BBC DMI Data Model

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

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BBC DMI Data Model

  1. 1. Digital Media Initiative (DMI) Digital Media Intiative (DMI) - Project Logical Data Model (PLDM) Version 2.1 Issued to backstage.bbc.co.uk community under a Creative Commons License DMI Project Logical Data Model 1 of 87 DMI Data Model - Backstage.doc
  2. 2. Digital Media Initiative (DMI) Document History Version State / Changes Date Author 1.0 Initial creation 10/05/2007 1.1 Updated with more structures 16/05/2007 Updated based on Process and Policy work 1.2 29/05/2007 Updated with full set of diagrams. Updated based on mappings to P4A. 2.0 20/06/2007 Executive Summary also updated. Updated based on mappings to P4A. 2.1 28/06/2007 Updated based on requirements from Process and Policy work More updates from Process and Policy work Mapping to P4A, Infax and MRS Next Stock Management SportsLibrary DMI Project Logical Data Model 2 of 87 DMI Data Model - Backstage.doc
  3. 3. Digital Media Initiative (DMI) CONTENTS 1 Executive Summary ............................................................................................................................................................4 2 Introduction ..........................................................................................................................................................................7 3 Reference Data ...................................................................................................................................................................7 4 Overview of Class Model Terminology...............................................................................................................................8 5 Changes since last version.................................................................................................................................................9 5.1 New Classes .................................................................................................................................................................9 5.2 New Attributes...............................................................................................................................................................9 6 Overview of the DMI Project Logical Data Model ............................................................................................................10 6.1 Publishable Asset .......................................................................................................................................................10 6.1.1 Publishable Asset Group..................................................................................................................................12 6.1.2 Publishable Asset Concept and Version .........................................................................................................12 6.1.3 Delivery Requirement .......................................................................................................................................13 6.1.4 Reuse of Versions ............................................................................................................................................15 6.2 Media Asset ................................................................................................................................................................16 6.3 Publishable Asset and Media Asset ..........................................................................................................................16 6.4 Material Instance ........................................................................................................................................................17 6.4.1 Content Location...............................................................................................................................................17 6.4.2 Technical Review..............................................................................................................................................18 6.5 Publication...................................................................................................................................................................18 6.5.1 Slot ....................................................................................................................................................................19 6.6 Usage Restriction .......................................................................................................................................................20 6.7 Contract.......................................................................................................................................................................21 6.7.1 Broadcast Contract ...........................................................................................................................................21 6.8 Contribution.................................................................................................................................................................21 6.9 Residual Rights...........................................................................................................................................................22 6.10 People and Organisations.....................................................................................................................................23 6.11 Stock Management................................................................................................................................................24 6.12 Delivery to Publication ...........................................................................................................................................25 6.13 Copyright Information ............................................................................................................................................26 6.14 Reports/Forms .......................................................................................................................................................27 6.15 Music Reporting .....................................................................................................................................................27 6.15.1 Example 1 .........................................................................................................................................................28 6.15.2 Example 2 .........................................................................................................................................................29 6.15.3 Music Codes .....................................................................................................................................................30 6.16 Compliance ............................................................................................................................................................31 6.16.1 Examples ..........................................................................................................................................................31 6.17 Storage...................................................................................................................................................................32 6.18 Language ...............................................................................................................................................................33 6.19 Production ..............................................................................................................................................................33 