed, and that microphones are clear and balanced between the host and speaker.
* Run through all slides, transitions, and activities to make sure that everything displays as expected. Make notes on anything that needs to be adjusted and schedule additional checks if necessary.
* Have a few people participate in this session, if possible, so that font sizes, images, and display can be checked on a variety of devices (PC/Mac, tablet, desktop, laptop, etc.) and the presentation can be evaluated from several perspectives (host, speaker, attendee).
* Assign individuals to tasks. Tasks may include starting and stopping the recording, ending the session, serving as timekeeper for any discussions, and moderating any questions.
* Open registration for the event and share with target audiences.

'''Day of event'''
* Meet at least 30 minutes prior to the time set for opening the classroom (which is usually 15 minutes before the start of the webinar). Allow more time if there are multiple speakers or unresolved technical issues from the practice session.
* Test and balance the microphone levels for anyone who will be speaking during the event.
* Make sure everyone understands their assigned tasks.
* Relax, get some water, and wait for the event.
* Know that you’ve planned a new and wonderfully useful session, open the classroom, and start.

== Resources ==
=== Planning ===
* [http://www.infotoday.com/OnlineSearcher/Articles/Features/Secrets-of-Successful-Webinars-106050.shtml Secrets of Successful Webinars] (Online Searcher, Vol. 39, no. 5, Sept./Oct. 2015) - Includes checklists and tips from Mary Ellen Bates and Cathy Chiba on planning, creating, and hosting successful webinars.
* [https://mebs.files.wordpress.com/2015/06/webinar-planning-checklist.pdf MEB’s Amazing Webinar Checklist and Templates] (pdf) - A tool created by Mary Ellen Bates to help webinar hosts stay organized through the webinar planning and presentation process.

=== Presenting ===
* [https://helpx.adobe.com/adobe-connect/kb/best-practices-hosts-presenters-using.html Adobe Connect Best Practices for Hosts and Presenters] - While specifically designed for Adobe Connect users, this guide offers useful tips for any virtual meeting planner or presenter.
* [https://www.learningsolutionsmag.com/articles/1388/best-practices-deliver-a-great-virtual-training-event Best Practices: Deliver a Great Virtual Training Event] - by Jaqueline Beck, Learning Solutions Magazine, 2014
* [https://www.elearningguild.com/showfile.cfm?id=3159 Best Practices for Delivering Virtual Classroom Training] (pdf) - Randah McKinnie, Sr., eLearning Solutions, 2008 - Focuses on Adobe’s presentation software, but offers suggestions for any virtual classroom environment.
* [https://www.americanexpress.com/us/small-business/openforum/articles/12-strategies-creating-webinar-wows-crowds/ 12 Strategies for Creating a Webinar that Wows Crowds] - by Bruna Martinuzzi of Clarion Enterprises, American Express Open Forum, December 2016
* [https://hbr.org/2015/03/how-to-run-a-great-virtual-meeting How to Run a Great Virtual Meeting] - by Keith Ferrazzi, Harvard Business Review Online, March 27, 2015
* [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 The 20-Minute Rule for Great Public Speaking--On Attention Spans and Keeping Focus] - by Alf Rehn, Professor and Speaker, The Art of Keynoting, April 11, 2016 - An excellent read on the art of crafting quality presentations
* [http://sixminutes.dlugan.com/speaking-rate/ What is the Average Speaking Rate?] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, Nov. 2012 - An overview to help you calculate your rate of speech (i.e., how quickly you speak) to help you gauge how much content you need for a given time period
* [http://sixminutes.dlugan.com/rule-of-three-speeches-public-speaking/ How to use the Rule of Three in Your Speeches] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, May 2009 - An overview of how to apply the aesthetic Rule of Three to speech

=== Accessibility ===
* [https://www.dor.ca.gov/Home/PlanningAccessiblePresentationsandWebinars Planning Accessible Presentations and Webinars] - A brief resource with links from the California Department of Rehabilitation
* [https://www.fda.gov/AboutFDA/AboutThisWebsite/Accessibility/ucm214503.htm Accessible Web Conferences and Webinar Best Practices] - A guide from the U.S. Food and Drug Administration
* [https://help.blackboard.com/Learn/Student/Ultra/Accessibility/Best_Practice_Caption_Video_Content Best Practice: Captioning Video Content] - a summary resource from Blackboard Help that provides an overview of captioning including basic help for using YouTube to add captions to videos.
* [http://ccacaptioning.org/resources/ Resources: How To's & Best Practices for Closed Captioning] - An extensive list of resources from the [http://ccacaptioning.org/ CCAC] (Collaborative for Communication Access vis Captioning), an advocacy and education group to encourage greater accessibility to content through quality captioning.
* [http://www.3playmedia.com/resources/overview/ 3PlayMedia Resources] - An extensive listing of resources related to captioning and other digital accessibility requirements including related US laws and policies, research reports, white papers, and webinars (recorded and live). [http://www.3playmedia.com/ 3PlayMedia] is a professional captioning service based in Boston, MA.
* [http://bbc.github.io/subtitle-guidelines/ BBC Subtitle Guidelines] - The extensive policy and guidelines from BBC for creating and attaching captions and subtitles to videos. This could provide help with determining fonts, line breaks, and other style assistance as well as other practical information.
* [https://accessibility.blog.gov.uk/2016/09/02/dos-and-donts-on-designing-for-accessibility/ The Dos and Don'ts on Designing for Accessibility] - From the Gov.UK blog, these 2016 visual posters designed by Karwai Pun offer clear suggestions and guidelines for designing content for a variety of disabilities and impairments.

=== Resources and Media ===
When using images, videos, and music for virtual learning, carefully consider any restrictions on the media. If you have any doubt over proper use and/or attribution requirements or limitations, contact the owner or licencor of the media. CLIR and DLF are not responsible for any misuse of media obtained from the following sources.

* [http://www.docurated.com/101-free-free-try-online-collaborative-learning-tools-teachers-educators 102 Free (or Free-to-Try) Online Collaborative Learning Tools for Teachers and Educators] - While geared specifically to elementary and secondary education, quite a few of the tools listed could be used and adapted to professional development training experiences.
* [http://edtechteacher.org/tools/research/finding-images/ Finding Public Domain Images for Multimedia Projects] - An extensive list of public domain image sources including a number of government image sources.
* [https://elearningindustry.com/free-stock-photos-sites-for-elearning Free Stock Photos Sites for eLearning] - A listing of sites. Some may require registration and some do have limits to the free use for images.
* [http://freemusicarchive.org/curator/Video/ Free Music Archive (FMA): Music for Video] - A special portal within FMA which pre-screens music contributions for use in video. The search capabilities are robust including basic searches like artist and genre to more specific searches like clip length and license type.
* [https://www.youtube.com/watch?v=L8Z89-q1OnU Create Professional Development Certificates from Google Forms using Autocrat] - YouTube tutorial from Jeffrey Bradbury, Teachercast Podcast (August 11, 2015) showing how to build a certificate using several Google products.
* [https://www.youtube.com/watch?v=vC1Zp-x9bGQ&spfreload=1 Using Autocrat to send personalized PDF certificates via Form Submit] - YouTube tutorial by edtech2020, Tim Chase, May 16, 2013

== Table of Contents ==
# [[About DLF and the Organizers' Toolkit]]
# [[Working with Team DLF]]
# [[Starting a New Initiative or Working Group]]
# [[General Facilitation and Goal-Setting]]
# [[Facilitating for Diversity and Inclusion]]
# [[Communications and Consensus]]
# [[Preventing and Managing Burnout]]
# [[Gathering Info/Building Enthusiasm]]
# [[Planning an In-Person Meetup]]
# [[Setting Up Year-Round Meetings]]
# [[Planning Virtual Meetings and Webinars]]
# [[Talking and Writing]]
# [[Organizing and Sharing Your Work]]
# [[In a Nutshell]]

Planning Virtual Meetings and Webinars

2021-09-09T15:47:27Z

Gayle: /* Accessibility */

[[File:Organizing-with-DLF.png|thumb]]
This section of the [[About DLF and the Organizers' Toolkit|DLF Organizers' Toolkit]] provides general guidelines for presenting and/or hosting an online meeting or educational experience. It was originally created in 2017 by '''Library & Archives Consultant [https://joymbanksconsulting.wordpress.com/ Joy M. Banks, MSLS],''' as part of the [https://www.clir.org/hiddencollections/sahc CLIR Strategies for Advancing Hidden Collections project (SAHC)]. More resources related to that project, which was funded by The Andrew W. Mellon Foundation, can be found in the [https://wiki.diglib.org/Strategies_for_Advancing_Hidden_Collections SAHC Resource Library].

== Formats ==
In today’s online environment, the possibilities for virtual learning are nearly limitless. From Facebook Live to Adobe Connect, choosing the right platform may be challenging. Careful consideration of content and goals will help guide you to the right platform.

=== Casual v. Formal ===
There is a significant difference between the platform needs for a gathering of colleagues casually chatting about something and a professional presentation of ideas to a large group. The former requires minimal technology, and the latter likely requires a much more robust system.

For the '''causal''' experience, consider basic VOIP conference lines, Skype group, Google Hangouts, and the like.

* Do you actually need to see a screen or is voice access enough?
* Will everyone be able to participate via audio connections or will some need a chat feature?
* Will everyone be able to use their computer for audio or will a phone line be necessary?
* Consider the time of day for the meetup. If during work hours, some may not have access to platforms that require any sort of download. If after work hours, some may not have access to robust internet connections.
* Talk to your group, and find out what works best for you.

