Limecraft - Semantic Integration Platform

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Current media production best practices are based on craftsanship. A semantic technology enables a model-driven approach, which enables producers accessing new distribution channels, to offer personalised services and to explore new markets. Limecraft provides a media production platform based on a semantic integration platform that addresses these needs. This presentation discussed the value added of semantic technology throughout the media production process.

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  • KanaalzVmmagoogle
  • Limecraft - Semantic Integration Platform

    1. 1. The Value of Semantic Technology in Media Production
    2. 2. Limecraft (Ghent) is a specialised supplier oftechnology and services to the high-endmedia sector.Limecraft has been incorporated in May 2010after more than 40 yrs of R&D in media.Limecraft is rolling out an online integratedmedia production platform for TaglichtMedia(D) en Raindance (UK) by June 2012.
    3. 3. Digitisation in the domain of media productionhas just started. Media Production is aboutcraftsmanship and to a large extent based oninformal processes.There is huge potential to integrate mediaproduction processes, for the purpose of re-useand disclosure of audiovisual Content.Potential  New distribution channels (iPad, iPhone)  New types of ‘customisable’ products  Personalised advertisementIssues to be solved  Integrated or “paper-less” production  Industry standards (EBU Core, NewsML)  Semantic Technology
    4. 4. News Production Journalist Archivist PoP Server Newsroom Computer System NewsWire eXchange Media Asset Management System Server Media Search Application ManagerIn the context of News Production, software has replaced paper workflows to a large extent.However, the application landscape is a chain of databases and information is manuallyreproduced from one system to another through, which slows down the information flow.Semantic technology enables automation of system integration, through wich breaking newscan be published faster.
    5. 5. Drama ProductionScript Writing (Screenplay) Breakdown Logging (Continuity) Flow of Informally Structured InformationDigital Media FlowIn the context of drama production, while the media have been digitised (principalphotography, editing, sound engineering,...), the controlling workflow is still very document-oriented. Beyondthe original screenplay, an average production requires about 25 more documents using the sameinformation, including a production breakdown, shooting schedules,Post sheets, continuity reports, etc. Principal Photography call -ProductionSemantic technology is essential to understand the contents of the documents so that the information can bestored in a database.
