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BBC DMI Data Model

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The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented …

The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented
using UML Class Modelling diagrams. The model is describing the structure on a class level, but where
possible examples have been added to explain how the structure works.
The current version has not been fully populated with attributes but the required data structures should be in
place.
The model covers all types of media assets, not just linear television programmes. The structure of the
model is supporting Linear Television Programmes, Radio Programmes, Interactive Services, Promotions,
Web Pages, Interstitials and Scripts etc. Several areas will require further analysis; this will be highlighted in
the detail of the document. It is expected that this will be looked at in the detailed design phase.
One of the main focuses of the model is that the asset information should be held separately from
information about the usage of that asset; this will simplify the reuse of the assets, from an information point
of view. The concepts Publishable Asset and Media Asset have been introduced to the model to support this
separation of the data.

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  • 1. Digital Media Initiative (DMI) Digital Media Intiative (DMI) - Project Logical Data Model (PLDM) Version 2.1 Issued to backstage.bbc.co.uk community under a Creative Commons License DMI Project Logical Data Model 1 of 87 DMI Data Model - Backstage.doc
  • 2. Digital Media Initiative (DMI) Document History Version State / Changes Date Author 1.0 Initial creation 10/05/2007 1.1 Updated with more structures 16/05/2007 Updated based on Process and Policy work 1.2 29/05/2007 Updated with full set of diagrams. Updated based on mappings to P4A. 2.0 20/06/2007 Executive Summary also updated. Updated based on mappings to P4A. 2.1 28/06/2007 Updated based on requirements from Process and Policy work More updates from Process and Policy work Mapping to P4A, Infax and MRS Next Stock Management SportsLibrary DMI Project Logical Data Model 2 of 87 DMI Data Model - Backstage.doc
  • 3. Digital Media Initiative (DMI) CONTENTS 1 Executive Summary ............................................................................................................................................................4 2 Introduction ..........................................................................................................................................................................7 3 Reference Data ...................................................................................................................................................................7 4 Overview of Class Model Terminology...............................................................................................................................8 5 Changes since last version.................................................................................................................................................9 5.1 New Classes .................................................................................................................................................................9 5.2 New Attributes...............................................................................................................................................................9 6 Overview of the DMI Project Logical Data Model ............................................................................................................10 6.1 Publishable Asset .......................................................................................................................................................10 6.1.1 Publishable Asset Group..................................................................................................................................12 6.1.2 Publishable Asset Concept and Version .........................................................................................................12 6.1.3 Delivery Requirement .......................................................................................................................................13 6.1.4 Reuse of Versions ............................................................................................................................................15 6.2 Media Asset ................................................................................................................................................................16 6.3 Publishable Asset and Media Asset ..........................................................................................................................16 6.4 Material Instance ........................................................................................................................................................17 6.4.1 Content Location...............................................................................................................................................17 6.4.2 Technical Review..............................................................................................................................................18 6.5 Publication...................................................................................................................................................................18 6.5.1 Slot ....................................................................................................................................................................19 6.6 Usage Restriction .......................................................................................................................................................20 6.7 Contract.......................................................................................................................................................................21 6.7.1 Broadcast Contract ...........................................................................................................................................21 6.8 Contribution.................................................................................................................................................................21 6.9 Residual Rights...........................................................................................................................................................22 6.10 People and Organisations.....................................................................................................................................23 6.11 Stock Management................................................................................................................................................24 6.12 Delivery to Publication ...........................................................................................................................................25 6.13 Copyright Information ............................................................................................................................................26 6.14 Reports/Forms .......................................................................................................................................................27 6.15 Music Reporting .....................................................................................................................................................27 6.15.1 Example 1 .........................................................................................................................................................28 6.15.2 Example 2 .........................................................................................................................................................29 6.15.3 Music Codes .....................................................................................................................................................30 6.16 Compliance ............................................................................................................................................................31 6.16.1 Examples ..........................................................................................................................................................31 6.17 Storage...................................................................................................................................................................32 6.18 Language ...............................................................................................................................................................33 6.19 Production ..............................................................................................................................................................33 6.20 Application..............................................................................................................................................................34 6.21 Indexing..................................................................................................................................................................34 6.21.1 Example ............................................................................................................................................................35 6.22 Audit Trails .............................................................................................................................................................35 6.23 Access Rights ........................................................................................................................................................35 6.23.1 Access to Media ...............................................................................................................................................35 6.23.2 Access to Folders .............................................................................................................................................36 6.24 Requests ................................................................................................................................................................36 6.25 Policies ...................................................................................................................................................................37 APPENDIX 1 – Scenarios .........................................................................................................................................................38 APPENDIX 2 – Diagrams..........................................................................................................................................................42 APPENDIX 3 – Sources ............................................................................................................................................................49 7 Class and Attribute Descriptions ......................................................................................................................................50 DMI Project Logical Data Model 3 of 87 DMI Data Model - Backstage.doc
  • 4. Digital Media Initiative (DMI) 1 Executive Summary The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented using UML Class Modelling diagrams. The model is describing the structure on a class level, but where possible examples have been added to explain how the structure works. The current version has not been fully populated with attributes but the required data structures should be in place. The model covers all types of media assets, not just linear television programmes. The structure of the model is supporting Linear Television Programmes, Radio Programmes, Interactive Services, Promotions, Web Pages, Interstitials and Scripts etc. Several areas will require further analysis; this will be highlighted in the detail of the document. It is expected that this will be looked at in the detailed design phase. One of the main focuses of the model is that the asset information should be held separately from information about the usage of that asset; this will simplify the reuse of the assets, from an information point of view. The concepts Publishable Asset and Media Asset have been introduced to the model to support this separation of the data. Below is a simplified view of the DMI PLDM, showing some of the areas the model touches upon. PUBLISHABLE GROUP RESTRICTIONS RIGHTS CONTRACT PUBLISHABLE ASSET MEDIA ASSET CONTRIBUTORS ASSET PACKAGE MATERIAL INSTANCE STORAGE ACCESS RIGHTS STOCK MANAGEMENT DELIVERY REQUIREMENT PUBLICATION Definitions: Asset Package This represents a bundle of assets (Publishable Assets and Media Assets) intended to be exported/outgested from the DMI system. Access Rights Control of the users access to folders and assets. Contract The contract between Commissioning and Production detailing which Publishable Assets the Production team should deliver and also any terms and conditions related to the Publishable Asset, such as number of transmission bought. Delivery Requirement Defines the delivery requirements for a specific Publishable Asset Version. For example BBC1 required Walking With Dinosaurs to be delivered on 1 x 625 line PAL Digital Betacam videocassette. It may also define any reports, e.g. a “PasC type” report that must be delivered. Publishable Group Any grouping of a Publishable Asset such as Brand, Campaign, Series, Website etc DMI Project Logical Data Model 4 of 87 DMI Data Model - Backstage.doc
  • 5. Digital Media Initiative (DMI) Publishable Asset Represents the usage of an asset, e.g. as a television programme, radio programmes, webpages, interactive streams, interstitials and so on. Publication The publishing of a Publishable Asset, this includes Linear Television, Interactive, Radio and Web. Material Instance The instantiation of a Media Asset. A Media Asset may have several instantiations, e.g. with different compression type (jpeg, mpeg etc) Media Asset An asset produced by Production, this could include any audio, video, stills, data etc. A Media Asset may be used as a Publishable Asset, but other Media Assets, such as rushes, may not be used as a Publishable Asset. The Media Asset will have associated meta data, including details of the rights. Rights Any rights information (copyright information and other rights) associated with the Media Asset. Stock Management Represents data required for Stock Management for the library. Storage The storage unit (e.g. the specific tape or file) for the specified instance of the media asset. Talent Contributors to the asset, e.g. presenter, actor, cameraman etc. Usage Restriction Any restrictions related to the usage of an Asset. Examples include Legal/Litigation and Editorial restrictions. In the current environment all metadata, such as Rights and Talent information, is captured against a scheduled programme, where some information is not captured until post transmission. In DMI, metadata should be captured against the Media Asset, i.e. independent of the usage of the asset. This means less duplication of data, both from a storage perspective, and also the user (e.g. the Production Coordinator) will not need to re-type information that already exists in the system. This will improve the data quality. The main area of the model is surrounding Publishable Asset and Media Asset. The Publishable Asset represents the editorial assets that are commissioned and scheduled. The Media Asset represents assets created by a Production Team, which may at some point represent a Publishable Asset. Information that is only relevant to the usage of an asset, such as episode number, will still be captured against the Publishable Asset. Some documents, such as memos, emails and notes, are not part of the Media Asset Structure on DMI. However, DMI will need to hold a link to any of these documents, on a Publishable Group, Publishable Version and Media Asset level. 1.1.1.1 Examples Below is an example of how Fat Nation, the campaign, would be represented in DMI. Only part of “Fat Nation” is included in this example to keep the example relatively simple. DMI Project Logical Data Model 5 of 87 DMI Data Model - Backstage.doc
  • 6. Digital Media Initiative (DMI) Fat Nation - The Big Challenge Fat Nation Interactive PUBLISHABLE_ASSET_GROUPs Fat Nation Interactive Fat Nation Interactive The Big Challenge Big Challenge Website DTT DSat/DCab Fridge Laundry FridgeLaundry Prog 1 PUBLISHABLE_ASSET_VERSIONs Events Web Page EDA C279H/71 EDA C278N/71 GFG A649X/72 MEDIA_ASSETs Audio/Video Data Audio/Video Concept As Is DMI Fat Nation – The Big Challenge Represents a campaign, but in the current The campaign is represented as a environment there does not seem to be a single Publishable Asset Group, with associations place to find all the “parts” of the Campaign. to all parts of the campaign. The Big Challenge Represents the linear television series/strand The series, grouping of programmes, is (different systems use different terms), which represented on DMI as a Publishable Asset has several programmes/episodes, one of which Group. A Publishable Asset Group may be is called “Prog 1”. associated to other Publishable Asset Groups, which allows for the Series to be associated with the Campaign. Prog 1 Prog 1 is one of the programmes that was part of Prog 1 is represented as a Publishable Asset the series “The Big Challenge”. Version that can be associated to the Publishable Asset Group. Big Challenge Website “Big Challenge Website” represents Websites are represented as Publishable http://www.bbc.co.uk/bigchallenge/ which has Asset Groups. several webpages, one of them being “Events”) Events A webpage at the url Webpages are represented by Publishable (http://www.bbc.co.uk/bigchallenge/ events that Asset Version on DMI. The Publishable is part of the website called “Big Challenge” Asset Version has an association to the Publishable Asset Group it is part of. Fat Nation Interactive “Fat Nation Interactive” represents the interactive The interactive service is represented by the service which was part of the campaign. The Publishable Asset Group. service had two different versions, one for DTT, and one for DSat/DCab, each of these contained Each of the streams available as part of the several “streams” related to the linear Group are represented by Publishable Asset programmes Version. In some instances the same audio/video was The Audio/Video that was used for the used to represent streams on both DTT and Version are represented on the model by DSat/DCab. All though they were given different Media Asset. programme numbers the content was exactly the same Audio/Video/Script/Data etc Currently information is only captured on a In some cases the Media Asset represents programme/stream level. the content used as part of the Publishable Asset Version, but it may also represent any documentation (asset) that is required, such as a Script. Some Media Assets may be re- used across several Publishable Asset Versions, so by capturing metadata against the Media_Asset rather than against the Publishable Asset duplication is minimised. DMI Project Logical Data Model 6 of 87 DMI Data Model - Backstage.doc