For the '''formal''' experience, consider more robust platforms that allow for greater flexibility such as UberConference (DLF maintains a [[Setting Up Year-Round Meetings#DLF Web.2FPhone Conferencing Support|Pro account]]), Adobe Connect, GoToMeeting, and the like.
* Will you need the ability to screen share, chat, and file share?
* Will your participants need to access audio via VOIP, computer, and/or phone audio connections?
* Will your presenters need training on the platform in advance?
* Even in the most robust systems, there is value in keeping things simple so that participants can focus on the content rather than the platform.

=== Collaborative v. Lecture ===
While most educators agree that engaged learning is the best educational model, there is still value in lecture for presenting certain types of information. Recreating lecture in a virtual environment is relatively easy. Virtual collaboration can be a bit more challenging.

If you need a '''collaborative''' online environment:
* Limit the size of your group. The larger the group, the more difficult collaboration can be. Some web conferencing platforms allow breaking into groups, but be sure to test the feature before the meeting so you understand how it works for everyone.
* Consider creating large chat spaces to allow contribution even if someone is unable to participate via audio connection.
* Combine technologies. Using a conference line and a collaborative work space such as GoogleDocs can allow live feedback and tracking when working together on a project.

When presenting information in a '''lecture''' environment:
* It’s still important to create an interactive environment. Allow a way for participants to ask questions and engage with the presenter and other attendees.
* Intersperse lecture with engagement. Create chat opportunities that allow an exchange of ideas. Give participants a way to stretch their brain with simple activities like polls or sharing reactions.

=== Meeting v. Learning ===
You may think that planning an online meeting is as simple as sending out a link for people to join, but the best online meeting planners follow many of the same best practices as virtual learning.

If you are planning a '''meeting''', consider the following:
* Have a detailed agenda including time estimates for each part of the discussion. This will not only keep everyone on track during the meeting but also allow participants to plan ahead to enter and leave the meeting if needed.
* Keep in mind if everyone in the meeting will have access to an audio line and/or any thing you put on the screen. Those who may only be able to hear the meeting will need to have verbal descriptions of anything on the screen and have any chat discussions summarized for them. Those who will be unable to participate with a microphone will need to have access to chat.
* Since time is crucial when meeting online, distribute any documents to be discussed in advance so participants can review them. This will allow more meaningful discussions when everyone is together.

If you are interested in creating a '''learning''' environment:
* Planning should begin far in advance of the date of presentation.
* A more robust virtual platform is often necessary to create an engaging learning experience for everyone.
* For more details on planning a virtual learning experience, see the [[Planning Virtual Meetings and Webinars#Hosts|Hosts]] section of this handbook and check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] listed below.

=== Recorded v. Live ===
The experience of a live virtual event will be much different than a recorded one. Perhaps you decide to focus on one or the other or create a learning experience that uses both.

If you are recording a '''live''' presentation for use later:
* Be sure that you designate someone to start and end the recording.
* Have a plan for storage of the recording. Where will it live? Who will have access? Will editing be necessary? How long will you provide access?
* If possible, mark on the live script sections that will be cut from the recording to make editing easier.
* Recognize that not all activities of a live event can be recreated for someone listening to a recording.

It’s OK if you only offer something live. Everyone may not be able to attend, but that is the nature of life. Provide ample notice of the event (or purposely plan a pop-up event), and those who are more interested will attend.

If you plan to only provide a '''recorded''' presentation:
* Follow best practices for presentation and consider how you will engage your audience if the content is educational.
* Plan for a way that viewers can ask questions or provide feedback whether through your email, a specific Twitter hashtag you can track, a GoogleForm, or some other means.
* Be sure you have all of the necessary software and hardware to make a quality recording and determine in advance where the recording will live.
* Consider including your script as captions in the recording to offer an additional way users can access the materials.

=== Audio v. Video ===
For some virtual experiences, audio may be sufficient but sometimes, in order to build trust or a team spirit, video can help.

When thinking about '''audio''' only:
* Audio only options often require less robust systems and can often be accessed through a phone line without the need for a computer.
* This can be great for a simple conference call with a small group of individuals already familiar with each other.
* For those who are visual learners, be sure to supply any documents to be discussed in advance so everyone can follow the conversation.

When thinking about '''video''' options:
* Remember everyone may not have access to a webcam. Will participants still be able to participate another way?
* Video includes screen sharing, not just webcam sharing. Sometimes it is valuable to be able to visually share documents or other information.
* If you expect everyone to participate through video, give advance notice so no one is surprised.

== Speakers ==
=== Virtual v. Face to Face ===
While webinars have many similarities with standard F2F presentations, those presenting webinars must be aware of several distinct differences:

'''Your audience is not in the same room''' - Unless you are participating in an online video chat that includes participant video, you will not be able to gauge your audience’s non-verbal response to your presentation. For anyone who has relied on eye contact, body language, and other visual signs to make adjustments to a presentation, the format of a webinar can be a bit uncomfortable.

'''Solution''':
* ''Create engaging chats'' - Think of these as opportunities for participants to stretch their brain. Encourage participants to get to know each other before the session starts. Set aside a 60 second chat blitz as a way to quickly participate in the webinar. Ask participants for suggestions and ideas that have worked in real life.
* ''Ask questions to boost active participation'' - When using a question to start a chat, be sure it is open enough to engage participants. Questions with one word answers are best left to polls and blitz activities. It’s ok to consider phrasing that will lead participants where you want them to go in their thinking. In a webinar geared towards higher level engagement, allow participants to share their experiences, good or bad, as a way to enrich the content of your presentation. Setting time limits will encourage people to contribute without waiting and also allow a distinct end point to move the webinar forward if needed.
* ''Embed polls and other simple activities'' - Polls are a quick and easy way to gauge your audience before and during a webinar. Questions can be about the participants or the content of the webinar. Choose simple questions with distinct responses. Depending on the webinar platform, you may also have the ability to allow participants to draw on the screen, add quick responses to a chat box, raise their hand virtually, share reaction emojis, etc. All of these activities break up the content of your talk and refocus the group.

'''Timing is essential''' - Webinars will have set start and end times that often cannot be adjusted. You may be asked to login to the webinar system early and perhaps end early (i.e., before you’re ready to stop talking) if the end time approaches. Because of this, reading from a script is often recommended to avoid unexpected timing issues.

'''Solution''':
* ''Practice, practice, practice'' - Read your script and make sure the text flows as well verbally as it does in writing. Plan your timing with a slower voice and enunciated speech. During the live event, you will likely speak faster than when you practiced.
* ''Add buffers to account for discussions that may run long'' - While you will be asked to plan how long discussions will last, you may find participants are highly engaged during a certain time. Plan ahead to allow buffers in your presentation content to allow for engaged participation (keeping in mind, though, that all good things must eventually come to an end). Mark sections of your script that can be easily cut if needed.

'''Interaction must be carefully crafted''' - Most webinar platforms allow for some interaction between the speaker and audience as well as between attendees. The most successful virtual engagement activities are not something you can do effectively on the fly. Careful planning (and testing) of interactive activities will help create a dynamic learning environment that will help all participants engage with the educational content.

'''Solution''':
* ''Plan ahead and test everything'' - Work closely with your webinar host to assure that everything is in place and functional prior to the live date. Set up any polls. Practice chat sessions. Test your ideas with several people on various devices. Leave nothing to chance but always remain flexible.

'''Not everyone will be participating in the same way''' - Even in the smallest virtual settings, not everyone will have access to the full webinar experience. Some may only be able to participate through the audio. Others may not have access to a microphone. Be considerate of any accessibility limitations.

'''Solution''':
* Repeat any questions or thoughtful comments that are typed in the chat box so everyone has access to the content.
* Describe verbally any important visual aids.
* Enunciation not only helps participants hear you better, but it also helps any transcription of your speech for captioning. Speaking too fast will jumble your words both through audio and captioning technology.
* Try to avoid experiences which will require a very high internet speed connection.
* Will the session be recorded? Consider how what you do live will translate to a recorded viewing experience.

=== Delivering an Engaging Virtual Presentation ===
* Start with a brief bio, usually presented by the host/moderator. Include details other than the mundane that will engage your audience and connect them more personally to you. Your bio will also serve to show why you are qualified to present the content of the webinar and establish you as an expert.
* Include an image of yourself. This can be on your slide template or, if possible, as a video feed (even if only briefly).
* Depending on the form of your webinar, plan to have an activity every 15-20 minutes or so to re-engage your audience and avoid long periods of lecture. These can be directed chats, polls, blitz chats, or Q&A sessions. Some webinars may require a large amount of lecture due to the depth of the topic. In those cases, consider breaking up sessions into a series to allow greater interaction.
* Remember to smile when you speak (which feels strange if you are alone in a room somewhere). When you are smiling, your words tend to be clearer and your tone is more welcoming. This will also help you avoid extreme changes in your volume (e.g., starting a sentence with power and fading off as your sentence ends).
* Before your webinar, practice your script and record it. Listen to your recording and try to adjust any bad habits. Try to avoid “um”, “so”, and other speech fillers. Listen for habits like starting loud and fading off at the end of a sentence. Practice your breathing so it sounds natural. Presenting is different than natural speech, so the extra practice and self-evaluation will help you deliver a clear presentation to your audience.
* Consider framing your presentation using the rule of three. Begin by telling your audience what they will hear (perhaps having three points or sections), tell them those points, and end by summarizing what they heard. The number of main ideas you will effectively be able to share depends on the length of time you have. Avoid trying to cram too much into too short a time slot. Better to share less content of a higher quality. While many sources suggest listeners have a 5-10 minute attention span, framing your content to the highest denominator of [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 18-20 minutes] will likely produce higher quality content.
* Even in an online environment, you might encourage your audience to set aside distractions during the session: turn off cell phones, don’t check email, hang a sign on your door, and truly focus on the content. These simple steps will help everyone have a better webinar experience.
* Insert humor throughout your presentation. Tell an appropriate, personal funny story, but keep it succinct and relevant. If you are speaking on a particular topic but you lack a personally relevant experience, consider gathering stories before the event, either from registered participants or colleagues (and always seek permission to share!).
* Relax, be sure to have a cup of water, and enjoy the experience.

