Digital Asset Management at WGBH Amy Rantanen

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  • 1. Digital Asset Management at WGBH Amy Rantanen Director, Information Technology and Asset Management Systems Page 1
  • 2. Agenda • Digital Asset Management Defined • WGBH Corporate, Content and Group Goals • WGBH/Sun Partnership • Digital Asset Management Reference Architecture • Target Vertical Markets • Customer Benefits • Center for Digital Asset Management at WGBH, an iForcesm Solution Center • WGBH Workload • Digital Asset Management’s Future • Summary Here’s what I plan to cover today. Page 2
  • 3. The process of effectively organizing and using the content we create is called: “Digital Asset Management” The video about WGBH you just saw showed you the legacy of the content WGBH has produced over the past 50 years - our institutional dowry. Digital asset management is the means by which WGBH will manage, preserve and leverage that content across multiple distribution platforms. Digital asset management, often abbreviated by the letters DAM, is a specialized database for collecting, managing and distributing rich media assets from a centralized repository, as well as automating many labor-intensive tasks associated with reusing or repurposing pre-existing content, for distribution across any platform.” Michael Moon, from the company GISTICS, gave a similar description in the May 2003 CIO Insight publication. Digital assets are stills, graphics, text, video and audio, and they can be an entire program or elements thereof. Artifacts include rights contracts, transcripts, and production notes. To facilitate desktop search and retrieval, all materials are described in the system using metadata, which is a standardized label of information about the asset. Page 3
  • 4. WGBH Goals Economize Asset Re-Use: • Streamline production/post-production • Enable storage and preservation of our archival assets even as we migrate to changing media and media formats • Simplify and centralize access to 50 years worth of content • Facilitate new content partnerships Content will be organized, preserved and maintained so that it will be available now and in the future. Page 4
  • 5. Digital Asset Management Content Goals • Realize the maximum value of the editorial content you create and acquire! • Content will be organized, preserved and maintained so that it will be available now and in the future Page 5
  • 6. Targeted Group Goals • Producers will have access to all content created by all productions at any time, after its release • Educational users should be able to access editorial content • General users should be able to access editorial content • Enable collaboration • Producers • Support consistent content for broadcast, distribution, publicity, and promotion • Simplify access • Facilitate concurrent production for various media by various production teams • Educational users • Include information in a variety of formats— streaming video from the broadcast series and selected outtakes including interviews and interview transcripts, animation, archival and field photographs gathered during production, as well as excerpts from significant print sources (articles, books, journals) used in research for our series. • General users • On a variety of delivery platforms • At user-specified levels of quality • In a user-specified format • At a user-specified time Build distribution efficiency so material can reach users through the Internet, broadband, & DTV. If you look at the proliferation of personal viewing and listening devices (mp3, PDAs, Tivo) it’s “All about Me!” Page 6
  • 7. WGBH/Sun Partnership • WGBH Selects Artesia TEAMS – DAM Software provider selected • WGBH Develops Metadata Model – Multi-year effort • Sun Services Project Inception – Eight week phase duration – April – May 2002 • WGBH/Sun/Artesia/Sony Elaboration – Sixteen plus week phase duration – August 2002 – January 2003 The Reference Architecture evolved from WGBH’s relationship with Sun; WGBH had a need, and went to Sun Professional Services. The reference architecture grew from Sun’s responsiveness to WGBH’s specific needs. Sun had the infrastructure; WGBH provided intellectual property and experience on the broadcast side, which helped developed the first Reference Architecture to handle high bandwidth video. Page 7
  • 8. The Digital Asset Management Reference Architecture Provides a robust test suite, as well as a loading, balancing and scaling documentation which defines the range of component and system test procedures that were used to benchmark the reference system. The digital asset management end-to-end reference architecture is an innovative hardware and software solution developed by WGBH and its technology partners, that provides multimedia- focused businesses and other vertical industries with a comprehensive specification for the design and deployment of a complete content management system, enabling the transformation of legacy platforms into next-generation digital asset management systems. The reference architecture is the first of its kind to handle high-bandwidth video. Our objectives in collaborating with our technology partners to develop the first digital asset management reference architecture for multimedia-focused businesses and other vertical industries, are to: ßEnsure the current and future integration of best-of-breed vendors, whose product development has met WGBH’s needs, and will meet the requirements of many. ßProvide a comprehensive, thoroughly tested, open-standards system so that specific components can be traded out without breaking the existing architecture ßEnsure alignment in the public broadcasting system, with major national and regional projects, and with other member stations. Page 8
  • 9. This is the reference architecture for broadcast and cable. In the following slides, first I’ll show you the components of it that we’ve completed, then I’ll show you how the reference architecture works for other vertical industries beyond broadcast and cable. Page 9
  • 10. Storage Installation & Configuration: - Online, Nearline complete - Offline (In Process) - “Tuned” for hi-performance R/W of large files Page 10
  • 11. Integrate Metadata Model - Add WGBH Metadata Model to Artesia TEAMS - Tested with ~500,000 records Page 11
