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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 \"Sold on Song\" 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

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

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

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

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

Digital Media Initiative (DMI)
Diagram 2 – Contributors
DMI Project Logical Data Model 43 of 87 DMI Data Model -
Backstage.doc

Digital Media Initiative (DMI)
Diagram 3 – Media Asset
Diagram 4 – Contract
DMI Project Logical Data Model 44 of 87 DMI Data Model -
Backstage.doc

Digital Media Initiative (DMI)
Diagram 5 – Publication
Diagram 6 – Storage
DMI Project Logical Data Model 45 of 87 DMI Data Model -
Backstage.doc

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

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

Digital Media Initiative (DMI)
Diagram 11 – Policies
Diagram 12 – Subject Reference
DMI Project Logical Data Model 48 of 87 DMI Data Model -
Backstage.doc

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

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

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

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 \"no sex descriptors\"
for the lowest code to \"sexual
violence\" 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 \"played\" 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

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

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

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

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

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

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 \"Starring\" 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

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. \"full-screen colour of the
Taj Mahal (taken from Space)
at t/c 10:09:47\", 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

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
\"Championship Manager 4\", 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

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

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

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
\"thumbnail\".
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

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

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

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

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

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

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

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

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

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:
\"Hot-linked\" 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 \"Pick
of the Week\") would also need
PublicationDependency to be pulled - this history
DMI Project Logical Data Model 72 of 87 DMI Data Model -
Backstage.doc

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. \"Barry's Fall\" 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

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 \"The Human
the publishable asset concept -
Body\", 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

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

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

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

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

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

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

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

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 \"R2 drivetime slot\" and
\"Comedy Night\" 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

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

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

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

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

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