== Hosts ==
=== General Tips ===
For Virtual '''Business Meetings''':
* Try to limit the meeting to one hour.
* If a recurring meeting, set the time and day well in advance so everyone can mark their calendars and set aside time for the meeting. Everyone will appreciate not having to do a poll every month to schedule a meeting time.
* Allow a few minutes at the beginning and/or end for watercooler talk. Encourage those who want to catch up to arrive early or plan to stay a few minutes later (depending on whether or not you can stay in the virtual space).
* Don’t assume that everyone knows each other. Do introductions if necessary, and, if taking minutes, be sure the secretary feels comfortable enough to speak up if it’s unclear who is speaking. While some platforms identify the speaker, that often relies on the participant to enter their name and/or an individual passcode.
* Check in each meeting to see how everyone is participating. Some may only have chat (if available), some may only have audio (if you’ve also set up screen sharing). Repeat questions and describe what’s going on so everyone stays engaged.
* Will the meeting need to be recorded? If so,
** Where will the recording live and how will members access it?
** Will there be usage restrictions based on the content of the meeting?

For Virtual '''Educational Webinars''':
* Most online learning experiences should last no more than ninety minutes.
* Plan ahead if you would like to charge attendees. You’ll need a way to accept payment in addition to tracking registration.
* Most webinar platforms will require some level of training so that presenters and hosts are familiar with the features.
* Wired internet is always preferred for speakers and hosts to avoid delivery glitches. Make this clear from the beginning of planning.
* Will the webinar be recorded? If the answer is yes, consider:
** Where will the recordings live and how long they will need to last?
** Will you need to edit the recordings or be able to post as is?
** Will the recording need to capture the entire webinar environment or just the presentation slides?
** How will the experience differ for those who view the recording?
** Will captioning need to be added to the recording?

=== Planning ===
Planning a virtual webinar or meeting begins in much the same way as a face to face event: Choose a topic, find a speaker, and set a date (not necessarily always in that order). Additionally, hosts also need to consider how communication will occur, especially since everyone is likely dispersed, and how registration will be handled.

Jump to: [[Planning Virtual Meetings and Webinars#Choosing a Topic|Choosing a Topic]] | [[Planning Virtual Meetings and Webinars#Finding a Speaker|Finding a Speaker]] | [[Planning Virtual Meetings and Webinars#Setting a Date|Setting a Date]] | [[Planning Virtual Meetings and Webinars#Communication|Communication]] | [[Planning Virtual Meetings and Webinars#Registration|Registration]]

==== Choosing a Topic ====
If you are hosting a '''business meeting''', your topic will be the items on your agenda. Be sure to supply the agenda and any documents for review at least one week prior to the meeting.

Selecting a topic for a '''webinar''' can be a bit more involved. Perhaps your team has recently completed a project, and you would like to share the results with a larger audience. Or you recently attended an in-person meeting, heard a great speaker, and think the session should be captured for further distribution. Regardless of the idea, here are some tips:
* Make sure the topic hasn’t been covered sufficiently elsewhere.
* Some topics may be stand alone (a conference summary, an introductory session, etc.) while other ideas may lend themselves to serial delivery. Series may occur weekly, monthly, or at some other set interval. A few more thoughts on series:
** Webinars in a series should have a common theme, but don’t necessarily need to build directly from each other. For example, you could plan a series focusing on how individual institutions are tackling a particular problem, highlighting a new institution each month. This can be marketed as a series, but doesn’t require participants to attend all sessions. Alternatively, a series may also be developed to tackle a complex topic with sessions building on each other. Attendees would be expected to attend all sessions (to the best of their ability).
** There is no set amount of sessions a series must contain: some may be as little as two and some may last for years (though, [[Planning Virtual Meetings and Webinars#Assessing|assessment]] of long-term series is important to determine continued viability and relevance).
** A highly effective way to create a cohesive feel between the sessions is to create a uniform presentation template and/or classroom setup.
** When multiple speakers are involved in a series, be sure to facilitate engagement and conversation to encourage unity in the topics and refer to the other parts in the series. Slack and other collaborative software can be useful tools in this process.
* All webinars should have a clear scope, including objectives and outcomes, so that those interested will know what to expect during the event. Developing these will also help hosts determine if the topic is too broad for an individual session so that the scope can either be condensed to fit the time or expanded into a series.

==== Finding a Speaker ====
As host for a '''business meeting''', you will likely do most of the speaking. If others will need to speak or give reports, provide them with advance notice of that expectation so they are prepared. You may need to manage the audio using the mute feature for those in the virtual meeting space to avoid background noise and other distractions.

When considering a speaker for a '''webinar''', first explore your own professional network and associations. You may have someone in your own network who is a perfect candidate to cover the topic. If not, gradually expand your search and reach out to others for recommendations.
Be sure you have answers to the following:
* Will the speaker be reimbursed?
* How much time do you anticipate the speaker will invest in the planning, practicing, and presenting of the webinar?
* Has the potential speaker delivered a webinar before? If not, how much additional time are you willing to invest to coach the speaker though the process?
* Speakers will likely expect at least a general idea of the date and time for the webinar as well as the webinar length broken down so they are clear on how long they will be expected to speak.
* When communicating with your speaker, be sure to explain your expectations for accessibility (e.g., adding [https://support.office.com/en-us/article/Add-alternative-text-to-a-shape-picture-chart-table-SmartArt-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669 Alt Text for images] in a PowerPoint) at the beginning of the planning process to allow ample time for testing, if needed.

==== Setting a Date ====
The DLF Wiki has some excellent suggestions on setting a date and time in the [[Setting Up Year-Round Meetings]] section of their Organizers’ Toolkit. As mentioned above, recurring meetings or webinars are best planned in advance (e.g., the second Tuesday of every month at 2pm ET). A simple poll can make this process straightforward. Remember time zone differences, especially for meetings, and communicate any changes or cancellations well in advance.

If you are using a shared conferencing or online learning platform, be sure to document and mark your scheduled events in the appropriate way so that others do not plan an event at the same time. There’s nothing quite as awkward as walking in on another meeting when you expected the line to yourself.

==== Communication ====
With so many ways to communicate, this may be the most overwhelming element of the planning process. It is critical to have accurate contact information for all involved, whether for a business meeting or webinar.
* Using a platform like Slack can allow collaboration in planning, though be sure that everyone is familiar with the features.
* Email works well for critical information, but only if everyone checks the email address provided.
* When all else fails, phone calls may be in order to be sure that those parties involved are understanding your expectations and their responsibilities.
Be willing to communicate a number of different ways to encourage the highest level of participation. Also, be sure that those with whom you are working can communicate their own issues with you so that you can solve problems before they become significant issues.

Another aspect of communication for the host or planner involves continued conversation between meetings, series offerings, or after a webinar ends.
* '''Between Meetings''' - If the group attending the meeting stays mostly the same, consider establishing a Slack Channel or other collaborative platform on which participants can contribute information relevant to the group between official meetings. This is also a great way to set up a watercooler space to share personal updates.
* '''Between Series''' - Consider encouraging assigned reading selections or video viewings with a designated check in time and place where participants can provide feedback and additional thoughts on an issue. Participation in the continued conversation can be part of a certification process that participants receive after completion of the program.
* '''After the Webinar''' - When presenting a webinar, collecting registrant information is important to engage new audience members with your group. Consider sending a tailored welcome message to anyone not already subscribed to your services. Sign them up for your newsletter. Invite them to your group chat page. Send a quick follow-up survey several months later to see how they are applying what they learn. Remember, though, to always allow them to opt out of future communications.

==== Registration ====
When planning a '''business meeting''', registration is probably unnecessary. You will, however, need to supply the login information to those who need to attend the meeting. This could be a URL or a phone number and may include a passcode for your specific meeting. Encourage anyone unable to attend to communicate that information in a timely manner in case there are matters that need a quorum.

As host, you can choose a variety of ways to approach registration for '''webinars'''.
* Advanced registration through the webinar platform - most allow you to collect basic information (name, email, institution) and set caps on registration if necessary. Usually, the system will then send out the information to login to the webinar and, if you set it up, scheduled reminders.
* Advanced registration through alternative means - If you need to collect additional demographic information or payment for participants, using something like SurveyMonkey or a GoogleForm can allow you to customize and analyze registrants. This will require additional work on your part, though, since you will be responsible for distributing login information and reminders.
* No registration - On occasion, you may wish to simply share the link for a scheduled webinar and hope for the best. This can work well for those events where you are unconcerned with reaching any limits that your virtual classroom may have or trust that those who are interested will show up before the limit is reached. Be sure to market your webinar widely enough to generate interest and be flexible with the audience that does attend.

Several tips for registration:
* If you are allowing advanced registration, start promoting and open registration no more than one month prior to the event; two weeks notice is often the most ideal. Any longer notice will often cause a greater no-show rate, especially for free events.
* Allow for about a 20% attrition rate between registrants and attendees. This means if you have a classroom for 100, you may wish to allow 120 to register to allow the greatest attendance.
* If you are not requiring registration, consider in advance how you will communicate any classroom size limits. Typically, rooms open 15 minutes prior to the start of an event, and you will need to be sure the room is closed before that to discourage people from entering early and to allow everyone equal opportunity to enter.