  • 12. Video Asset Infrastructure - Ingest DV and SDI Video (25 and 270Mbs) - Log asset (capture key frames with Virage) - Create proxy (MPEG-4) - Wrap with QuickTIme - Deliver proxy to “desktop” - Deliver essence to “desktop” - Select a “chunk” of proxy or essence and deliver to “desktop” Page 12
  • 13. Non-Linear Editing Integration - Final Cut Pro - Avid - API’s to provide additional functionality to complete effort Page 13
  • 14. Transcode Proof-of-Concept - Integration of Telestream Flip Factory - Identify other hardware alternatives - Identify open source alternatives Page 14
  • 15. Video Server/Automation Integration - Integration of Harris Automation - Deliver programs through Telestream to GVG Page 15
  • 16. For Rich Media & Broadcast Page 16
  • 17. Target Vertical Markets for Digital Asset Management • Multimedia and Broadcast • Rich Media Education/Publishing • Rich Media for Web • Research Education/Publishing • Web-only Research Education/Publishing • Government The reference architecture aligns with other markets as well; these are just examples. We’ve already met with a government agency in Australia, and the Ministry of Education from Japan and Mexico. We’re a recognized leader in the field, with other public broadcasters ready to follow our lead. Page 17
  • 18. As I mentioned, this diagram represents the components required to handle multi-media for TV and radio broadcast and cable, but the reference architecture’s components can be interchanged to meet the needs of many other different businesses, as you’ll see in the following slides. I want to stress that the reference architecture is not just tied to broadcast and entertainment - it’s layered to accommodate specific verticals. In addition to major motion picture studios and cable networks, examples of other companies implementing digital asset management include Major League Baseball and the NBA, Coca-Cola, Martha Stewart Living Omnimedia, DaimlerChrysler and General Motors, ad agencies and publishing houses. CIO Insight publication noted in its May 2003 issue that companies from finance to pharmaceuticals are getting in on the act. Potential prospect: Any company that can reduce distribution costs for physical content. Page 18
  • 19. This version represents the components required to handle rich media for the education and publishing businesses. As you can see, the components for broadcast traffic automation aren’t required here. Page 19
  • 20. This version represents the components required for rich media for the Web. Page 20
  • 21. As you can see, there’s no need for the traffic automation and editing components. Page 21
  • 22. These are the components needed for Web-only Research, Education, Publishing. Page 22
  • 23. These are the components required for Government. Page 23
  • 24. Reference Architecture What it means to be a customer • Conduit for knowledge transfer • It's free • It's comprehensive and thoroughly tested • It's open so that specific components can be traded out without breaking the existing architecture • Helps with complexity issues, risk and cost reduction • Decision-making is compressed The value of the Reference Architecture to a customer: •Cost avoidance: a lot of professional services have already been completed, so the customer doesn’t need to engage/pay. Knowledge transfer aspect is extremely important to WGBH - and we assume it’s important to other customers. We couldn’t go with a vendor who had to do all the work after - we had to be able to maintain the system after Sun P.S. is gone. It’s a priority for WGBH, and the Reference Architecture provides the opportunity to keep costs down. •Provides the ability to go to market more quickly •Solutions are proven •Vendors who have previously been proprietary now align with open standards, and new versions have to be tested within the Reference Architecture •Limits risk •Lower entry cost Page 24
  • 25. Center for Digital Asset Management at WGBH • Customers see proposed solutions perform using the latest technologies • Allows for integration of best-in-class and vendors of previously proprietary solutions • Prior to purchase, customers can test different products to ensure integration • Customers want to talk with other customers who are dealing with new technologies and associated change management challenges I felt it was important to have an iForce Center for Digital Asset Management here at WGBH to allow us to drive best-in-class vendors’ product development to meet WGBH and other organizations’ needs with a comprehensive, thoroughly tested, open-standards solution. It provides an opportunity for us to test these applications and their integration. We’d have to do the testing on our own, and Sun has provided professional services and equipment. Savings and incremental revenues can be redirected to furthering our mission, or to finding new ways to monetize our digital assets. Because WGBH is a flagship public broadcasting member station, it’s an extension of our mission to help educate. As a customer ourselves, we know that customers want to talk to other customers, and we recognize that we can serve as a source of information for other prospective customers. What we’ve learned, and what I want to share with you today, is the need to understand that the digital asset management reference architecture represents a big customer investment that comes with a long sales cycle. Change management challenges are equal to, if not greater than challenges posed by the advent of new technologies. Page 25
  • 26. WGBH Workload • Archives 10,000 hours of source material per year • An average bit rate of 40 megabits per second = 630 terabytes of ingest • On average, we’d ingest 2 terabytes per day This is how we exercise the Reference Architecture - this is what we’re handling from a content perspective. Page 26
