From file-based production to real-time co-production


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  • From file-based production to real-time co-production

    1. 1. From file-based production to real-time co-production How semantic technologyenables the transition from file-based production to real-time co-production Belgian Broadcast Days Vilvoorde 2012/05/24
    2. 2. Recently, the focus of TechnologyInnovation in the media sector has been‘digitisation’.Digitisation would bring cost-efficiency,re-use of content and collaborativeproduction.Major production facilities worldwidehave spent excessive amounts of money,due to the integration of digital isles.State of the art technology is notscalable in terms of systems. Growingdemands for co-production tools willmake this worse.
    3. 3. Media Production relies on craftsmanship andinformal processes, where digitisation hasjust started.There is a vast potential for better integrationof media production processes, in particularwhen it comes to co-production.Potential  Real-time collaborative production  Different producers  Integrated Intellectual Property  New types of „customisable‟ productsSolution Area  Integrated or “paper-less” production  Industry standards (EBU Core, NewsML)  Semantic Technology
    4. 4. News Production Journalist ArchivistPoP Server Newsroom Computer SystemNewsWireeXchange Server Media Search Application Manager Media Asset Management System
    5. 5. Drama ProductionScript Writing (Screenplay) Breakdown Logging (Continuity) Informally Structured Information FlowDigital Media Flow Principal Photography Post -Production
    6. 6. Key Issue Non-integrated Process  Unstructured information  ‘Document oriented’  Lack of interoperability  Loss of information Symptoms  Re-use is expensive  Content is hard to find Traditional remedies  Manual ‘annotation’ (which is not scalable!)  Database Duplication (which creates inconsistency)  A complex and expensive architecture which is difficult to maintain
    7. 7. Design Principles A B C D E F G B A A B C D CE Media Asset D E ... Mgnt Semantic Integration Platform Y X ... X Y H J I I Co-production - Semantic Integration - Media Production in the Cloud  Available online (Software as a Service)  Replace all paper documents by browser-based applications  Ensure compatibility with existing MAM systems  Interoperability through maximum support of industry standards  Advanced search technology ensures retrievability  Real-time(!) co-production
    8. 8. Value Proposition Co-production is all about scalability, in COST terms of systems and in terms of items! Semantic technology enables system integration in a way that : ITEMS AND SYSTEMS System integration remains scalable, MANAGABILITY capitalising on earlier investments Information remains secured and retrievable when growing to large numbers ITEMS AND SYSTEMS
    9. 9. Semantic technologies:Tools to tag the virtual space! Belgian Broadcast Days Vilvoorde 2012/05/24
    10. 10. A semantic project to tag the virtual space!In everyday life, a human being, is browsing insix different areas:• The three axes of space (height, width, depth)• The time axis (time)• and two for the memories (primary and secondary retentions)
    11. 11. The human cognitive model Culture Syntax ContentData Grammar
    12. 12. . ..Thalys – Paris/ Brussels : 05/03/2012 – 5:37
    13. 13. The semantic paradygm shift!From essence … Play/Stop Media camera man (from a li ve Beethoven32 sonates renderi ng) ...)… to Media management (Modelling, Information,..) Play Semantic info Index Administrative info Browse Media Wrapper Read abstract Structural info camera man Select segment Media Location Modify segment (from a li ve Beethoven32 sonates renderi ng) ...) Check Trade
    14. 14. The classical “flat model” modelling: <Author>< ….. ><Author> <Title>< …………… ><Title> <Book>< …………… ><Book> <Publisher>< …………. ><Publisher> <ISBN>< ………. ><ISBN> < ….. >< ………. >< ….. >
    15. 15. The structural change in modelling: To “SEMANTIC” E N E Models : H N Based on To From “CONTEXTUAL R Networked ENTITIES A – LINKED Data” I with Documents & Relations “FLAT” models N models in KNOWLEDGE BASES) C C (with alias) (based on HCataloguing rules E • Ontology based & Semantically M and M equivalent to • Linked Open Data Data Records) the Flat model E E (semantic Web) N N • Object oriented T T • Native persistent
    16. 16. Semantic technologies: What is a Media ?
    18. 18. Birth of the modern newspaper: early 17th century! Le 31 Mai 1631, Théophraste Renaudot lance : «La Gazette».
    19. 19. FILM
    20. 20. Birth of Radio: early 20th century!
    21. 21. NET W ORK
    22. 22. Birth of the television: mid of the 20th century!
    23. 23. Birth of the internet: end of the 20th century! @ W.W.W. I
    24. 24. Media :• Performing arts: a relationship to space / time, content and audience• Newspaper (print Media): support• Cinema: formalization of writing, storage, commercialization (cinema)• Radio: invention of “live”, radio news, games, .... and a network!• Television: images ...• Internet: interactivity in all dimensions• Digital convergence (multimedia, transmedia, rich- media)
    25. 25. Å dîale li Hardwåre, Nanesse, avou s’tchèrète di Betacam Gini ! Vîve li Vapeurwåre qui d’vint l’vrèye !Since the very beginning, RTBF covered a wide range of events in Belgium, in any field (news, entertainment, music, History,cultural and scientific magazines, documentaries, sports, etc.) but also outside Belgium, and mainly in central Africa. Itcurrently holds more than 100.000 hours of programming, and of course the catalogue is growing every day.