=== Moderating ===
When hosting an online '''meeting''', you will likely control all aspects of the time: controlling the screen, monitoring the agenda, and keeping track of the time. If necessary, appoint a parliamentarian who can help especially with time and keeping the meeting on track.

While educational '''webinars''' can function with just two people (the host/moderator and the speaker), best practices recommend having a third, often silent partner to handle any technical aspects of the session. This can include issues participants have, any tricky transitions during the presentation, and unexpected technical emergencies. Having dedicated technical support means that the host can focus on content and timing issues, and the speaker can simply focus on speaking.

Useful tips for moderating a webinar:
* Create a master script document that includes not only what everyone will say but also blocking for various tasks (e.g., Amy starts recording, Joy stops music, Louise pulls up survey, etc.).
* Have clear time estimates for each stage of the presentation. Be prepared to encourage the speaker to speed up, slow down, or move on when necessary.
* Always have questions on hand to promote conversation if a Q&A time is included at the end.
* After asking a question or prompting participation, slowly count to 10 to allow people to respond.
* Don’t panic if something goes wrong. Technology is difficult to predict, and often you can simply work around the issue.
* Be mindful of the webinar’s level of interactivity for both live participants as well as those who may view a recording later, if applicable.

=== Assessing ===
While most '''business meetings''' won’t need constant assessment, it is important to check in with participants to evaluate how things are working.
* Is everyone able to use the selected platform or should another be tried?
* Are the times still convenient for most involved?
* Does everyone feel like the frequency is sufficient or should that be reevaluated?
* Are the meetings productive or could that use some work?
By encouraging your participants to provide feedback, you’ll soon find the best virtual meeting environment for your group.

Assessment of '''webinars''' is often important for a group to determine not only if that webinar was successful but also what types of webinars should be pursued (if any) in the future. While creating a simple survey is easy enough, getting participants to complete the survey can often be difficult.

When planning assessment, consider the following:
* Encourage participants to complete the survey immediately after the webinar by setting the platform to redirect to the survey when the webinar is ended. You can also provide a link to the survey during the final minutes of the webinar to catch those who may wish to leave early.
* Email participants immediately after the event and perhaps one week later. Use the email point of contact to advertise additional webinars or how participants can get involved with your group.
* Connecting completion of the assessment with distribution of a certificate of completion can often encourage greater participation. (Check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] section below to learn how to automate the certificate process using Google’s Autocrat add-on).
* When designing the survey, leave ample room for open comments.
* Phrase your survey questions to be neutral. For example, if asking about the quality of the speaker, using a phrase like "The Presenter was knowledgeable" is less leading than "The Presenter was excellent." Allow the survey taker to express their level of agreement.
* Consider carefully which questions are mandatory and which optional.
* Ask for ideas for future programming and whether or not a participant would like to present a future webinar. This helps build programming ideas and a network of professionals.
* Try to make a survey that would take no longer than 5-10 minutes to complete.

[https://www.clir.org/hiddencollections/sahc/sahc_webinar_evaluation_survey Click here] for a pdf of the assessment survey from CLIR [https://www.clir.org/hiddencollections/sahc/webinar1 SAHC's first webinars].

=== Sample Planning Timeline ===
This sample planning timeline gives a sense of the necessary steps to plan a stand alone, virtual, educational webinar. For more planning help, check out the [[Planning Virtual Meetings and Webinars#Planning 2|Planning Resources]] below.

'''2-3 months prior'''
* You have a fantastic idea for a webinar (or perhaps a colleague approaches you with a fascinating idea). The first step is to investigate whether this idea has been adequately covered somewhere else in the vast universe of GLAM educational material.
* You’ve determined that your idea is new and wonderfully useful to the GLAM world. Set a budget: Will you offer compensation to your speaker? Do you need to cover any technology costs? Is this an entirely volunteer based project?
* Reach out to your professional connections and find a dynamic speaker who is an expert on the subject. Or, if you intend to be the speaker, find someone who is able to be your moderator for the event.
* Discuss dates and create a signed agreement so everyone understands the project. When possible, include all dates (e.g., draft due dates, practice session(s), live event, etc.) in the contract. (For example, [https://www.clir.org/hiddencollections/sahc/curriculum-committee-agreement-template click here] for a Microsoft Word Template of CLIR's Curriculum Committee agreement from the SAHC project).
* Discuss basic technology requirements with the speaker now including the need for reliable (preferably wired) internet and a quality headset.

'''1 month prior'''
* Start sharing scripts and slides. Work on timing and discuss any special technology needs. Try to find the right balance between text and images on slides.
* Check on accessibility issues, including, but not limited to, font sizes and Alt text for images. Avoid slide transitions and fly-ins.
* Determine now if the webinar is going to be recorded and what added concerns you need to keep in mind connected to that.
* Determine if there are any supplemental documents that would be useful for participants to have.
* Collect a bio for the speaker.
* Begin setting up the classroom space, if possible, for the webinar environment. Some platforms, like Adobe Connect, allow hosts to set up several templates for meeting rooms (e.g., lobby, presentation, chat, etc.). By having these in place prior to the technical practice for a session, you will save time and give the speaker an idea of the available room configurations. If conducting a series of webinars, you are able to copy the format and settings of an established meeting.

'''1 week prior'''
* Conduct a practice session in the environment that will be used the day of the event. Make sure that internet speeds are excellent (wifi should be avoided), that telephones are available if needed, and that microphones are clear and balanced between the host and speaker.
* Run through all slides, transitions, and activities to make sure that everything displays as expected. Make notes on anything that needs to be adjusted and schedule additional checks if necessary.
* Have a few people participate in this session, if possible, so that font sizes, images, and display can be checked on a variety of devices (PC/Mac, tablet, desktop, laptop, etc.) and the presentation can be evaluated from several perspectives (host, speaker, attendee).
* Assign individuals to tasks. Tasks may include starting and stopping the recording, ending the session, serving as timekeeper for any discussions, and moderating any questions.
* Open registration for the event and share with target audiences.

'''Day of event'''
* Meet at least 30 minutes prior to the time set for opening the classroom (which is usually 15 minutes before the start of the webinar). Allow more time if there are multiple speakers or unresolved technical issues from the practice session.
* Test and balance the microphone levels for anyone who will be speaking during the event.
* Make sure everyone understands their assigned tasks.
* Relax, get some water, and wait for the event.
* Know that you’ve planned a new and wonderfully useful session, open the classroom, and start.

== Resources ==
=== Planning ===
* [http://www.infotoday.com/OnlineSearcher/Articles/Features/Secrets-of-Successful-Webinars-106050.shtml Secrets of Successful Webinars] (Online Searcher, Vol. 39, no. 5, Sept./Oct. 2015) - Includes checklists and tips from Mary Ellen Bates and Cathy Chiba on planning, creating, and hosting successful webinars.
* [https://mebs.files.wordpress.com/2015/06/webinar-planning-checklist.pdf MEB’s Amazing Webinar Checklist and Templates] (pdf) - A tool created by Mary Ellen Bates to help webinar hosts stay organized through the webinar planning and presentation process.

=== Presenting ===
* [https://helpx.adobe.com/adobe-connect/kb/best-practices-hosts-presenters-using.html Adobe Connect Best Practices for Hosts and Presenters] - While specifically designed for Adobe Connect users, this guide offers useful tips for any virtual meeting planner or presenter.
* [https://www.learningsolutionsmag.com/articles/1388/best-practices-deliver-a-great-virtual-training-event Best Practices: Deliver a Great Virtual Training Event] - by Jaqueline Beck, Learning Solutions Magazine, 2014
* [https://www.elearningguild.com/showfile.cfm?id=3159 Best Practices for Delivering Virtual Classroom Training] (pdf) - Randah McKinnie, Sr., eLearning Solutions, 2008 - Focuses on Adobe’s presentation software, but offers suggestions for any virtual classroom environment.
* [https://www.americanexpress.com/us/small-business/openforum/articles/12-strategies-creating-webinar-wows-crowds/ 12 Strategies for Creating a Webinar that Wows Crowds] - by Bruna Martinuzzi of Clarion Enterprises, American Express Open Forum, December 2016
* [https://hbr.org/2015/03/how-to-run-a-great-virtual-meeting How to Run a Great Virtual Meeting] - by Keith Ferrazzi, Harvard Business Review Online, March 27, 2015
* [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 The 20-Minute Rule for Great Public Speaking--On Attention Spans and Keeping Focus] - by Alf Rehn, Professor and Speaker, The Art of Keynoting, April 11, 2016 - An excellent read on the art of crafting quality presentations
* [http://sixminutes.dlugan.com/speaking-rate/ What is the Average Speaking Rate?] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, Nov. 2012 - An overview to help you calculate your rate of speech (i.e., how quickly you speak) to help you gauge how much content you need for a given time period
* [http://sixminutes.dlugan.com/rule-of-three-speeches-public-speaking/ How to use the Rule of Three in Your Speeches] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, May 2009 - An overview of how to apply the aesthetic Rule of Three to speech

=== Accessibility ===
* [https://www.dor.ca.gov/Home/PlanningAccessiblePresentationsandWebinars Planning Accessible Presentations and Webinars] - A brief resource with links from the California Department of Rehabilitation
* [https://www.fda.gov/AboutFDA/AboutThisWebsite/Accessibility/ucm214503.htm Accessible Web Conferences and Webinar Best Practices] - A guide from the U.S. Food and Drug Administration
* [https://help.blackboard.com/Learn/Instructor/Accessibility/Caption_Video_Content_Best_Practices Best Practice: Captioning Video Content] - a summary resource from Blackboard Help that provides an overview of captioning including basic help for using YouTube to add captions to videos.
* [http://ccacaptioning.org/resources/ Resources: How To's & Best Practices for Closed Captioning] - An extensive list of resources from the [http://ccacaptioning.org/ CCAC] (Collaborative for Communication Access vis Captioning), an advocacy and education group to encourage greater accessibility to content through quality captioning.
* [http://www.3playmedia.com/resources/overview/ 3PlayMedia Resources] - An extensive listing of resources related to captioning and other digital accessibility requirements including related US laws and policies, research reports, white papers, and webinars (recorded and live). [http://www.3playmedia.com/ 3PlayMedia] is a professional captioning service based in Boston, MA.
* [http://bbc.github.io/subtitle-guidelines/ BBC Subtitle Guidelines] - The extensive policy and guidelines from BBC for creating and attaching captions and subtitles to videos. This could provide help with determining fonts, line breaks, and other style assistance as well as other practical information.
* [https://accessibility.blog.gov.uk/2016/09/02/dos-and-donts-on-designing-for-accessibility/ The Dos and Don'ts on Designing for Accessibility] - From the Gov.UK blog, these 2016 visual posters designed by Karwai Pun offer clear suggestions and guidelines for designing content for a variety of disabilities and impairments.

