McKenzie writes that the university raised funds for DesignLab through “a means-tested tuition increase focused on improving undergraduate education.”⁷ This funding comes through as the Madison Initiative for Undergraduates. The original 2010 proposal describing DesignLab and its benefits to the campus is available online.⁸ The proposal also includes an estimated budget based upon the number of teacher assistants. The DML is open in the afternoons seven days a week.

Thanks to having a steady source of funding, DesignLab was able to create several new positions: a faculty director, a staff associate director, and nine teacher assistant design consultants. The nine consultants were hired from various programs across multiple colleges. Their skills include “art, communication, data visualization, design studies, educational media, graphic design, information studies, rhetoric and writing, and videography.”⁹

Marketing of DesignLab is done through traditional student outreach. This means through flyers and social media that students see around and through events on campus. Newer methods include digital kiosks, targeted e-mails, and the library’s Digital Salon exhibition. The Digital Salon is “an exhibition of new media projects.”¹⁰ While representing DesignLab at a school exhibition may not seem that new, the DML having guided many students toward success is a great way to market the consultants’ services.

The main asset in DesignLab is the human kind. Consultants help students plan, design, implement, and evaluate their digital media projects. To help students with this task, the consultants use iMacs. These computers are equipped with Final Cut Pro, video editing software; Adobe Creative Suite, which covers graphic design; and “other common media production software,” writes McKenzie.¹²

Only students of the university are allowed to use DesignLab to work on school-related projects as well as faculty learning how to integrate digital media into their curriculum. No outside partnerships or commercial ventures are allowed to use the DML’s services. Finally, McKenzie writes that training on copyright is done by the library. Its services “provide training, information, and other resources pertaining to intellectual property, copyright, fair use, and Creative Commons to our consultants and student clients.”¹³

In 2011, the FPL’s new building was opened. The library’s board decided not to utilize the space on the lower level until the purpose of the area could be decided upon. When a DML was decided upon, the library used the remaining $3 million from the library’s building budget for construction. Thanks to this careful planning, Fisher was able to fill the DML with $600,000 worth of equipment.¹⁷

With such a large addition, a new department, Studio Services, was added to the library.

Studio 300 is staffed by seven people. The manager is a full-time position, while six assistants each work 25 hours per week. For his position, Fisher writes that the “Studio Services Manager requires extensive experience in digital media production, computer knowledge, and management experience.”¹⁸

In order to ensure that the eleven rooms are in frequent use, the library has invested in multiple avenues to keep educating the public about Studio 300. These campaigns are promoted across various platforms such as social media, billboards, and print materials. Partnerships with the community get word out about the resources through a variety of channels. For example, the DML participated in a small business expo. However, Fisher says the best publicity comes from word-of-mouth referrals.¹⁹ Patrons share their success stories with their friends and thus drive continuing interest in the space.

Six soundproof rooms make Studio 300 the recording studio of choice for local musicians. Each of the eleven rooms comes fully stocked to support a variety of activities. Sample projects include producing video and audio, creating e-books, and partnering with others locally or at a distance via the group collaboration rooms. The library places no limitations on commercial usage of the DML and, in fact, actively recruits local organizations to use the space because these community groups are “vital to our continued success.”²⁰

Aside from special studios, over a dozen Mac computers are available for producing media. These computers are not available for general computing. However, the best resource for patrons is the DML’s staff. Each person is a subject specialist in digital content creation. Information about staff and equipment, a must-see photo tour, and more are available on Studio 300’s blog.

Studio 300 Blog

http://fplstudio300.wordpress.com

Patrons are required to fill out a waiver whenever they use the rooms or check out equipment. Fisher writes that this “reminds me of their responsibilities per our policies.”²¹ The mandatory orientation also includes information about copyright infringement. Patrons are expected to respect copyright and staff “will not provide assistance to patrons who blatantly attempt to circumvent copyright.”²² As a secondary reminder, notices are attached to any equipment that could be manipulated to get around copyright (e.g., analog-to-digital conversion). A full list of policies related to Studio 300 is available online.²³