    6. 6. Archiving archiefnummer : ALG 20010813 1 Opzoekscherm FILM Set: 16 Aantal: 1 fragmentnummer : 1 blz 1 van 3 reeks : 1000 ZONNEN EN GARNALEN trefwoorden: ibm and vrt bandnummer : E03024404 formaat : DBCM archiefnummer: - fragmenttitel : 1000 ZONNEN & GARNALEN uitzendjaar: maand: dag: beeld : KL/PALPLUS fragmentnummer: fragmentduur: fragmentduur : 18 20 reeks: tekst : 000" TOERISTISCH REPORTAGEMAGAZINE OVERZICHT formaat: bandnummer: ONDERWERPEN GENERIEK TOERISTISCH REPORTAGEMAGAZINE, aflevering: afleveringsnummer: OVERZICHT ONDERWERPEN programma: uitzenddatum: 050" VANDAAG : KUNSTENAAR LUC HOFKENS ONTWIERP EEN OASE fragmenttitel: OP ZIJN DAKTERRAS IN BORGERHOUT DIE DOET DENKEN AAN DE tekst: GRAND CANYON INTERVIEW MET LUC EN ZIJN VROUW kategorie: MARILOU BUITENBEELD DAK MET OMGEVING BUITENKANT opnamedatum: opnamenummer: ARBEIDERSWONING, PANO OVER ROTSWANDEN, KRATEN MET WATER, journalist: rechthebbende: BEPANTING, FOTOALBUM MET VERLOOP WERKEN 400" JUNIOR : KLAARTJE ALAERTS, 13 JAAR WIL ASTRONAUTEN WORDEN ZE BEZOEKT HETEUROSPACE CENTER METRUIMTEVEREN, SETS RAKETTEN SIMULATIE IN RUIMTEVEER, INTERVIEW, HEEFT EEN The strings required for the operation are not defined UFO GEZIEN MAAKT ZELF KLEIN RAKETJE, SCHIET HET AF 750" DE SCHEURKALENDER : ARCHIEF RECLAMEFILM IBM INTERVIEW MAURICE DE WILDE, EERSTE PERSOONLIJKECOMPUTER F11 F12 F13 F14 F17 F18 F19 F20 Ent trefwoorden : BELGIE; BORGERHOUT; ARTIEST; OASE; KUNST; GRAND Eindigen Sets Refset Toon Vorige Volg/Leeg Thesaurus Commando Opzoeken CANYON (NATUURGEBIED); DAK; TERRAS; INTERVIEW; EURO SPACE CENTER; RUIMTEVAART; PC; BOOTTOCHT; RIJKDOM; PASSAGIER; GASTRONOMIE; RESTAURANT; PERSONEEL; VAKANTIE; BINNENBEELD; SCHIP; BECKERS LEEN; VRT; LOTTO; RADIOOMROEPSTER; KLANKSTUDIO; UITVINDING; BARBECUE; BETONMOLEN; IBM; RECLAMESPOT rechthebbende : VRTIn order to preserve material, broadcasters and production facilities maintain archives. Allavailable information is collected and summarised by the archivist. The material is categorised andformally tagged , so that researchers at a later stage are able to retrieve the material. Manual“Annotation” is a slow and expensive process and the result has a moderate precision.Semantic technology has the potential to accelerate this process and to improve the accuracy ofthe result.
    7. 7. Key Issue Symptoms  Re-use is expensive  Content is hard to find  “Search” in the player does not work Causes - Non-integrated Process  Unstructured information  ‘Document oriented’ workflow  Lack of interoperability  Loss of information Traditional remedies  Manual ‘annotation’ (not scalable!)  Database Duplication (inconsistencies)  A complex and expensive architectures which are difficult to maintain
    8. 8. Business Case – Cost (!) Conventional ICT infrastructure  Can’t handle large volumes of items COST  Software components are not integrated  Integration of Digital Isles by ‘Middleware’ Added Value NUMBER OF ITEMS Using a Semantic Integration Platform as the core of the Media Asset Management processes: RETRIEVABILITY Integration is efficient and protects earlier investments Information remains secured and retrievable when growing to large numbers NUMBER OF ITEMS
    9. 9. Why semantic technology?-> Please have a look at the following three paintings.
    10. 10. Beyond “oil on canvas” and “five human beings”, these three paintings all illustrate theallegory of senses.Because audiovisual media are not self-descriptive, we need human interpretation tounderstand the information beyond the image. From thereon, using semantictechnology, this information can be consistently communicated between machines.