6.20 Application..............................................................................................................................................................34 6.21 Indexing..................................................................................................................................................................34 6.21.1 Example ............................................................................................................................................................35 6.22 Audit Trails .............................................................................................................................................................35 6.23 Access Rights ........................................................................................................................................................35 6.23.1 Access to Media ...............................................................................................................................................35 6.23.2 Access to Folders .............................................................................................................................................36 6.24 Requests ................................................................................................................................................................36 6.25 Policies ...................................................................................................................................................................37 APPENDIX 1 – Scenarios .........................................................................................................................................................38 APPENDIX 2 – Diagrams..........................................................................................................................................................42 APPENDIX 3 – Sources ............................................................................................................................................................49 7 Class and Attribute Descriptions ......................................................................................................................................50 DMI Project Logical Data Model 3 of 87 DMI Data Model - Backstage.doc
  4. 4. Digital Media Initiative (DMI) 1 Executive Summary The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented using UML Class Modelling diagrams. The model is describing the structure on a class level, but where possible examples have been added to explain how the structure works. The current version has not been fully populated with attributes but the required data structures should be in place. The model covers all types of media assets, not just linear television programmes. The structure of the model is supporting Linear Television Programmes, Radio Programmes, Interactive Services, Promotions, Web Pages, Interstitials and Scripts etc. Several areas will require further analysis; this will be highlighted in the detail of the document. It is expected that this will be looked at in the detailed design phase. One of the main focuses of the model is that the asset information should be held separately from information about the usage of that asset; this will simplify the reuse of the assets, from an information point of view. The concepts Publishable Asset and Media Asset have been introduced to the model to support this separation of the data. Below is a simplified view of the DMI PLDM, showing some of the areas the model touches upon. PUBLISHABLE GROUP RESTRICTIONS RIGHTS CONTRACT PUBLISHABLE ASSET MEDIA ASSET CONTRIBUTORS ASSET PACKAGE MATERIAL INSTANCE STORAGE ACCESS RIGHTS STOCK MANAGEMENT DELIVERY REQUIREMENT PUBLICATION Definitions: Asset Package This represents a bundle of assets (Publishable Assets and Media Assets) intended to be exported/outgested from the DMI system. Access Rights Control of the users access to folders and assets. Contract The contract between Commissioning and Production detailing which Publishable Assets the Production team should deliver and also any terms and conditions related to the Publishable Asset, such as number of transmission bought. Delivery Requirement Defines the delivery requirements for a specific Publishable Asset Version. For example BBC1 required Walking With Dinosaurs to be delivered on 1 x 625 line PAL Digital Betacam videocassette. It may also define any reports, e.g. a “PasC type” report that must be delivered. Publishable Group Any grouping of a Publishable Asset such as Brand, Campaign, Series, Website etc DMI Project Logical Data Model 4 of 87 DMI Data Model - Backstage.doc
  5. 5. Digital Media Initiative (DMI) Publishable Asset Represents the usage of an asset, e.g. as a television programme, radio programmes, webpages, interactive streams, interstitials and so on. Publication The publishing of a Publishable Asset, this includes Linear Television, Interactive, Radio and Web. Material Instance The instantiation of a Media Asset. A Media Asset may have several instantiations, e.g. with different compression type (jpeg, mpeg etc) Media Asset An asset produced by Production, this could include any audio, video, stills, data etc. A Media Asset may be used as a Publishable Asset, but other Media Assets, such as rushes, may not be used as a Publishable Asset. The Media Asset will have associated meta data, including details of the rights. Rights Any rights information (copyright information and other rights) associated with the Media Asset. Stock Management Represents data required for Stock Management for the library. Storage The storage unit (e.g. the specific tape or file) for the specified instance of the media asset. Talent Contributors to the asset, e.g. presenter, actor, cameraman etc. Usage Restriction Any restrictions related to the usage of an Asset. Examples include Legal/Litigation and Editorial restrictions. In the current environment all metadata, such as Rights and Talent information, is captured against a scheduled programme, where some information is not captured until post transmission. In DMI, metadata should be captured against the Media Asset, i.e. independent of the usage of the asset. This means less duplication of data, both from a storage perspective, and also the user (e.g. the Production Coordinator) will not need to re-type information that already exists in the system. This will improve the data quality. The main area of the model is surrounding Publishable Asset and Media Asset. The Publishable Asset represents the editorial assets that are commissioned and scheduled. The Media Asset represents assets created by a Production Team, which may at some point represent a Publishable Asset. Information that is only relevant to the usage of an asset, such as episode number, will still be captured against the Publishable Asset. Some documents, such as memos, emails and notes, are not part of the Media Asset Structure on DMI. However, DMI will need to hold a link to any of these documents, on a Publishable Group, Publishable Version and Media Asset level. 1.1.1.1 Examples Below is an example of how Fat Nation, the campaign, would be represented in DMI. Only part of “Fat Nation” is included in this example to keep the example relatively simple. DMI Project Logical Data Model 5 of 87 DMI Data Model - Backstage.doc