  • 7. Digital Media Initiative (DMI) 2 Introduction The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented using UML Class Modelling diagrams. The model is not complete and examples have been added to explain in more detail how the structure is intended to work. The main structure of the model is not expected to change, but more detail will be added as the requirements become clear. One of the main focuses of the model is that the asset and the usage of the asset will be kept separate to easily allow for re-use of the asset from an information point of view. USAGE MEDIA USAGE ASSET USAGE The Media Asset represents any asset (audio/video/still/data etc) that is produced by Production. The usage of this Media Asset could include a linear television programme, radio programmes, interactive services, promotions, web pages, interstitials, and scripts and so on. USAGE ASSET The example on the right is showing how an asset (in this case an audio/video of Eastenders) can be used in several different ways. The asset can be broadcast on BBC1, and it can also be made available on iMP. Another example is if a media asset is used both for a linear television programme, and for an interactive service. Although Television the information required to playout an interactive stream may be different from a linear television programme, the information regarding the asset is the same (as an asset could be re-used, one time in a linear programme, another time as part of an interactive service). iMP 3 Reference Data Reference Data entities appears in yellow on the diagrams. This document may list requirements to reference data values, but they should be implemented by a Reference Data Management System. DMI Project Logical Data Model 7 of 87 DMI Data Model - Backstage.doc
  • 8. Digital Media Initiative (DMI) 4 Overview of Class Model Terminology Classes PUBLISHABLE_ASSET_VERSION A class is a representation of something the system needs to know about. Classes are represented as boxes e.g. Organisation Type. A class holds information called Attributes. The attributes are shown under the class name e.g. Identifier and Name. Subclasses PUBLICATION Subclasses are used to divide a parent class into child classes (subclasses). These subclasses inherit attributes from the parent. They can also have their own attributes. Subclasses are shown using an arrow relationship from the Child Class to the Parent Class. PRE_RECORDED_PUBLICATION LIVE_PUBLICATION In the example opposite, the PUBLICATION class has two subclasses – PRE RECORDED_PUBLICATION and LIVE_PUBLICATION. Associations MEDIA_ELEMENT_GROUP An association is used to relate two or more classes together. It is depicted as a line between the classes. 0..* keyed by The cardinality and naming of the association is represented at the end of each association line. 0..1 In the example opposite the association may be keyed for KEYFRAME read as follows: KEYFRAME is keyed for zero or many MEDIA_ELEMENT_GROUPs, and MEDIA_ELEMENT_GROUP is keyed by zero or 1 KEYFRAME. Association Classes PUBLISHABLE_ASSET_VERSION An association class is an association that also has class properties. An association 0..* uses class is shown as a class symbol attached MEDIA_ASSET_USAGE by a dashed line to an association path. used by 0..* In the example on the left MEDIA_ASSET MEDIA_ASSET_USAGE is the association class, defining the association between PUBLISHABLE_ASSET_VERSION and MEDIA_ASSET, as this is a many-to-many association. DMI Project Logical Data Model 8 of 87 DMI Data Model - Backstage.doc
  • 9. Digital Media Initiative (DMI) 5 Changes since last version 5.1 New Classes AudioNoiseReductionType CopyrightScript Country Loan LoanStatus Request RequestStatus Reservation Reserve ScriptType ShotFramingType SpoolLoan UrgencyType WidescreenConversionType 5.2 New Attributes aatCode nrtCode swtEffectiveFromDate aatEffectiveFromDate nrtEffectiveFromDate swtEffectiveToDate aatEffectiveToDate nrtEffectiveToDate swtName aatName nrtName tcpSideNumber acsCreationReasonDescription ostCode tcpStartTimecode clwISBNNumber ostEffectiveFromDate tcpTrackCount clwPublicationDate ostEffectiveToDate wctCode clwSourceName ostName wctEffectiveFromDate cntCode outEffectiveFromDate wctEffectiveToDate cntEffectiveFromDate outEffectiveToDate wctName paaExtractTitle cntEffectiveToDate cntName paaIdentifier comCode paaNotesDescription comEffectiveFromDate paaRunningOrderCount comEffectiveToDate paaVideoSourceDuration comName paaVideoSourceStartTimeMark copDuration pacCommissionedTitle copIdentifier pagCommissionedTitle copNotesDescription pagDescription copOriginalContractProgrammeNumber patCode cosOnScreenDescription patEffectiveFromDate cscPreviousTitlesDescription patEffectiveToDate pavBUPID cswCaptureDate cswReferenceNumber pavCommissionedTitle cswSourceText pdrCode devIsoCameraIndicator pdrDescription iqtCode pdrEffectiveFromDate iqtEffectiveFromDate pdrEffectiveToDate pevAudioDescriptionIndicator iqtEffectiveToDate iqtName pevVisionSourceName kfrIdentifier phaCode matIdentifier phaEffectiveFromDate DMI Project Logical Data Model 9 of 87 DMI Data Model - Backstage.doc
  • 10. Digital Media Initiative (DMI) medEditDetailsDescription phaEffectiveToDate medFinalClosingCaptionDescription phaName megFirstClosingCaptionDescription sctCode mgtCode sctEffectiveFromDate mgtEffectiveFromDate sctEffectiveToDate mgtEffectiveToDate sctName mgtName shoGoodShotIndicator motCode sloCode motEffectiveFromDate sloEffectiveFromDate motEffectiveToDate sloEffectiveToDate motName sutCode mvsCode sutEffectiveFromDate mvsEffectiveFromDate sutEffectiveToDate mvsEffectiveToDate sutName mvsName swtCode 6 Overview of the DMI Project Logical Data Model This section presents an overview of the key elements of the DMI Project Logical Data Model (PLDM). For a full view of the model see Appendix 2. Reference Data entities appears in yellow on the diagrams. 6.1 Publishable Asset The structure below represents any Publishable Asset, i.e. content that is commissioned in order to be made available to the public, such as television programmes, radio programmes, webpages, interactive streams, mobile services and the grouping e.g. series/website the content belongs to. In addition to supporting a Publishable Asset, the model will also support the relationship between Publishable_Assets, e.g. a version is related to another; a webpage could be related to a linear programme, an interactive stream could be related to a programme etc. This is supported by PUBLISHABLE_ASSET_GROUP. DMI Project Logical Data Model 10 of 87 DMI Data Model - Backstage.doc
  • 11. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 11 of 87 DMI Data Model - Backstage.doc
  • 12. Digital Media Initiative (DMI) 6.1.1 Publishable Asset Group The Publishable Asset Group represents either a Grouping of Groups, or a Grouping of Publishable Asset Versions. This structure will support groupings such as Campaign, Series, and Websites etc. 6.1.1.1 Examples Fat Nation, a Campaign that consisted of several Series and a Website. PUBLISHABLE_ASSET_GROUP: Fat Nation - The Big Challenge PUBLISHABLE_ASSET_GROUP: PUBLISHABLE_ASSET_GROUP: The Big Challenge Big Challenge Website 6.1.2 Publishable Asset Concept and Version The Concept is the description of the features of a single “programme” that are general across all versions as proposed as part of a Commission. An example of a linear television programme within this structure could be the Series (Publishable Asset Group), with a programme (Publishable Asset Concept) that has 4 different versions (Publishable Asset Versions). An example from New Media could be a Website (Publishable Asset Group), e.g. bbc.co.uk/eastenders, where the idea of the webpages (Publishable Asset Concept), one of which is called Characters and the content of this webpage will change over time, creating new versions (Publishable Asset Versions) of the webpage. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 12 of 87 DMI Data Model - Backstage.doc
  • 13. Digital Media Initiative (DMI) 6.1.2.1 Example The Series “Blue Planet” has several programmes; one of them is called “Coral Seas” and it has 5 different versions, another is called “Frozen Seas”, which have 4 different versions. Blue Planet : PublishableAssetGroup Frozen Seas : PublishableAssetConcept Coral Seas : PublishableAssetConcept Original TX Version : PublishableAssetVersion BBC TX Version : PublishableAssetVersion Worldwide Version : PublishableAssetVersion Repeat TX Version : PublishableAssetVersion BBC Repeat Version : PublishableAssetVersion Signed Version : PublishableAssetVersion Signed Version : PublishableAssetVersion AD Version : PublishableAssetVersion AD Version : PublishableAssetVersion 6.1.3 Delivery Requirement The Delivery Requirements lists all assets a Production/Project has been commissioned to deliver. Examples include the audio/video representing a programme, a script for a programme, and also reports such as the current PasC or Music Report. DMI Project Logical Data Model 13 of 87 DMI Data Model - Backstage.doc
  • 14. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 14 of 87 DMI Data Model - Backstage.doc
  • 15. Digital Media Initiative (DMI) Below is an object model illustrating how the model would support this: Line1:BROADCAST_CONTRACT_LINE MyProgramme:PUBLISHABLE_ASSET_VERSION VHS:DELIVERY_REQUIREMENT Delivered:DELIVERY_STATUS PasC-info:DELIVERY_REQUIREMENT Pending:DELIVERY_STATUS 6.1.4 Reuse of Versions A Publishable Asset Version may be part of several Groups. A Publishable Asset Version can be part of several Groups over time. Amongst other things, for certain types of Publishable Assets, Version In Group is keeping track of which Episode Number a Publishable Asset Version has within a specific Group. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.1.4.1 Examples The programme “Coral Seas” was originally part of the Series called “Blue Planet” in 2002. In 2004 it was repeated as part of a Series called “Repeats 2004/2005 BBC1” Blue Planet Repeats 2004/2005 BBC1 Cost prefix: 01 Cost prefix: 06 Coral Seas Programme Identification Number: NBS K538N/71 DMI Project Logical Data Model 15 of 87 DMI Data Model - Backstage.doc
  • 16. Digital Media Initiative (DMI) 6.2 Media Asset The Media Asset structure represents the Assets that are produced during a production. Media Element represents any individual piece of media that can be used as part of a production. The Media Element Group represents a grouping of elements, for instance the editing together of two audio elements to create a “stereo” group. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 The structure in P4A (Content Items) represents the way production group the content that requires reporting according to a local agreement within the production team or department in order to manage their work and does not necessarily represent the identification of the publishable and media asset identifiers required for indexing and usage. 6.3 Publishable Asset and Media Asset A Media Asset is delivered against a Publishable Asset Version. Media Asset Usage specifies the usage of the Media Asset, e.g. a Media Asset is used to represent the full Publishable Asset, or the Media Asset represents the subtitling/audio description of a Publishable Asset. DMI Project Logical Data Model 16 of 87 DMI Data Model - Backstage.doc
  • 17. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Media Asset Usage will hold the Editorial Acceptance Indicator, which indicates if a Media Asset has been editorially accepted as a representation of the Publishable Asset Version. 6.4 Material Instance MaterialInstance represents the instantiation of Media. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.4.1 Content Location The Content Location notes the places that have been involved in media asset development, e.g. where action takes place or where it is considered to take place. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 17 of 87 DMI Data Model - Backstage.doc
  • 18. Digital Media Initiative (DMI) 6.4.2 Technical Review A review to ensure that a programme meets the BBC’s technical standards. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 The technical Review does not normally consider editorial or contractual issues, but instead focuses on the technical quality of the video and audio recording. 6.5 Publication The relationships from Broadcast Contract Line, Publishable Asset Group and Version In Group represent the planning of a publication. The relationship from Material Instance to Publication represents the actual publication. Publication includes both what are traditionally known as transmission and also the publication of e.g. web pages on the internet. DMI Project Logical Data Model 18 of 87 DMI Data Model - Backstage.doc
  • 19. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.5.1 Slot A SLOT is a weekly/daily recurring period of time that is identified in order to facilitate strategic planning of a radio service. Examples include: • Monday breakfast slot on R4 FM • R2 drivetime slot • Book at bedtime • Every Monday night, 21.00-22.30 on BBC2, is branded ‘Comedy Night’ The terms “drivetime” and “breakfast” generally (but not always) refer to weekdays and their times will vary between networks. The planners then decide what programming is use to fill the slots. (A Slot is known as a “Strand” in radio.) DMI Project Logical Data Model 19 of 87 DMI Data Model - Backstage.doc
  • 20. Digital Media Initiative (DMI) 6.6 Usage Restriction Restrictions can apply to any level, Publishable Asset Group through to Media Element. Examples include: Legal/Litigation – programme restricted as request/demand of BBC Legal Dept either because legal • action has been initiated/threatened (we get ‘early warning memos’) or a case has been concluded and the programme in question cannot be re-used. Rights/Contractual – The BBC may have an agreement to broadcast 1 live and 1 repeat of a Royal • Opera House production. After the repeat there can be no re-use without further clearance. R1 may record the entire set of a band at Glastonbury, but only have agreement to use two tracks. The remainder cannot be used without prior clearance. Personal contracts with talent may restrict re-use. Editorial – a producer or department may request restriction based on real or spurious bases: a • programme may contain sensitive material which should not be used out of context. Or a scientist may request that no use is made of an interview more than one year after first TX because the content may be out of date. Sometimes programmes feel they ‘own’ the material and want to stop other BBC programmes using it. Rare, but I&A would contest such restrictions. Royal – TV use this as a separate restriction, but it would fit under any of the above probably Rights. • E.g. the Queen’s Christmas message cannot be re-used complete or in extracts at all. If for instance a Legal/Litigation restriction has been raised DMI may need to hold a link to the “Early Warning”. This document would be regarded as an Other Asset on DMI. The same goes for any memos, emails, notes etc that is related to a production/campaign/programme etc. Below is an extract from the model which covers Usage Restrictions. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 20 of 87 DMI Data Model - Backstage.doc
  • 21. Digital Media Initiative (DMI) Contract 6.7 Contract It is unclear at the moment how much information about a contract would be held in DMI. Contracts related to copyright or talent are mastered in Acon, but the contract number may have to be available in DMI. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.7.1 Broadcast Contract The Broadcast Contract represents the agreement between commissioning and a production team as to what should be delivered when. 6.8 Contribution A Contribution is the intersection between a Person/Organisation/Group and a Media Asset The contribution to a Media Asset must be captured, e.g. that a person is a director, or an actor. Currently this information is typed manually into metadata capture tools, such as P4A, but in the future it may be possible for some of this information, such as contract number and person name, to be populated from Acon in the cases where a contract has been raised. (“No Fee” or Public Domain contribution or material will not exist in Acon, and so all information will have to be mastered in DMI, which could mean that Acon will need to check with DMI before creating a new person record, just in case the person already exists in DMI.) Any specific usage information, e.g. that an actor was OOV (Out of vision), or that the actor wasn’t used after all, must be captured in DMI. Contributors contracted for a performance but not used in the media or publishable asset will also be indicated and flagged as such within DMI, although the contract details are recorded in ACON. (This could mean that Acon will need to check with DMI before payment for repeat fees or residuals) Examples: PERSON, Joe Bloggs, is contributing to a Media Asset with the Contribution_Type of Director. DMI Project Logical Data Model 21 of 87 DMI Data Model - Backstage.doc
  • 22. Digital Media Initiative (DMI) PERSON, Douglas Adams, is contributing to a Copyright Information (the book the film was based on) with the Contribution_Type Author. ORGANISATION, BeeGees, is contributing to a Media Asset with the Contribution_Type Performer. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Direct contributions to a Media Asset, e.g. an actor, are represented on the model by the relationship from Contribution to Media_Asset. An indirect contribution, such as the author of the book the Media_Asset is based on, is represented by the relationships from Contribution to Copyright_Information to Media_Asset. 6.9 Residual Rights A placeholder... * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 22 of 87 DMI Data Model - Backstage.doc
