1. From file-based production
to real-time co-production
How semantic technology
enables the transition from file-based production
to real-time co-production
Belgian Broadcast Days
Vilvoorde 2012/05/24

2. Recently, the focus of Technology
Innovation in the media sector has been
‘digitisation’.
Digitisation would bring cost-efficiency,
re-use of content and collaborative
production.
Major production facilities worldwide
have spent excessive amounts of money,
due to the integration of digital isles.
State of the art technology is not
scalable in terms of systems. Growing
demands for co-production tools will
make this worse.

3. Media Production relies on craftsmanship and
informal processes, where digitisation has
just started.
There is a vast potential for better integration
of media production processes, in particular
when it comes to co-production.
Potential
 Real-time collaborative production
 Different producers
 Integrated Intellectual Property
 New types of „customisable‟ products
Solution Area
 Integrated or “paper-less” production
 Industry standards (EBU Core, NewsML)
 Semantic Technology

5. News Production
Journalist Archivist
PoP Server Newsroom Computer System
NewsWire
eXchange
Server
Media Search Application
Manager
Media Asset Management System

6. Drama Production
Script Writing (Screenplay) Breakdown Logging (Continuity)
Informally Structured
Information Flow
Digital Media Flow
Principal Photography Post -Production

7. 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

8. Design Principles
A B C D E F G
B
A A B C
D
C
E
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

9. 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

10. Semantic technologies:
Tools to tag the virtual space!
Belgian Broadcast Days
Vilvoorde 2012/05/24

11. A semantic project to tag the virtual space!
In everyday life, a human being, is browsing in
six different areas:
• The three axes of space (height, width, depth)
• The time axis (time)
• and two for the memories (primary and
secondary retentions)

12. The human cognitive model
Culture
Syntax
Content
Data
Grammar

13. .
..
Thalys – Paris/ Brussels : 05/03/2012 – 5:37

14. The semantic paradygm shift!
From essence …
Play/Stop Media
camera man
(from a li ve Beethoven'32 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 Beethoven'32 sonates renderi ng)
...)
Check
Trade

15. The classical “flat model” modelling:
<Author>< ….. ><Author>
<Title>< …………… ><Title>
<Book>< …………… ><Book>
<Publisher>< …………. ><Publisher>
<ISBN>< ………. ><ISBN>
< ….. >< ………. >< ….. >

18. 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 H
Cataloguing 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

19. Semantic technologies:
What is a Media ?

20. P
E
R
F
O
R
M ARTS
I
N
G

21. Birth of the modern newspaper: early 17th century!
Le 31 Mai 1631, Théophraste Renaudot lance :
«La Gazette».
http://www.museerenaudot.com/imprim.htm

22. F
I
L
M

23. Birth of Radio: early 20th century!

24. NET W ORK

25. Birth of the television: mid of the 20th century!

26. Birth of the internet: end of the 20th century!
@ W.W.W. I

27. 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)

28. 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. It
currently holds more than 100.000 hours of programming, and of course the catalogue is growing every day.

29. Semantic technologies:
What is a digital Media ?

30. MediaMap+ - modelling:
- media(s): audio – video – picture & text
- information: the meaning of a data
- process (transformation)
- interfaces (View): roles/skills/entity

31. 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 the
magnetization 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 dioxide
granules in a magnetic emulsion. The tiny granules are fixed on a polyester film base, but the direction and extent of their
magnetization 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 tape
head is magnetized and that magnetic field penetrates a coil of wire which is wrapped around it. Any change in magnetic
field induces a voltage in the coil according to Faraday's law. This induced voltage forms an electrical image of the signal
which is recorded on the tape.

32. http://mediamapproject.org/
Annotation
Opus
Content Description
Editorial Temporal
MediaAsset
Object
Object
Editorial Structure
Segmentation Segment Digital
Resource
Content Assemblage
Audiovisual
Track
Media
Material Manifestation
© MediãMāp - All rights reserved

33. Content Annotation
Brussels: 19/05/2010 MediaMap Final Review 33

34. Opus ENTITY
Professional
View[Opus]=F(Producer, professionnal, opus)
Amateur
SKILL
© MediãMāp - All rights reserved VIEW calculation : F(R,E,S) = V

35. Semantic technologies:
How it can improve your audiovisual
production processes

36. 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 : 0'00" TOERISTISCH REPORTAGEMAGAZINE OVERZICHT
2. SCENE 31A
documents into fire+fire ONDERWERPEN GENERIEK TOERISTISCH REPORTAGEMAGAZINE,
3. RESHOOT SCENE 54/55 OVERZICHT ONDERWERPEN
rain scene
0'50" 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
4'00" 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
7'50" DE SCHEURKALENDER : ARCHIEF RECLAMEFILM IBM
INTERVIEW MAURICE DE WILDE, EERSTE PERSOONLIJKECOMPUTER
From 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 personalisation
In order to enable automation, document-oriented methods must be replaced by a model-
driven approach that relies on the semantics in the documents(!)

37. A Model-driven Approach
Scene
I N T . J E E P – F A V O RING J O E C H A C O “Jeep”, INT
#1
J 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 , Action
a 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 ? #4
S 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 t
e 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”

38. A single set of numbers

39. Pre-production

40. Ingest Automation
Objectives
 Faster than real-time ingest
 Computer Assisted Rough-cut
 Minimise time to post-production
Key Features
 Script Processing
 Scene recognition
 Face recognition
 Speech recognition
 Automatic Clip Identification

42. Spectrum of knowledge: representation and reasoning
capabilities:

43. May 2012 : Google: towards a first big semantic move?

44. Enjoy ! Enrich !

45. 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

46. WARM SEMANTIC THANKS
We would like to express our semantic thanks to all the persons
and organizations having contributed directly or indirectly to
this 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