=== Resources and Media ===
When using images, videos, and music for virtual learning, carefully consider any restrictions on the media. If you have any doubt over proper use and/or attribution requirements or limitations, contact the owner or licencor of the media. CLIR and DLF are not responsible for any misuse of media obtained from the following sources.

* [http://www.docurated.com/101-free-free-try-online-collaborative-learning-tools-teachers-educators 102 Free (or Free-to-Try) Online Collaborative Learning Tools for Teachers and Educators] - While geared specifically to elementary and secondary education, quite a few of the tools listed could be used and adapted to professional development training experiences.
* [http://edtechteacher.org/tools/research/finding-images/ Finding Public Domain Images for Multimedia Projects] - An extensive list of public domain image sources including a number of government image sources.
* [https://elearningindustry.com/free-stock-photos-sites-for-elearning Free Stock Photos Sites for eLearning] - A listing of sites. Some may require registration and some do have limits to the free use for images.
* [http://freemusicarchive.org/curator/Video/ Free Music Archive (FMA): Music for Video] - A special portal within FMA which pre-screens music contributions for use in video. The search capabilities are robust including basic searches like artist and genre to more specific searches like clip length and license type.
* [https://www.youtube.com/watch?v=L8Z89-q1OnU Create Professional Development Certificates from Google Forms using Autocrat] - YouTube tutorial from Jeffrey Bradbury, Teachercast Podcast (August 11, 2015) showing how to build a certificate using several Google products.
* [https://www.youtube.com/watch?v=vC1Zp-x9bGQ&spfreload=1 Using Autocrat to send personalized PDF certificates via Form Submit] - YouTube tutorial by edtech2020, Tim Chase, May 16, 2013

== Table of Contents ==
# [[About DLF and the Organizers' Toolkit]]
# [[Working with Team DLF]]
# [[Starting a New Initiative or Working Group]]
# [[General Facilitation and Goal-Setting]]
# [[Facilitating for Diversity and Inclusion]]
# [[Communications and Consensus]]
# [[Preventing and Managing Burnout]]
# [[Gathering Info/Building Enthusiasm]]
# [[Planning an In-Person Meetup]]
# [[Setting Up Year-Round Meetings]]
# [[Planning Virtual Meetings and Webinars]]
# [[Talking and Writing]]
# [[Organizing and Sharing Your Work]]
# [[In a Nutshell]]

Planning Virtual Meetings and Webinars

2021-09-09T15:45:36Z

Gayle: /* Presenting */

[[File:Organizing-with-DLF.png|thumb]]
This section of the [[About DLF and the Organizers' Toolkit|DLF Organizers' Toolkit]] provides general guidelines for presenting and/or hosting an online meeting or educational experience. It was originally created in 2017 by '''Library & Archives Consultant [https://joymbanksconsulting.wordpress.com/ Joy M. Banks, MSLS],''' as part of the [https://www.clir.org/hiddencollections/sahc CLIR Strategies for Advancing Hidden Collections project (SAHC)]. More resources related to that project, which was funded by The Andrew W. Mellon Foundation, can be found in the [https://wiki.diglib.org/Strategies_for_Advancing_Hidden_Collections SAHC Resource Library].

== Formats ==
In today’s online environment, the possibilities for virtual learning are nearly limitless. From Facebook Live to Adobe Connect, choosing the right platform may be challenging. Careful consideration of content and goals will help guide you to the right platform.

=== Casual v. Formal ===
There is a significant difference between the platform needs for a gathering of colleagues casually chatting about something and a professional presentation of ideas to a large group. The former requires minimal technology, and the latter likely requires a much more robust system.

For the '''causal''' experience, consider basic VOIP conference lines, Skype group, Google Hangouts, and the like.

* Do you actually need to see a screen or is voice access enough?
* Will everyone be able to participate via audio connections or will some need a chat feature?
* Will everyone be able to use their computer for audio or will a phone line be necessary?
* Consider the time of day for the meetup. If during work hours, some may not have access to platforms that require any sort of download. If after work hours, some may not have access to robust internet connections.
* Talk to your group, and find out what works best for you.

For the '''formal''' experience, consider more robust platforms that allow for greater flexibility such as UberConference (DLF maintains a [[Setting Up Year-Round Meetings#DLF Web.2FPhone Conferencing Support|Pro account]]), Adobe Connect, GoToMeeting, and the like.
* Will you need the ability to screen share, chat, and file share?
* Will your participants need to access audio via VOIP, computer, and/or phone audio connections?
* Will your presenters need training on the platform in advance?
* Even in the most robust systems, there is value in keeping things simple so that participants can focus on the content rather than the platform.

=== Collaborative v. Lecture ===
While most educators agree that engaged learning is the best educational model, there is still value in lecture for presenting certain types of information. Recreating lecture in a virtual environment is relatively easy. Virtual collaboration can be a bit more challenging.

If you need a '''collaborative''' online environment:
* Limit the size of your group. The larger the group, the more difficult collaboration can be. Some web conferencing platforms allow breaking into groups, but be sure to test the feature before the meeting so you understand how it works for everyone.
* Consider creating large chat spaces to allow contribution even if someone is unable to participate via audio connection.
* Combine technologies. Using a conference line and a collaborative work space such as GoogleDocs can allow live feedback and tracking when working together on a project.

When presenting information in a '''lecture''' environment:
* It’s still important to create an interactive environment. Allow a way for participants to ask questions and engage with the presenter and other attendees.
* Intersperse lecture with engagement. Create chat opportunities that allow an exchange of ideas. Give participants a way to stretch their brain with simple activities like polls or sharing reactions.

=== Meeting v. Learning ===
You may think that planning an online meeting is as simple as sending out a link for people to join, but the best online meeting planners follow many of the same best practices as virtual learning.

If you are planning a '''meeting''', consider the following:
* Have a detailed agenda including time estimates for each part of the discussion. This will not only keep everyone on track during the meeting but also allow participants to plan ahead to enter and leave the meeting if needed.
* Keep in mind if everyone in the meeting will have access to an audio line and/or any thing you put on the screen. Those who may only be able to hear the meeting will need to have verbal descriptions of anything on the screen and have any chat discussions summarized for them. Those who will be unable to participate with a microphone will need to have access to chat.
* Since time is crucial when meeting online, distribute any documents to be discussed in advance so participants can review them. This will allow more meaningful discussions when everyone is together.

If you are interested in creating a '''learning''' environment:
* Planning should begin far in advance of the date of presentation.
* A more robust virtual platform is often necessary to create an engaging learning experience for everyone.
* For more details on planning a virtual learning experience, see the [[Planning Virtual Meetings and Webinars#Hosts|Hosts]] section of this handbook and check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] listed below.

=== Recorded v. Live ===
The experience of a live virtual event will be much different than a recorded one. Perhaps you decide to focus on one or the other or create a learning experience that uses both.

If you are recording a '''live''' presentation for use later:
* Be sure that you designate someone to start and end the recording.
* Have a plan for storage of the recording. Where will it live? Who will have access? Will editing be necessary? How long will you provide access?
* If possible, mark on the live script sections that will be cut from the recording to make editing easier.
* Recognize that not all activities of a live event can be recreated for someone listening to a recording.

It’s OK if you only offer something live. Everyone may not be able to attend, but that is the nature of life. Provide ample notice of the event (or purposely plan a pop-up event), and those who are more interested will attend.

If you plan to only provide a '''recorded''' presentation:
* Follow best practices for presentation and consider how you will engage your audience if the content is educational.
* Plan for a way that viewers can ask questions or provide feedback whether through your email, a specific Twitter hashtag you can track, a GoogleForm, or some other means.
* Be sure you have all of the necessary software and hardware to make a quality recording and determine in advance where the recording will live.
* Consider including your script as captions in the recording to offer an additional way users can access the materials.

=== Audio v. Video ===
For some virtual experiences, audio may be sufficient but sometimes, in order to build trust or a team spirit, video can help.

When thinking about '''audio''' only:
* Audio only options often require less robust systems and can often be accessed through a phone line without the need for a computer.
* This can be great for a simple conference call with a small group of individuals already familiar with each other.
* For those who are visual learners, be sure to supply any documents to be discussed in advance so everyone can follow the conversation.