  • 23. Digital Media Initiative (DMI) 6.10 People and Organisations People and Organisations have been represented as Party on the model. PARTY is the umbrella term used to describe PERSON and ORGANISATION. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 The contact information of a person or organisation. The Party_Location_Address class will include postal address, telephone numbers and email addresses. DMI Project Logical Data Model 23 of 87 DMI Data Model - Backstage.doc
  • 24. Digital Media Initiative (DMI) 6.11 Stock Management There are approx 75 tables in Infax that support Stock Management. Below is a subset covering the loan of an asset – this area of the model is still very much work in progress. DMI Project Logical Data Model 24 of 87 DMI Data Model - Backstage.doc
  • 25. Digital Media Initiative (DMI) 6.12 Delivery to Publication The requirement for “as run” data and post-tx reporting means that DMI must record publication (linear and non-linear). Packaging of material for distribution is treated as a special case of the creation of new material and/or new instances of material. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 25 of 87 DMI Data Model - Backstage.doc
  • 26. Digital Media Initiative (DMI) 6.13 Copyright Information Any item covered by copyright that is used in a media asset must be reported on. Some of this information is mastered in Acon. If a programme features a book, a contract should already exist in Acon which allows for the book to be used in a programme. The title and the author of the book should then not be required to be captured on DMI (but will be visible in DMI), but information about how the book was actually used in the programme must be captured and mastered, by DMI as this is specific usage information. E.g. the book was shown for 3 seconds in a programme. (To ease the capture of the usage of the item, it may help if the item information that exists in Acon is displayed to the DMI user). Any items that have not been contracted do not exist in Acon, and as such, the information around these items must be captured and mastered by DMI. An example would be a No-Fee. The model below has been based on the current TRG requirements as supported by P4A. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 26 of 87 DMI Data Model - Backstage.doc
  • 27. Digital Media Initiative (DMI) 6.14 Reports/Forms 6.15 Music Reporting The model below represents information the Music Reporting Unit (MRU) are interested to know about a Publishable Asset. The information used for Music Reporting will be linked to the Media Asset rather than to the Publishable Asset Version to allow for re-use. Music has been represented on the model in two different ways as there are to different “types” of music; • Pre-recorded music used within a programme exists as a separate Media Asset • Music heard or reproduced in the course of a production (e.g. The London Philharmonic Orchestra at the Proms, or a group playing in the studio for TOTPs, or an actor whistling or singing a song during a play) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 This structure does not only support songs on CDs, but also other sound items like a speech, or sound effects. E.g. the hunger cry of a WHITE-CRESTED HORNBILL (Berenicornis albocristatus) recorded in captivity. (Example from Infax.) DMI Project Logical Data Model 27 of 87 DMI Data Model - Backstage.doc
  • 28. Digital Media Initiative (DMI) 6.15.1 Example 1 Music Reporting from P4A: DMI Representation: (The song itself is represented by a Media Element Group, as is the programme.) Note: the title given to the MOG may Title: “I Just Don’t Know What To Do be different from the title of the song With Myself” it represents. Composer: Bacharach/David Music Publisher: Carlin Music Performer: Dusty Springfield Time In: 10:01:52 Time Out: 10:02:12 Visual Cue: Music Code: B (Background Music, solely for the benefit of audience) Side: 1 Track: 16 “The Very Best of Dusty Springfield” Philips 848 789 -2 Music Code: C (Commercial Recording) DMI Project Logical Data Model 28 of 87 DMI Data Model - Backstage.doc
  • 29. Digital Media Initiative (DMI) 6.15.2 Example 2 Not all music/sound will exist on a CD. The example below represents music that is captured when talent is singing/humming/whistling. For example in an episode of Keeping Up Appearances where the character, Mrs Bucket, sings part of the song “I am sixteen going on seventeen” from the Sound of Music. (Example from P4A) Example from P4A: DMI Representation: (No Media Element Group exists for the Song.) R: Studio Recording Duration: 00:06 Music Code: V (Visual music) Title: “I am sixteen going on seventeen” Perfomer: Patricia Routledge Composer: Rodgers and Hammerstein Publisher: Chappel DMI Project Logical Data Model 29 of 87 DMI Data Model - Backstage.doc
  • 30. Digital Media Initiative (DMI) 6.15.3 Music Codes Music Codes are used by MRU and represent where the music came from, and how it was used, and the Production is expected to provide this. Below is a table explaining where in the model the Music Codes are supported. MRU Music Codes Mapping to DMI Code Code name Description A Sound Music on archive material from the BBC Sound Archives. Label Supported by the class Archives details must be blank. MUSIC_ORIGIN_TYPE C Commercial Compact disc, LP, cassette or cartridge of music, speech and Supported by the class sound effects. Label details are required. MUSIC_ORIGIN_TYPE H Radiophonic Specially composed material from the Radiophonic Workshop. Supported by the class Workshop Label details must be blank. MUSIC_ORIGIN_TYPE I Local Radio Specially composed idents for Local Radio only. Label details Supported by the class Idents must be blank. MUSIC_ORIGIN_TYPE K Commercial old Recordings published over 50 years ago. Label details are Supported by the class required. MUSIC_ORIGIN_TYPE L Live Performance (and miming on live programmes for TV). Label Supported by the class details must be blank. PUBLICATION M Library music Publisher’s library music, speech and sound effects, eg Bruton, Supported by the class Carlin, Chappell, De Wolfe. Label details are required. MUSIC_ORIGIN_TYPE N Private tapes Non-commercial private tapes. Label details must be blank. Supported by the class MUSIC_ORIGIN_TYPE P Music video Will have an ISRC number on packaging or time clock. Short Supported by the class form video usually 3-4 mins. Not likely to be cartoons / extracts MUSIC_ORIGIN_TYPE from feature films / concerts. DVD versions reported in the same way. ISRC and Label details are required. R Studio BBC studio or location recording (not specially composed). Label Supported by the class recording details must be blank. MUSIC_ORIGIN_TYPE nd st 2 2 or further Within 28 days of the 1 transmission. Label details must be Supported by the class use of “R” code blank. PUBLICATION T Soundtrack From BBC’s Film Unit or film soundtrack from Programme Supported by the class tape Acquisitions. Label details must be blank. MUSIC_ORIGIN_TYPE U Foreign tapes Stock music from Foreign Broadcasters (e.g. EBU tapes). Put Supported by the class Foreign Tape as the label name. MUSIC_ORIGIN_TYPE X Specially Excluding Radiophonic Workshop. Label details must be blank. Supported by the class composed MUSIC_ORIGIN_TYPE music S Signature Tune If the music item has been used as a signature tune for your Supported by programme. MEDIA_ASSET_ASSOCIATION. Signature_Tune_Indicator or COPYRIGHT_MUSIC. Signature_Tune_Indicator D Dubbed If an A, C, M or T code (above) has been dubbed (or you are Supported by reporting a pre-recorded programme). MEDIA_ASSET_ASSOCIATION. Dubbed_Indicator or COPYRIGHT_ITEM_USAGE. Dubbed_Indicator B Background Music added solely for the benefit of the audience and thus forms Supported by music no intrinsic part of the programme. (TV only). Use in addition to a MEDIA_ASSET_ASSOCATION. primary code. Visual_Indicator or COPYRIGHT_ITEM_USAGE. Visual_Indicator V Visual music Visual music forms a part of the programme in as much as it Supported by appears to be or is audible to those taking part in the programme, MEDIA_ASSET_ASSOCATION. e.g. any music sung or played in vision, music which characters Visual_Indicator in a play can hear even if it comes from a performer or record or player not in vision, music heard by people sitting in a cafe even COPYRIGHT_ITEM_USAGE. though to those in the programme it would be background music. Visual_Indicator All actuality music is visual. (TV Only). Use in addition to a primary code. * These codes may change dependent upon the approach taken as part of the Reference Data work – however, it is assumed that the requirement will be the same. DMI Project Logical Data Model 30 of 87 DMI Data Model - Backstage.doc
  • 31. Digital Media Initiative (DMI) 6.16 Compliance Every programme made for the BBC must adhere to the BBC Producer Guidelines and Credit & Branding Guidelines. The diagram below represents information about Compliance that must be captured for a Programme. The requirements have been taken from the Compliance Manager. It is believed that similar information is also captured for radio and television trails. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Some of the information is specific to the slot the programme/content has been scheduled for (Publication), other information is specifically related to the content of the programme (Media Asset). The classes CulturalDiversityReportingValue and DiversityCategory are placeholders as the detailed requirement has not yet been specified. 6.16.1 Examples Example 1: Publishable Asset Version: Spooks Interactive Mission Alert: Timecode_In 00:16:09 Alert: Timecode_Out 00:16:14 Alert_Type: Violence - Fictional Alert: Description:Two men wrestling each other. Alert: Timecode_In 00:20:04 Alert: Timecode_Out: 00:20:23 Alert_Type: Violence - Fictional Alert: Description:Man & woman struggle for gun. Alert: Timecode_In: 00:02:29 Alert: Timecode_Out: 00:02:40 Alert_Type: Flashing Images Alert: Description: 6 versions of same image changes very rapidly DMI Project Logical Data Model 31 of 87 DMI Data Model - Backstage.doc
  • 32. Digital Media Initiative (DMI) Example 2: Publishable Asset Version: Little Britain Alert: Description:Possibly offensive terms throughout Alert: Timecode_In: 10:09:00 Alert_Type: Portrayal - Religious Alert: Description: Andy dresses up as Baby Jesus. (Examples from Compliance Manager) 6.17 Storage STORAGE represents any type of storage in the system, e.g. a Tape, CD, Film or File Based (e.g. wav, mpeg etc). The Storage entity will have an indicator to specify if e.g. a Tape exists or not. Even if the Tape does not exist anymore the details should be held on the system. [I&A requirement in 2005 - need to be verified] * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 32 of 87 DMI Data Model - Backstage.doc
  • 33. Digital Media Initiative (DMI) 6.18 Language Below is a simple representation of this requirement which limits metadata of a specified record to being in a single language and to merely the primary language of any material being recorded. The actual requirements, when defined, may be considerably more complex than this. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.19 Production A Production team (or a project) are responsible for delivering/creating all the delivery requirements for a Publishable Asset Version. A Production could subcontract some of the content to other teams, such as independents. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 33 of 87 DMI Data Model - Backstage.doc
  • 34. Digital Media Initiative (DMI) 6.20 Application Applications are required to distribute some types of content, e.g. All Interactive Services are dependent on an application to run on the Set Top Box, DMI is not interested in knowing the details about how an application is created, but would need to know which application, or version of application is required for a piece of content. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Interactive TV application rights are the rights to use the interactive TV software application on which the content runs. Currently this information is not available through the Rights Group, but through Rights and Business Affairs, New Media. Production is not required to fill in any information about the usage of the application, so the only requirement currently captured is a requirement to be able to refer to the number of the contract that governs the usage of the Application. 6.21 Indexing Indexing is the process of applying classification schemes to content. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 34 of 87 DMI Data Model - Backstage.doc
  • 35. Digital Media Initiative (DMI) 6.21.1 Example Infax Structure DMI SCHEME SCHEME on Infax is represented by LO - LONCLASS SUBJ_REFERENCE_CONCEPT_SCHEME on DMI. The preferred subject term for the concept. CONCEPT CONCEPT on Infax is represented by NORWAY STATE OIL COMPANY SUBJ_REFERENCE_CONCEPT on DMI. Contains a list of synonyms for a CONCEPT SUBJECT TERM on Infax is represented by SUBJECT TERM SUBJ_REF_CONCEPT_TERM. NORWAY STATE OIL COMPANY NSOC (NORWAY STATE OIL COMPANY) STATOIL (NORWAY STATE OIL COMPANY) 6.22 Audit Trails 6.23 Access Rights This is critical to control access to material and to enable or disable certain functionality for particular users under certain conditions. 6.23.1 Access to Media * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 35 of 87 DMI Data Model - Backstage.doc
  • 36. Digital Media Initiative (DMI) 6.23.2 Access to Folders * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.24 Requests DMI will enable individuals to request Media Assets of any Editorial Quality Type and associated format. A request is either for a whole or part of a Media Asset. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 36 of 87 DMI Data Model - Backstage.doc
  • 37. Digital Media Initiative (DMI) 6.25 Policies The application of Policies within the DMI environment is summarised by an indicative structure: * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 This is, by necessity, a distinctly indicative structure which will be matured as the Policy requirements are defined. Examples of Policies include; Retention Policy - Retention policy defines how long material should be kept by applying appropriate set of retention criteria. Selection Policy - Selection policy is necessary to identify valuable material that requires inclusion in the archive. Selection is carried out in order to support the creation and re-use of BBC's output across all broadcast platforms. DMI Project Logical Data Model 37 of 87 DMI Data Model - Backstage.doc
  • 38. Digital Media Initiative (DMI) APPENDIX 1 – Scenarios Scenario Scenario Description Example Example Description Number Number E.g. the Blue Planet programme “Coral Seas” had four A* versions: BBC TX Version, Worldwide Version, BBC A Programme may have several Programme Repeat Version and a Signed Version. 1 Versions E.g. From Our Own Correspondent may come in two B version, one 24 minutes long and another 28 minutes long. A Programme Version could contain extracts of 2 other Versions See Scenario 1 (Series: Blue Planet Series with 3 A Programme may be part of a Series/Serial Programme: Coral Seas) A Programme may be part of more than one 4 Season over time? E.g. Sold on Song: For instance Steve Wright (a R2 show) might devote 10 minutes each day to the Sold on 5 Part of a Programme may belong to a Season A Song initiative. Or he may do a quot;Sold on Songquot; special of his usual programme 6 A Series may belong to a Season? 7 A Programme may have 3 different endings A Programme may have a 10 min opt out in the 8 middle Promotion Stills may be associated with a 9 series or a programme. E.g. Genius of Mozart when the programme started on BBC1, then went interactive and then continued on BBC3. A To the person using interactive this would seem like one An Interactive Stream can be related to more 10 long programme. than one Linear Programme. Chelsea Flower show. Same interactive stream used for B origination, highlights programme and available all week. (Karen 19/07/2004) A* It is broadcasted at the same time. It seems to be broadcast at the same time, but there B There are different ways an Interactive Stream could be a 3 second delay on the interactive service. 11 can be related to a Linear Programme. It is part of the same “Strand” but broadcasted at a C different time, e.g. not associated with the Publishable Asset Version, but with the Publishable Asset Group. Vic’s Chicks was commissioned for Interactive, and was not associated with a programme. But it was an eTV A* service “enhancing Easter”, and it was available for 30 An Interactive Programme does not need to be 12 days. associated with a Linear Programme. Another example is Trinidad Carnival. We do know of interactive streams repeated on their own B e.g. Untold Beauty for BBC Three. (Karen 19/07/2004) Radio 1 was streamed as interactive during Glastonbury. A (The same radio show that went out on radio, and at the Radio Programmes (or part of) can be used as same time.) 13 content of interactive. Euro2004: Radio5Live commentary available on B interactive (but delayed by 3 seconds as radio is faster than TV) TV Programmes (or part of) can be used as Life Style (a 24/7 “channel” has video-content that has 14 A content of interactive. been taken from the archive) E.g. for Sound Of Music (sing-a-long) there was two A video-streams used: One with the film, and one containing The Video going out on Linear and Interactive 15 the text... might be identical. Celtic Connections: The difference was the “text” on the B interactive. A “linear” programme can be repeated on 17 A This is often the case for Children's. (Karen 19/07/2004). interactive. And I would assume that some “interactive” programmes An interactive programme can be repeated on 16 A can be repeated on linear. E.g. some time in the future “linear”? Vic’s Chicks can be transmitted on BBC 1? Pre-recorded music used within a programme exists as a separate Media Asset: The song “I just don’t know what to A* do with myself” was used in a programme called “The very best of Dusty Springfield”. 18 Music Reporting Requirements A song may exist on several CDs, and it is a requirement B* to know which CD the song was taken from. C Music heard in the background or reproduced in the DMI Project Logical Data Model 38 of 87 DMI Data Model - Backstage.doc