Like Studio 300, the Bubbler’s Media Lab was funded using money raised for the Central Library’s renovation project. The entire Bubbler program received a $25,000 grant in 2013 from the National Endowment for the Arts.²⁸ As part of this grant, the library was required to raise another $25,000 to match the award. Additional funding for the Bubbler is provided through BMO Harris Bank.²⁹

For the DML portion of the Bubbler, one full-time employee was hired. Nate Clark holds a “degree in media production and a professional background in video game production.”³⁰ Volunteers are sought to help with drop-in hours and workshops. An ideal volunteer will also have experience in a digital media skill. Additionally, library practicum students may help as they learn about digital media in libraries.³¹

While the entire Bubbler program has a number of partners and experts helping lead programs, the Media Lab works with WYOU, a local public access channel. Through this collaboration, the DML is able “to coordinate special projects and some volunteers.”³²

The Bubbler is so popular with locals that many patrons find their way to the DML thanks to word of mouth. Otherwise, the Media Lab relies on traditional web channels such as the main library website and social media accounts.

The Media Lab supports both individual workstations and a group classroom setting. Aside from computers and a sound booth, animation tools are supplied using iPads and lightboxes. The software for animation is Stop Motion Studio (an iPad app) and iMovie. The game design computer hosts the Unreal Engine software. Additionally, a wide variety of camcorders can use the green screen or be mounted for users on the go. Miller writes that the most popular pieces of equipment are the “Stop Motion Animation Studios and the Digital Creation PCs.”³⁴

Stop Motion Studio

https://itunes.apple.com/us/app/stop-motion-studio/id441651297?mt=8

Unreal Engine

https://www.unrealengine.com

Since the Media Lab is so teen-friendly and the space is continuously staffed, no liability forms are necessary. The only rule is that children under the age of thirteen must be accompanied by an adult. Likewise, since the Bubbler thrives on creative partnerships within the community, it places no limits on commercial ventures using the equipment. Copyright is discussed during classes, but otherwise is addressed only on a “case-by-case basis during open labs,” Miller writes.³⁵ With this open environment, the Media Lab remains a popular and thriving location for the creative members of the Madison community.

Since ImaginOn was dreamed up so many years in advance, Studio i was built at the same time as the rest of the building between 2003 and 2005. This was ahead of the curve for DMLs in library-related spaces: many DMLs in this report were built only in recent years. The original equipment was furnished “by a Technology Opportunities Program grant (TOP), and a North Carolina state grant for technology.”³⁹ Later on, a sound booth was added using “gift funds and money from an honorarium for the creation of the CSLP 2007 Teen Summer Reading PSA.”⁴⁰

Six library staff members supervise Studio i. These staff members usually work one to two shifts per week in addition to their normal duties. When field-trip tours come through, a library staff member will accompany the group. Staff members take turns with these patrons. Since the intern program has been such a success, a pair of teen interns are occasionally allowed to watch the room without library staff present. At this point in the internship, the teens are experienced and have shown themselves to be competent with patrons and the equipment.

As a joint venture, Studio i has multiple community partnerships. By working with local experts, teens and groups get to capitalize on the resources of the DML. Czarnecki and Kyle explain it best:

John Lemmon Films (www.jlf.com) is a local animation production studio. The owner of the company, John, helped design Studio i and has worked with ImaginOn since. He has spoken at state and national conferences including PLA about the DML and always sends educators our way when they inquire with him about animation or filmmaking.

The Children’s Theatre of Charlotte (CTC) (www.ctcharlotte.org) is the other organization that makes up what is ImaginOn, along with the Charlotte Mecklenburg Library. Students in acting classes use the Studio to record their audition segments. Teachers from CTC give workshops on public speaking or how to talk in front of a microphone for our radio podcast program. Tech engineers have held workshops to demonstrate lighting and sound effects. Equipment in the theatre is often used as a part of a production whether it be to create effects for shadow puppets or to add films as part of the show.

Charlotte Mecklenburg Schools (CMS) (www.cms.k12.nc.us/) is the public school system for the county. While all groups are certainly served including homeschoolers, charter schools, other organizations, or even out of town guests, the bulk of group visits come from CMS. Teachers share information with their students about the intern program as well as organize their class projects around using the Studio. One visit, a science teacher had her students record raps in the sound booth about the concepts they were learning in class!