When thinking about '''video''' options:
* Remember everyone may not have access to a webcam. Will participants still be able to participate another way?
* Video includes screen sharing, not just webcam sharing. Sometimes it is valuable to be able to visually share documents or other information.
* If you expect everyone to participate through video, give advance notice so no one is surprised.

== Speakers ==
=== Virtual v. Face to Face ===
While webinars have many similarities with standard F2F presentations, those presenting webinars must be aware of several distinct differences:

'''Your audience is not in the same room''' - Unless you are participating in an online video chat that includes participant video, you will not be able to gauge your audience’s non-verbal response to your presentation. For anyone who has relied on eye contact, body language, and other visual signs to make adjustments to a presentation, the format of a webinar can be a bit uncomfortable.

'''Solution''':
* ''Create engaging chats'' - Think of these as opportunities for participants to stretch their brain. Encourage participants to get to know each other before the session starts. Set aside a 60 second chat blitz as a way to quickly participate in the webinar. Ask participants for suggestions and ideas that have worked in real life.
* ''Ask questions to boost active participation'' - When using a question to start a chat, be sure it is open enough to engage participants. Questions with one word answers are best left to polls and blitz activities. It’s ok to consider phrasing that will lead participants where you want them to go in their thinking. In a webinar geared towards higher level engagement, allow participants to share their experiences, good or bad, as a way to enrich the content of your presentation. Setting time limits will encourage people to contribute without waiting and also allow a distinct end point to move the webinar forward if needed.
* ''Embed polls and other simple activities'' - Polls are a quick and easy way to gauge your audience before and during a webinar. Questions can be about the participants or the content of the webinar. Choose simple questions with distinct responses. Depending on the webinar platform, you may also have the ability to allow participants to draw on the screen, add quick responses to a chat box, raise their hand virtually, share reaction emojis, etc. All of these activities break up the content of your talk and refocus the group.

'''Timing is essential''' - Webinars will have set start and end times that often cannot be adjusted. You may be asked to login to the webinar system early and perhaps end early (i.e., before you’re ready to stop talking) if the end time approaches. Because of this, reading from a script is often recommended to avoid unexpected timing issues.

'''Solution''':
* ''Practice, practice, practice'' - Read your script and make sure the text flows as well verbally as it does in writing. Plan your timing with a slower voice and enunciated speech. During the live event, you will likely speak faster than when you practiced.
* ''Add buffers to account for discussions that may run long'' - While you will be asked to plan how long discussions will last, you may find participants are highly engaged during a certain time. Plan ahead to allow buffers in your presentation content to allow for engaged participation (keeping in mind, though, that all good things must eventually come to an end). Mark sections of your script that can be easily cut if needed.

'''Interaction must be carefully crafted''' - Most webinar platforms allow for some interaction between the speaker and audience as well as between attendees. The most successful virtual engagement activities are not something you can do effectively on the fly. Careful planning (and testing) of interactive activities will help create a dynamic learning environment that will help all participants engage with the educational content.

'''Solution''':
* ''Plan ahead and test everything'' - Work closely with your webinar host to assure that everything is in place and functional prior to the live date. Set up any polls. Practice chat sessions. Test your ideas with several people on various devices. Leave nothing to chance but always remain flexible.

'''Not everyone will be participating in the same way''' - Even in the smallest virtual settings, not everyone will have access to the full webinar experience. Some may only be able to participate through the audio. Others may not have access to a microphone. Be considerate of any accessibility limitations.

'''Solution''':
* Repeat any questions or thoughtful comments that are typed in the chat box so everyone has access to the content.
* Describe verbally any important visual aids.
* Enunciation not only helps participants hear you better, but it also helps any transcription of your speech for captioning. Speaking too fast will jumble your words both through audio and captioning technology.
* Try to avoid experiences which will require a very high internet speed connection.
* Will the session be recorded? Consider how what you do live will translate to a recorded viewing experience.

=== Delivering an Engaging Virtual Presentation ===
* Start with a brief bio, usually presented by the host/moderator. Include details other than the mundane that will engage your audience and connect them more personally to you. Your bio will also serve to show why you are qualified to present the content of the webinar and establish you as an expert.
* Include an image of yourself. This can be on your slide template or, if possible, as a video feed (even if only briefly).
* Depending on the form of your webinar, plan to have an activity every 15-20 minutes or so to re-engage your audience and avoid long periods of lecture. These can be directed chats, polls, blitz chats, or Q&A sessions. Some webinars may require a large amount of lecture due to the depth of the topic. In those cases, consider breaking up sessions into a series to allow greater interaction.
* Remember to smile when you speak (which feels strange if you are alone in a room somewhere). When you are smiling, your words tend to be clearer and your tone is more welcoming. This will also help you avoid extreme changes in your volume (e.g., starting a sentence with power and fading off as your sentence ends).
* Before your webinar, practice your script and record it. Listen to your recording and try to adjust any bad habits. Try to avoid “um”, “so”, and other speech fillers. Listen for habits like starting loud and fading off at the end of a sentence. Practice your breathing so it sounds natural. Presenting is different than natural speech, so the extra practice and self-evaluation will help you deliver a clear presentation to your audience.
* Consider framing your presentation using the rule of three. Begin by telling your audience what they will hear (perhaps having three points or sections), tell them those points, and end by summarizing what they heard. The number of main ideas you will effectively be able to share depends on the length of time you have. Avoid trying to cram too much into too short a time slot. Better to share less content of a higher quality. While many sources suggest listeners have a 5-10 minute attention span, framing your content to the highest denominator of [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 18-20 minutes] will likely produce higher quality content.
* Even in an online environment, you might encourage your audience to set aside distractions during the session: turn off cell phones, don’t check email, hang a sign on your door, and truly focus on the content. These simple steps will help everyone have a better webinar experience.
* Insert humor throughout your presentation. Tell an appropriate, personal funny story, but keep it succinct and relevant. If you are speaking on a particular topic but you lack a personally relevant experience, consider gathering stories before the event, either from registered participants or colleagues (and always seek permission to share!).
* Relax, be sure to have a cup of water, and enjoy the experience.

== Hosts ==
=== General Tips ===
For Virtual '''Business Meetings''':
* Try to limit the meeting to one hour.
* If a recurring meeting, set the time and day well in advance so everyone can mark their calendars and set aside time for the meeting. Everyone will appreciate not having to do a poll every month to schedule a meeting time.
* Allow a few minutes at the beginning and/or end for watercooler talk. Encourage those who want to catch up to arrive early or plan to stay a few minutes later (depending on whether or not you can stay in the virtual space).
* Don’t assume that everyone knows each other. Do introductions if necessary, and, if taking minutes, be sure the secretary feels comfortable enough to speak up if it’s unclear who is speaking. While some platforms identify the speaker, that often relies on the participant to enter their name and/or an individual passcode.
* Check in each meeting to see how everyone is participating. Some may only have chat (if available), some may only have audio (if you’ve also set up screen sharing). Repeat questions and describe what’s going on so everyone stays engaged.
* Will the meeting need to be recorded? If so,
** Where will the recording live and how will members access it?
** Will there be usage restrictions based on the content of the meeting?

For Virtual '''Educational Webinars''':
* Most online learning experiences should last no more than ninety minutes.
* Plan ahead if you would like to charge attendees. You’ll need a way to accept payment in addition to tracking registration.
* Most webinar platforms will require some level of training so that presenters and hosts are familiar with the features.
* Wired internet is always preferred for speakers and hosts to avoid delivery glitches. Make this clear from the beginning of planning.
* Will the webinar be recorded? If the answer is yes, consider:
** Where will the recordings live and how long they will need to last?
** Will you need to edit the recordings or be able to post as is?
** Will the recording need to capture the entire webinar environment or just the presentation slides?
** How will the experience differ for those who view the recording?
** Will captioning need to be added to the recording?

=== Planning ===
Planning a virtual webinar or meeting begins in much the same way as a face to face event: Choose a topic, find a speaker, and set a date (not necessarily always in that order). Additionally, hosts also need to consider how communication will occur, especially since everyone is likely dispersed, and how registration will be handled.

Jump to: [[Planning Virtual Meetings and Webinars#Choosing a Topic|Choosing a Topic]] | [[Planning Virtual Meetings and Webinars#Finding a Speaker|Finding a Speaker]] | [[Planning Virtual Meetings and Webinars#Setting a Date|Setting a Date]] | [[Planning Virtual Meetings and Webinars#Communication|Communication]] | [[Planning Virtual Meetings and Webinars#Registration|Registration]]

==== Choosing a Topic ====
If you are hosting a '''business meeting''', your topic will be the items on your agenda. Be sure to supply the agenda and any documents for review at least one week prior to the meeting.

Selecting a topic for a '''webinar''' can be a bit more involved. Perhaps your team has recently completed a project, and you would like to share the results with a larger audience. Or you recently attended an in-person meeting, heard a great speaker, and think the session should be captured for further distribution. Regardless of the idea, here are some tips:
* Make sure the topic hasn’t been covered sufficiently elsewhere.
* Some topics may be stand alone (a conference summary, an introductory session, etc.) while other ideas may lend themselves to serial delivery. Series may occur weekly, monthly, or at some other set interval. A few more thoughts on series:
** Webinars in a series should have a common theme, but don’t necessarily need to build directly from each other. For example, you could plan a series focusing on how individual institutions are tackling a particular problem, highlighting a new institution each month. This can be marketed as a series, but doesn’t require participants to attend all sessions. Alternatively, a series may also be developed to tackle a complex topic with sessions building on each other. Attendees would be expected to attend all sessions (to the best of their ability).
** There is no set amount of sessions a series must contain: some may be as little as two and some may last for years (though, [[Planning Virtual Meetings and Webinars#Assessing|assessment]] of long-term series is important to determine continued viability and relevance).
** A highly effective way to create a cohesive feel between the sessions is to create a uniform presentation template and/or classroom setup.
** When multiple speakers are involved in a series, be sure to facilitate engagement and conversation to encourage unity in the topics and refer to the other parts in the series. Slack and other collaborative software can be useful tools in this process.
* All webinars should have a clear scope, including objectives and outcomes, so that those interested will know what to expect during the event. Developing these will also help hosts determine if the topic is too broad for an individual session so that the scope can either be condensed to fit the time or expanded into a series.