  • 39. Digital Media Initiative (DMI) Scenario Scenario Description Example Example Description Number Number course of a production (e.g. and actor whistling or singing a song during a play): The character, Mrs Bucket, sang “I am sixteen going on seventeen” from the Sound of Music. 19 A programme may have associated interstitials Pride and Prejudice shown as feature length single 1h30m asset, then re-edited to 3 x 30m assets - how do A publishable asset being commissioned as a A we keep the relationship in the editorial concepts even 20 single entity, then edited into more than one though the commission/contract may be unique subsequently [or vice versa] Bleak House being consolidated from its current 15 X B 30m asset into 5 x 1h30m assets The same version may change its various E.g transmittable or not, pre-watershed or not (rights 21 A statuses change, tastes change, policies change). 22 A Programme may have a related script E.g. the website www.bbc.co.uk/eastenders is part of the 23 A website may be related to other Websites A* webiste www.bbc.co.uk. The Website www.bbc.co.uk/eastenders has several 24 A Website may have several Webpages A* pages; one of them is called Characters. A linear programme may be interrupted by 25 news... An Early Warning may be related to anything... (e.g. “The BBC is now under a legal obligation to preserve all documents relating to this 26 programme, the making of it and the allegations about which complaint has been made – including emails, memos, letters, CD- Rom, notes, files, films and tapes.”) E.g. RaW the Reading and Writing Literacy campaign, Campaigns may not be directly related to a which had a promotional DVD available, and a storyline 27 A programme on Eastenders was part of the Campaign, but no full series/programme/stream was supporting the Campaign? Part of a Programme may belong to a RaW (Reading and Writing) literacy campaign, where a 28 A Campaign storyline on Eastenders was part of the campaign. 29 A webpage may be related to a Campaign A A programme may have associated notes, 30 memos, emails etc. 31 A Season may have an associated webpage A http://www.bbc.co.uk/radio2/soldonsong/ A campaign may produce content that is not 32 A RaW produced content for DVDs that were distributed. related to a programme/webpage etc. A Programme may have associated Ceefax 33 Subtitles. DMI Project Logical Data Model 39 of 87 DMI Data Model - Backstage.doc
  • 40. Digital Media Initiative (DMI) Scenario 1a Blue Planet:PUBLISHABLE_ASSET_GROUP The Series “Blue Planet” has several programmes; one of them is called “Coral Seas”. “Coral Seas” has 5 different versions: Coral Seas - 50/NBS K538N:PUBLISHABLE_ASSET_CONCEPT BBC TX Version: A 60 minute version • (includes 10 minutes of includes of Making Waves) BBC TX Version - NBS K538N/71:PUBLISHABLE_ASSET_VERSION Worldwide Version: A 50 minute version • Worldwide Version - NBS K538N/72:PUBLISHABLE_ASSET_VERSION BBC Repeat Version: A 50 minute • version BBC Repeat Version - NBS K538N/76:PUBLISHABLE_ASSET_VERSION Signed Version: A 50 minute version • Signed Version - NBS K538N/77:PUBLISHABLE_ASSET_VERSION Version with AD: A 50 minute version • AD Version - NBS K538N/78:PUBLISHABLE_ASSET_VERSION Scenario 11a Programme 1 of the linear series “Fat Prog 1 GFG A649X/72:PUBLISHABLE_ASSET_VERISON 01 FAT NATION -REARENDERS:PUBLISHABLE_ASSET_VERISON Nation” had a related “interactive programme” (available via the red button) called “Rearenders”. related to:PUBLISHABLE_ASSET_ASSOCIATION Scenario 12a Vic’s Chicks was commissioned for Interactive, and Vic's Chicks:PUBLISHABLE_ASSET_GROUP was not associated with a programme. But it was an eTV service “enhancing Easter”, and it was available for 30 days. Vic's Chicks:PUBLISHABLE_ASSET_VERSION Scenario 18a The Song “I Just Don’t’ Know What Living Famously- DustySpringfield:PUBLISHABLE_ASSET_VERSION Eastenders Episode 695-698 Omnibus:PUBLISHABLE_ASSET_VERSION To Do With Myself” was used in two different Media Assets (represented on the right as Media Element Groups). Living Famously- DustySpringfield:MEDIA_ELEMENT_GROUP omnibus:MEDIA_ELEMENT_GROUP In the element that represents the programme “Living Famously” the song appeared for 20 seconds. MOG contains 20 seconds of the song...:MEDIA_ASSET_ASSOCIATION MOG contains 26 seconds of the song...:MEDIA_ASSET_ASSOCIATION In the element that represents the programme “Eastenders omnibus” the song appears for 26 seconds. Visual Used as Background Music I Just Don't Know What To Do With Myself:MEDIA_ELEMENT_GROUP DMI Project Logical Data Model 40 of 87 DMI Data Model - Backstage.doc
  • 41. Digital Media Initiative (DMI) Scenario 18b The song “I Just Don’t Know What To Do I Just Don't Know What To Do With Myself:MEDIA_ELEMENT_GROUP With Myself” appears on two different CD’s. On the CD “The Very Best of Dusty Springfield” it is track 16 on side 1. Object_1:MATERIAL_INSTANCE Object_2:MATERIAL_INSTANCE On the CD “Dusty – The Silver Collection” it is track 3. Side 1 - Track 16:STORAGE_POSITION Side 1 - Track 3:STORAGE_POSITION The Very Best of Dusty Springfield:STORAGE Dusty - The Silver Collection:STORAGE Scenario 23a has/part of:PUBLISHABLE_ASSET_GROUP_IN_GROUP The website bbc.co.uk has another website called bbc.co.uk/eastenders. The website bbc.co.uk/eastenders is part of the website bbc.co.uk. www.bbc.co.uk:PUBLISHABLE_ASSET_GROUP www.bbc.co.uk/eastenders:PUBLISHABLE_ASSET_GROUP Scenario 24a www.bbc.co.uk/eastenders:PUBLISHABLE_ASSET_GROUP The website bbc.co.uk/eastenders has several webpages. “Characters” and “Crew” are two of the webpages that is part of the “Eastenders” Characters:PUBLISHABLE_ASSET_CONCEPT Crew:PUBLISHABLE_ASSET_CONCEPT website. Scenario 33 A Programme may have associated Ceefax Subtitles. (Media Asset Association) DMI Project Logical Data Model 41 of 87 DMI Data Model - Backstage.doc
  • 42. Digital Media Initiative (DMI) APPENDIX 2 – Diagrams This section contains a full set of diagrams for the DMI PLDM. Reference Data entities appears in yellow on the diagrams. Diagram 1 – Publishable Asset DMI Project Logical Data Model 42 of 87 DMI Data Model - Backstage.doc
  • 43. Digital Media Initiative (DMI) Diagram 2 – Contributors DMI Project Logical Data Model 43 of 87 DMI Data Model - Backstage.doc
  • 44. Digital Media Initiative (DMI) Diagram 3 – Media Asset Diagram 4 – Contract DMI Project Logical Data Model 44 of 87 DMI Data Model - Backstage.doc
  • 45. Digital Media Initiative (DMI) Diagram 5 – Publication Diagram 6 – Storage DMI Project Logical Data Model 45 of 87 DMI Data Model - Backstage.doc
  • 46. Digital Media Initiative (DMI) Diagram 7 – Container and Access Diagram 8 – Material Instance DMI Project Logical Data Model 46 of 87 DMI Data Model - Backstage.doc
  • 47. Digital Media Initiative (DMI) Diagram 9 – Asset Creation Diagram 10 – Asset Usage DMI Project Logical Data Model 47 of 87 DMI Data Model - Backstage.doc
  • 48. Digital Media Initiative (DMI) Diagram 11 – Policies Diagram 12 – Subject Reference DMI Project Logical Data Model 48 of 87 DMI Data Model - Backstage.doc
  • 49. Digital Media Initiative (DMI) APPENDIX 3 – Sources Source When Used in Section/Area www.bbc.co.uk/commissioning/delivery/txreview.shtml 18/05/2007 Technical Review www.bbc.co.uk/commissioning/delivery/essentials.shtml 18/05/2007 Compliance http://ia.gateway.bbc.co.uk/ia_site/main.asp?page=2167 28/06/2007 Policies DMI Project Logical Data Model 49 of 87 DMI Data Model - Backstage.doc
  • 50. Digital Media Initiative (DMI) 7 Class and Attribute Descriptions Class Name Class Desscription Attribute Name Attribute Description This is the atomic level of access functionality. Current rights include: Create Asset; Create Asset Information; Read Asset Information; Update Asset Information; Create Asset Instance; Delete Asset Instance; Destroy Asset. AccessRight It is a reference data set. This is a grouping of atomic access rights which govern the relationship between a person and assets/asset information. Please note that, in this context, Person actually means 'a person playing a role within an organisational grouping' (e.g. Joe Bloggs acting as Exec Producer on a series for Drama). When a person is assigned access rights initially, their profile contains the dedfault rights associated with the role they're playing (see association 'default access right' between PartyAssociationType and AccessRight). These rights can then be modified before the profile is applied to the person. AccessRightProfile It is a reference data set. This is the prefix to the main The entity notes the existence catalogue number for the tape, of a collection of recordings or disc, etc. from scores for sound track. The which the item was taken. It may entity incorporates for example contain letters and normally the existence of a collection of appears on recordings published in the the top right hand form of a CD. A number of corner of the back of the CD, or separate purchases of the on the spine. AcquisitionBlock collection may be made It is specified for material which (considered as storage) that is is: held as a unit of stock and is Commercial disc, tape, cartridge, available for potential reuse. or compact disc; Commercial recordings Examples include: published over 50 years ago (not Commercial disc, tape, re-pressings); cartridge, or compact disc, aqbSupplierCataloguePref Publisher Library music; Publisher Library music. ixNumber Video. DMI Project Logical Data Model 50 of 87 DMI Data Model - Backstage.doc
  • 51. Digital Media Initiative (DMI) This is the main part of the catalogue number for the tape, disc, etc. from which the item was taken. It normally appears on the top right hand corner of the back of the CD, or on the spine, after the Prefix number. It is often suffixed by CD, LP or CASS to give an indication of the format of the recording. It is specified for material which is: Commercial disc, tape, cartridge, or compact disc; Commercial recordings published over 50 years ago (not re-pressings); aqbSupplierCatalogueMai Publisher Library music; nNumber Video. An alphanumeric expression by which the CD, record, video, tape etc. is known. Examples include: It's a Wonderful Life; A Matter of Life and Death; UMMAGUMMA; Hard Day's Night; Charlie Parker, The Savoy Sessions; Tupelo Honey; Ogden's Nut aqbCollectionName Gone Flake. aqbEffectiveToDate aqbEffectiveFromDate aqbCode This is a new reference class An alphanumeric expression for which holds all the label the label of the acquisition block. AcquisitionBlockLabel names allowed in the music For commercial recordings it is reporting function. important to use the label name and not the name of the distribution company. Examples include: HMV; United aqbLabelName Artists; Polygram; Island. adtEffectiveToDate AddressType adtEffectiveFromDate adtName adtCode The way in which an AlertType may convey harm to the atyEffectiveToDate audience. Examples include: atyEffectiveFromDate Alert Offensive Language Nudity Violence Imitative Behaviour atyName Crime and Antisocial behaviour. atyCode The alert that can be applied AlertType to the Alert Type. It is used to allSeverityLevelCode determine the suitability of the allSeverityLevelDescriptio programme for transmission. n In the BBC Television Compliance Form, Imitative Behaviour levels range from allEffectiveFromDate DMI Project Logical Data Model 51 of 87 DMI Data Model - Backstage.doc
  • 52. Digital Media Initiative (DMI) Drug/Solvent Abuse to Use of Alcohol/Smoking. Within the TV Anytime genre scheme, Sex Alert code range from 6.1.1 to 6.1.5 and their associated descriptions consist of quot;no sex descriptorsquot; for the lowest code to quot;sexual violencequot; for its highest code. allEffectiveToDate A software application required for making content available. Examples include the interactive applications (that run on the SetTopBox), and plug-ins, applications that allow for music/audio to be Application quot;playedquot; on the web. This reference type holds the allowed values of aspect ratio to apply to (moving) image assets. The entity describes the geometric characteristics of an image or display device, or any constraints on the use of the image area, such as where action or graphics may be located without compromising the desired experience of the viewer. Source material for publication can be supplied in a variety of different picture and raster formats. In order to specify this formatting completely, three parameters must be defined: 1 Active Image Aspect Ratio 2 Raster Aspect Ratio 3 Protected Aspect Ratio A labelling system has been devised by BBC Post Production which holds the above information as a six character code as follows: Publication Format Code = aabccd where: aa = Active Image Aspect Ratio. b = Display Format. This can be deduced from the three other parameters but it is included explicitly in the code for operational convenience. cc = Raster aspect ratio. d = Protected aspect ratio. Examples: 12F12C 4:3 image full frame on a 4:3 raster The safe percentage values are given on the technical documents accessible from http://www.bbc.co.uk/guideline s/delivering_quality/delivery_tv AspectRatioType .shtml This associates the source AssetAssociationAssetPack material for a package with the age package itself. DMI Project Logical Data Model 52 of 87 DMI Data Model - Backstage.doc
  • 53. Digital Media Initiative (DMI) This class defines a series of data values to be applied (where applicable) to all the assets ingested during an asset creation session. It is, essentially, a placeholder for a more complex data AssetCreationProfile structure. This tracks production sessions at which essence and/or (in the case of an ingest session) metadata is created and, optionally, the acsIdentifier source essence instances used in the process. The creation date and time of any individual instance of essence is held against the appropriate unique Material acsActualStartDate Instance record. In the case of ingest session the system will generate exception messages and decline to carry out the ingest acsActualStartTime if the associated metadata does not meet minimum AssetCreationSession metadata set requirements or conflicts with any defined system/metadata integrity rules. Other session types may create other types of messages NOTE - if minimum metadata set and data integrity rules are satisfied then metadata ingested during this session (with or without associated essence) may modify and/or create almost all of the media/publishable objects and relationships within the DMI acsCreationReasonDescri Documentation of why the asset system. ption is created/outgested/ingested. This class records the trigger which starts an automated asset creation session. Triggers may be based on events (polling a folder for a file or a change in system status) or on a schedule AssetCreationSessionAutom (ingest a stream at a pre- aticTrigger determined time). This class records the system messages associated with any asset creation session. This AssetCreationSessionMessa might include warning and ge error messages. The possible Essence Creation Session Type. The possible types are: - copying - telecine - transcoding - ingesting - playing out - conforming AssetCreationSessionType - extracting This represents a past or future (scheduled) publication of a data set (or sets) derived from the data associated with AssetInformationPublication the components of the related Event AssetInformationPublicationGr DMI Project Logical Data Model 53 of 87 DMI Data Model - Backstage.doc
  • 54. Digital Media Initiative (DMI) oup. The data published (and the structures/format etc.) is specified in the related AssetInformationPublicationTe mplate. This class represents an ad hoc group of assets about AssetInformationPublication which information is to be published. Group This reference class defines the style of the output data - e.g. as an xml file, as a csv AssetInformationPublication file, as hard copy label Style (including barcode) etc. This represents the data schema/profile which defines the data published. Although this data may be derived from the components of the AssetInformationPublicationGr oup related to the publication event where the template is used, some data may be added to or modified in the published set at the time of AssetInformationPublication Template publication. This represents a bundle of assets intended to be exported/outgested from the DMI system. This bundle may contain one or more instances of one or more assets (media and/or publishable assets). The source asset instances may have been modified and/or edited when the package instance(s) is (are) created - is so then the act of 'packaging' may have given rise to new Media and/or Publishable Assets. These new assets may or may not have persistent instances within the DMI system. The package creation may be triggered by a change in state in any of the associated assets AssetPackage or another event. This reference class defines the type of package in question - it can control the automated editing used to create the package contents - e.g. by triggering an automated aspect ratio conversion. The type will also control whether or not the package export will include associated asset information and, if so, in AssetPackageType what format. This identifies a particular asset usage report and allows it to be scheduled or run. AssetUsageReport DMI Project Logical Data Model 54 of 87 DMI Data Model - Backstage.doc