  6. 6. Digital Media Initiative (DMI) Fat Nation - The Big Challenge Fat Nation Interactive PUBLISHABLE_ASSET_GROUPs Fat Nation Interactive Fat Nation Interactive The Big Challenge Big Challenge Website DTT DSat/DCab Fridge Laundry FridgeLaundry Prog 1 PUBLISHABLE_ASSET_VERSIONs Events Web Page EDA C279H/71 EDA C278N/71 GFG A649X/72 MEDIA_ASSETs Audio/Video Data Audio/Video Concept As Is DMI Fat Nation – The Big Challenge Represents a campaign, but in the current The campaign is represented as a environment there does not seem to be a single Publishable Asset Group, with associations place to find all the “parts” of the Campaign. to all parts of the campaign. The Big Challenge Represents the linear television series/strand The series, grouping of programmes, is (different systems use different terms), which represented on DMI as a Publishable Asset has several programmes/episodes, one of which Group. A Publishable Asset Group may be is called “Prog 1”. associated to other Publishable Asset Groups, which allows for the Series to be associated with the Campaign. Prog 1 Prog 1 is one of the programmes that was part of Prog 1 is represented as a Publishable Asset the series “The Big Challenge”. Version that can be associated to the Publishable Asset Group. Big Challenge Website “Big Challenge Website” represents Websites are represented as Publishable http://www.bbc.co.uk/bigchallenge/ which has Asset Groups. several webpages, one of them being “Events”) Events A webpage at the url Webpages are represented by Publishable (http://www.bbc.co.uk/bigchallenge/ events that Asset Version on DMI. The Publishable is part of the website called “Big Challenge” Asset Version has an association to the Publishable Asset Group it is part of. Fat Nation Interactive “Fat Nation Interactive” represents the interactive The interactive service is represented by the service which was part of the campaign. The Publishable Asset Group. service had two different versions, one for DTT, and one for DSat/DCab, each of these contained Each of the streams available as part of the several “streams” related to the linear Group are represented by Publishable Asset programmes Version. In some instances the same audio/video was The Audio/Video that was used for the used to represent streams on both DTT and Version are represented on the model by DSat/DCab. All though they were given different Media Asset. programme numbers the content was exactly the same Audio/Video/Script/Data etc Currently information is only captured on a In some cases the Media Asset represents programme/stream level. the content used as part of the Publishable Asset Version, but it may also represent any documentation (asset) that is required, such as a Script. Some Media Assets may be re- used across several Publishable Asset Versions, so by capturing metadata against the Media_Asset rather than against the Publishable Asset duplication is minimised. DMI Project Logical Data Model 6 of 87 DMI Data Model - Backstage.doc
  7. 7. Digital Media Initiative (DMI) 2 Introduction The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented using UML Class Modelling diagrams. The model is not complete and examples have been added to explain in more detail how the structure is intended to work. The main structure of the model is not expected to change, but more detail will be added as the requirements become clear. One of the main focuses of the model is that the asset and the usage of the asset will be kept separate to easily allow for re-use of the asset from an information point of view. USAGE MEDIA USAGE ASSET USAGE The Media Asset represents any asset (audio/video/still/data etc) that is produced by Production. The usage of this Media Asset could include a linear television programme, radio programmes, interactive services, promotions, web pages, interstitials, and scripts and so on. USAGE ASSET The example on the right is showing how an asset (in this case an audio/video of Eastenders) can be used in several different ways. The asset can be broadcast on BBC1, and it can also be made available on iMP. Another example is if a media asset is used both for a linear television programme, and for an interactive service. Although Television the information required to playout an interactive stream may be different from a linear television programme, the information regarding the asset is the same (as an asset could be re-used, one time in a linear programme, another time as part of an interactive service). iMP 3 Reference Data Reference Data entities appears in yellow on the diagrams. This document may list requirements to reference data values, but they should be implemented by a Reference Data Management System. DMI Project Logical Data Model 7 of 87 DMI Data Model - Backstage.doc
  8. 8. Digital Media Initiative (DMI) 4 Overview of Class Model Terminology Classes PUBLISHABLE_ASSET_VERSION A class is a representation of something the system needs to know about. Classes are represented as boxes e.g. Organisation Type. A class holds information called Attributes. The attributes are shown under the class name e.g. Identifier and Name. Subclasses PUBLICATION Subclasses are used to divide a parent class into child classes (subclasses). These subclasses inherit attributes from the parent. They can also have their own attributes. Subclasses are shown using an arrow relationship from the Child Class to the Parent Class. PRE_RECORDED_PUBLICATION LIVE_PUBLICATION In the example opposite, the PUBLICATION class has two subclasses – PRE RECORDED_PUBLICATION and LIVE_PUBLICATION. Associations MEDIA_ELEMENT_GROUP An association is used to relate two or more classes together. It is depicted as a line between the classes. 0..* keyed by The cardinality and naming of the association is represented at the end of each association line. 0..1 In the example opposite the association may be keyed for KEYFRAME read as follows: KEYFRAME is keyed for zero or many MEDIA_ELEMENT_GROUPs, and MEDIA_ELEMENT_GROUP is keyed by zero or 1 KEYFRAME. Association Classes PUBLISHABLE_ASSET_VERSION An association class is an association that also has class properties. An association 0..* uses class is shown as a class symbol attached MEDIA_ASSET_USAGE by a dashed line to an association path. used by 0..* In the example on the left MEDIA_ASSET MEDIA_ASSET_USAGE is the association class, defining the association between PUBLISHABLE_ASSET_VERSION and MEDIA_ASSET, as this is a many-to-many association. DMI Project Logical Data Model 8 of 87 DMI Data Model - Backstage.doc
  9. 9. Digital Media Initiative (DMI) 5 Changes since last version 5.1 New Classes AudioNoiseReductionType CopyrightScript Country Loan LoanStatus Request RequestStatus Reservation Reserve ScriptType ShotFramingType SpoolLoan UrgencyType WidescreenConversionType 5.2 New Attributes aatCode nrtCode swtEffectiveFromDate aatEffectiveFromDate nrtEffectiveFromDate swtEffectiveToDate aatEffectiveToDate nrtEffectiveToDate swtName aatName nrtName tcpSideNumber acsCreationReasonDescription ostCode tcpStartTimecode clwISBNNumber ostEffectiveFromDate tcpTrackCount clwPublicationDate ostEffectiveToDate wctCode clwSourceName ostName wctEffectiveFromDate cntCode outEffectiveFromDate wctEffectiveToDate cntEffectiveFromDate outEffectiveToDate wctName paaExtractTitle cntEffectiveToDate cntName paaIdentifier comCode paaNotesDescription comEffectiveFromDate paaRunningOrderCount comEffectiveToDate paaVideoSourceDuration comName paaVideoSourceStartTimeMark copDuration pacCommissionedTitle copIdentifier pagCommissionedTitle copNotesDescription pagDescription copOriginalContractProgrammeNumber patCode cosOnScreenDescription patEffectiveFromDate cscPreviousTitlesDescription patEffectiveToDate pavBUPID cswCaptureDate cswReferenceNumber pavCommissionedTitle cswSourceText pdrCode devIsoCameraIndicator pdrDescription iqtCode pdrEffectiveFromDate iqtEffectiveFromDate pdrEffectiveToDate pevAudioDescriptionIndicator iqtEffectiveToDate iqtName pevVisionSourceName kfrIdentifier phaCode matIdentifier phaEffectiveFromDate DMI Project Logical Data Model 9 of 87 DMI Data Model - Backstage.doc
