An examination of the different strategies content producers can deploy to optimise their content storage as it becomes digital. This paper looks at the cloud, hybrid clouds and local storage and suggests ways of reducing costs whilsst maintaining accessibility.

1. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
1
Into The Cloud – A Template For The Future Of Video Management
A
white
paper
by
Iolo
Jones,
CEO
of
TV
Everywhere
Introduction
The
methods
and
the
technologies
used
by
the
video
production
industry
have
not
substantially
changed
since
the
advent
of
non-­‐linear
technologies
and
the
demise
of
film
in
the
mid
1980s,
but
a
profound
change
is
now
happening
that
has
widespread
implications
to
anyone
involved
with
the
TV
and
video
industry
and
those
increasingly
using
video
within
their
marketing
and
communications
strategies.
The
key
change
is
predilected
by
the
way
the
core
assets
(TV
programmes,
video
productions,
audio
productions)
are
produced,
managed
and
distributed.
In
the
past,
the
production
process
was
based
on
physical
assets:
tapes,
CDs,
DVDs.
However,
such
is
the
pace
of
change
that
new
formats
such
as
Blu-­‐Ray
have
barely
had
an
opportunity
to
get
to
market
before
an
even
newer
distribution
models
disrupt
the
technology.
So,
the
current
model
is
based
on
a
world
where
digital
assets
are
held
as
files
(or
‘documents’)
and
these
are
moved
and
copied
throughout
the
production
process
resulting
in
the
need
for
new
processes,
hardware
and
software.
However,
even
as
this
is
happening,
we
are
moving
into
yet
a
new
model
of
production
that
involves
virtualising
assets
so
that
there
may
only
be
one
copy
required.
Already
there
are
distributors
such
as
Netflix
and
Spotify
who
operate
under
this
model
–
no
file
is
physically
transferred
to
the
viewer
–
rather,
they
access
the
content
as
and
when
they
need
it.
Now
imagine
extending
this
into
the
production
and
distribution
process:
this
is
commonly
called
the
‘cloud
model’.
Another
major
shift
is
in
rights
management:
managing
rights
for
physical
goods
is
fundamentally
different
to
managing
rights
for
virtual
material,
and
this
in
a
far
more
complex
world
where
the
number
of
rights
available
has
increased
exponentially
with
new
platforms
and
devices.
This
document
examines
the
implications
of
these
changes
and
outlines
some
strategies
and
technologies
for
addressing
the
challenges
ahead
for
any
organisation
making
substantial
use
of
video
as
part
of
its
business,
marketing
or
communications.

2. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
2
What
The
Cloud
Can
Do
For
Business
As
with
any
fundamental
shift
in
the
working
practices
of
an
industry,
the
moves
from
analogue
to
digital
to
cloud
brings
with
them
problems
and
opportunities.
The
problems
are
to
do
with
logistics
and
complexity.
The
opportunities
are
to
do
with
efficiency,
cost
savings
and
increased
sales
as
well
as
improving
governance.
The
Problems
• The
need
to
communicate
more
with
video
across
multiple
platforms,
devices
and
portals
• Sorting
out
all
stuff
in
the
filing
cabinets,
in
the
tape
store
and
on
the
K:
drive
of
the
network
• Scaling
my
data
storage
• Bringing
redundancy
to
our
assets
• Getting
this
huge
file
to
the
Sydney
office
when
it’s
too
big
for
email
• The
approval
process
for
materials
• Getting
material
out
to
social
platforms
in
near
real
time
• Finding
things!
The
Opportunities
• Making
more
money
from
better
exploitation
of
our
assets
and
rights
• Improving
our
workflow
• Savings
costs
on
duplication,
couriers
• Providing
accurate
audit
information
on
our
assets
and
rights

3. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
3
Trends
Before
going
any
further
it’s
worth
looking
at
some
of
the
trends
that
are
driving
change.
• Scale
–
one
of
the
most
significant
trends
in
the
video
production
industry
has
been
the
advent
of
large
scale
distribution
using
online
delivery:
distribution
on
one
domestic
channel
or
on
a
DVD
sent
out
by
the
marketing
department
are
things
of
the
past.
New
distribution
opportunities
open
up
new
business
and
marketing
opportunities.
• Cost
–
the
cost
of
both
producing
video
content
and
distributing
it
has
fallen
tremendously
over
the
past
decade
rendering
it
as
a
tool
any
organisation
can
now
use
within
their
communications
and
marketing
strategies.
• Complexity
–
however,
the
production
and
distribution
processes
are,
in
many
ways,
more
complex
than
they
were
due
to
the
need
to
target
a
wide
range
of
outlets,
platforms
and
devices.
Online
film
hire
company
Netflix
claim
that
they
have
to
encode
every
property
into
120
different
files
for
distribution
to
the
plethora
of
different
outlets,
devices
and
platforms.
• New
Skills
–
although
the
skills
required
to
produce
content
remain
largely
the
same,
new
skills
are
required
to
version
and
distribute
content,
as
well
as
to
manage
rights
and
metadata.
• Metadata
–
once
upon
a
time
a
Production
Assistant
would
log
shots
on
location,
then
rushes
were
logged
by
junior
production
staff
as
they
were
digitised
for
editing;
now,
a
more
comprehensive
approach
to
metadata
is
required
earlier
in
the
production
process.
What
is
captured
where,
when,
how
and
by
whom
is
a
fundamental
issue
within
the
business
process.
• Rights
–
in
some
sectors,
such
as
animation,
rights
have
always
been
a
complex
issue,
but
as
more
outlets
appear
and
more
properties
carry
merchandising,
format
and
associated
licensing
rights,
this
complexity
keeps
on
increasing.
Capturing
these
rights
availabilities
and
processing
payments
in
and
out
as
a
result
have
become
a
key
business
requirement.
• Workflow
–
the
advent
of
new
production
technologies,
particularly
hard
drive
recorders,
has
resulted
in
a
need
to
fundamentally
rethink
the
production
workflow.
• Storage
–
time
was
that
you
could
send
your
rushes
into
storage
on
tape
and
keep
the
masters
to
hand.
However,
with
more
and
more
content
being
originated
digitally,
new
strategies
and
tools
are
required
for
near
line
backup
and
for
the
transfer
of
large
files
between
facilities,
to
customers
and
into
the
cloud.
Some
of
these
trends
and
issues
are
tackled
head
on
in
this
document.

4. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
4
Some
Definitions
As
with
most
industries,
the
video
business,
and
the
online
video
business
in
particular,
is
full
of
jargon.
Here’s
a
quick
glossary
that
may
be
useful
for
you
(with
apologies
to
those
already
in
the
know!):
Assets
–
these
are
completed
properties
that
are
ready
for
distribution:
they
may
be
held
in
different
formats,
versions
and
even
with
different
titles
Cloud
–
the
cloud
is
an
all-­‐encompassing
phrase
that
generally
means
the
redundant
storage
[see
below]
and
processing
of
data
on
a
distributed
network
not
owned
by
the
client
that
is
paid
for
(or
‘rented’)
on
a
per
usage
basis.
Codec
–
is
an
algorithm
that
enables
large
amounts
of
video
or
audio
data
to
be
compressed
in
an
efficient
manner;
codecs
are
often
confused
with
file
formats
(MP4
is
a
file
format
and
H.264
is
a
codec
for
this
format,
for
example).
Content
Delivery
Network
(CDN)
–
a
special
kind
of
internet
network
that
can
scale
to
accommodate
massive
numbers
or
users
and
viewers.
A
CDN
is
essential
when
handling
large
scale
live
events,
the
delivery
of
services
with
large
scale
traffic
or
traffic
peaks,
and
in
defending
against
hacker
attacks.
Digital
Asset
Management
(DAM)
–
is
a
system
enabling
the
ingestion,
storage
and
retrieval
of
digital
data.
We
believe
that
there
are
two
types
of
DAMs
–
internal
and
external
(iDAMs
and
eDAMs).
Digital
Rights
Management
(DRM)
–
the
protection
or
the
tagging
of
content
via
algorithms
so
that
its
ability
to
play
can
either
be
managed
or
measured.
Elements
–
these
are
the
components
that
make
up
an
asset,
such
as
shots,
voice
over,
music,
graphics:
changing
any
of
these
elements
clearly
changes
the
asset
they
are
in.
Media
Asset
Management
(MAM)
–
similar
to
a
digital
asset
management
system,
but
usually
has
better
functionality
for
dealing
with
images,
audio
and
video
and
is
a
more
specialist
tool.
Online
Video
Platform
(OVP)
-­‐
is
a
video
management
system
that
enables
you
to
prepare,
manage
and
distribute
video
across
a
wide
range
of
outlets.
Redundant
storage
–
is
where
two
copies
of
a
file
are
available
in
case
one
corrupts;
this
can
be
on
the
same
computer
using
more
than
one
hard
drive,
or
across
different
networks
(also
called
geo-­‐
redundant).
Rights
–
these
are
permissions
to
use
or
exploit
an
asset
either
for
free
or
for
payments
or
credits
due.
Royalties
–
these
are
payments
due
to
those
contributing
to
the
production
of
a
right.

5. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
5
The
Process
Not
all
organisations
involved
in
video
production
work
in
the
same
way,
of
course,
so
prescribing
a
one-­‐size-­‐fits-­‐all
solution
would
be
simplistic.
However,
we
believe
that
there
are
some
broad
themes
that
can
be
adopted
by
most
organisations
and
have
developed
the
following
broad
model
to
make
sense
of
the
processes
that
need
addressing
for
everything
from
broadcast
TV
production
to
the
making
of
a
movie
for
a
marketing
or
training
department.
The
video
delivery
process
of
the
future
1. Production
The
main
changes
in
the
pre-­‐production
involve
the
capture
of
content
on
digital
hard
drives
and
the
potential
requirement
for
an
on-­‐location
metadata
strategy.
Tapes
are
far
more
portable
and,
arguably,
durable,
than
hard
drives,
so
thought
needs
to
be
given
to
redundancy
and
on
how
digitally
recorded
content
can
be
transported.
In
future
some
cameras
will
come
with
LTE/4G
and
WiFi
and
WiMax
capabilities
that
will
enable
them
to
record
directly
to
central
storage
facilities,
or
even
an
edit
suite,
as
the
content
is
shot.
Capturing
metadata
on
location
can
save
time
and
effort
in
the
long
term,
but
may
just
not
be
feasible
depending
on
the
circumstances.
Ironically,
a
genre
such
as
news
that
requires
rapid

6. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
6
metadata
processing
is
a
difficult
environment
to
capture
this
information
whereas
drama,
where
the
metadata
is
less
time
critical,
is
an
easier
environment
for
it
to
be
inputted.
To
date
there
are
no
accurate
voice
or
sound
generation
systems
that
can
process
in
real
time,
although
such
packages
can
be
used
at
the
ingestion
stage.
A
further
consideration
is
to
log
the
production
within
a
rights
management
system
early
in
the
production
process
so
that
it
can
be
seen
within
the
organisation’s
workflow
for
planning,
sales
and
distribution,
before
any
money
is
spent.
Key
Considerations
2. Post-­‐Production
Most
efforts
around
upgrading
an
organisation’s
video
management
capabilities
seem
to
be
focused
around
the
post-­‐production
area.
This
makes
sense
since
this
is
the
point
at
which
the
data
is
usually
ingested
and
formatted.
However,
we
believe
that
there
is
a
considerable
amount
of
confusion
over
the
role
of
a
digital
asset
management
system
for
this
purpose,
and
the
wider
requirement
of
a
digital
asset
management
system
for
distribution.
Very
often
one
size
does
not
fit
all.
For
this
reason
we
encourage
organisations
to
think
in
terms
of
an
internal
digital
asset
management
system
(iDAMS)
which
covers
post
production
workflow
and
an
external
system
(eDAMS)
for
approvals,
management,
distribution
and
long
term
storage.
3. iDAMS
We
draw
a
distinction
between
asset
management
systems
for
internal
and
external
use:
of
course,
these
can
be
the
same
system,
but
we
believe
that
different
feature
sets
may
be
required
in
many
cases.
An
internal
digital
asset
management
system
usually
needs
to
be
able
to:
• Ingest
and
log
content
• Handle
elements,
assets,
projects
and
metadata
• Conform
content
to
technical
specification
• Provide
the
ability
to
generate
proxies
• Enable
rough
editing
and
sequence
creation
Pre-­‐Production
Key
Considerations
• What
digital
formats
will
be
used
?
This
may
depend
of
the
camera
marque,
but
it
will
need
to
be
future
proof
and
efficient
–
storing
rushes
digitally
costs
money.
• How
will
rushes
be
transferred
from
the
production
environment
to
the
post-­‐production
environment
?
•
What
will
we
store
locally,
and
for
how
long
?
• Use
a
meaningful
file
naming
convention
at
this
point
that
may
contain
the
rushes’
production
name,
subject
and
some
detail.
Most
cameras
can
also
automate
certain
metadata
fields
such
as
the
name
of
the
camera,
the
cameraman,
time,
date
and
length
and
these
should
be
properly
configured
so
that
they
are
encapsulated
in
the
atoms
at
the
head
of
the
video
or
audio
file.
• Add
the
production
to
a
rights
management
system
before
costs
are
incurred
to
improve
tracking.

7. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
7
• Store
content
and
manage
content
across
multiple
locations
and
storage
devices
• Manage
internal
user
permissions
and
workflow
• Flag
content
status
• Indicate
rights
position
• Provide
good
search
functionality
4. eDAMS
An
external
digital
asset
management
system
usually
needs
to
be
able
to:
• Store
master
copies
and
versions
in
the
cloud
or
off-­‐site
along
with
any
underlying
elements
or
materials,
potentially
with
a
cost-­‐effective
offline
option
• Have
an
approvals
system
• Be
accessible
globally
• Provide
an
API
for
integration
with
websites
and
other
distribution
points
such
as
web
portals,
apps
and
broadcast
systems
• Link
to
a
rights
management
system
• Provide
the
capability
to
encode
and
version
the
content
in
multiple
versions
according
to
profiles
• Have
advanced
search
capabilities
• Scale,
and
be
capable
of
dealing
with
hundreds
of
thousands
of
assets
Structured
&
Unstructured
Data
Traditionally,
data
has
been
held
in
structure
environments:
think
of
the
file
system
on
your
computer.
However,
as
the
amount
of
data
explodes,
the
ability
to
manage
data
in
an
iDAMS
Key
Considerations
• Currently
we
would
recommend
storing
rushes
locally
and
laying
off
to
optical
tape
and
off-­‐site
backup
once
a
production
is
complete,
tagging
and
keeping
any
content
that
is
liable
to
be
re-­‐purposes
and
then
saving
this
content
with
the
master
version(s)
both
locally
and
in
the
cloud.
(See
the
Storage
Appendix
below
for
more
detail
on
the
options
available.)

8. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
8
unstructured
way
is
also
important.
You
may
well
know
the
feeling
of
looking
for
something
on
a
file
system
that's
many
years
old
with
multiple
users
-­‐
finding
anything
can
be
a
nightmare.
So,
the
ability
to
tag
data
in
an
unstructured
way
is
also
very
important
if
you
are
to
be
able
to
rapidly
retrieve
it.
Despite
its
popularity,
there
are
other
problems
with
structured
data:
• You
end
up
with
multiple
copies
of
the
same
file
in
different
places
• Structures
change
and
an
existing
hierarchy
can
be
difficult
to
change
• You
may
need
to
index
your
content
in
different
ways,
by
date,
author,
content,
language;
traditional
structured
data
models
such
as
Windows
or
Mac
file
systems
really
aren't
much
use
for
this.
Version
control
Very
often
you
will
change
your
elements
and
assets
and
want
to
store
each
version
so
that
you
can
roll
back
or
refer
to
a
previous
version.
Search
Of
course,
above
all
you
will
want
to
be
able
to
search
and
find
your
content
rapidly
amongst
tens
of
thousands
of
elements
or
assets.
The
search
function,
and
the
ability
to
filter
searches
intuitively,
are
therefore
an
essential
aspect
of
any
system.
eDAMS
Key
Considerations
*
For
your
eDAMS
make
sure
that
it
is
widely
accessible
via
the
internet
on
multiple
devices
and
allows
for
content
approval
and
commenting
*
Ensure
that
it
supports
structured
and
unstructured
data
and
has
a
good
search
engine
for
when
your
stored
data
increases
*
We
recommend
hosting
this
data
in
the
cloud

9. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
9
5. Metadata
Metadata
is
how
your
content
is
tagged,
searched,
found,
viewed
and
selected.
For
example,
metadata
is
what
drives
television
information
guides
or
the
search
results
within
your
intranet
or
website,
so
this
is
becoming
increasingly
important
in
a
world
of
digital
delivery.
The
point
of
ingestion
is
a
good
time
to
add
additional
information
to
captured
elements.
However,
there
is
a
tendency
due
to
time
or
resource
pressure
to
overlook
this.
In
the
longer
run
this
is
likely
to
result
in
more
work
and
cost.
The
amount
of
metadata
captured
depends
on
the
type
of
production,
but
since
closed
captioning
is
now
a
requirement
in
many
major
markets,
the
data
captured
should
be
granular
and,
in
addition
to
the
data
already
captured,
should
potentially
include:
• Scene
information
• Scene
participants
• Scene
description
• Dialogue
and/or
ambient
description
• Quality
issues
Providing
a
detailed
metadata
schema
is
beyond
the
scope
of
this
document,
but
in
our
experience,
rights
management
platform
tend
to
make
the
best
master
records
for
metadata
since
they
encompass
more
information
than
asset
management
systems.
The
storage
of
the
metadata
is
also
crucial
–
it
can
be
stored
within
the
asset
file,
associated
with
it
in
a
database
or
held
separately
in
what
is
called
a
‘sidecar’
file.
TV
Everywhere
is
developing
a
technique
where
the
content
file
can
remain
associated
with
the
database
or
sidecar
file
even
if
they
are
separated
at
any
stage.
Metadata
Key
Considerations
• Be
pragmatic
about
what
metadata
can
be
entered
at
source
and
what
you
will
need
to
enter
at
a
later
point
• You
need
to
make
sure
that
there
is
clear
workflow
and
responsibility
for
entering
metadata
• Remember
the
old
adage
–
rubbish
in,
rubbish
out
–
nowhere
is
this
more
true
than
for
metadata
• You
may
use
metadata
across
many
systems,
so
select
a
master
record
or
master
system
for
your
metadata
*
We
recommend
hosting
this
data
in
the
cloud

10. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
10
6. Encoding
At
a
basic
level
content
needs
to
be
stored
as
a
master
and,
optionally,
a
proxy;
or,
in
other
words,
a
hi-­‐res
and
lo-­‐res
versions
for
use
internally
during
the
production
process.
However,
once
a
production
is
complete
many
different
formats
and
versions
are
likely
to
be
required.
The
options
here
are
to
produce
these
on
demand
from
the
master
via
a
transcoding
engine,
or
to
pre-­‐produce
the
most
common
formats
so
that
they
can
be
readily
available
for
distribution.
A
future
option
may
be
to
dynamically
render
the
content
on
the
fly,
potentially
without
physically
changing
the
underlying
files.
There
are
three
elements
to
an
encoded
video
file:
the
wrapper,
video
and
audio.
The
video
and
audio
will
each
have
their
own
codecs,
or
compression
algorithm
and
the
wrapper
will
typically
carry
some
metadata
in
it
such
as
the
filename
and
length
of
the
video.
See
Appendix
1
for
more
details
on
different
encoding
settings.
Another
consideration
when
encoding
is
protecting
your
asset
with
some
form
of
digital
rights
management
(DRM):
this
will
probably
make
sense
only
for
publicly
distributed
content,
although
you
may
wish
to
watermark
other
content.
A
new
technique
being
developed
by
TV
Everywhere
involves
installing
a
reference
item
in
the
content
wrapper
at
the
encoding
stage
so
that
its
usage
can
be
tracked
and
that
it
can
be
associated
with
its
metadata
and
other
information
even
if
separated.
Encoding
Key
Considerations
• Encoding
demands
a
great
deal
or
trial
and
error
or
expertise
if
you
are
to
cater
for
all
eventualities
• Ensure
that
you
have
the
flexibility
to
manage
evolving
codecs
such
as
HEVC
and
any
new
codecs
or
formats
that
may
appear
• Consider
how
you
keep
metadata
associated
with
your
content

11. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
11
7. Rights
Management
Rights
management
is
a
complex
area
where
the
legal
world
meets
with
the
production
industry.
At
a
basic
level,
the
ownership
of
an
asset
needs
to
be
logged,
although
on
a
more
complex
level,
the
ownership
and
payments
due
to
all
elements
of
an
asset
may
need
to
be
recorded
and,
as
the
asset
is
sold
or
distributed
this
needs
to
be
tracked
and
updated.
This
can
become
very
complex
very
quickly
–
imagine
a
property
with
music
royalties,
contributor
royalties,
distributor
costs,
funder
payments
all
of
which
vary
depending
on
the
sale
or
the
rights
for
everything
from
in
flight
and
mobile
clips
to
cable
and
broadcast
across
different
time
windows
and
hundreds
of
countries
and
regions
as
well
as
multiple
languages.
Of
course,
a
corporate
production
where
the
rights
have
been
‘bought
out’
will
be
much
simpler,
but
tracking
this
in
case
any
element
of
a
production
is
re-­‐used
can
still
sow
problems
for
the
future.
Detailed
rights
management
with
the
Rights
Tracker
platform
Rights
Management
Key
Considerations
• Rights
management
is
a
complex
area
where
specialised
knowledge
is
required
• Retro-­‐entering
rights
data
can
be
a
tremendously
complex
exercise,
so
it
is
worth
capturing
this
data
very
early
on
• You
are
likely
to
want
to
keep
records
for
rights
in
(sales
revenues)
and
rights
out
(royalties
and
contributions)
as
well
as
contributor/funder
payments

12. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
12
8. Video
Management
When
an
asset
is
complete
you
will
want
to
manage
it
for
playout
onto
sales
portals
such
as
your
own
website,
commercial
websites
you
might
operate
and
third
party
systems
and
websites
such
as
YouTube
and
Facebook.
You
may
need
versions
for
mobile,
tablet,
PC
and
smart
TVs
at
different
data
rates
(see
the
guide
in
Appendix
3).
Of
course,
there
are
also
many
other
considerations
such
as
the
ability
to
manage
metadata,
version
the
content,
build
players,
playlists
and
schedules,
interface
with
websites
and
third
party
portals,
markets
and
systems.
More
advanced
features
allow
for
digital
rights
management,
ad
insertion
and
management,
scheduling
and
management
and
playout
of
live
events
and
simulcasting.
Sophisticated
‘drag
and
drop’
player
building
with
the
VidZapper
online
video
platform.
Video
Management
Key
Considerations
• Flexibility
is
key
in
selecting
a
video
management
or
‘online
video
platform’
(OVP)
• Ensure
that
is
can
meet
all
the
requirements
across
your
organisation
• Consider
how
you
can
achieve
new
revenues
from
direct
to
viewer
services

13. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
13
9. Distribution
The
distribution
of
content
is
itself
a
complex
logistical
task
these
days.
The
permutations
of
outlets,
platforms
and
devices,
from
mobile
to
HD
broadcast
(and
now
4k
and
even
8k)
can
be
utterly
baffling.
(We’ve
appended
a
rather
simplistic
guide
to
this
document.).
The
good
news
is
that
many
of
the
new
technologies
available
can
actually
result
in
this
becoming
a
cost
cutting
exercise.
Distribution
can
be
divided
into
two
distinct
workflows
-­‐
internal
and
external.
Internal
distribution
to
colleagues
and
clients
for
approval
and
comments.
it
is
therefore
important
that
the
system
can
support
the
ability
to
comment
in
the
content,
perhaps
even
on
a
phrase
by
phrase
basis
and
for
content
to
be
approvable
-­‐
giving
the
content
a
status
tag
is
an
easy
way
of
doing
this.
External
distribution
can
be
further
divided
into
two
constituencies:
broadcast
and
non-­‐broadcast.
Broadcasters
will
have
specific
standard,
protocols
and
specifications
for
their
transmission
requirements,
depending
on
the
technology
and
standards
they
are
using.
There
are
by
now
a
large
number
of
non-­‐traditional
outlets
for
video
now
ranging
from
YouTube
to
social
sites
such
as
Pinterest,
Facebook
and
micro
messaging
systems
such
as
Twitter,
and
of
course
non-­‐traditional
outlets
for
broadcaster
such
as
computers,
OTT
services,
tablets
and
mobile
that
require
totally
different
standards
from
broadcast.
Sharing
videos
on
social
sites
and
portals
with
Mstorer.

14. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
14
Data
usage
reporting
via
the
VidStorer
media
delivery
network.
Distribution
Key
Considerations
• Formats
–
keep
a
directory
of
the
formats
and
settings
required
by
each
of
your
outlets
• Capability
–
ensure
that
you
are
able
to
rapidly
access
your
master
and
generate
any
copies
• Digital
delivery
–
look
for
ways
to
deliver
your
content
digitally,
thus
saving
on
courier
and
delivery
costs
• Scalability
–
the
use
of
a
content
or
media
delivery
network
is
essential
if
you
need
to
deliver
large
volumes
of
data
to
end
users

15. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
15
10.
Commercials
No
matter
what
you
are
doing
with
your
video,
there
will
be
a
commercial
aspect
to
it,
so
it's
important
that
you're
able
to
audit
all
activity
on
your
systems.
This
may
be
for
any
number
of
reasons:
• to
log
commercial
activity
such
as
time
spent
on
a
client
account,
encodes
generated
and
digital
files
delivered
• to
log
sales
via
the
system
• to
log
rights
and
royalties
due
after
sales
In
an
ideal,
joined
up
world,
of
course,
your
video
management
systems
will
talk
to
your
financial
system
and
automate
the
processing
of
invoices
and
payments.
If
marketing
and
communications
are
your
prime
considerations,
then
you
will
still
want
to
audit
your
activity
so
that
you
can
report
on
your
activity
and
gauge
its
effectiveness.
Ideally
you
will
want
to
create
bespoke
reports,
individual
queries
and
schedule
automated
reports.
Detailed
statistical
reports
from
the
VidZapper
OVP~
Security
&
Anti-­‐Piracy
Strategies
An
unfortunate
reality
of
dealing
in
content
is
that
it
can
be
stolen
or
exploited
without
your
knowledge.
Unless
achieving
the
maximum
possible
distribution
is
your
objective,
we
recommend
putting
in
place
an
Anti-­‐piracy
policy.
This
needs
to
look
at
everything
from
the
security
of
your
internal
systems
and
storage
to
securing
external
facing
systems
and
also
protecting
the
content
itself.
Sometimes
even
all
of
these
efforts
are
not
enough
to
deter
pirates
and
then
you
will
need
to
work
in
conjunction
with
anti-­‐piracy
specialists.

16. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
16
Anti-­‐piracy
dashboard
on
Klipcorp’s
anti-­‐piracy
portal.
Commercial
Key
Considerations
• Make
sure
the
metrics
can
deliver
the
KPIs
your
business
requires.
• Put
into
place
an
anti-­‐piracy
strategy
and
monitor
how
your
content
is
being
used

17. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
17
Appendix
1
-­‐
Encoding
Settings
Encoded
video
files
are
made
up
of
three
elements:
the
wrapper,
the
video
codec
and
the
audio
codec.
There
are
a
wide
variety
and
combinations
of
each.
We
generally
recommend
the
use
of
the
h.264
codec
with
AAC
and
an
MP4
wrapper:
this
works
in
the
most
circumstances,
but
you
still
have
the
issue
of
the
encode
settings.
VZEncoder
which
enables
you
to
automate
batch
encoding
and
uploading
There
are
a
number
of
parameters
you
will
need
to
set:
• Container
format
• Video
–
codec,
height,
width,
bitrate,
aspect
ratio,
framerate
• Audio
Codec
–
sample,
bitrate,
mix

18. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
18
Managing
encode
profiles
with
VidZapper
Different
settings
work
for
different
types
of
content
and
depending
on
the
devices
you’re
targeting.
Apple
currently
recommends
the
following
for
HLS,
for
example:

19. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
19
Appendix
2
-­‐
Storage
Models
We
consider
there
to
be
four
models
that
can
be
considered
for
the
storage
of
content:
The Cloud – we will provide the hosting and storage for you at two levels. Our redundant service
distributes your content over multiple distributed servers. This means that thereʼs no chance of
you ever losing any of your content, it will always be there, ready to use and access wherever in
the world you are. We also offer a low redundancy service where content is stored on two
redundant RAID servers in different locations.
The Private Cloud – this works like the remote cloud described above, but uses dedicated
remote servers, or can even use your own internet hosting network.
The Local Cloud – you may want to run the system on your local LAN or WAN. You can also do
this. We provide ultra high availability redundant storage through our partnership with Object
Matrix. This approach has the added benefits of being able to use single sign on and leveraging
your existing security infrastructure.

20. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
20
The Hybrid Cloud – you can, of course, combine any of the above into what we term the ʻhybrid
cloudʼ. For example, you may wish to keep larger files within your own network, but make
finished productions and assets available within the cloud.
Optimising Storage
We
recommend
a
dynamic
model
for
optimising
performance
and
cost.
Below
is
a
typical
model
that
could
be
implemented:

21. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
21
Appendix
3
–
Distribution
Outlets
Outlet
Format
Notes
HD
Broadcast
MXF,
AFF
,
XDCAM,
ProRes
AVCHD
720p,
1080i,
1080p
There
are
many
varieties
of
the
AVC
format
SD
Broadcast
DV,
DVPro,
MXF,
AAF,
IMX
Again,
there
are
many
different
formats
Company
website
HTML5
&
Flash
Video
Needs
to
dynamically
adapt
format,
player
and
UI
for
devices
such
as
tablets
and
smartphones
Third
party
websites
Embeddable
dynamic
player
A
configurable
player
is
usually
a
necessity
Facebook
Apps
Embedded
player
with
HTML5
&
Flash
video
Usually
uses
iFrame
for
placement
Facebook
Timeline
MP4
video
Uses
Facebook
API
YouTube
MP4
recommended,
MRSS
for
playlists
and
channels
Uses
YouTube
API
Twitter
Link
based
player
Need
short
URL
system
and
ability
to
generate
dynamic
player
Instagram
MP4
recommended
iTunes
Custom
XML
stream
Needs
Apple
Content
account
Apple
App
Store
MP4
Multistream
HLS
in
M3U8
format
is
required
for
clips
over
10
minutes
long
Android
App
Store
MP4
Recommend
using
HLS
or
HDS
for
best
results
on
3G
and
WiFi
PlayReady
Sites
WMV/Silverlight
with
DRM
Requires
totally
different
infrastructure
including
MS
DRM
server
Blog
websites
Embeddable
dynamic
player
Again,
needs
to
be
configurable

22. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
22
to
the
placement
on
the
blog
Mobile
phones
3GP/H.263
Requires
RTSP
streaming
Smart
&
Connected
TVs
various
The
requirements
for
these
devices
are
very
disparate
at
present,
but
MP4
is
likely
to
be
the
dominant
format
PlayStation
Wide
range
of
formats,
including
MP4,
MP2
and
MTS
There
are
specific
requirements
for
encoding
for
this
platform
X-­‐Box
WMV
Can
support
a
range
of
codecs
within
the
WMV
container

23. ©
Iolo
Jones,
TV
Everywhere
Ltd.
April
2013
23
Appendix
4
–
References
&
Glossary
About
Video
Codecs
-­‐
https://en.wikipedia.org/wiki/Video_codec
Netflix
encode
120
versions
-­‐
http://techblog.netflix.com/2012/12/complexity-­‐in-­‐digital-­‐supply-­‐
chain.html
Apple
Guide
to
HLS
-­‐
http://developer.apple.com/library/ios/#technotes/tn2224/_index.html#//apple_ref/doc/uid/DTS4
0009745-­‐CH1-­‐SETTINGSFILES
About
HEVC
-­‐
http://en.wikipedia.org/wiki/High_Efficiency_Video_Coding
Mstorer
–
http://mstorer.com
Object
Matrix
–
http://object-­‐matrix.com
Rights
Tracker
-­‐
http://www.rightstracker.com
VidStorer
–
http://vidstorer.com
VidZapper
–
http://vidzapper.com