  • 55. Digital Media Initiative (DMI) This reference class identifies the types of pre-defined asset usage report which can be run. Examples include: Billing Form; TX Form; Music Report; PasB/C. For the submission of music details to the Rights Alliance - please see Diagram 03b - Publish/Package Asset AssetUsageReportType Information. The entity represents an editorial description of a discrete sound or a section of continuous sound that is editorially distinct from any other Audio Clip in a way that is defined in its Media Object description. The sound may be instantiated, or may be in planning to be captured, edited, or transmitted. Each individual audio clip object is monaural. Stereophonic audio, for example, is created by the association of two audio clips. Audio The position number of a particular track on an audio CD AudioCdTrackPosition acpTrackCount (or LP). The unique identifier for a Noise nrtCode Reduction Type. The name of the Noise Reduction Technique eg. Dolby nrtName A. The first date from which an Audio Noise Reduction Type is valid for new Audio Clip Instance. For example, if an Audio Noise The entity lists the different Reduction Type has a start date audio noise reduction types of 12 that may be applied to an August, 1998, then it may be instance of analogue audio or applied to the Audio Clip to Instance from and AudioNoiseReductionType the analogue source prior to nrtEffectiveFromDate including that day. digital instantiation. The last date on which an Audio Types of Noise Reduction Noise Reduction Type is valid for include Dolby A, Dolby B, new Dolby C, Dolby HX, Dolby HX Audio Clip Instance. Pro. For example, if an Audio Noise Reduction Type has an end date of 12 August, 1999, then it may be applied to the Audio Clip Instance on that day, but not on the following day. The Audio Noise Reduction Type remains in nrtEffectiveToDate the system for historical data. An agreement between commissioning and production specifying what production is BroadcastContract required to deliver. A contract line item specifies the contractual detail. E.g. the specific programme being BroadcastContractLine acquired or commissioned. A grouping of all the programmes or items that are to be handled together in post- production, as the result of an CommissionedProject offer being accepted by BBC DMI Project Logical Data Model 55 of 87 DMI Data Model - Backstage.doc
  • 56. Digital Media Initiative (DMI) commissioning, or as the result of a co-production agreement with an external organisation. Any co-production agreements associated with the project are linked to it via the Contribution entity. The date and description of when advice was given on the compliance of a programme. No detail of the advice itself ComplianceReferralDetail should be given. Classification of the type of referral given in regards to compliance. Examples include ComplianceReferralType Legal and Editorial Policy. A code for the standard used for compression and decompression of material instances, whether picture material (shot, graphic, still), audio or data. The textual code for a compression type. For example: .JPEG; LZW; MPEG-1; MPEG-2; DV -CAM; D- comCode Beta; MPEG Layer III; ATRAC. A colloquial name or term (often synonymous with a 'code', but may be more complete) for the standard used for compression and decompression, of a material instance, whether picture material (shot, graphic or The name of the algorithm for still), audio any compression schemes or data, for example, Digital applied. For example: JPEG; CompressionType comName Betacam. LZW; MPEG-1; MPEG-2; DV- The first date from which a CAM; D-Beta; MPEG Layer III; Compression Type is valid for ATRAC. new Unique Material Instance. For example, if a Compression Type has a start date of 12 August, 1998, then it may be applied to the Unique Material Instance from and including comEffectiveFromDate that day. Material Instance. For example, if a Compression Type has an end date of 12 August, 1999, then it may be applied to the Unique Material Instance on that day, but not on the following day. The Compression Type remains in the system for comEffectiveToDate historical data. This class defines the types of hierarchy allowed between containers of different types. For example, a project type container may be the parent of concept type containers but a media type container may not ContainerTypeHierarchyRul be the parent of group type e containers. A physical place where action ContentLocation and content capture and creation can take place such colIdentifier DMI Project Logical Data Model 56 of 87 DMI Data Model - Backstage.doc
  • 57. Digital Media Initiative (DMI) as a studio, building or room. All CONTENT_LOCATIONs are real, specific places. For example, Leeds Castle is a CONTENT_LOCATION but the concept of castles, in general, is not, and neither is Helms Deep (a castle in Lord of the Rings). A content location would also include a specific studio or even a room where an outgest device is located. colName This class records the use made (or to be made) of a Location in a Media Asset (and vice versa, the Locations therefore used). This class would also hold the dramatic setting of a piece of content. For example a play set in Moscow might be shot in Dundee. In this case, although the material was filmed in Dundee the location setting ContentLocationLink name would be Moscow. This entity records the recognised types of location use for a Location by Media Assets. This might include the location where Examples Include: Capture Location - the place where the material was captured or created. Action Location - this is the place where the captured action took place. Editorial Location - unlike Action Location and Capture Location, an Editorial Location is not a matter of fact but of ContentLocationLinkType editorial prescription. A legally binding agreement with a person and/or organisation typically to provide a schedule of deliverables and / or services within a defined time period. A contract will comprise a number of line items. Examples of Contract Types include: 1) Artist Contracts 2) Interview Waiver Forms 3) Organisation Contracts The unqiue identifier allocated to 4) Co-Production Agreements a specific contract between two 5) All Rights Release Form parties, one of which is usually Contract 6) Location Contract conNumber the BBC ContractType ctyCode ContractType ctyName ContractType ctyEffectiveFromDate ContractType ctyEffectiveToDate DMI Project Logical Data Model 57 of 87 DMI Data Model - Backstage.doc
  • 58. Digital Media Initiative (DMI) Extract fees may be due to artists for compilation programmes and programmes that have used extracts that have used extracts from other BBC progrgammes. This is only for using BBC material. If an extract fee is now due, this Contribution rolExtractFeeIndicator should be indicated. Contribution rolAllRightsIndicator If the contributor was contracted solely for a voice over or narration. Presenters who are used for narration and in-vision contributions within the same programme should not be Contribution rolOutOfVisionIndicator identified as OOV. An indication ('true' = Star) as to whether the particular role is to This entity describes the task, be classified as a responsibility or role of an quot;Starringquot; role. individual or organisation in the development, Starring roles are listed on the management or control of Billing Form Star/Presenter material, or other entity section in the order specified by involved in the area of media Contribution rolStarIndicator their rolBillingPriorityCount. asset management. A 'true' value here indicates that Examples Include: Adaptation the contribution should appear By, Book Author, Presenter, on the Billing Form Writers' Producer, Director, Key Contribution rolWriterCreditIndicator Credits section. Contributor, Production A 'true' value here indicates that Contact, Material Creator, the contribution should appear Cameraman, Vision Mixer, etc on the Billing Form Production rolProductionCreditIndicat (= LEDM ROLE) Contribution or Credits section. A numeric value representing the billing priority of a contributor. A contributor with a low number would be billed above a contributor with a Contribution rolBillingPriorityCount higher number. Where appropriate, generally in the context of a performance, the name of the character being performed as found on a billing for the performance. Examples include: First Policeman: Titus Groan: Mother Contribution rolBillingName Courage: Hamlet. Contribution rolNotUsedIndicator Contribution rolNotes These are agreements negotiated by a production body (or by the Commercial Rights Department in the case of secondary exploitation) with all the individual people with an interest in the production. They include agreements to secure the rights of everyone involved in the production such as artists, contributors, staff members, freelance staff, ContributorContract film crews etc. Contracts which detail fees payable and the terms and conditions of usage for materials required in a production or performance. In the case of music copyright, 80% of pre-recorded music is CopyrightContract covered by framework DMI Project Logical Data Model 58 of 87 DMI Data Model - Backstage.doc
  • 59. Digital Media Initiative (DMI) agreements between the BBC and the Phonographic Performance Limited (PPL), Performing Rights Society (PRS) and the Mechanical- Copyright Protection Society (MCPS). Similarly, the BBC and the Music Publishers Association (MPA) have many agreed rates in the form of framework agreements. Records data regarding the inclusion of an extract from one programme within another. For example clips in review programmes, news footage from other CopyrightExtract programmes, etc. copTitle The title of the copyright item. copNotesDescription Details contracted scripts The duration of the used (except N&PC Trail and/or material in hours minutes, and Promotion scripts) and existing copDuration seconds. CopyrightInformation material or formats etc. used copIdentifier in programmes for the Where material was contracted purposes of post-transmission originally against a programme reporting. other than that in which it was eventually used, this should hold copOriginalContractProgra the original programme number. mmeNumber Details of how and when a copyrighted item has been used in a Media Asset. E.g. quot;full-screen colour of the Taj Mahal (taken from Space) at t/c 10:09:47quot;, where the details of the photographer and reference to contract are via Copyright Information. CopyrightItemUsage ciuDescription International Standard Book Number, which is a unique numbering system used by publishers worldwide. This number, usually found on the back of the title page or on the back cover of the book, contains 10 digits, of which the first nine identify the book, and the 10th is a check digit that This gives additional may be information about literary CopyrightLiteraryWork material used used to determine if the first nine clwISBNNumber are correct. The date the book or magazine from which the literary material was taken clwPublicationDate was itself published. If the literary material was taken from, for example, a book or magazine then this is the title of that book clwSourceName or magazine. Details of the copyright of music used in the production of a programme. Note that pre-recorded music used within a programme soundtrack exists as a separate media object and This is the reportable title for the thus has its own audit trail for commercial recording - it is used CopyrightMusic copyright purposes. cmuReportableTitle in reporting on the Music Report. DMI Project Logical Data Model 59 of 87 DMI Data Model - Backstage.doc
  • 60. Digital Media Initiative (DMI) However, there is also the need to track and report on music heard in the background or reproduced in the course of a production (e.g. by an actor whistling or singing a song during a play). This details the copyright which applies to a given written script. This is separate from the copyright of an original story that the script may be based and is also distinct from the cscPrevioustitlesDescriptio copyright of the finished CopyrightScript production. n Records the copyright details of any software used within a programme or item. This applies both to any software used to directly make an item (for example the animation software used in A Bug's Life or Walking With Beasts) or the copyright of any software displayed in its original form during an item (for example if a show is reviewing computer games and includes some screen clips from quot;Championship Manager 4quot;, or an education programme is explaining how to use Description of what is displayed Microsoft Word 97). on screen. CopyrightSoftware cosOnScreenDescription Details the source material used. Includes format, source books, and books for CopyrightSourceMaterial dramatisations. Records the date on which the cswCaptureDate still was originally taken. Typically photos in a collection which are available for publication have a reference that identifies the photo w ithin the collection. The reference number Records details of the may be assigned by the original copyright ownership of any still photographer or by the owner of photographic image that is the collection. Ref.no. is usually used in the course of a found on the back of the photo. programme. This is vital information for cswReferenceNumber clearing rights. CopyrightStillArtisticWork This includes transmission of For a photograph taken from a images of artistic works. If the book give acknowledgement or material used is a book details. For a photograph transparency of an artistic taken from a newspaper give work, there will be an entry publication title, page number, both for the artistic work and issue date. For a transparency of the transparency. a copyright-protected artistic work taken from a book: The title/description of the picture and the name of the artist responsible for the original cswAcknowledgementText artistic work Give details of any restrictions cswSourceText on use of the material. Commonly independent Country cntCode states: particular geographical cntName regions under the sovereignty of a political organisation. Also includes dependencies of cntEffectiveFromDate DMI Project Logical Data Model 60 of 87 DMI Data Model - Backstage.doc
  • 61. Digital Media Initiative (DMI) independent states and other geographical entities without recognised sovereign status. Examples: Independent states: Great Britain, USA, China Dependencies: Falkland Islands, Guam, Hong Kong Other: Taiwan, Gaza Strip, Wales cntEffectiveToDate This class represents a reportable value for the cultural diversity portrayed within a programme. It is based on the requirement expressed by Mary Fitzpatrick, Editorial Executive - Diversity This attribute holds the total (as spoken to Karen number of people of a specified Edwards)and the example of diversity category contributing as CulturalDiversityReportingVa the Channel Four Programme a defined role type within the cdrNumber lue Portrayal Form. related programme The entity provides an editorial description for a media object that contains content to be included in a presentation e.g. captions, website text, teletext. Data is the preferred term from SMPTE. Occurrence of this entity will include text and, potentially, non-ASCII Data characters. Defines the delivery requirements for a specific Publishable Asset Version. For example BBC1 required Walking With Dinosaurs to be delivered on 1 x 625 line PAL DeliveryRequirement Digital Betacam videocassette. DeliveryStatus The status of the delivery. Abbreviation: DEV Hardware and/or software which supports the physical realisation of media objects as Indicates if the output of the a signal or in storage. It may camera is recorded separately support processing such as devIsoCameraIndicator on to its own video recorder sampling, quantising, encoding, mixing, switching, Device forward error correction, multiplexing, formatting, etc, and, in some cases, their converse. For example: analogue to digital converter; 34 Mbps ETSI Codec; Video Tape Recorder; random access memory (RAM). devIdentifier Abbreviation: DVM A specific model or distinct version of hardware or software with an unambiguous set of functionality. Examples include Sony PQR5000 Glensound GSGC5 Toshiba Portege 7130 Nokia 8610 Adobe® Premier Pro® Avid Xpress DV v3.5 DeviceModel Abbreviation: DTY A classification scheme for types of device. For example, camera, audio tape recorder, DeviceType digital editor, etc. DMI Project Logical Data Model 61 of 87 DMI Data Model - Backstage.doc
  • 62. Digital Media Initiative (DMI) This reference data class contains the records of the Cultural categories which are to be reported. Examples include: White; Black; Asian; DiversityCategory Chinese; Mixed Race. dcaName The code that uniquely identifies the Editorial Instance Quality Type. Possible values are: BSF, DEF, DSF, Web Hi, Web Med, iqtCode Web Lo. Classifies quality of Editorial The name of the Editorial Instances. Instance Quality Type. Possible values are: Possible values are: Broadcast Stored Format Broadcast Stored Format, (BSF), Desktop Editable Format, Desktop Editable Format Desktop Stored Format, (DEF), Web High Format, Web High Format (Web Hi), Web Medium Format, Web Low Format (Web Lo). iqtName Web Low Format. EditorialInstanceQualityType The first date from which an The Instance Quality Type Editorial Instance Quality Type is here does not imply that all its valid for new object. For Media Element Instances are example, if an Editorial Instance of the same quality type. Quality Type has a start date of 12 August, 1998, then it may be For example: When an IQT applied to the object from and consists of DSF video, BSF iqtEffectiveFromDate including that day. Audio's, the editor may decide The last date on which an that the IQT is of DSF quality. Editorial Instance Quality Type is valid for new object. For example, if an Editorial Instance Quality Type has an end date of 12 August, 1999, then it may be applied to the object on that day, but not on the following day. The Editorial Instance Quality Type remains in the system for iqtEffectiveToDate historical data. FilePosition This reference class defines physical encoding formats (including bandwidths) in terms of their perceived qualities. Valeus include: TX Quality; Web Browse Quality; Focus Quality; Review Quality. FormatQualityType A grouping of programmes, according to scheme as genEffectiveToDate devised/used by a particular business area. For example, a genEffectiveFromDate programme can be classified as comedy by one business genName area but as a drama by Genre another business area. Different classification schemes are used for different purposes, so a single programme concept may be described in terms of multiple genres. genCode Representing graphical elements which can be overlaid onto an audio/video compilation. The types of graphics include CGI Models, Captions and Tickers. An on- screen logo is also an Graphic example of a graphic. DMI Project Logical Data Model 62 of 87 DMI Data Model - Backstage.doc