  10. 10. Digital Media Initiative (DMI) medEditDetailsDescription phaEffectiveToDate medFinalClosingCaptionDescription phaName megFirstClosingCaptionDescription sctCode mgtCode sctEffectiveFromDate mgtEffectiveFromDate sctEffectiveToDate mgtEffectiveToDate sctName mgtName shoGoodShotIndicator motCode sloCode motEffectiveFromDate sloEffectiveFromDate motEffectiveToDate sloEffectiveToDate motName sutCode mvsCode sutEffectiveFromDate mvsEffectiveFromDate sutEffectiveToDate mvsEffectiveToDate sutName mvsName swtCode 6 Overview of the DMI Project Logical Data Model This section presents an overview of the key elements of the DMI Project Logical Data Model (PLDM). For a full view of the model see Appendix 2. Reference Data entities appears in yellow on the diagrams. 6.1 Publishable Asset The structure below represents any Publishable Asset, i.e. content that is commissioned in order to be made available to the public, such as television programmes, radio programmes, webpages, interactive streams, mobile services and the grouping e.g. series/website the content belongs to. In addition to supporting a Publishable Asset, the model will also support the relationship between Publishable_Assets, e.g. a version is related to another; a webpage could be related to a linear programme, an interactive stream could be related to a programme etc. This is supported by PUBLISHABLE_ASSET_GROUP. DMI Project Logical Data Model 10 of 87 DMI Data Model - Backstage.doc
  11. 11. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 11 of 87 DMI Data Model - Backstage.doc
  12. 12. Digital Media Initiative (DMI) 6.1.1 Publishable Asset Group The Publishable Asset Group represents either a Grouping of Groups, or a Grouping of Publishable Asset Versions. This structure will support groupings such as Campaign, Series, and Websites etc. 6.1.1.1 Examples Fat Nation, a Campaign that consisted of several Series and a Website. PUBLISHABLE_ASSET_GROUP: Fat Nation - The Big Challenge PUBLISHABLE_ASSET_GROUP: PUBLISHABLE_ASSET_GROUP: The Big Challenge Big Challenge Website 6.1.2 Publishable Asset Concept and Version The Concept is the description of the features of a single “programme” that are general across all versions as proposed as part of a Commission. An example of a linear television programme within this structure could be the Series (Publishable Asset Group), with a programme (Publishable Asset Concept) that has 4 different versions (Publishable Asset Versions). An example from New Media could be a Website (Publishable Asset Group), e.g. bbc.co.uk/eastenders, where the idea of the webpages (Publishable Asset Concept), one of which is called Characters and the content of this webpage will change over time, creating new versions (Publishable Asset Versions) of the webpage. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 12 of 87 DMI Data Model - Backstage.doc
  13. 13. Digital Media Initiative (DMI) 6.1.2.1 Example The Series “Blue Planet” has several programmes; one of them is called “Coral Seas” and it has 5 different versions, another is called “Frozen Seas”, which have 4 different versions. Blue Planet : PublishableAssetGroup Frozen Seas : PublishableAssetConcept Coral Seas : PublishableAssetConcept Original TX Version : PublishableAssetVersion BBC TX Version : PublishableAssetVersion Worldwide Version : PublishableAssetVersion Repeat TX Version : PublishableAssetVersion BBC Repeat Version : PublishableAssetVersion Signed Version : PublishableAssetVersion Signed Version : PublishableAssetVersion AD Version : PublishableAssetVersion AD Version : PublishableAssetVersion 6.1.3 Delivery Requirement The Delivery Requirements lists all assets a Production/Project has been commissioned to deliver. Examples include the audio/video representing a programme, a script for a programme, and also reports such as the current PasC or Music Report. DMI Project Logical Data Model 13 of 87 DMI Data Model - Backstage.doc
  14. 14. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 14 of 87 DMI Data Model - Backstage.doc
  15. 15. Digital Media Initiative (DMI) Below is an object model illustrating how the model would support this: Line1:BROADCAST_CONTRACT_LINE MyProgramme:PUBLISHABLE_ASSET_VERSION VHS:DELIVERY_REQUIREMENT Delivered:DELIVERY_STATUS PasC-info:DELIVERY_REQUIREMENT Pending:DELIVERY_STATUS 6.1.4 Reuse of Versions A Publishable Asset Version may be part of several Groups. A Publishable Asset Version can be part of several Groups over time. Amongst other things, for certain types of Publishable Assets, Version In Group is keeping track of which Episode Number a Publishable Asset Version has within a specific Group. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.1.4.1 Examples The programme “Coral Seas” was originally part of the Series called “Blue Planet” in 2002. In 2004 it was repeated as part of a Series called “Repeats 2004/2005 BBC1” Blue Planet Repeats 2004/2005 BBC1 Cost prefix: 01 Cost prefix: 06 Coral Seas Programme Identification Number: NBS K538N/71 DMI Project Logical Data Model 15 of 87 DMI Data Model - Backstage.doc
  16. 16. Digital Media Initiative (DMI) 6.2 Media Asset The Media Asset structure represents the Assets that are produced during a production. Media Element represents any individual piece of media that can be used as part of a production. The Media Element Group represents a grouping of elements, for instance the editing together of two audio elements to create a “stereo” group. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 The structure in P4A (Content Items) represents the way production group the content that requires reporting according to a local agreement within the production team or department in order to manage their work and does not necessarily represent the identification of the publishable and media asset identifiers required for indexing and usage. 6.3 Publishable Asset and Media Asset A Media Asset is delivered against a Publishable Asset Version. Media Asset Usage specifies the usage of the Media Asset, e.g. a Media Asset is used to represent the full Publishable Asset, or the Media Asset represents the subtitling/audio description of a Publishable Asset. DMI Project Logical Data Model 16 of 87 DMI Data Model - Backstage.doc
  17. 17. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Media Asset Usage will hold the Editorial Acceptance Indicator, which indicates if a Media Asset has been editorially accepted as a representation of the Publishable Asset Version. 6.4 Material Instance MaterialInstance represents the instantiation of Media. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.4.1 Content Location The Content Location notes the places that have been involved in media asset development, e.g. where action takes place or where it is considered to take place. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 17 of 87 DMI Data Model - Backstage.doc
  18. 18. Digital Media Initiative (DMI) 6.4.2 Technical Review A review to ensure that a programme meets the BBC’s technical standards. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 The technical Review does not normally consider editorial or contractual issues, but instead focuses on the technical quality of the video and audio recording. 6.5 Publication The relationships from Broadcast Contract Line, Publishable Asset Group and Version In Group represent the planning of a publication. The relationship from Material Instance to Publication represents the actual publication. Publication includes both what are traditionally known as transmission and also the publication of e.g. web pages on the internet. DMI Project Logical Data Model 18 of 87 DMI Data Model - Backstage.doc