==== Finding a Speaker ====
As host for a '''business meeting''', you will likely do most of the speaking. If others will need to speak or give reports, provide them with advance notice of that expectation so they are prepared. You may need to manage the audio using the mute feature for those in the virtual meeting space to avoid background noise and other distractions.

When considering a speaker for a '''webinar''', first explore your own professional network and associations. You may have someone in your own network who is a perfect candidate to cover the topic. If not, gradually expand your search and reach out to others for recommendations.
Be sure you have answers to the following:
* Will the speaker be reimbursed?
* How much time do you anticipate the speaker will invest in the planning, practicing, and presenting of the webinar?
* Has the potential speaker delivered a webinar before? If not, how much additional time are you willing to invest to coach the speaker though the process?
* Speakers will likely expect at least a general idea of the date and time for the webinar as well as the webinar length broken down so they are clear on how long they will be expected to speak.
* When communicating with your speaker, be sure to explain your expectations for accessibility (e.g., adding [https://support.office.com/en-us/article/Add-alternative-text-to-a-shape-picture-chart-table-SmartArt-graphic-or-other-object-44989b2a-903c-4d9a-b742-6a75b451c669 Alt Text for images] in a PowerPoint) at the beginning of the planning process to allow ample time for testing, if needed.

==== Setting a Date ====
The DLF Wiki has some excellent suggestions on setting a date and time in the [[Setting Up Year-Round Meetings]] section of their Organizers’ Toolkit. As mentioned above, recurring meetings or webinars are best planned in advance (e.g., the second Tuesday of every month at 2pm ET). A simple poll can make this process straightforward. Remember time zone differences, especially for meetings, and communicate any changes or cancellations well in advance.

If you are using a shared conferencing or online learning platform, be sure to document and mark your scheduled events in the appropriate way so that others do not plan an event at the same time. There’s nothing quite as awkward as walking in on another meeting when you expected the line to yourself.

==== Communication ====
With so many ways to communicate, this may be the most overwhelming element of the planning process. It is critical to have accurate contact information for all involved, whether for a business meeting or webinar.
* Using a platform like Slack can allow collaboration in planning, though be sure that everyone is familiar with the features.
* Email works well for critical information, but only if everyone checks the email address provided.
* When all else fails, phone calls may be in order to be sure that those parties involved are understanding your expectations and their responsibilities.
Be willing to communicate a number of different ways to encourage the highest level of participation. Also, be sure that those with whom you are working can communicate their own issues with you so that you can solve problems before they become significant issues.

Another aspect of communication for the host or planner involves continued conversation between meetings, series offerings, or after a webinar ends.
* '''Between Meetings''' - If the group attending the meeting stays mostly the same, consider establishing a Slack Channel or other collaborative platform on which participants can contribute information relevant to the group between official meetings. This is also a great way to set up a watercooler space to share personal updates.
* '''Between Series''' - Consider encouraging assigned reading selections or video viewings with a designated check in time and place where participants can provide feedback and additional thoughts on an issue. Participation in the continued conversation can be part of a certification process that participants receive after completion of the program.
* '''After the Webinar''' - When presenting a webinar, collecting registrant information is important to engage new audience members with your group. Consider sending a tailored welcome message to anyone not already subscribed to your services. Sign them up for your newsletter. Invite them to your group chat page. Send a quick follow-up survey several months later to see how they are applying what they learn. Remember, though, to always allow them to opt out of future communications.

==== Registration ====
When planning a '''business meeting''', registration is probably unnecessary. You will, however, need to supply the login information to those who need to attend the meeting. This could be a URL or a phone number and may include a passcode for your specific meeting. Encourage anyone unable to attend to communicate that information in a timely manner in case there are matters that need a quorum.

As host, you can choose a variety of ways to approach registration for '''webinars'''.
* Advanced registration through the webinar platform - most allow you to collect basic information (name, email, institution) and set caps on registration if necessary. Usually, the system will then send out the information to login to the webinar and, if you set it up, scheduled reminders.
* Advanced registration through alternative means - If you need to collect additional demographic information or payment for participants, using something like SurveyMonkey or a GoogleForm can allow you to customize and analyze registrants. This will require additional work on your part, though, since you will be responsible for distributing login information and reminders.
* No registration - On occasion, you may wish to simply share the link for a scheduled webinar and hope for the best. This can work well for those events where you are unconcerned with reaching any limits that your virtual classroom may have or trust that those who are interested will show up before the limit is reached. Be sure to market your webinar widely enough to generate interest and be flexible with the audience that does attend.

Several tips for registration:
* If you are allowing advanced registration, start promoting and open registration no more than one month prior to the event; two weeks notice is often the most ideal. Any longer notice will often cause a greater no-show rate, especially for free events.
* Allow for about a 20% attrition rate between registrants and attendees. This means if you have a classroom for 100, you may wish to allow 120 to register to allow the greatest attendance.
* If you are not requiring registration, consider in advance how you will communicate any classroom size limits. Typically, rooms open 15 minutes prior to the start of an event, and you will need to be sure the room is closed before that to discourage people from entering early and to allow everyone equal opportunity to enter.

=== Moderating ===
When hosting an online '''meeting''', you will likely control all aspects of the time: controlling the screen, monitoring the agenda, and keeping track of the time. If necessary, appoint a parliamentarian who can help especially with time and keeping the meeting on track.

While educational '''webinars''' can function with just two people (the host/moderator and the speaker), best practices recommend having a third, often silent partner to handle any technical aspects of the session. This can include issues participants have, any tricky transitions during the presentation, and unexpected technical emergencies. Having dedicated technical support means that the host can focus on content and timing issues, and the speaker can simply focus on speaking.

Useful tips for moderating a webinar:
* Create a master script document that includes not only what everyone will say but also blocking for various tasks (e.g., Amy starts recording, Joy stops music, Louise pulls up survey, etc.).
* Have clear time estimates for each stage of the presentation. Be prepared to encourage the speaker to speed up, slow down, or move on when necessary.
* Always have questions on hand to promote conversation if a Q&A time is included at the end.
* After asking a question or prompting participation, slowly count to 10 to allow people to respond.
* Don’t panic if something goes wrong. Technology is difficult to predict, and often you can simply work around the issue.
* Be mindful of the webinar’s level of interactivity for both live participants as well as those who may view a recording later, if applicable.

=== Assessing ===
While most '''business meetings''' won’t need constant assessment, it is important to check in with participants to evaluate how things are working.
* Is everyone able to use the selected platform or should another be tried?
* Are the times still convenient for most involved?
* Does everyone feel like the frequency is sufficient or should that be reevaluated?
* Are the meetings productive or could that use some work?
By encouraging your participants to provide feedback, you’ll soon find the best virtual meeting environment for your group.

Assessment of '''webinars''' is often important for a group to determine not only if that webinar was successful but also what types of webinars should be pursued (if any) in the future. While creating a simple survey is easy enough, getting participants to complete the survey can often be difficult.

When planning assessment, consider the following:
* Encourage participants to complete the survey immediately after the webinar by setting the platform to redirect to the survey when the webinar is ended. You can also provide a link to the survey during the final minutes of the webinar to catch those who may wish to leave early.
* Email participants immediately after the event and perhaps one week later. Use the email point of contact to advertise additional webinars or how participants can get involved with your group.
* Connecting completion of the assessment with distribution of a certificate of completion can often encourage greater participation. (Check out the [[Planning Virtual Meetings and Webinars#Resources|Resources]] section below to learn how to automate the certificate process using Google’s Autocrat add-on).
* When designing the survey, leave ample room for open comments.
* Phrase your survey questions to be neutral. For example, if asking about the quality of the speaker, using a phrase like "The Presenter was knowledgeable" is less leading than "The Presenter was excellent." Allow the survey taker to express their level of agreement.
* Consider carefully which questions are mandatory and which optional.
* Ask for ideas for future programming and whether or not a participant would like to present a future webinar. This helps build programming ideas and a network of professionals.
* Try to make a survey that would take no longer than 5-10 minutes to complete.

[https://www.clir.org/hiddencollections/sahc/sahc_webinar_evaluation_survey Click here] for a pdf of the assessment survey from CLIR [https://www.clir.org/hiddencollections/sahc/webinar1 SAHC's first webinars].

=== Sample Planning Timeline ===
This sample planning timeline gives a sense of the necessary steps to plan a stand alone, virtual, educational webinar. For more planning help, check out the [[Planning Virtual Meetings and Webinars#Planning 2|Planning Resources]] below.