  • 27. Current Tape-Heavy National Production Content Lifecycle and Workflow With inefficiencies and various departments digitizing content as needed, for example publishing program-related content to the Web, departments are waiting for information and content, so there’s a hang-up in workflow. The current workflow consists of many Redundant, Manual, Realtime Processes including: Tape duplication (Dubbing), Content Digitization, and Tape distribution (Shipping). Note: these are all the red icons. A great deal of time in the current workflow is spent performing tasks that do not add value, and performing the same tasks over and over again. A great deal of money in the current workflow is spent on tapes, tape decks, maintenance, shipping, and on coordinating manual processes. The time consuming aspects of the current workflow preclude certain opportunities including: distribution on additional platforms which requires: more editorial/creative work; repackaging of content (interactive TV, DVD, Web, promotion); coordinated marketing of content across distribution channels; and reuse of content (e.g., e-learning). Note: right now, we do what we can afford to do in many of these areas, not necessarily what we prefer to do. Page 27
  • 28. Tapeless National Production Content Lifecycle and Workflow With single digitizing, everyone has access. Collapse of time, how much quicker we can produce content. Customers can increase their efficiency TODAY - digitize once and publish to any format. Rich media is not just for broadcast and entertainment. Facts: Redundant and non-value processes are eliminated. Highly efficient, scalable, reliable, secure system replaces silos. Content and editorial input move in two directions. Content flow across the organization becomes: simultaneous in many directions, and asynchronous (non-serialized, non-linear). In other words, with the proper authorization, creative input to (editorial work on) multiple platforms can occur simultaneously without the overhead of dubbing, shipping, delivering, etc. Other value-added, contemporaneous benefits: We are preserving: catalog information, and hi- resolution and low-resolution versions of the content. This dramatically reduces the cost of reuse and preservation. (no more RE-digitizing). Content reuse, repacking, preservation, is a matter of choice no longer precluded by unknown quantities like "is there anything there?" "how much will it cost to migrate?" "can we get in touch with the person who remembers where we shot that footage?" Going forward, these questions become answerable or anachronistic. There is a new choice, a new opportunity: increase the quantity or the quality of product. Overall we'll do both. In other words, more efficiency means more time. How we choose to spend that time is a choice, because we'll have time, and we'll also have more money, because it won't be wasted on shipping, tape stock, and equipment maintenance, etc. Page 28
  • 29. Efficiencies • Streamline business processes in National Production, National Promotion, and Creative Services • Key benefits from centralized storage and single digitization We need to analyze - and where necessary re-design - our legacy work flows to work more efficiently and effectively We need to recognize that - in the long term - the content we create “belongs” to the Foundation, not to individual projects and departments. At WGBH, our Creative Services department, which is responsible for on-air promotion, will be able to meet an expanding workload without additional resources, such as the ability to provide more radio promos for little additional time and expense beyond what’s already being produced for TV promos. Digital asset management also provides improvements to the workflow efficiency of co-producing with multiple agency production partners. Program producers will be able to decrease Edit Suite use for digitizing; Frontline reports an average of 100-500 hours of low-resolution content per program, and one content hour takes 6 hours to re-digitize, plus 3-4 days for color correction. Production assistants will spend less time researching tapes; they currently spend an average of 7 hours from material request through shuttling through content and batch digitzing. Interns spend 25% of their time looking for tapes. Program producers will be able to electronically ship programs between co- production partners, saving shipping costs: It costs $1500 per program hour to ship from England to WGBH in Boston. Producers in different locations will be able to review the same production content without the time and expense of travel. Centralized storage will allow our National Promotions department to revolutionize program distribution for the press and other publicity/promotional opportunities, by eliminating the need to provide thousands ofprogram copies. Resulting savings are realized in personnel time, tape stock, shipping, and outsourcing charges. Our Archives department will spend less time circulating and re-shelving tapes. As an example, in the two months following September 11, Frontline and Nova’s requests for tapes equaled 10% of all of the previous year’s requests. And, with digital asset management, the content is available 24 hours a day, 7 days Page 29 a week. These are just examples related to the content lifecycle and workflow, and don’t represent the enterprise-wide solution for workflow. All of these efficiencies will help increase revenues from the sale of programs, segments, footage and stills. We can also quote you some industry
  • 30. Summary The Digital Asset Management Reference Architecture prepares WGBH for converging business environments that demand new efficiencies and spawn new roles and business models Page 30
  • 31. Call to Action • Identify your customers who would benefit from digital asset management • Learn about the Digital Asset Management Reference Architecture and the Center for Digital Asset Management at WGBH • Understand the impact of change management in regards to digital asset management and your customers Push digital asset management in your vertical markets - we’ve talked today about how WGBH is preserving its dowry; help your customers preserve theirs. Understanding change management is even more important than recognizing the challenges brought on by new technologies. Page 31
  • 32. Digital Asset Management at WGBH amy_rantanen@wgbh.org daminfo.wgbh.org I hope you’ll feel free to contact me at the e-mail address listed on screen. I also invite you to visit our Web site for digital asset management, where you’ll find more information about WGBH’s digital asset management initiative, this and other presentations, and a wealth of resources such as white papers, and industry articles. Thanks for your time today. Page 32