Our Turn it Up Teen Radio (TIU) program is run out of Studio i. Our main partnerships for this program include WFAE, a local NPR affiliate, the Carolina School of Broadcasting (www.csbradiotv.edu/), and the Connecticut School of Broadcasting (www.gocsb.com). They give workshops each term on information such as interviewing on the radio, writing a segment, recording, and editing.⁴¹

New users often hear about the DML through word of mouth. These users in turn help create further awareness by creating videos, which are then uploaded to Studio i’s YouTube channel. Teens then share the videos with friends, who begin the cycle again of bringing new users to the DML. Additional marketing is done through other social media channels run by the library and through posters located throughout the library system. These posters highlight how Studio i can help a teen compete in a national contest.

Studio i YouTube channel

https://www.youtube.com/PLCMCteens

Teens love capturing their own stories. Using GarageBand, the teens record themselves rapping in the sound recording booth. In the other rooms, the teens film in front of the blue screen in the Pinnacle Studio. Meanwhile, materials used to create animated films range from paper to clay. A selection of teen animated films was made using markers on a whiteboard. These videos can be seen on Studio i’s YouTube channel.

Yet even creative teens sometimes push boundaries in their projects and need behavioral limits. These boundaries are generally related to what lyrics are appropriate to record and how many people can be in the sound booth at once. Teens check in with staff so they can be held accountable in case of damage to the equipment.

Discussions about respecting copyright comes up only as needed. Czarnecki and Kyle write, “We find it helps not to be overly protective of copyright infringement but at the same time not to pretend it doesn’t exist and that it can present very serious issues if it’s disregarded.”⁴⁴ Teens are encouraged to follow copyright law and also think of how to address the limitations in their work.

As far as how Studio i can be used, commercial ventures are not allowed in the space. However, staff are open to looking at a proposal on a case-by-case basis. There was a time that someone withheld information that their project was for a commercial venture, but by the time of discovery, “The project was already underway.”⁴⁵

The LSTA grant won by the library provided nearly two years’ worth of support for the DML. In 2013, Arredondo applied for and received two more grants. One $15,000 grant was for an iPad Mini program so teens can document their lives in Tulare County. The other, from the Best Buy Foundation, was for $10,000 to add more equipment to the DML.⁵³ The day-to-day funding to purchase ink and art supplies is provided by the library. Additionally, a MiFi was bought to bring WiFi access to the teens so they do not “have to compete with other library patrons for the Library’s WiFi,” Arredondo writes.⁵⁴

Only one staff member, Arredondo, runs the DML. Her reference desk colleagues, she writes, “[support] the project by working the reference desk and freeing up the teen library staff to be off desk and run the program.”⁵⁵ No other volunteers assist, though the summer reading program was created by the Teen Advisory Group (TAG). The teens that volunteer for TAG help plan some of the programs that are run using the DML’s equipment.

At this time, because the DML is funded by grants, there are no community partnerships. Marketing is done through the library’s marketing team. The DML appears as a program on the library’s event calendar. Arredondo notes, “It goes on hiatus at times like all library programming” when she is unavailable to staff it.⁵⁶

With the laid-back attitude of the library, teens are free to use the equipment in the DML for their own purposes. The equipment includes MacBook Pros, Photoshop, and Final Cut Pro. Teens use these tools to help with homework or work on TAG programs. When the DML is not being operated, teens are able to use the laptops for an after-school program called Study Hall. Creative uses include designing book covers, recording songs, and making book trailers. Teens are also welcome to browse the web since so many do not have access to the Internet at home.

In keeping with the library’s hands-off approach, there are no liability forms. As Arredondo says, “We trust the teens to be responsible.”⁶⁰ However, since the library needs to apply for grant funding, photo release waivers need to be signed so the DML can be promoted.

Finally, copyright concerns were addressed with the teens when the DML first started. Teens were taught how to access copyright-free and Creative Commons materials, which they can use for free in their projects. This action has taught the teens how to be respectful members of the digital community.