  19. 19. Digital Media Initiative (DMI) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.5.1 Slot A SLOT is a weekly/daily recurring period of time that is identified in order to facilitate strategic planning of a radio service. Examples include: • Monday breakfast slot on R4 FM • R2 drivetime slot • Book at bedtime • Every Monday night, 21.00-22.30 on BBC2, is branded ‘Comedy Night’ The terms “drivetime” and “breakfast” generally (but not always) refer to weekdays and their times will vary between networks. The planners then decide what programming is use to fill the slots. (A Slot is known as a “Strand” in radio.) DMI Project Logical Data Model 19 of 87 DMI Data Model - Backstage.doc
  20. 20. Digital Media Initiative (DMI) 6.6 Usage Restriction Restrictions can apply to any level, Publishable Asset Group through to Media Element. Examples include: Legal/Litigation – programme restricted as request/demand of BBC Legal Dept either because legal • action has been initiated/threatened (we get ‘early warning memos’) or a case has been concluded and the programme in question cannot be re-used. Rights/Contractual – The BBC may have an agreement to broadcast 1 live and 1 repeat of a Royal • Opera House production. After the repeat there can be no re-use without further clearance. R1 may record the entire set of a band at Glastonbury, but only have agreement to use two tracks. The remainder cannot be used without prior clearance. Personal contracts with talent may restrict re-use. Editorial – a producer or department may request restriction based on real or spurious bases: a • programme may contain sensitive material which should not be used out of context. Or a scientist may request that no use is made of an interview more than one year after first TX because the content may be out of date. Sometimes programmes feel they ‘own’ the material and want to stop other BBC programmes using it. Rare, but I&A would contest such restrictions. Royal – TV use this as a separate restriction, but it would fit under any of the above probably Rights. • E.g. the Queen’s Christmas message cannot be re-used complete or in extracts at all. If for instance a Legal/Litigation restriction has been raised DMI may need to hold a link to the “Early Warning”. This document would be regarded as an Other Asset on DMI. The same goes for any memos, emails, notes etc that is related to a production/campaign/programme etc. Below is an extract from the model which covers Usage Restrictions. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 20 of 87 DMI Data Model - Backstage.doc
  21. 21. Digital Media Initiative (DMI) Contract 6.7 Contract It is unclear at the moment how much information about a contract would be held in DMI. Contracts related to copyright or talent are mastered in Acon, but the contract number may have to be available in DMI. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.7.1 Broadcast Contract The Broadcast Contract represents the agreement between commissioning and a production team as to what should be delivered when. 6.8 Contribution A Contribution is the intersection between a Person/Organisation/Group and a Media Asset The contribution to a Media Asset must be captured, e.g. that a person is a director, or an actor. Currently this information is typed manually into metadata capture tools, such as P4A, but in the future it may be possible for some of this information, such as contract number and person name, to be populated from Acon in the cases where a contract has been raised. (“No Fee” or Public Domain contribution or material will not exist in Acon, and so all information will have to be mastered in DMI, which could mean that Acon will need to check with DMI before creating a new person record, just in case the person already exists in DMI.) Any specific usage information, e.g. that an actor was OOV (Out of vision), or that the actor wasn’t used after all, must be captured in DMI. Contributors contracted for a performance but not used in the media or publishable asset will also be indicated and flagged as such within DMI, although the contract details are recorded in ACON. (This could mean that Acon will need to check with DMI before payment for repeat fees or residuals) Examples: PERSON, Joe Bloggs, is contributing to a Media Asset with the Contribution_Type of Director. DMI Project Logical Data Model 21 of 87 DMI Data Model - Backstage.doc
  22. 22. Digital Media Initiative (DMI) PERSON, Douglas Adams, is contributing to a Copyright Information (the book the film was based on) with the Contribution_Type Author. ORGANISATION, BeeGees, is contributing to a Media Asset with the Contribution_Type Performer. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Direct contributions to a Media Asset, e.g. an actor, are represented on the model by the relationship from Contribution to Media_Asset. An indirect contribution, such as the author of the book the Media_Asset is based on, is represented by the relationships from Contribution to Copyright_Information to Media_Asset. 6.9 Residual Rights A placeholder... * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 22 of 87 DMI Data Model - Backstage.doc
  23. 23. Digital Media Initiative (DMI) 6.10 People and Organisations People and Organisations have been represented as Party on the model. PARTY is the umbrella term used to describe PERSON and ORGANISATION. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 The contact information of a person or organisation. The Party_Location_Address class will include postal address, telephone numbers and email addresses. DMI Project Logical Data Model 23 of 87 DMI Data Model - Backstage.doc
  24. 24. Digital Media Initiative (DMI) 6.11 Stock Management There are approx 75 tables in Infax that support Stock Management. Below is a subset covering the loan of an asset – this area of the model is still very much work in progress. DMI Project Logical Data Model 24 of 87 DMI Data Model - Backstage.doc
  25. 25. Digital Media Initiative (DMI) 6.12 Delivery to Publication The requirement for “as run” data and post-tx reporting means that DMI must record publication (linear and non-linear). Packaging of material for distribution is treated as a special case of the creation of new material and/or new instances of material. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 25 of 87 DMI Data Model - Backstage.doc
  26. 26. Digital Media Initiative (DMI) 6.13 Copyright Information Any item covered by copyright that is used in a media asset must be reported on. Some of this information is mastered in Acon. If a programme features a book, a contract should already exist in Acon which allows for the book to be used in a programme. The title and the author of the book should then not be required to be captured on DMI (but will be visible in DMI), but information about how the book was actually used in the programme must be captured and mastered, by DMI as this is specific usage information. E.g. the book was shown for 3 seconds in a programme. (To ease the capture of the usage of the item, it may help if the item information that exists in Acon is displayed to the DMI user). Any items that have not been contracted do not exist in Acon, and as such, the information around these items must be captured and mastered by DMI. An example would be a No-Fee. The model below has been based on the current TRG requirements as supported by P4A. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 26 of 87 DMI Data Model - Backstage.doc