'''2-3 months prior'''
* You have a fantastic idea for a webinar (or perhaps a colleague approaches you with a fascinating idea). The first step is to investigate whether this idea has been adequately covered somewhere else in the vast universe of GLAM educational material.
* You’ve determined that your idea is new and wonderfully useful to the GLAM world. Set a budget: Will you offer compensation to your speaker? Do you need to cover any technology costs? Is this an entirely volunteer based project?
* Reach out to your professional connections and find a dynamic speaker who is an expert on the subject. Or, if you intend to be the speaker, find someone who is able to be your moderator for the event.
* Discuss dates and create a signed agreement so everyone understands the project. When possible, include all dates (e.g., draft due dates, practice session(s), live event, etc.) in the contract. (For example, [https://www.clir.org/hiddencollections/sahc/curriculum-committee-agreement-template click here] for a Microsoft Word Template of CLIR's Curriculum Committee agreement from the SAHC project).
* Discuss basic technology requirements with the speaker now including the need for reliable (preferably wired) internet and a quality headset.

'''1 month prior'''
* Start sharing scripts and slides. Work on timing and discuss any special technology needs. Try to find the right balance between text and images on slides.
* Check on accessibility issues, including, but not limited to, font sizes and Alt text for images. Avoid slide transitions and fly-ins.
* Determine now if the webinar is going to be recorded and what added concerns you need to keep in mind connected to that.
* Determine if there are any supplemental documents that would be useful for participants to have.
* Collect a bio for the speaker.
* Begin setting up the classroom space, if possible, for the webinar environment. Some platforms, like Adobe Connect, allow hosts to set up several templates for meeting rooms (e.g., lobby, presentation, chat, etc.). By having these in place prior to the technical practice for a session, you will save time and give the speaker an idea of the available room configurations. If conducting a series of webinars, you are able to copy the format and settings of an established meeting.

'''1 week prior'''
* Conduct a practice session in the environment that will be used the day of the event. Make sure that internet speeds are excellent (wifi should be avoided), that telephones are available if needed, and that microphones are clear and balanced between the host and speaker.
* Run through all slides, transitions, and activities to make sure that everything displays as expected. Make notes on anything that needs to be adjusted and schedule additional checks if necessary.
* Have a few people participate in this session, if possible, so that font sizes, images, and display can be checked on a variety of devices (PC/Mac, tablet, desktop, laptop, etc.) and the presentation can be evaluated from several perspectives (host, speaker, attendee).
* Assign individuals to tasks. Tasks may include starting and stopping the recording, ending the session, serving as timekeeper for any discussions, and moderating any questions.
* Open registration for the event and share with target audiences.

'''Day of event'''
* Meet at least 30 minutes prior to the time set for opening the classroom (which is usually 15 minutes before the start of the webinar). Allow more time if there are multiple speakers or unresolved technical issues from the practice session.
* Test and balance the microphone levels for anyone who will be speaking during the event.
* Make sure everyone understands their assigned tasks.
* Relax, get some water, and wait for the event.
* Know that you’ve planned a new and wonderfully useful session, open the classroom, and start.

== Resources ==
=== Planning ===
* [http://www.infotoday.com/OnlineSearcher/Articles/Features/Secrets-of-Successful-Webinars-106050.shtml Secrets of Successful Webinars] (Online Searcher, Vol. 39, no. 5, Sept./Oct. 2015) - Includes checklists and tips from Mary Ellen Bates and Cathy Chiba on planning, creating, and hosting successful webinars.
* [https://mebs.files.wordpress.com/2015/06/webinar-planning-checklist.pdf MEB’s Amazing Webinar Checklist and Templates] (pdf) - A tool created by Mary Ellen Bates to help webinar hosts stay organized through the webinar planning and presentation process.

=== Presenting ===
* [https://helpx.adobe.com/adobe-connect/kb/best-practices-hosts-presenters-using.html Adobe Connect Best Practices for Hosts and Presenters] - While specifically designed for Adobe Connect users, this guide offers useful tips for any virtual meeting planner or presenter.
* [https://www.learningsolutionsmag.com/articles/1388/best-practices-deliver-a-great-virtual-training-event Best Practices: Deliver a Great Virtual Training Event] - by Jaqueline Beck, Learning Solutions Magazine, 2014
* [https://www.elearningguild.com/showfile.cfm?id=3159 Best Practices for Delivering Virtual Classroom Training] (pdf) - Randah McKinnie, Sr., eLearning Solutions, 2008 - Focuses on Adobe’s presentation software, but offers suggestions for any virtual classroom environment.
* [https://www.americanexpress.com/us/small-business/openforum/articles/12-strategies-creating-webinar-wows-crowds/ 12 Strategies for Creating a Webinar that Wows Crowds] - by Bruna Martinuzzi of Clarion Enterprises, American Express Open Forum, December 2016
* [https://hbr.org/2015/03/how-to-run-a-great-virtual-meeting How to Run a Great Virtual Meeting] - by Keith Ferrazzi, Harvard Business Review Online, March 27, 2015
* [https://medium.com/the-art-of-keynoting/the-20-minute-rule-for-great-public-speaking-on-attention-spans-and-keeping-focus-7370cf06b636 The 20-Minute Rule for Great Public Speaking--On Attention Spans and Keeping Focus] - by Alf Rehn, Professor and Speaker, The Art of Keynoting, April 11, 2016 - An excellent read on the art of crafting quality presentations
* [http://sixminutes.dlugan.com/speaking-rate/ What is the Average Speaking Rate?] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, Nov. 2012 - An overview to help you calculate your rate of speech (i.e., how quickly you speak) to help you gauge how much content you need for a given time period
* [http://sixminutes.dlugan.com/rule-of-three-speeches-public-speaking/ How to use the Rule of Three in Your Speeches] - by Andrew Dlugan, Six Minutes Speaking and Presentation Skills, May 2009 - An overview of how to apply the aesthetic Rule of Three to speech

=== Accessibility ===
* [http://dor.ca.gov/DisabilityAccessInfo/How-do-I-Plan-Accessible-Presentations-and-Webinars.html How do I plan accessible presentations and webinars?] - A brief resource with links from the California Department of Rehabilitation
* [https://www.fda.gov/AboutFDA/AboutThisWebsite/Accessibility/ucm214503.htm Accessible Web Conferences and Webinar Best Practices] - A guide from the U.S. Food and Drug Administration
* [https://help.blackboard.com/Learn/Instructor/Accessibility/Caption_Video_Content_Best_Practices Best Practice: Captioning Video Content] - a summary resource from Blackboard Help that provides an overview of captioning including basic help for using YouTube to add captions to videos.
* [http://ccacaptioning.org/resources/ Resources: How To's & Best Practices for Closed Captioning] - An extensive list of resources from the [http://ccacaptioning.org/ CCAC] (Collaborative for Communication Access vis Captioning), an advocacy and education group to encourage greater accessibility to content through quality captioning.
* [http://www.3playmedia.com/resources/overview/ 3PlayMedia Resources] - An extensive listing of resources related to captioning and other digital accessibility requirements including related US laws and policies, research reports, white papers, and webinars (recorded and live). [http://www.3playmedia.com/ 3PlayMedia] is a professional captioning service based in Boston, MA.
* [http://bbc.github.io/subtitle-guidelines/ BBC Subtitle Guidelines] - The extensive policy and guidelines from BBC for creating and attaching captions and subtitles to videos. This could provide help with determining fonts, line breaks, and other style assistance as well as other practical information.
* [https://accessibility.blog.gov.uk/2016/09/02/dos-and-donts-on-designing-for-accessibility/ The Dos and Don'ts on Designing for Accessibility] - From the Gov.UK blog, these 2016 visual posters designed by Karwai Pun offer clear suggestions and guidelines for designing content for a variety of disabilities and impairments.

=== Resources and Media ===
When using images, videos, and music for virtual learning, carefully consider any restrictions on the media. If you have any doubt over proper use and/or attribution requirements or limitations, contact the owner or licencor of the media. CLIR and DLF are not responsible for any misuse of media obtained from the following sources.

* [http://www.docurated.com/101-free-free-try-online-collaborative-learning-tools-teachers-educators 102 Free (or Free-to-Try) Online Collaborative Learning Tools for Teachers and Educators] - While geared specifically to elementary and secondary education, quite a few of the tools listed could be used and adapted to professional development training experiences.
* [http://edtechteacher.org/tools/research/finding-images/ Finding Public Domain Images for Multimedia Projects] - An extensive list of public domain image sources including a number of government image sources.
* [https://elearningindustry.com/free-stock-photos-sites-for-elearning Free Stock Photos Sites for eLearning] - A listing of sites. Some may require registration and some do have limits to the free use for images.
* [http://freemusicarchive.org/curator/Video/ Free Music Archive (FMA): Music for Video] - A special portal within FMA which pre-screens music contributions for use in video. The search capabilities are robust including basic searches like artist and genre to more specific searches like clip length and license type.
* [https://www.youtube.com/watch?v=L8Z89-q1OnU Create Professional Development Certificates from Google Forms using Autocrat] - YouTube tutorial from Jeffrey Bradbury, Teachercast Podcast (August 11, 2015) showing how to build a certificate using several Google products.
* [https://www.youtube.com/watch?v=vC1Zp-x9bGQ&spfreload=1 Using Autocrat to send personalized PDF certificates via Form Submit] - YouTube tutorial by edtech2020, Tim Chase, May 16, 2013

== Table of Contents ==
# [[About DLF and the Organizers' Toolkit]]
# [[Working with Team DLF]]
# [[Starting a New Initiative or Working Group]]
# [[General Facilitation and Goal-Setting]]
# [[Facilitating for Diversity and Inclusion]]
# [[Communications and Consensus]]
# [[Preventing and Managing Burnout]]
# [[Gathering Info/Building Enthusiasm]]
# [[Planning an In-Person Meetup]]
# [[Setting Up Year-Round Meetings]]
# [[Planning Virtual Meetings and Webinars]]
# [[Talking and Writing]]
# [[Organizing and Sharing Your Work]]
# [[In a Nutshell]]