    26. 26. Semantic technologies: What is a digital Media ?
    27. 27. MediaMap+ - modelling:- media(s): audio – video – picture & text- information: the meaning of a data- process (transformation)- interfaces (View): roles/skills/entity
    28. 28. Before passing over the record head, a tape in a recorder passes over the erase head which applies a high amplitude,high frequency AC magnetic field to the tape to erase any previously recorded signal and to thoroughly randomize themagnetization of the magnetic emulsion.Typically, the tape passes over the erase head immediately before passing over the record head.A magnetic "image" of a sound signal can be stored on tape in the form of magnetized iron oxide or chromium dioxidegranules in a magnetic emulsion. The tiny granules are fixed on a polyester film base, but the direction and extent of theirmagnetization can be changed to record an input signal from a tape head.When a magnetized tape passes under the playback head of a tape recorder, the ferromagnetic material in the tapehead is magnetized and that magnetic field penetrates a coil of wire which is wrapped around it. Any change in magneticfield induces a voltage in the coil according to Faradays law. This induced voltage forms an electrical image of the signalwhich is recorded on the tape.
    29. 29. Annotation Opus Content Description Editorial TemporalMediaAsset Object Object Editorial Structure Segmentation Segment Digital Resource Content Assemblage Audiovisual Track Media Material Manifestation © MediãMāp - All rights reserved
    30. 30. Content AnnotationBrussels: 19/05/2010 MediaMap Final Review 33
    31. 31. Opus ENTITY Professional View[Opus]=F(Producer, professionnal, opus) Amateur SKILL© MediãMāp - All rights reserved VIEW calculation : F(R,E,S) = V
    32. 32. Semantic technologies:How it can improve your audiovisual production processes
    33. 33. From pre-production to archiving archiefnummer : ALG 20010813 1 fragmentnummer : 1 reeks : 1000 ZONNEN EN GARNALEN To Alex Holmes, Rob Warr, Martell, Oliver Huddleston bandnummer : E03024404 PICK UPS NEEDED formaat : DBCM fragmenttitel : 1000 ZONNEN & GARNALEN 1.SCENE 41 beeld : KL/PALPLUS blood on floor blood splats on paper fragmentduur : 18 20 tekst : 000" TOERISTISCH REPORTAGEMAGAZINE OVERZICHT 2. SCENE 31A documents into fire+fire ONDERWERPEN GENERIEK TOERISTISCH REPORTAGEMAGAZINE, 3. RESHOOT SCENE 54/55 OVERZICHT ONDERWERPEN rain scene 050" VANDAAG : KUNSTENAAR LUC HOFKENS ONTWIERP EEN OASE 4. RESHOOT SCENE 49A OP ZIJN DAKTERRAS IN BORGERHOUT DIE DOET DENKEN AAN DE 5. SCENE number??? GRAND CANYON INTERVIEW MET LUC EN ZIJN VROUW Close up stabbing of corned beef cans 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 PERSOONLIJKECOMPUTERFrom pre-production to archiving, proper information is essential to: trefwoorden : BELGIE; BORGERHOUT; ARTIEST; OASE; KUNST; GRAND CANYON (NATUURGEBIED); DAK; TERRAS; INTERVIEW; EURO • schedule the production SPACE CENTER; RUIMTEVAART; PC; BOOTTOCHT; RIJKDOM; PASSAGIER; GASTRONOMIE; RESTAURANT; PERSONEEL; • communicate with post-production VAKANTIE; BINNENBEELD; SCHIP; BECKERS LEEN; VRT; LOTTO; RADIOOMROEPSTER; KLANKSTUDIO; UITVINDING; • enable re-use of content BARBECUE; BETONMOLEN; IBM; RECLAMESPOT rechthebbende : VRT • manage intellectual property • create interactivity and personalisationIn order to enable automation, document-oriented methods must be replaced by a model-driven approach that relies on the semantics in the documents(!)
    34. 34. 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”
    35. 35. A single set of numbers
    36. 36. Pre-production
    37. 37. Ingest AutomationObjectives  Faster than real-time ingest  Computer Assisted Rough-cut  Minimise time to post-productionKey Features  Script Processing  Scene recognition  Face recognition  Speech recognition  Automatic Clip Identification
    38. 38. Spectrum of knowledge: representation and reasoningcapabilities:
    39. 39. May 2012 : Google: towards a first big semantic move?
    40. 40. Enjoy ! Enrich !
    41. 41. René Magritte - The picture of the object is not the object ! - The relation between signifier/signified is arbitrary -The meaning is a process : data – syntax/grammar - culture
    42. 42. WARM SEMANTIC THANKSWe would like to express our semantic thanks to all the personsand organizations having contributed directly or indirectly tothis Belgian Broadcast Days presentation: The MEDIAMAP+ Consortium : SGT, Radio France, Perfect Memory, Kane, Memnon, RTBF, Limecraft, Kendra, … for their contributions to the development of semantic technologies in the broadcast world. EUREKA Celtic Cluster & IWT – INNOVIRIS – DGCIS (Fr) EACEA: For the support of the development of the prototypes TITAN: For the organization of the “European Media Wrapper Round Table” EBU: In particular to Mr. Jean-Pierre Evain (the evangelist !) And for their major contributions on standards: ISO (for OAIS); W3C; SNIA, IASA, SMPTE