    11. 11. From pre-production to archiving... archiefnummer : ALG 20010813 1 fragmentnummer : 1 reeks : 1000 ZONNEN EN GARNALEN bandnummer : E03024404 formaat : DBCM fragmenttitel : 1000 ZONNEN & GARNALEN beeld : KL/PALPLUS fragmentduur : 18 20 tekst : 000" TOERISTISCH REPORTAGEMAGAZINE OVERZICHT ONDERWERPEN GENERIEK TOERISTISCH REPORTAGEMAGAZINE, OVERZICHT ONDERWERPEN 050" VANDAAG : KUNSTENAAR LUC HOFKENS ONTWIERP EEN OASE OP ZIJN DAKTERRAS IN BORGERHOUT DIE DOET DENKEN AAN DE GRAND CANYON INTERVIEW MET LUC EN ZIJN VROUW MARILOU BUITENBEELD DAK MET OMGEVING BUITENKANT ARBEIDERSWONING, PANO OVER ROTSWANDEN, KRATEN MET WATER, BEPANTING, FOTOALBUM MET VERLOOP WERKEN 400" JUNIOR : KLAARTJE ALAERTS, 13 JAAR WIL ASTRONAUTEN WORDEN ZE BEZOEKT HETEUROSPACE CENTER METRUIMTEVEREN, RAKETTEN SIMULATIE IN RUIMTEVEER, INTERVIEW, HEEFT EEN UFO GEZIEN MAAKT ZELF KLEIN RAKETJE, SCHIET HET AF 750" DE SCHEURKALENDER : ARCHIEF RECLAMEFILM IBM INTERVIEW MAURICE DE WILDE, EERSTE PERSOONLIJKECOMPUTER trefwoorden : BELGIE; BORGERHOUT; ARTIEST; OASE; KUNST; GRAND CANYON (NATUURGEBIED); DAK; TERRAS; INTERVIEW; EURO SPACE CENTER; RUIMTEVAART; PC; BOOTTOCHT; RIJKDOM; PASSAGIER; GASTRONOMIE; RESTAURANT; PERSONEEL; VAKANTIE; BINNENBEELD; SCHIP; BECKERS LEEN; VRT;From pre-production to archiving, media producers need proper information, i.e. the LOTTO; RADIOOMROEPSTER; KLANKSTUDIO; UITVINDING; BARBECUE; BETONMOLEN; IBM; RECLAMESPOTsemantics contained by documents, to optimally schedule a production, to enable rechthebbende : VRTinteractivity, to report about rights and to enable re-use of content. Therefor it is not goodenough to establish a document management system, the document-oriented methodsmust be replaced by a more model-driven approach.
    12. 12. ...a Model-driven Approach SceneI N T . J E E P – F A V O RING J O E C H A C O “Jeep”, INT #1J O E d r i v es r e c k lessly. A N D I s i t s n e x t t o h i m , Actiona n a t t r active g i r l i n h e r m i d -t w e n ties. #2 “ char. “Joe” drives recklessly. char. “Andi” sits next to him, ...” ANDI ( s h o uting) #3 H o w m u c h l o n g er? Dialogue Character actionspan dialoguespan “Andi” JOE “shouting” “How much longer?” C o u p le o ’ h o u r s. Y o u o k a y ? #4S h e s m i l es w e a r ily. #5 Dialogue Character “Couple o’ hours. ...” “Joe” ANDI I ’ l l m a k e i t .#6 Action Dialogue “She smiles wearily.” “I’ll make it.”S u d d enly, t h e m o t o r S P U T TERS. T h e y l o o k a te a c h o t h e r, c o n c erned. #7 Action #8 CUT TO: “Suddenly, the motor sound “sputters” . They look at each other, concerned.” Instruction type: “transition” “cut to”
    13. 13. Design Principles A B C D E F G B A A B C D CE Media Asset D E ... Mgnt Limecraft Platform Y X ... X Y H J I I Limecraft - Semantic Integration Platform  Available online (Software as a Service)  Replace all paper documents by browser-based applications  Interoperability through maximum support of industry standards  Ensure compatibility with existing MAM systems  Patent pending search technology ensures retrievability  Real-time co-production
    14. 14. Architecture
    15. 15. Search ExperienceGoal 1. Retrieve all(!) relevant items 2. in a minimum of time 3. with respect for Intellectual PropertyKey Features  Integration of different sources  Trace the relationships between items  Scene recognition  Computer Assisted Annotation  (Face Recognition - WIP)  (Speech recognition - WIP) 21
    16. 16. Media Production  Saas - No installation, no maintenance,...  End-to-end - script writing, production, post- production, distribution and play-out  Reliable – 100% uptime  Integrated - Single set of numbers(!)  On demand – scalability through capacity on demand  Ubiquitous access – anytime, anywhere on any type of device  Standardisation – industry standards enable interoperability 22
    17. 17. Future Work...
    18. 18.  http://www.limecraft.com @limecraft info@limecraft.com

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