  • 63. Digital Media Initiative (DMI) This class records the technical QA criteria which InstanceTechnicalQaCriterio may be applied to an instance n of material. A way of bookmarking a shot, still or graphic for future reference. Also known as quot;thumbnailquot;. Keyframes can be either Referenced (using time data) or Persistent. Media Assets can have multiple keyframes of different Keyframe Types associated with them. An Asset could possibly also have several Keyframes A system generated numeric referring to different timecodes value used to uniquely identify Keyframe in the Asset. kfrIdentifier the Keyframe. Reference Data defining the allowable values of lanEffectiveToDate Languages, eg. Welsh, Gaelic etc. Language lanEffectiveFromDate Note that English is the default principal language for Services lanName and Editorial Objects, and hence is not represented as an occurrence of this entity. lanIdentifier lwtCode A reference table listing the lwtName types of literary composition LiteraryWorkType used. lwtEffectiveFromDate Examples include Poem, Letter, Play/Prose Extract. lwtEffectiveToDate This entity represents the details associated with the loan of a set of spools. Normally this is to a user outside the library, but can be used internally. The loan includes information about the date requested, date despatched, the reason for the loan, the name of the enquirer, despatchee, the library assistant that dealt with the loan and the despatcher Loan that sent the spools. The location of a piece of Storage. For instance the shelf number for a tape. Location This reference class defines the audio standard of the material instances - e.g. WAV MaterialAudioStandard 48Khz 16 Bit. This reference class defines the codec and profile of the material instances (including bit rate). e.g. MPEG2 MaterialCodecandProfile MP@ML I-Frame only. Holds information about a matIdentifier given instance of a Media Asset. Please note that an instance MaterialInstance may not have persistence - it may only have existed transiently for the purpose of, for example, editting and/or matTechAcceptanceIndica ingest. tor DMI Project Logical Data Model 63 of 87 DMI Data Model - Backstage.doc
  • 64. Digital Media Initiative (DMI) This entity identifies which instances of (source) Material are used to create instances of other (destination) Material. The destination Material relates to a different Material instancefrom the source Unique Material. The set of Material Instance Usage occurrences for a given destination Material instance comprises that instance's (and by extension that Media Object's) list of edit decisions. This may be implemented by manual action or automatically. Examples of this entity include: The joining of two audio clips to produce a longer audio clip. The removing of speech delimiters within an audio clip to create a shorter audio clip. The overlay of still or graphic into a shot to create a new MaterialInstanceUsage media object. mvsCode mvsName This reference class defines the video standard of the MaterialVideoStandardType material instances - e.g. PAL, mvsEffectiveFromDate NTSC. mvsEffectiveToDate medIdentifier medDuration Alphanumeric expression identifying the name of a Media Object Group, medName e.g. Beckham's Penalty Miss. medDescription 'True' means that hired sheet music was used in the creation of this media. This information is for Music Hire and Orchestration only and will not be submitted to the MRU. If sheet music has been hired, A media produced by Music Hire and Orchestration Production, this could include medHiredSheetMusicIndic (within Music Copyright) should any audio, video, stills, data ator be notified separately. etc. The Media may be used An indicator showing whether as a Publishable Asset Media the media is editorially Version, but other Media deemed to be in Colour. This is, Assets, such as rushes, may in the main, required for not be used as a Publishable Programme Guide Asset Version. purposes. If not colour, the programme is billed as black and white. Please note - based on LEDM EOV_Colour_Indicator from medColourIndicator which the description is taken. The 'true' value indicates that burnt-in subtitles are included. Please note - this attribute is based on the LEDM attribute EOV_In- medInVisionSubtitlesIndic Vision_Subtitles_Indicator. ator Details of how the media asset was edited and fomat of medEditDetailsDescription transmission, e.g. 'shot on Beta DMI Project Logical Data Model 64 of 87 DMI Data Model - Backstage.doc
  • 65. Digital Media Initiative (DMI) SP, off-line and on-line edited, TX on D3' or 'shot on 16mm film, transferred to Beta SP for Avid edit, TX on D3'. (From P4A). Records the link between A brief description of the use Media Element and Media made of the audio and or the Element Group to enable the video playing above the audio. MediaAssetAssociation same Media Element to be used in several Groups, a e.g. Lark ascending as plane Group to include several climbs into clouds. meaVisualCueDescription Media Elements, or one Group The end timecode (system time to include other Groups. code format) on the target for the Media Object/Media Object It would also allow the Group insert. Note that, as the combination, for example, of Media Object/Media Object multiple audio clips into a Group are editorial rather than single continuous audio clip physical concepts, the time code group containing parts of each meaTargetEndSystemTim is for the target instance used in of the original source clips. eCode the edit. The end timecode (original time It would also allow the code format) on the target for the grouping and arrangement of Media Object/Media Object media assets (elements and Group insert. Note that, as the element groups) into Media Object/Media Object storyboards. Group are editorial rather than physical concepts, the time code meaTargetEndOriginalTim is for the target instance used in eCode the edit. The insert timecode (original time code format) on the target for the Media Object/Media Object Group insert. Note that, as the Media Object/Media Object Group are editorial rather than physical concepts, the time meaTargetInsertOriginalTi code is for the target instance meCode used in the edit. The insert timecode (system time code format) on the target for the Media Object/Media Object Group insert. Note that, as the Media Object/Media Object Group are editorial rather than physical concepts, the time meaTargetInsertSystemTi code is for the target instance meCode used in the edit. The end timecode (original time code format) of the source for the Media Object/Media Object Group insert. Note that, as the Media Object/Media Object Group are editorial rather than physical concepts, the time code meaSourceOriginalTimeC is for the instance used in the odeOut edit. The start timecode (original time code format) of the source for the Media Object/Media Object Group insert. Note that, as the Media Object/Media Object Group are editorial rather than physical concepts, the time code meaSourceOriginalTimeC is for the instance used in the odeIn edit. The end timecode (system time code format) of the source for the Media Object/Media Object Group insert. Note that, as the Media Object/Media Object Group are editorial rather than physical concepts, the time code meaSourceSystemTimeC is for the instance used in the odeOut edit. DMI Project Logical Data Model 65 of 87 DMI Data Model - Backstage.doc
  • 66. Digital Media Initiative (DMI) The start timecode (system time code format) of the source for the Media Object/Media Object Group insert. Note that, as the Media Object/Media Object Group are editorial rather than physical concepts, the time code meaSourceSystemTimeC is for the instance used in the odeIn edit. This class manages the allowable associations between Media Assets. Examples include: Left Hand MediaAssetAssociationType audio of; in storyboard for. Identifies the Media Asset which has been used for a MediaAssetUsage Publishable Asset. Any individual Media elements can be used in a production. This includes video and audio clips, graphics and still images. Media Elements are essentially the building blocks from which content is created and are the smallest level of media asset which it is MediaElement possible to catalogue. megOpeningDescription A specific grouping of Media Elements, e.g. the grouping of megClosingDescription audio, video and subtitles of the same action. This can also MediaElementGroup cover the grouping of different megEndCreditDuration audio clips together to form a greater whole as in stereophonic and 5-channel megFirstClosingCaptionD surround-sound systems. escription megFinalClosingCaptionD escription A realisation of a Media Element Group. The instances may have persistence or they may only have existed as a MediaElementGroupInstanc stream created for the purpose e of, for example, transmission. Abbreviation: MGT mgtCode This defines the types of mgtName Media Object Groups that may exist. MediaElementGroupType Examples are: Action, Sensor mgtEffectiveFromDate Perspective, Sound (media object associations to create Stereo, Quad, &c.); Line Up; Clock; Storyboard for. mgtEffectiveToDate This entity holds the metadata which is specific to a given instance of material. The material need not have persistence - that is it may only have existed as a stream for the purposes of MediaElementInstance transmission. motCode Abbreviation: MOT motName The permissible types of MediaElementType media object, eg: Shot, Still, Graphic, Audio and Data. motEffectiveFromDate motEffectiveToDate Contains the origin codes MusicOriginType required for electronically mrcEffectiveToDate reporting music usage in the BBC. This code identifies mrcEffectiveFromDate where the material came from. Music reporting is the system mrcName DMI Project Logical Data Model 66 of 87 DMI Data Model - Backstage.doc
  • 67. Digital Media Initiative (DMI) by which the broadcasting A business or BBC specific set organisation reports the use of of alphanumeric characters that material to the relevant represent an origin for a copyright bodies. reportable item. Examples Examples include: A; C; H; I; include: A; C; H; I; K; M; N; P; R; K; M; N; P; R; T; U; X. mrcCode T; U; X. This identifies the type of names that a person or organisation might have. Examples include: Stage Name; Nickname; Pen Name; NameType Registered Name. This is the ID of the Network or Abbreviation: nrt Region. The current values are: This class groups the TX 1 - Network; outlets. It is used, inter alia, 2 - NI; for reporting purposes. 3 - Scotland; 4 - Wales; The current allowed values nrtId 5 - Commercial. are: This is the text label used on Network; NetworkRegionType reports and on system drop NI; down lists for the network/region. Scotland; Wales; The current labels are: Commercial. Network; NI; It is expected that 'English Scotland; Regions' will be added as an Wales; allowed value. nrtLabelText Commercial. otyEffectiveToDate Defines a reference list of the different types of offer. Examples are BBC, otyEffectiveFromDate Independent, Co- Production, Acquired otyDescription Programme, Joint Venture OfferType The name of the offer type. Production, Joint Venture Origination and so on. Current values are: BBC Production; Independent This is used in reporting, for Production; Co-Production; example in the Music Acquired Programme; Joint Reporting Form. Venture Production; Joint otyCode Venture Origination. This subtype of Storage represents all the Storage that are held on an offline media, e.g. audio tapes, video tapes, OfflineStorage audio CDs, CD ROMs or films. The entity represents any recognised grouping of individuals, company or company structure with whom there is an association to carry out tasks or responsibilities for the development, usage or management of media assets. The scope encompasses: an internal organisational unit (e.g. the BBC production department or directorate); a copyright collection body; an independent production company; a grouping of individuals and/or organisations who/which may act together and who should be tracked as such (e.g. one or more named soloists singing or playing with a Organisation particular orchestra). The name of an organisation involved in some manner in the creation, use or OrganisationName management of media assets. orgName The name of an organisation. DMI Project Logical Data Model 67 of 87 DMI Data Model - Backstage.doc
  • 68. Digital Media Initiative (DMI) An organisation's name may change over time and an organisation may have many types of name simultaneously. Any other contract that is not contract related to intellectual properties such as Contributor Contract, Copyright Contract OtherContract and Broadcast Contract. OtherStorage A vehicle for delivery of outIdentifier editorially-designed content to a specific audience which is outName The full name for an outlet. geographically-defined for terrestrial, satellite and cable Outlets; and dynamic for web outEffectiveFromDate delivery. Any [portal to] electronic delivery including Outlet radio emission and protocol- based transfer of content. An example is BBC 1 (the Service) which has outlets BBC 1 North East, BBC 1 Scotland etc. Each of which may opt-out of the Service for periods. outEffectiveToDate This classifies the related TX ostCode channel as to the kind of ostName service it supplies. The current service types are: TV; ostEffectiveFromDate National Radio; Regional Radio; Local Radio; Web (or Web Only). OutletServiceType In order to cater for future requirements, the type 'Radio' is suggested to allow a hierarchy around radio type services. This hierarchy is also supported by the recursive relationship around the service type entity. ostEffectiveToDate Any individual or group of individuals who may act independently. Party exists as a collective concept to cover A unique identifier for an Party persons and organisations. parIdentifier individual Party. This association class defines the association between two PartyAssociation parties. This reference class defines the type of relationships permitted between parties such as: member of; parent company of, department of, Exec Producer in; researcher PartyAssociationType for; director of. Data identifying a postal, geographical, The title of the location which is PartyLocationAddress telecommunication, or other the premises which forms part of place or contact point for a the Party Location Postal person or organisation. ppaHouseBuildingName Address. The lowest-level identifiable unit ppaRoomNumber of s pace at an address. ppaHouseBuildingNumber The premises number within a thoroughfare, allocated by the local authority. DMI Project Logical Data Model 68 of 87 DMI Data Model - For example: Backstage.doc 255 when the address is 255 High Street
  • 69. Digital Media Initiative (DMI) 257-259 when the address is 257-259 High Street 21A when the address is 21A High Street The title of a thoroughfare, e.g. name of street, lane or tower block, which is a location that forms part of the Party Location Postal Address. Tower blocks are vertical thoroughfares. Examples of street name are: 'High Street', 'London Road', 'Burlington Court'. ppaStreetName The title of the Post Town. A Post Town acts as a clearing point for a district and is the basic unit of the postal delivery ppaTownCityName system. The name of the county of the state. A county is an administrative area, within the United Kingdom, e.g. Cheshire, Bedfordshire, Sussex, etc. The county is used to distinguish between different Towns with the same name, e.g. the Town of Newport may be in Dyfed, Gwent, Salop or the Isle of Wight. The state is similar to the county for the United States ppaCountyName of America. The title of the location which is a Flat (a set of rooms forming a home within a building) that forms part of the Party Location ppaFlatNumber Postal Address. The national component of a addTelephoneNumber party's telephone number. A postal code as defined by the Post Office. In the United Kingdom, it represents a street, part of a street or an individual address. The ZIP Code is similar to the postal code for the United States ppaPostalCode of America. ppaCountryName The name of the country. The international dialing code addTelephoneInternational which prefixes a party's Code telephone number. Further description of the person, if required, in order to help distinguish them from other people with the same name. Examples might include: Member of Scottish Parliament, Dentist, Poet, Farmer, American Rock Star, Canadian Industrialist, The Younger, etc. Please note that descriptions to help distinguish between the An individual involved in some various names a person might have are held against the manner in the creation, use or Person perDescription PersonName class. management of media assets. Further description of the The name of an individual specific name for the person, if involved in some manner in required, in order to help the creation, use or distinguish that name from any management of media assets. PersonName other possible names. For An individual's name may example, from 1954 to 1959 change over time and an Harold Pinter used the stage individual may have many name David Baron in his work as types of name simultaneously. pnaDescription an actor. DMI Project Logical Data Model 69 of 87 DMI Data Model - Backstage.doc