  27. 27. Digital Media Initiative (DMI) 6.14 Reports/Forms 6.15 Music Reporting The model below represents information the Music Reporting Unit (MRU) are interested to know about a Publishable Asset. The information used for Music Reporting will be linked to the Media Asset rather than to the Publishable Asset Version to allow for re-use. Music has been represented on the model in two different ways as there are to different “types” of music; • Pre-recorded music used within a programme exists as a separate Media Asset • Music heard or reproduced in the course of a production (e.g. The London Philharmonic Orchestra at the Proms, or a group playing in the studio for TOTPs, or an actor whistling or singing a song during a play) * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 This structure does not only support songs on CDs, but also other sound items like a speech, or sound effects. E.g. the hunger cry of a WHITE-CRESTED HORNBILL (Berenicornis albocristatus) recorded in captivity. (Example from Infax.) DMI Project Logical Data Model 27 of 87 DMI Data Model - Backstage.doc
  28. 28. Digital Media Initiative (DMI) 6.15.1 Example 1 Music Reporting from P4A: DMI Representation: (The song itself is represented by a Media Element Group, as is the programme.) Note: the title given to the MOG may Title: “I Just Don’t Know What To Do be different from the title of the song With Myself” it represents. Composer: Bacharach/David Music Publisher: Carlin Music Performer: Dusty Springfield Time In: 10:01:52 Time Out: 10:02:12 Visual Cue: Music Code: B (Background Music, solely for the benefit of audience) Side: 1 Track: 16 “The Very Best of Dusty Springfield” Philips 848 789 -2 Music Code: C (Commercial Recording) DMI Project Logical Data Model 28 of 87 DMI Data Model - Backstage.doc
  29. 29. Digital Media Initiative (DMI) 6.15.2 Example 2 Not all music/sound will exist on a CD. The example below represents music that is captured when talent is singing/humming/whistling. For example in an episode of Keeping Up Appearances where the character, Mrs Bucket, sings part of the song “I am sixteen going on seventeen” from the Sound of Music. (Example from P4A) Example from P4A: DMI Representation: (No Media Element Group exists for the Song.) R: Studio Recording Duration: 00:06 Music Code: V (Visual music) Title: “I am sixteen going on seventeen” Perfomer: Patricia Routledge Composer: Rodgers and Hammerstein Publisher: Chappel DMI Project Logical Data Model 29 of 87 DMI Data Model - Backstage.doc
  30. 30. Digital Media Initiative (DMI) 6.15.3 Music Codes Music Codes are used by MRU and represent where the music came from, and how it was used, and the Production is expected to provide this. Below is a table explaining where in the model the Music Codes are supported. MRU Music Codes Mapping to DMI Code Code name Description A Sound Music on archive material from the BBC Sound Archives. Label Supported by the class Archives details must be blank. MUSIC_ORIGIN_TYPE C Commercial Compact disc, LP, cassette or cartridge of music, speech and Supported by the class sound effects. Label details are required. MUSIC_ORIGIN_TYPE H Radiophonic Specially composed material from the Radiophonic Workshop. Supported by the class Workshop Label details must be blank. MUSIC_ORIGIN_TYPE I Local Radio Specially composed idents for Local Radio only. Label details Supported by the class Idents must be blank. MUSIC_ORIGIN_TYPE K Commercial old Recordings published over 50 years ago. Label details are Supported by the class required. MUSIC_ORIGIN_TYPE L Live Performance (and miming on live programmes for TV). Label Supported by the class details must be blank. PUBLICATION M Library music Publisher’s library music, speech and sound effects, eg Bruton, Supported by the class Carlin, Chappell, De Wolfe. Label details are required. MUSIC_ORIGIN_TYPE N Private tapes Non-commercial private tapes. Label details must be blank. Supported by the class MUSIC_ORIGIN_TYPE P Music video Will have an ISRC number on packaging or time clock. Short Supported by the class form video usually 3-4 mins. Not likely to be cartoons / extracts MUSIC_ORIGIN_TYPE from feature films / concerts. DVD versions reported in the same way. ISRC and Label details are required. R Studio BBC studio or location recording (not specially composed). Label Supported by the class recording details must be blank. MUSIC_ORIGIN_TYPE nd st 2 2 or further Within 28 days of the 1 transmission. Label details must be Supported by the class use of “R” code blank. PUBLICATION T Soundtrack From BBC’s Film Unit or film soundtrack from Programme Supported by the class tape Acquisitions. Label details must be blank. MUSIC_ORIGIN_TYPE U Foreign tapes Stock music from Foreign Broadcasters (e.g. EBU tapes). Put Supported by the class Foreign Tape as the label name. MUSIC_ORIGIN_TYPE X Specially Excluding Radiophonic Workshop. Label details must be blank. Supported by the class composed MUSIC_ORIGIN_TYPE music S Signature Tune If the music item has been used as a signature tune for your Supported by programme. MEDIA_ASSET_ASSOCIATION. Signature_Tune_Indicator or COPYRIGHT_MUSIC. Signature_Tune_Indicator D Dubbed If an A, C, M or T code (above) has been dubbed (or you are Supported by reporting a pre-recorded programme). MEDIA_ASSET_ASSOCIATION. Dubbed_Indicator or COPYRIGHT_ITEM_USAGE. Dubbed_Indicator B Background Music added solely for the benefit of the audience and thus forms Supported by music no intrinsic part of the programme. (TV only). Use in addition to a MEDIA_ASSET_ASSOCATION. primary code. Visual_Indicator or COPYRIGHT_ITEM_USAGE. Visual_Indicator V Visual music Visual music forms a part of the programme in as much as it Supported by appears to be or is audible to those taking part in the programme, MEDIA_ASSET_ASSOCATION. e.g. any music sung or played in vision, music which characters Visual_Indicator in a play can hear even if it comes from a performer or record or player not in vision, music heard by people sitting in a cafe even COPYRIGHT_ITEM_USAGE. though to those in the programme it would be background music. Visual_Indicator All actuality music is visual. (TV Only). Use in addition to a primary code. * These codes may change dependent upon the approach taken as part of the Reference Data work – however, it is assumed that the requirement will be the same. DMI Project Logical Data Model 30 of 87 DMI Data Model - Backstage.doc
  31. 31. Digital Media Initiative (DMI) 6.16 Compliance Every programme made for the BBC must adhere to the BBC Producer Guidelines and Credit & Branding Guidelines. The diagram below represents information about Compliance that must be captured for a Programme. The requirements have been taken from the Compliance Manager. It is believed that similar information is also captured for radio and television trails. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Some of the information is specific to the slot the programme/content has been scheduled for (Publication), other information is specifically related to the content of the programme (Media Asset). The classes CulturalDiversityReportingValue and DiversityCategory are placeholders as the detailed requirement has not yet been specified. 6.16.1 Examples Example 1: Publishable Asset Version: Spooks Interactive Mission Alert: Timecode_In 00:16:09 Alert: Timecode_Out 00:16:14 Alert_Type: Violence - Fictional Alert: Description:Two men wrestling each other. Alert: Timecode_In 00:20:04 Alert: Timecode_Out: 00:20:23 Alert_Type: Violence - Fictional Alert: Description:Man & woman struggle for gun. Alert: Timecode_In: 00:02:29 Alert: Timecode_Out: 00:02:40 Alert_Type: Flashing Images Alert: Description: 6 versions of same image changes very rapidly DMI Project Logical Data Model 31 of 87 DMI Data Model - Backstage.doc
