InBroadcast - April 2022 - 52

52
www.inbroadcast.com | Vol: 12 - Issue 4 | April 2022
InFile
The Butterfly Effect: Metamorphosis
of Media Asset Management into
" Content Hubs "
By Bill Admans, COO,
Ateliere Creative Technologies...
A
s I gathered my thoughts for
this article, I flashed back to
the earlier days of the mobile phone
and MP3 player.
These devices
performed only a few tasks but did
them extremely well while meeting
and even exceeding our needs at
the time. As our personal and work
lives grew increasingly complicated
and interconnected, these " dumb "
devices were outpaced by today's
smartphones
and
networked
entertainment devices.
It's not much different in the media
and entertainment worlds, where
the global demand for content is
exploding across multiple platforms,
in different languages and different
versions. Everybody involved with
content creation and ownership is
constantly searching for new and
better ways to manage, distribute
and,
of
course,
monetize
growing libraries.
The media asset management
systems of even just a few years
ago are not up to the task. They've
evolved in response to a changing
industry. In many ways, even the
name Media Asset Management
is
outdated, traditionally
to single-function repositories
storing assets.
Now, we're looking at connected
workflows that intersect through a
content hub, which is what these
systems have evolved into. Digital
and
has
entertainment
is
since rich content
being generated or collected
in almost every market segment:
surveillance and security, healthcare,
retail, manufacturing, and on and on.
In today's distributed economy, the
ability
to easily search for, access
and share the right piece of media is
highly valuable to any business.
The asset management
process
needs to provide a robust structure
for creating, managing, and
distributing content to any device,
system, or workflow - from concept to
consumer.
DAM/MAM systems
effective repositories
for multiple
their
assets and metadata. However, they
need to " think " holistically about the
entire media lifecycle and how we
track and use media.
We're now dealing with much more
complex media relationships
that
need to be managed and tracked.
Through the use of APIs or BPEL
and
other standardized
formats
referring
for
of exchange such as XML, JSON,
MXF, and IMF files, these systems
can allow for data transfer to other
platforms and systems further down
the line.
Security has always been a critical
issue, and it's only
increased in
importance as more files get shared
more often and more easily. When
you're dealing with movie titles
that
could
media asset management
become more complex. It's
an integrated process, not just a
single asset management system,
with many systems and platforms
interacting and
communicating
through a content hub.
Even the audience for these
systems
is
a
much
online content
broader
ecosystem - broadcasters, studios,
streaming services, brands,
and
creators. It
even extends beyond media and
represent
investments
of hundreds of millions of dollars
and with revenue potentials in the
billions, knowing who has access
to what piece of media and in what
format
is
vital. Content
need to control
owners
that access and
track who has used and touched
a piece of media at every stage as
part of a forensic process. These
access and tracking capabilities are
crucial elements of the new asset
management systems/content hubs.
Today, there can be many pieces
of media attached to an individual
title: essence files, master files,
various localized versions in different
languages, and more. It can relate to
the media needed for monetization,
such as the artwork or the descriptive
metadata. Media management
also involves
the different
connecting with
business
are still
automation.
to drive workflow
That's why
process
systems exchanging metadata and
information through an orchestration
process
" content
hub " is a more accurate term.
There's one contributor to the
rise of the content hub that can't
be overlooked: remote operations,
especially in terms of cloud-based
collaboration.
If we're not already past
such as
rights management and
finance. Ateliere Connect can
import masses of information about
archives through XML and CSV files
and use this data to enrich the
media on the platform. Connect
associates all media types with a
title, not just the sound and video
files. Users can attach subtitles in
multiple languages and alternate
video sequences and audio files
for localized
versions.
They
can
also attach artwork and marketing
metadata that OTT platforms may
need. With built-in automated QC,
Connect
various
need.
stores
reports
This
it, it's
getting to the point where the only
way to do modern asset management
efficiently and effectively is in the
cloud. That's partly a result of our
post-COVID world; also, companies
have become more distributed.
Today's
big media organizations
have global operations, and they
deal with suppliers and customers
worldwide. The cloud is the easiest
way to manage distributed workflows
because you can connect anywhere
and interact anywhere.
That's the mindset we've applied to
the development of Ateliere Creative
Technologies' media supply chain
platform, which acts as a content
hub orchestrating all the workflows
in the media lifecycle from ingesting,
asset management and transcoding
to localization,
mastering
via APIs
ones
and
distribution.
Each platform function is extensible
to interconnect with all
systems and processes, especially
the
vital
to
monetization
and
shares
the
end-users may
combined data-driven
functionality allows the platform to
easily automate the creation of new
versions of titles and deliver them to
hundreds of streaming platforms and
OTT services.
The way
media is
generated
and used throughout the content
lifecycle changes constantly. At the
creation stage, you're dealing with
camera files and raw media being
transcoded.
That
file coming off
the camera has tons of metadata
associated with it, either embedded
in the file or coming in separately
from different systems. Those are
also assets that need to be managed,
coordinated and made available at
different stages, whether it's postproduction,
editorial or visual effects.
Without the new content
hubfocused
types of asset management
that wouldn't easily be possible.
Then when you come to the finished
product, it's like the metamorphosis
of a caterpillar into a beautiful
butterfly, a finished master ready for
monetization and distribution.
https://ateliere.com
http://www.inbroadcast.com https://ateliere.com https://ateliere.com https://ateliere.com https://www.ateliere.com

InBroadcast - April 2022

Table of Contents for the Digital Edition of InBroadcast - April 2022

Contents
InBroadcast - April 2022 - Intro
InBroadcast - April 2022 - Cover1
InBroadcast - April 2022 - Cover2
InBroadcast - April 2022 - Contents
InBroadcast - April 2022 - 4
InBroadcast - April 2022 - 5
InBroadcast - April 2022 - 6
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InBroadcast - April 2022 - 16
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InBroadcast - April 2022 - 19
InBroadcast - April 2022 - 20
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InBroadcast - April 2022 - 23
InBroadcast - April 2022 - 24
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InBroadcast - April 2022 - 27
InBroadcast - April 2022 - 28
InBroadcast - April 2022 - 29
InBroadcast - April 2022 - 30
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InBroadcast - April 2022 - 39
InBroadcast - April 2022 - 40
InBroadcast - April 2022 - 41
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InBroadcast - April 2022 - 45
InBroadcast - April 2022 - 46
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InBroadcast - April 2022 - 50
InBroadcast - April 2022 - 51
InBroadcast - April 2022 - 52
InBroadcast - April 2022 - 53
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InBroadcast - April 2022 - 57
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InBroadcast - April 2022 - 100
InBroadcast - April 2022 - 101
InBroadcast - April 2022 - Cover3
InBroadcast - April 2022 - Cover4
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201803
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