  • 70. Digital Media Initiative (DMI) This is a new attribute identifying the specific name associated pnaID with the individual. Qualifications, awards, and/or honours normally appended to the end of a person's name. for example: B.Sc.; M.B.; Ch.B.; perSuffixName M.C.; V.C.; O.M. A shortened salutation as applied to a person's name. Examples are Mr.; Miss; Mrs.; perSalutationShortForm Ms; Lord. The middle name, or initial, of the person. perMiddleName In the Western European model the last name (surname or family name) of the Person. However, this field is also used for names which do not fall into the, typically, western model of first name, middle name(s), last name. Examples here include: Tamil names; American Indian Names; Spanish names; some Chinese names. In these cases the name element to be entered here is that by which you would expect to find the person in question in a list. The person's other names should be entered perLastName into the first name field. The first name (or given name) perFirstName of the person. The unique identifier of the phaCode Photography/Artistic Type. The name of the Photography/Artistic Type. E.g. Painting, Sculpture. phaName The first date from which a Photography/Artistic Type is valid for a new Copyright Still. For example, if a Photography/Artistic Type has a start date of 12 August, 1998, then it may be applied to the A reference table listing the PhotographyArtisticType Copyright Still from and including types of Stills used. that day. phaEffectiveFromDate The last date on which a Photography/Artistic Type is valid for a new Copyright Still. For example, if a Photography/Artistic Type has an end date of 12 August, 1999, then it may be applied to the Copyright Still on that day, but not on the following day. The Photography/Artistic Type remains in the system for historical data. phaEffectiveToDate This is a place holder class which represents the data structures used to apply policies of various types to assets and folders within the PolicyApplication repositories. This is a place holder reference class which represents the various types of policies which might be applied to assets and folders PolicyType within repositiories. DMI Project Logical Data Model 70 of 87 DMI Data Model - Backstage.doc
  • 71. Digital Media Initiative (DMI) A Production that has start and end dates and that Production produce Media Assets. Abbreviation: PRW A numeric value representing This is a reference table which the number of programme holds the start date of week 1, weeks in the specified year. and the number of programme (This is a BBC specific definition weeks in, any given prwProgrammeWeeksQua and is used to permit calculation ntity calendar year. Thus the table of the BBC Calendar Week) holds the data allowing the The date of the Saturday which correct BBC programme week begins BBC Programme Week 1 to be generated from any for the specified calendar year. ProgrammeWeekCalendarY specified date. For example, Please note that this may occur ear once it is known that week one in the previous calendar year. in 2004 starts on January 3rd (This is a BBC specific definition it is possible to calculate prwProgrammeWeek1Star and is used to permit calculation that week two for 2004 starts tDate of the BBC Calendar Week) on January 10th and so on. BBC Programme Weeks start A four digit name specifying the on a Saturday and run to the calendar year to which the programme week information following Friday (inclusive). There are no gaps between applies. Examples include: 1989; sequential Programme Weeks. 2001; 2000; 2015. prwCalendarYearName This is the planned/actual pevTransmissionRemarks Publication window of availability for a Description consumer to view or listen to a Publishable Asset Version. pevTVTextSubtitlesLiveInd The allocation of 'things' to a icator Publication evolves over time. In the early stages of pevPlannedStartTime development, it may have an Editorial Term associated with it or, if pevPlannedStartDate based on a template, the name of a Publishable Asset pevCeefaxSubtitlesIndicat Group (e.g. News, or Eastenders). As the schedule firms up, it The actual start time of a may have a Publishable Asset publication event. pevActualStartTime allocated to it. The actual start date of a pevActualStartDate publication event. This is the description of the programme in the context of the particular transmission as found pevBillingFormDescription on the P4A Billing Form. This is a text field containing the information to be found in the Billing Form Points to Note pevBillingFormPointsToNo te section. The billed duration of this Publication Event. This is the duration that is published in listings and electronic pevBilledDuration programme guides. The time that this Publication pevBilledStartTime Event is billed to start. Indicates if the publication event should be billed as a repeat or not. This value is not derivable as a programme that has been transmitted before may not be billed as a repeat. This may be because of the format of the broadcast, digital vs analogue, or the customer base BBC pevBilledRepeatIndicator Wales vs BBC UK. The date that this Publication Event is billed to start. This is the date that is published in listings and electronic programme pevBilledStartDate guides. DMI Project Logical Data Model 71 of 87 DMI Data Model - Backstage.doc
  • 72. Digital Media Initiative (DMI) The indicator reflecting whether or not the publication event represents the start of a new series. The indicator is used by marketing as a tool and appears on billing for the 1st episode of a new series. NB. The series may be new to a particular outlet rather than never previously published e.g. a series published on BBC4 may be republished on BBC1 and as far as BBC1 pevBilledNewSeriesIndicat viewers are concerned, it is not a or repeated series. This indicates whether the Publication Event is live or pre- recorded. The value 'yes' indicates live and the value 'no' indicates pre- recorded. pevLiveStatusIndicator pevAudioDescriptionIndica tor Specifies the source for the vision e.g. Outside Broadcast, pevVisionSourceName etc. This represents a UK geographic region which may be served by one or more TX services. Current values include (source iPlayer): Cambridgeshire Channel Islands East East Midlands East Yorkshire & Lincolnshire London North East & Cumbria North West Northern Ireland Oxfordshire Scotland South South East South West Wales West West Midlands Yorkshire (=? iPlayer class PublicationChannelUkRegio PUBLICATION_CHANNEL_U n K_REGION) A publication may be associated with other publication. Examples of association reasons include: quot;Hot-linkedquot; programmes: The transmission of Britain Goes Wild on BBC2 is followed immediately by a programme on Radio 4 about red squirrels: this must not start before the end of publication on BBC2. A repeat of an asset: If for any reason the initial publication does not occur, a narrative repeat (e.g. on Radio 4's quot;Pick of the Weekquot;) would also need PublicationDependency to be pulled - this history DMI Project Logical Data Model 72 of 87 DMI Data Model - Backstage.doc
  • 73. Digital Media Initiative (DMI) would need to be trackable. The unique code for a rule that can govern the association of publication pdrCode events. The textual description associated with a publication Examples of rules are: pdrDescription event type identifier. - Hot linked e.g. A programme The first date from which a finishes on one Outlet and Publication Dependency Rule then a debate on the subject Type is valid for new Publication commences on another Outlet. Dependency. - Asset Repeats e.g. if the For example, if a Publication publication of a programme PublicationDependencyRule Dependency Rule Type has a does not occur then an Type start date of 12 August, 1998, intended narrative repeat then it may be applied to the would also need to be Publication Dependency from stopped. pdrEffectiveFromDate and including that day. - Interactive: e.g. The The last date on which a Interactive Service should be Publication Dependency Rule transmitted 3 seconds after Type is valid for new Publication the linear programme. Dependency. For example, if a Publication Dependency Rule Type has an end date of 12 August, 1999, then it may be applied to the Publication Dependency on that day, but not on the following day. The Publication Dependency Rule Type remains in the system pdrEffectiveToDate for historical data. This class records the paaIdentifier association between two single Publishable Assets. paaNotesDescription This entity includes a set of audio attributes used to paaVideoSourceDuration specify automatic music play lists for programmes. paaVideoSourceStartTime For web publication, EOA Mark allows the editorial grouping of the individual content objects which make up a web page. paaRunningOrderCount It also allows editorial items which are formed of multiple sections (sometimes thought of as 'pages') to be composed. In this way, a 'multi-page' news story which appears in a frame on a web page can be PublishableAssetAssociation composed of multiple 'subitem' EOVs which are then grouped using EOA to create a single, coherent, larger item EOV which can be placed on a web page. Examples include: the association between a programme and the items within it - in this case all the instances of the associations between a programme and the items planned for use within it would The title of the inserted portion form that programme's within the context of the destination Editorial Object. E.g. planned playlist or running order. quot;Barry's Fallquot; referring to a fall by Such example would be a Barry during a programme about Eastenders. music programme (A) made of paaExtractTitle DMI Project Logical Data Model 73 of 87 DMI Data Model - Backstage.doc
  • 74. Digital Media Initiative (DMI) music items (d to h). There would be five occurrences in EOA, each of them linking the programme A to one music item. This class manages the aatCode allowable associations aatName between Publishable Asset PublishableAssetAssociation Versions. e.g. programme Type aatEffectiveFromDate running order, music playlist, web content within web pages. etc. aatEffectiveToDate pacDescription An abstraction of the pacWorkingTitle Publishable Asset independent of its version or a pacCommissionedTitle common publishable concept linking two or more versions of PublishableAssetConcept items or programmes. For pacEpisodeCount example both the USA and UK Notes about the music used in versions of quot;The Human the publishable asset concept - Bodyquot;, Episode 1, are covered maps to Delivery Pack Music by the same concept. pacMusicNotes Reporting Form Notes. The title of the Publishable Asset Concept (= LEDM Editorial pacTitle Object Concept). This new reference class contains the types of Publishable Asset Concepts understood by the system. The values currently include: Programme; Programme; Item/Clip ('insert tape'); Ident; Trail; Interactive Stream; Interactive Loop; Podcast;Video Podcast; Webcast; Web Page; Web PublishableAssetConceptTy Item; UGC; Blog Item; Mobisode. pe pagWorkingTitle The entity identifies group publishable assets. Thus pagEpisodeQuantity covering the following: The name of an editorial object A grouping of programmes group. with shared identification and Examples might include: branding linked by common Outlook; Focus on Africa: From characters, subject matter, Our Own style or story. Correspondent; Doctor Who; Odd Odes; Nursery Song Book. PublishableAssetGroup Examples include Brand, Where this represents a group of Season, Series, Strand, programmes then this is the title Interactive Service, Website... for the group. It may be the same as one or all of the It also supports associations programme versions contained between Publishable Asset within it. Versions. Example: In Broadcast terms this will be Publishable Asset Version X is pagTitle the name of the asset package. a promotion for Publishable Asset Version Y. pagDescription pagCommissionedTitle This allows publishable groups to be gathered into groups and for these groups to be PublishableAssetGroupInGr oup gathered together into other DMI Project Logical Data Model 74 of 87 DMI Data Model - Backstage.doc
  • 75. Digital Media Initiative (DMI) groups. Such an assemblage may include one or more publishable groups. This class manages the allowable associations between Publishable Asset PublishableAssetGroupInGr Groups, e.g. A Series is Part oupType of a Season. This reference table identifies the types of Publishable Asset Groups which are allowed. Examples include: a single series; a single serial; a website; a programme and its related trailers/promos; a group which is itself composed of groups of programmes where the constituent groups are regarded as versions of one another (e.g. the grouping of the French, Polish, and German versions of an educational series.). The entity also supports the high level classification of 'Programme Groups'. This can be used, for example, to link Series of programmes where the name of the programme has been changed (e.g. City Hospital to Holby City). Similarly, a set of episodes (EOVs) could be used for a series shown on BBC1 whilst a different set could be shown on BBC Choice. In this case we would have two occurrences of Publishable Asset Group - both of which would be of the same Publishable Asset Group Type. We would, however, also have a third occurrence of Publishable Asset Group which would associate the two previous groups (the BBC1 and BBC Choice series). This third Publishable Asset Group would be of a different type from that of the first two PublishableAssetGroupType groups. A Publishable Asset Version is the description of a version of PublishableAssetVersion An editorial description of the the Publishable Asset Concept pavDescription content. (Synopsis) for a specific purpose. A version would always be related to a specific pavInVisionSubtitlesIndica Publishable Asset Concept. tor An example of a version might pavWorkingTitle be Holby City Series 5, episode 10:Depths of Devotion, original version for pavColourIndicator transmission on BBC1. Another version might be the same programme edited to contain an advert break for transmission on UK Gold. pavIsrcNumber The International Standard Recording Code. ISO standard DMIaData ISO 3901-2001. ISRC 3901, ref DMI Project Logical Data Model 75 of 87 Model - is global, unique method of Backstage.doc identifying sound and music video recordings. A code is allocated to each version of the recording. An example of the
  • 76. Digital Media Initiative (DMI) Registrant Code : 3 character (eg: Z03) Year Reference : 2 digits (eg: 00 for 2000) Designation Code : 5 digits (eg: 00212) Notes about the music used in the publishable asset version - maps to Delivery Pack Music pavMusicNotes Reporting Form Notes. The duration of an Editorial Object Version measured in hours, minutes, seconds and decimal fractions of a second. This may be derivable from the duration of its constituent Media Objects. For Programme Part, it records the duration of the Programme Part. pavDuration The value 'TRUE' indicates that the related details for the P4A Billing Form have been povBillingFormCompletedI ndicator completed. The programme number is used in all Radio BBC commissioning, scheduling and transmission systems, for public service outlets, to track and playout programmes. This number is given by the producer or the editor of the programme. It is used by all suppliers on all submitted tapes and all data forms. It is usually issued after the technical review of the programme. The programme number is formatted as: NNAANNNNAAN where NN = week recorded AA = the BBC region who paid for the programme NNNN = the number of the programme within the strand AA = BBC region who made the programme, for independant company the possible codes are KB, PB, DB or XB. N = the number of times the povRadioProgrammeNum programme was repeated. This ber information can be derived. DMI Project Logical Data Model 76 of 87 DMI Data Model - Backstage.doc
  • 77. Digital Media Initiative (DMI) The programme Id number is used in all TV BBC commissioning, scheduling and transmission systems, for public service outlets, to track and playout programmes. This number is given by the producer or the editor of the programme. It is used by all suppliers on all submitted tapes and all data forms. It is usually issued after the technical review of the programme. The programme Id number is formatted as: AAA ANNNA/NN where AAA ANNNA = core number NN = edit code The core number can be further decomposed as: AAA = business unit code ANNNA = programme identifier The edit code can have the values between 71 and 79 for completed transmission progammes. The edit code 70 is used by Post Production for live Programmes as Broadcast (PasB) NB: The core part of the Programme Number and the Programme ID Number will not always be the same. Different programme Id number will be povTvProgrammeIdNumb used to identify each programme er within the strand or series. DMI Project Logical Data Model 77 of 87 DMI Data Model - Backstage.doc
  • 78. Digital Media Initiative (DMI) The title of a particularPublishable Asset Version (= LEDM Editorial Object Version). Different versions of an editorial object may have different titles. Examples include: Outlook; How the West Was Shot; Ecology of an Illness; Czech News Transmission, 15:30, 01/05/2000; Talkabout; Sairbeen. The title can be viewed from different systems, e.g. the ENPS (Electronic News Production System) system using the MOS (Media Object Server) protocol, as well as the originating system. For Music Speech Sound Items the full title of the piece of music as shown on the recording or sheet music (if used). If part of a long work this should be the overall title of the work and details of the movement(s) used. If a parody (e.g. new words added to a piece of music or replacement of the BBC LEDM v1.0 © 2006 BBC. All rights reserved. Proprietary information of the British Broadcasting Corporation. Page 145 19/12/2006 original lyrics) the title of the original music should be used. For Menu, it can record the title of a menu (e.g. the 'Boxing Day on BBC1' pavTitle menu). pavCommissionedTitle A business identifier for the Publishable Item and used to pull together all information about a Publishable Item across systems. A BUPID will be allocated to anything that is complete and available for broadcast. It is allocated at the point of commissioning and will remain unchanged throughout its lifetime. Equivalent to a V-ISAN but only unique within the BBC. Locally known as the BUPID (BBC pavBUPID Unique Programme Identifier). The number used to identify both the type of commissioning and the level of repeat for a programme (when the whole The link between a group of programmes has the Publishable Asset Version and same costing number it should the groups to which it belongs. be recorded in This is a many-to-many EDITORIAL_OBJECT_GROUP). relationship as a Version can Also known as programme be part of different groupings number. over time or can belong to a Format: series and theme (for PublishableAssetVersionInG NN/AAA ANNNA roup example) at the same time. evgCostingNumber where DMI Project Logical Data Model 78 of 87 DMI Data Model - Backstage.doc