  32. 32. Digital Media Initiative (DMI) Example 2: Publishable Asset Version: Little Britain Alert: Description:Possibly offensive terms throughout Alert: Timecode_In: 10:09:00 Alert_Type: Portrayal - Religious Alert: Description: Andy dresses up as Baby Jesus. (Examples from Compliance Manager) 6.17 Storage STORAGE represents any type of storage in the system, e.g. a Tape, CD, Film or File Based (e.g. wav, mpeg etc). The Storage entity will have an indicator to specify if e.g. a Tape exists or not. Even if the Tape does not exist anymore the details should be held on the system. [I&A requirement in 2005 - need to be verified] * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 32 of 87 DMI Data Model - Backstage.doc
  33. 33. Digital Media Initiative (DMI) 6.18 Language Below is a simple representation of this requirement which limits metadata of a specified record to being in a single language and to merely the primary language of any material being recorded. The actual requirements, when defined, may be considerably more complex than this. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.19 Production A Production team (or a project) are responsible for delivering/creating all the delivery requirements for a Publishable Asset Version. A Production could subcontract some of the content to other teams, such as independents. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 33 of 87 DMI Data Model - Backstage.doc
  34. 34. Digital Media Initiative (DMI) 6.20 Application Applications are required to distribute some types of content, e.g. All Interactive Services are dependent on an application to run on the Set Top Box, DMI is not interested in knowing the details about how an application is created, but would need to know which application, or version of application is required for a piece of content. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 Interactive TV application rights are the rights to use the interactive TV software application on which the content runs. Currently this information is not available through the Rights Group, but through Rights and Business Affairs, New Media. Production is not required to fill in any information about the usage of the application, so the only requirement currently captured is a requirement to be able to refer to the number of the contract that governs the usage of the Application. 6.21 Indexing Indexing is the process of applying classification schemes to content. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 34 of 87 DMI Data Model - Backstage.doc
  35. 35. Digital Media Initiative (DMI) 6.21.1 Example Infax Structure DMI SCHEME SCHEME on Infax is represented by LO - LONCLASS SUBJ_REFERENCE_CONCEPT_SCHEME on DMI. The preferred subject term for the concept. CONCEPT CONCEPT on Infax is represented by NORWAY STATE OIL COMPANY SUBJ_REFERENCE_CONCEPT on DMI. Contains a list of synonyms for a CONCEPT SUBJECT TERM on Infax is represented by SUBJECT TERM SUBJ_REF_CONCEPT_TERM. NORWAY STATE OIL COMPANY NSOC (NORWAY STATE OIL COMPANY) STATOIL (NORWAY STATE OIL COMPANY) 6.22 Audit Trails 6.23 Access Rights This is critical to control access to material and to enable or disable certain functionality for particular users under certain conditions. 6.23.1 Access to Media * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 35 of 87 DMI Data Model - Backstage.doc
  36. 36. Digital Media Initiative (DMI) 6.23.2 Access to Folders * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 6.24 Requests DMI will enable individuals to request Media Assets of any Editorial Quality Type and associated format. A request is either for a whole or part of a Media Asset. * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 DMI Project Logical Data Model 36 of 87 DMI Data Model - Backstage.doc
  37. 37. Digital Media Initiative (DMI) 6.25 Policies The application of Policies within the DMI environment is summarised by an indicative structure: * The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2 This is, by necessity, a distinctly indicative structure which will be matured as the Policy requirements are defined. Examples of Policies include; Retention Policy - Retention policy defines how long material should be kept by applying appropriate set of retention criteria. Selection Policy - Selection policy is necessary to identify valuable material that requires inclusion in the archive. Selection is carried out in order to support the creation and re-use of BBC's output across all broadcast platforms. DMI Project Logical Data Model 37 of 87 DMI Data Model - Backstage.doc
  38. 38. Digital Media Initiative (DMI) APPENDIX 1 – Scenarios Scenario Scenario Description Example Example Description Number Number E.g. the Blue Planet programme “Coral Seas” had four A* versions: BBC TX Version, Worldwide Version, BBC A Programme may have several Programme Repeat Version and a Signed Version. 1 Versions E.g. From Our Own Correspondent may come in two B version, one 24 minutes long and another 28 minutes long. A Programme Version could contain extracts of 2 other Versions See Scenario 1 (Series: Blue Planet Series with 3 A Programme may be part of a Series/Serial Programme: Coral Seas) A Programme may be part of more than one 4 Season over time? E.g. Sold on Song: For instance Steve Wright (a R2 show) might devote 10 minutes each day to the Sold on 5 Part of a Programme may belong to a Season A Song initiative. Or he may do a quot;Sold on Songquot; special of his usual programme 6 A Series may belong to a Season? 7 A Programme may have 3 different endings A Programme may have a 10 min opt out in the 8 middle Promotion Stills may be associated with a 9 series or a programme. E.g. Genius of Mozart when the programme started on BBC1, then went interactive and then continued on BBC3. A To the person using interactive this would seem like one An Interactive Stream can be related to more 10 long programme. than one Linear Programme. Chelsea Flower show. Same interactive stream used for B origination, highlights programme and available all week. (Karen 19/07/2004) A* It is broadcasted at the same time. It seems to be broadcast at the same time, but there B There are different ways an Interactive Stream could be a 3 second delay on the interactive service. 11 can be related to a Linear Programme. It is part of the same “Strand” but broadcasted at a C different time, e.g. not associated with the Publishable Asset Version, but with the Publishable Asset Group. Vic’s Chicks was commissioned for Interactive, and was not associated with a programme. But it was an eTV A* service “enhancing Easter”, and it was available for 30 An Interactive Programme does not need to be 12 days. associated with a Linear Programme. Another example is Trinidad Carnival. We do know of interactive streams repeated on their own B e.g. Untold Beauty for BBC Three. (Karen 19/07/2004) Radio 1 was streamed as interactive during Glastonbury. A (The same radio show that went out on radio, and at the Radio Programmes (or part of) can be used as same time.) 13 content of interactive. Euro2004: Radio5Live commentary available on B interactive (but delayed by 3 seconds as radio is faster than TV) TV Programmes (or part of) can be used as Life Style (a 24/7 “channel” has video-content that has 14 A content of interactive. been taken from the archive) E.g. for Sound Of Music (sing-a-long) there was two A video-streams used: One with the film, and one containing The Video going out on Linear and Interactive 15 the text... might be identical. Celtic Connections: The difference was the “text” on the B interactive. A “linear” programme can be repeated on 17 A This is often the case for Children's. (Karen 19/07/2004). interactive. And I would assume that some “interactive” programmes An interactive programme can be repeated on 16 A can be repeated on linear. E.g. some time in the future “linear”? Vic’s Chicks can be transmitted on BBC 1? Pre-recorded music used within a programme exists as a separate Media Asset: The song “I just don’t know what to A* do with myself” was used in a programme called “The very best of Dusty Springfield”. 18 Music Reporting Requirements A song may exist on several CDs, and it is a requirement B* to know which CD the song was taken from. C Music heard in the background or reproduced in the DMI Project Logical Data Model 38 of 87 DMI Data Model - Backstage.doc