  • 79. Digital Media Initiative (DMI) NN = prefix AAA ANNNA = core number (taken from EOC). The core number can be further decomposed as: AAA = business unit code ANNNA = programme identifier NB: the core part of the Programme Number and the POV_TV_Programme ID Number will not always be the same. The order in which the Editorial Object Version (EOV) should be published within the context of the Editorial Object Group (EOG) in question. As an EOV may be a member of several EOGs it may have a number of different order values - each specific to the EOV within the PublishableAssetVersionInG roup evgEpisodeCount context of a particular EOG. The text label for the Publishable Asset Version Type. Examples include: Post Watershed; patName Original version Type of Publishable Asset PublishableAssetVersionTyp padCode Version, e.g. BBC1, e Worldwide etc. patEffectiveFromDate patEffectiveToDate This class identifies the WIP/Archive systems in the DMI domain across the BBC. Repository It is a reference data set. This class represents folders (containers), into which assets may be 'placed', within the repository. It is, in essence, a description of an element in the presentation layer. An asset may own a folder - its 'primary' folder - but it may also have shortcuts to it from other folders. Folders may also exist for the purpose of associating the assets used in a storyboard, or a rough cut, or an ingest RepositoryContainer session, etc. repName RepositoryContainer repIdentifier This holds the list of types of repository container allowed within the system. This includes: Commissioned Project Containers; Editorial Asset Version Containers; RepositoryContainerType Ingest Containers; etc. This is a placeholder for a data structure which allows the default policy types and values RepositoryDefaultPolicy to be set per repository. A reservation of a collection of physical items, which was not available for loan at the time of reservation. It is used to trigger the loan of the material when it is returned to the Reservation library. The reservation of a single Reserve piece of material. DMI Project Logical Data Model 79 of 87 DMI Data Model - Backstage.doc
  • 80. Digital Media Initiative (DMI) This is a PLACEHOLDER class for the required ResidualRightsStatement statement of residuals data. An interest, or permission, which is recognised and protected by law. This entity records the detail of each right which has been acquired for exploitation purposes. The details recorded here are not Outlet specific. The right may relate to an outlet e.g. the rights to transmit a specific programme on a specific outlet, though these details are recorded elsewhere. A Right can exist outside a Right Contract. Describes the type of right, for example the right to broadcast RightType or the right to publish. A description of a standardised type of role, responsibility or task undertaken by an organisation or an individual in the rotEffectiveToDate development, management, reporting or control of material. Examples Include: Adaptation rotEffectiveFromDate By, Book Author, Presenter, rotCode Producer, Director, Key Contributor, Production Contact, Material Creator, Cameraman, Vision Mixer, RoleType Arranger, Composer, Performer (Music) etc. This also contains roles identifying people who must be notified of state changes to assets or asset information. The title of the type of role. Examples Include: Adaptation It may also contain larger By, Book Author, Presenter, granularity Role Types used, Producer, Director, Key Contributor, for example, in diversity reporting. Production Contact, Material Creator, Cameraman, Vision Mixer, etc (= LEDM ROLE_TYPE) rotTitle The grouping of similar types rtgEffectiveToDate of role, for example participants in a programme rtgEffectiveFromDate will be grouped differently from rtgTitle the roles involved in producing/directing the programme. This is used, for example: to RoleTypeGroup group the role types which qualify for production credits on the Billing Form; to group the roles which are used for diversity reporting; to group the role types which are used for music reporting. (= LEDM ROLE_TYPE_GROUP) rtgCode A collection of slots in which programmes and interstitials may be broadcast. A Schedule is for a particular network on a particular day (e.g. BBC3, August 17th 2005). Schedule DMI Project Logical Data Model 80 of 87 DMI Data Model - Backstage.doc
  • 81. Digital Media Initiative (DMI) A business or BBC specific set of alphanumeric characters that identify the sctCode script type. Many different types of script An alphanumeric expression for are required for a production. the script type. These include not just the Examples include: Documentary script with the main dialogue sctName Script; Sketch; Commentary. and stage directions but also a The first date from which a Script variety of specialist scripts for Type is valid for new Copyright the various production staff Script. For example, if a Script involved (for example Type has a start date of 12 lighting technicians, sound ScriptType August, 1998, then it may be effects, vision mixers and so applied to the Copyright Script on may all have their own sctEffectiveFromDate from and including that day. scripts). This entity classifies The last date on which a Script the Type is valid for new Copyright available types of script. Script. For example, if a Script Examples include; Type has an end date of 12 Drama script, presenter script, August, 1999, then it may be lighting script, sound FX script, applied to the Copyright Script etc. on that day, but not on the following day. The Script Type remains in the system for sctEffectiveToDate historical data. An indicator, held against a shot media object, where the true value indicates that the creator suggests that this particular Shot is fit for the purpose for which it was captured. This attribute The class provides the editorial description for a should be used to mark the best continuous sequence of instance of the Shot in terms of the shot as one of a number of images that is editorially distinct from any other Shot in attempts to film the same or a way that is defined in its similar piece of action. Thus, if on the first three takes the actor description. The section may be planned, captured, created fluffs his lines and on the fourth from other recorded images or he falls over, but on the fifth it works okay. The fifth version of transmitted. the Shot will carry the indicator It provides the editorial as True. The 4 previous takes will carry the indicator as False. description of how the image The fifth Shot may then be or images are composed - eg. Wide Screen of..., or Close Up produced as a number of Shot Instances, one of which may of..., or Starts wide on... and also carry a good shot indicator tracks/crabs/zooms/to Medium Shot Close Up of....,etc. shoGoodShotIndicator to indicate it is the best print. This entity defines a valid list The name of the Shot Framing of Shot Size Types. The Type. The possible names are: possible values are: Big Close Up BCU Big Close Up Close Up CU Close Up Extreme Close Up ECU Extreme Close Up General Shot GS General Shot Low Angle L/A Low Angle Long shot ShotFramingType LS Long shot Mid Close Up MCU Mid Close Up Mid Long Shot MLS Mid Long Shot Mid Shot MS Mid Shot Mid Wide Angle MWA Mid Wide Angle Out of Focus OOF Out of Focus Various VARIOUS Various Wide Angle WA Wide Angle sstName Wide Shot WS Wide Shot sstCode The code that uniquely identifies the Shot Framing Type. DMI Project Logical Data Model 81 of 87 DMI Datavalues are: Possible Model - Backstage.doc BCU CU ECU GS L/A
  • 82. Digital Media Initiative (DMI) OOF VARIOUS WA WS The first date from which a Shot Framing Type is valid for new object. For example, if a Shot Framing Type has a start date of 12 August, 1998, then it may be applied to an object from and sstEffectiveFromDate including that day. The last date on which a Shot Framing Type is valid for new object. For example, if a Shot Framing Type has an end date of 12 August, 1998, then it may be applied to the object on that day, but not on the following day. The Shot Size Type remains in the sstEffectiveToDate system for historical data. sloName A section within a daily sloCode broadcast schedule. Examples Slot include quot;R2 drivetime slotquot; and quot;Comedy Nightquot; sloEffectiveFromDate sloEffectiveToDate A unique code to identify this swtCode software type. Name for the type of software e.g. game, graphics package, Classifies the software used swtName CAD package etc... for copyright reporting SoftwareType The first date from which the purposes. E.g game, graphics software code is valid for package, CAD package etc swtEffectiveFromDate assignment. The last date from which the software code is valid for swtEffectiveToDate assignment. The name of the sound format Defines the type of sound type e.g. mono, 2 channel format for an Editorial Object stereo, 5 channel surround Version and in which it (the sftName sound, etc. Editorial Object Version) may SoundFormatType have been commissioned. Examples are: mono; 2 sftEffectiveFromDate channel stereo; 5 channel sftEffectiveToDate surround sound. sftCode A reference table listing the An alphanumeric expression types of use to which source identifying the source material SourceMaterialUseType material may be put. type of use. Examples include: Extract; Examples include: Extract; sutName Dramatisation. Dramatisation. A business or BBC specific set of alphanumeric characters that identify the source material use sutCode ty pe. The first date from which a Source Material Use Type is valid for new Copyright Source Material. For example, if a Source Material Use Type has a start date of 12 August, 1998, then it may be applied to the Copyright Source Material from and including that day. sutEffectiveFromDate DMI Project Logical Data Model 82 of 87 DMI Data Model - Backstage.doc
  • 83. Digital Media Initiative (DMI) The last date on which a Source Material Use Type is valid for new Copyright Source Material. For example, if a Source Material Use Type has an end date of 12 August, 1999, then it may be applied to the Copyright Source Material on that day, but not on the following day. The Source Material Use Type remains in the system for sutEffectiveToDate historical data. The loan of a physical piece of material, ie a spool. This will appear as an item on the SpoolLoan despatch note. An editorial description of a natural image (c.f. Graphic) with persistence, but no duration e.g. a photograph, or single frame extracted from a shot. The description may apply to a still image that is planned to be taken, captured, edited or transmitted. For a Still the description will reflect pictorial contents. This may include subject and composition. The description must carefully distinguish this Still from any similar ones. Still The allocation of the Unique Material Instance to a specific position on the Storage Unit. It is possible that several Unique Material Instances are allocated to the same Storage Unit, but in different locations on that Storage Unit (in some case, for example, stereo audio tracks, it is possible that more than one Unique Material Instance start at the same position on the Storage Unit). It is also possible that a single Unique Material Instance does not fit onto a single Storage Unit so would need to be cross referenced to several Storage Units. This link entity defines the container for essence stored on a Storage Item. The essence container could be a file on an exchangeable or hard disk, a channel on a tape, a track on a CD etc. This association class defines how to locate Material Instance stored on Storage. Material Instance would normally be stored only on one tape or file, but if it is very long, it might be stored across The order of the storage several tapes. container (e.g. 2 - CD 2 of 3). StoragePosition posSequenceNumber The storage unit (e.g. the StorageUnit stoIdentifier specific tape) for the specified sttCode instance of the media object. sttName The storage unit may be removable or may be a fixed disk drive. sttEffectiveFromDate DMI Project Logical Data Model 83 of 87 DMI Data Model - Backstage.doc
  • 84. Digital Media Initiative (DMI) sttEffectiveToDate A logical subject within a SubjectReferenceConcept classification scheme. This structure allows for the complex associations between concepts. For example: the concept of ethics may, in one scheme, be a 'sub-concept' of philosophy; the concept of ship wrecks may be a sub- SubjectReferenceConceptAs concept of both maritime sociation transport and of disasters. This reference class contains the records of the types of association allowed between subject reference concepts. Examples include: is semantically congruent with; SubjectReferenceConceptAs narrow term; broad term; see sociationType now; etc. This is part of the subject indexing area. It identifies the scheme within which concepts are defined. Some schemes are highly structured, of which BBC examples are LONCLASS (LO) and TELCLASS (TE). Other schemes may be much less SubjectReferenceConceptSc universal and complex, such heme as keyword lists. This class contains the names which are synonymous with a given concept. It is used to provide both a natural language translation for a classification number and to allow searches on SubjectReferenceConceptTe classification numbers in rm language format. This class allows a person to be assigned as a user to a repository. It also controls the system functions that are assigned to that user in this system. Please note that, in this context, Person actually means 'a person playing a role within an organisational grouping' (e.g. Joe Bloggs acting as Exec Producer on a SystemAssignment series for Drama. This new reference class describes the atomic levels of system functionality available to a person within a WIP system. Please note that, in this context, Person actually means 'a person filling a role within an organisational grouping' (e.g. Joe Bloggs acting as Exec Producer on a series for Drama). Functionality atoms might include: Storyboard editing; 'Craft' Editing; Asset Managment; Apply Individual SystemFunction Policies, etc. TapeChannelPosition tcpStartTimecode The timecode at which the MaterialInstance starts on the tape DMI Project Logical Data Model 84 of 87 DMI DataAModel -is where the channel. channel Backstage.doc heads of the device strike the
  • 85. Digital Media Initiative (DMI) medium for writing or reading the Unique Material Instance. The channel number is an integer rather than a sequential number or count because the channels are not necessarily laid across the track of the medium in a sequential manner. An example would be a video tape where there are both helical and longitudinal channels. The side number on which the Material Instance appears on the tape storage. This attribute is relevant for the tcpSideNumber audio tape storage. The number of the track on the tape Storage where a Unique Material Instance can be located. This attribute is most relevant for audio tape storage. The term track applies to a medium where the data is laid down in a continuous series of Unique Material Instances. The data on the medium is accessed sequentially as on an audio tape or audio CD as opposed to a medium where the data is fragmented, for example on a tcpTrackCount computer hard disk. This class record the status (including failure messages) of the Technical assurance criteria applied to assets on TechnicalCriterionStatus creation/ingest. Some examples of reasons that an instance fails BBC technical review: Incorrect VITC, Incorrect aspect TechnicalReview techFailReasonDescriptio ratio, Blanking errors, Unsafe n Captions, Grading Errors etc. techBookingNumber This reference data set contains the line numbers of the video blanking lines which might be used to hold VITC. From Use Case - Ingest TimecodeBlankingLine Profile. This entity represents an atomic unit of a Media Element that has duration, such as a single audio or TimelineMediaElement single video media object. A BBC code that identifies the usage traffic light associated with a Usage Restric tion or a Timeline Media Object Group. The possible traffic lights can be: G-Green (No Restriction), A-Amber (Check for restrictions), R-Red (Restriction exists), TrafficLightType P- Purple (Not for Broadcast). tltName DMI Project Logical Data Model 85 of 87 DMI Data Model - Backstage.doc
  • 86. Digital Media Initiative (DMI) This class contains details of any transformations applied to the segment from the source material instance before it is inserted into the destination instance. Examples of transformations include: reversal, rotation, re- sizing (e.g. of injected non- moving video into shots), colour or tone modification. The entity also records transition information applying to the insertion of the source instance into the destination instance. Examples of transitions include: cut; wipe; reveal; keying - where one Material Instance (the foreground) is supported by another (the background), in a way defined by a third (the key) which controls the switch between them. Please note that a transformation or transition which materially affects the experience afforded by a piece of material will create a new Media and/or create another version of the related TransforAndTransition Publishable Asset. This class defines restrictions on the use of Media Assets or Publishable Asset Versions. Examples include: Legal/Litigation, Rights/Contractual, Editorial and Royal It is possible that the restrictions could be derived from the rights associated with UsageRestriction the object. ureDescription This entity defines the valid set of usage restriction types which includes values such as: - Embargo; - Territorial Restriction; - Re-use Restriction; - Payment Restriction; - Current Sensitivity. It is possible that the territorial, re-use and payment restrictions could be derived from the rights associated with the UsageRestrictionType object. This code to track how a wide screen image will be transmitted WidescreenConversionType for 4x3 wctCode analogue viewers. Name for how a wide screen image will be transmitted for 4x3 analogue viewers. Known values are: 14x9 semi letterbox 16x9 deep letterbox wctName 4x3 centre cut-out The first date from which the widescreen conversion code is valid for assignment. wctEffectiveFromDate DMI Project Logical Data Model 86 of 87 DMI Data Model - Backstage.doc
  • 87. Digital Media Initiative (DMI) The last date on which the widescreen conversion code is wctEffectiveToDate valid for assignment. DMI Project Logical Data Model 87 of 87 DMI Data Model - Backstage.doc