  39. 39. Digital Media Initiative (DMI) Scenario Scenario Description Example Example Description Number Number course of a production (e.g. and actor whistling or singing a song during a play): The character, Mrs Bucket, sang “I am sixteen going on seventeen” from the Sound of Music. 19 A programme may have associated interstitials Pride and Prejudice shown as feature length single 1h30m asset, then re-edited to 3 x 30m assets - how do A publishable asset being commissioned as a A we keep the relationship in the editorial concepts even 20 single entity, then edited into more than one though the commission/contract may be unique subsequently [or vice versa] Bleak House being consolidated from its current 15 X B 30m asset into 5 x 1h30m assets The same version may change its various E.g transmittable or not, pre-watershed or not (rights 21 A statuses change, tastes change, policies change). 22 A Programme may have a related script E.g. the website www.bbc.co.uk/eastenders is part of the 23 A website may be related to other Websites A* webiste www.bbc.co.uk. The Website www.bbc.co.uk/eastenders has several 24 A Website may have several Webpages A* pages; one of them is called Characters. A linear programme may be interrupted by 25 news... An Early Warning may be related to anything... (e.g. “The BBC is now under a legal obligation to preserve all documents relating to this 26 programme, the making of it and the allegations about which complaint has been made – including emails, memos, letters, CD- Rom, notes, files, films and tapes.”) E.g. RaW the Reading and Writing Literacy campaign, Campaigns may not be directly related to a which had a promotional DVD available, and a storyline 27 A programme on Eastenders was part of the Campaign, but no full series/programme/stream was supporting the Campaign? Part of a Programme may belong to a RaW (Reading and Writing) literacy campaign, where a 28 A Campaign storyline on Eastenders was part of the campaign. 29 A webpage may be related to a Campaign A A programme may have associated notes, 30 memos, emails etc. 31 A Season may have an associated webpage A http://www.bbc.co.uk/radio2/soldonsong/ A campaign may produce content that is not 32 A RaW produced content for DVDs that were distributed. related to a programme/webpage etc. A Programme may have associated Ceefax 33 Subtitles. DMI Project Logical Data Model 39 of 87 DMI Data Model - Backstage.doc
  40. 40. Digital Media Initiative (DMI) Scenario 1a Blue Planet:PUBLISHABLE_ASSET_GROUP The Series “Blue Planet” has several programmes; one of them is called “Coral Seas”. “Coral Seas” has 5 different versions: Coral Seas - 50/NBS K538N:PUBLISHABLE_ASSET_CONCEPT BBC TX Version: A 60 minute version • (includes 10 minutes of includes of Making Waves) BBC TX Version - NBS K538N/71:PUBLISHABLE_ASSET_VERSION Worldwide Version: A 50 minute version • Worldwide Version - NBS K538N/72:PUBLISHABLE_ASSET_VERSION BBC Repeat Version: A 50 minute • version BBC Repeat Version - NBS K538N/76:PUBLISHABLE_ASSET_VERSION Signed Version: A 50 minute version • Signed Version - NBS K538N/77:PUBLISHABLE_ASSET_VERSION Version with AD: A 50 minute version • AD Version - NBS K538N/78:PUBLISHABLE_ASSET_VERSION Scenario 11a Programme 1 of the linear series “Fat Prog 1 GFG A649X/72:PUBLISHABLE_ASSET_VERISON 01 FAT NATION -REARENDERS:PUBLISHABLE_ASSET_VERISON Nation” had a related “interactive programme” (available via the red button) called “Rearenders”. related to:PUBLISHABLE_ASSET_ASSOCIATION Scenario 12a Vic’s Chicks was commissioned for Interactive, and Vic's Chicks:PUBLISHABLE_ASSET_GROUP was not associated with a programme. But it was an eTV service “enhancing Easter”, and it was available for 30 days. Vic's Chicks:PUBLISHABLE_ASSET_VERSION Scenario 18a The Song “I Just Don’t’ Know What Living Famously- DustySpringfield:PUBLISHABLE_ASSET_VERSION Eastenders Episode 695-698 Omnibus:PUBLISHABLE_ASSET_VERSION To Do With Myself” was used in two different Media Assets (represented on the right as Media Element Groups). Living Famously- DustySpringfield:MEDIA_ELEMENT_GROUP omnibus:MEDIA_ELEMENT_GROUP In the element that represents the programme “Living Famously” the song appeared for 20 seconds. MOG contains 20 seconds of the song...:MEDIA_ASSET_ASSOCIATION MOG contains 26 seconds of the song...:MEDIA_ASSET_ASSOCIATION In the element that represents the programme “Eastenders omnibus” the song appears for 26 seconds. Visual Used as Background Music I Just Don't Know What To Do With Myself:MEDIA_ELEMENT_GROUP DMI Project Logical Data Model 40 of 87 DMI Data Model - Backstage.doc
  41. 41. Digital Media Initiative (DMI) Scenario 18b The song “I Just Don’t Know What To Do I Just Don't Know What To Do With Myself:MEDIA_ELEMENT_GROUP With Myself” appears on two different CD’s. On the CD “The Very Best of Dusty Springfield” it is track 16 on side 1. Object_1:MATERIAL_INSTANCE Object_2:MATERIAL_INSTANCE On the CD “Dusty – The Silver Collection” it is track 3. Side 1 - Track 16:STORAGE_POSITION Side 1 - Track 3:STORAGE_POSITION The Very Best of Dusty Springfield:STORAGE Dusty - The Silver Collection:STORAGE Scenario 23a has/part of:PUBLISHABLE_ASSET_GROUP_IN_GROUP The website bbc.co.uk has another website called bbc.co.uk/eastenders. The website bbc.co.uk/eastenders is part of the website bbc.co.uk. www.bbc.co.uk:PUBLISHABLE_ASSET_GROUP www.bbc.co.uk/eastenders:PUBLISHABLE_ASSET_GROUP Scenario 24a www.bbc.co.uk/eastenders:PUBLISHABLE_ASSET_GROUP The website bbc.co.uk/eastenders has several webpages. “Characters” and “Crew” are two of the webpages that is part of the “Eastenders” Characters:PUBLISHABLE_ASSET_CONCEPT Crew:PUBLISHABLE_ASSET_CONCEPT website. Scenario 33 A Programme may have associated Ceefax Subtitles. (Media Asset Association) DMI Project Logical Data Model 41 of 87 DMI Data Model - Backstage.doc
  42. 42. Digital Media Initiative (DMI) APPENDIX 2 – Diagrams This section contains a full set of diagrams for the DMI PLDM. Reference Data entities appears in yellow on the diagrams. Diagram 1 – Publishable Asset DMI Project Logical Data Model 42 of 87 DMI Data Model - Backstage.doc
  43. 43. Digital Media Initiative (DMI) Diagram 2 – Contributors DMI Project Logical Data Model 43 of 87 DMI Data Model - Backstage.doc
  44. 44. Digital Media Initiative (DMI) Diagram 3 – Media Asset Diagram 4 – Contract DMI Project Logical Data Model 44 of 87 DMI Data Model - Backstage.doc
  45. 45. Digital Media Initiative (DMI) Diagram 5 – Publication Diagram 6 – Storage DMI Project Logical Data Model 45 of 87 DMI Data Model - Backstage.doc
  46. 46. Digital Media Initiative (DMI) Diagram 7 – Container and Access Diagram 8 – Material Instance DMI Project Logical Data Model 46 of 87 DMI Data Model - Backstage.doc
  47. 47. Digital Media Initiative (DMI) Diagram 9 – Asset Creation Diagram 10 – Asset Usage DMI Project Logical Data Model 47 of 87 DMI Data Model - Backstage.doc
  48. 48. Digital Media Initiative (DMI) Diagram 11 – Policies Diagram 12 – Subject Reference DMI Project Logical Data Model 48 of 87 DMI Data Model - Backstage.doc
  49. 49. Digital Media Initiative (DMI) APPENDIX 3 – Sources Source When Used in Section/Area www.bbc.co.uk/commissioning/delivery/txreview.shtml 18/05/2007 Technical Review www.bbc.co.uk/commissioning/delivery/essentials.shtml 18/05/2007 Compliance http://ia.gateway.bbc.co.uk/ia_site/main.asp?page=2167 28/06/2007 Policies DMI Project Logical Data Model 49 of 87 DMI Data Model - Backstage.doc

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