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Digital EMA Annual Forum at CESJanuary 8, 2013
Jennifer Lane BurnellSenior Manager/Member Support
EMA
Today’s Agenda1. Opening Remarks2. Other Collaborative Initiatives (DEG/EIDR)3. Metadata4. Mezzanine Files5. Image Files6. Avails7. Closed Captioning8. Next Steps
Thanks to our Supporting Sponsors
Mark FisherInterim President
EMA
Mitch MallonSVP/Digital Sales, Image EntertainmentChair, EMA Digital Steering Committee
Chris FetnerDirector of Content Partner Operations
Netflix
Bill KotzmanPartner Project Manager
Larry WilkVP/Operations & Strategy, Walt Disney Studios
Chair/Media & Content Operations Committee, DEG
Digital Eco-System
CINRAM
Studio Outreach andCollaboration
PurposeDiscuss current state of Digital Entertainment Supply ChainFocus on areas that studios influence to identify cross-industry opportunities for collaboration and improvement
ObjectivesIdentify and prioritize pain pointsShare the following:
What other things are going on? What works?Lessons learnedKPIs/Scorecards
Create the structure for next steps to make it happen – studio, retail & vendor
Broad Participation
Common Pain Points
StudioContent Creation – standards, DAM, transcoding, rights managementFulfillment – # formats, volume, notifications, rightsContract to Cash – reporting, systems, onboarding
VendorQuality Control – bad data/assets, inconsistent info / processesMetadata – avails / title metadata matching, connection to assetsRights – what is available when, delays / changesProduct Requirements – inefficient reuse of assets
RetailerRights Acquisition – email centric, labor intensive, prone to errorMetadata – no unique identifiers (sometimes need to watch!)Content Delivery – # formats, volume, delivery methodsQuality Control – timeliness, quality, network issues (e.g. partial delivery)
3 Task Forces formed as a result of the workshops:Universal Media Identifier Task Force: focus on identification methods that connect internal and external processes, orders, deliveries, avails, financials, royalties, cash, etc.
Standards Task Force: focus on pain points associated with metadata standards, file standards, and package standards of digital files and associated metadata and assets
Reporting Task Force: focus on clarifying financial reporting from digital retailers including POS and royalties, cleansing and processing
Task Forces
Universal Media ID Task Force
Identified need for a universally unique identifier system to support the sale of all digital products
Combined with EIDR to pilot and execute an industry solutionProof of concepts are being developed to improve the ability to match assets and metadata from different databases, service providers or metadata suppliersGovernance
Ensuring the business case continues to be valid
Standards Task Force
Metadata
• Produced a set of industry metadata standards
• Coordinated with vendors and retailers for industry-wide adoption
• Collaborate to develop one standard / multiple applications• EMA• MovieLabs• UltraViolet
• File format and artwork standards
Reporting Task Force
• Produced a set of industry reporting standards
• Validated with vendors and retailers for industry-wide adoption
• Selected multiple options for implementation :• No change – maintain direct unique Retailer / Studio flow• Change from unique to standard XML
• Change to host system• API call to “translator”
• Use DEG supplied Service Bureau (via Media Morph)
• Implementation underway – late Spring completion
Data Flow Options
Retailer Studio
Vendor
Current Proprietary Data
DEG Standard XML
Proprietary Data DEG Standard Format
API
What Do We Need to Do ?
• Approve standards & approach / validate value• Content owners, vendors, retailers• Identify barriers / issues ; resolve
• Participate• UMID – EIDR• Metadata – Common Metadata• Reporting Services
• Incorporate / pilot
Kip WelchVP/Business Development, MovieLabs
Chairman, EIDR
EIDR brings it all together
• Standards drive automation– Media Entertainment Core metadata (MEC)– EMA & DEG driving industry specs for avails & reporting– Specs bound together with one common ID
• EIDR is the glue• Goal = end-to-end automation of the digital supply chain
– Order, ingest, market, upsell, track, report, reconcile, pay– Single ID from start to finish
• Media ecosystem entry ticket– UltraViolet, VOD, online streaming, tablets, smart phones, etc.– Multi-platform, multi-channel, multi-window– Know your number & how it ties to others
1/8/2013
Use Case - Metadata & Sales Enrichment
Comments from Friends
Critic Reviews
Vendor Metadata
Studio Metadata
Related products offers
Cast Bios & Filmography
EIDR
EIDR
1/8/2013
METADATACraig Seidel
Vice President/Distribution TechnologyMovieLabs
EMA Metadata Working GroupChair: Kevin Matheny, Best BuyPresenting: Craig Seidel, MovieLabs
Metadata family
Studios RetailersMedia Entertainment Core (MEC)
Metadata family
Studios RetailersMedia Entertainment Core (MEC)
Avails Metadata
UltraViolet Coordinator& Container
EIDR
UltraViolet Metadata
EIDR Metadata
Metadata family
Studios RetailersMedia Entertainment Core (MEC)
Avails Metadata
UltraViolet Coordinator& Container
EIDR
UltraViolet Metadata
CommonMetadata
EIDR Metadata
Metadata family
Studios RetailersMedia Entertainment Core (MEC)
Avails Metadata
UltraViolet Coordinator
EIDR
UltraViolet Metadata
CommonMetadata
EIDR Metadata
EIDRIdentifiers
2.0 Evolution
• Common Metadata 1.2 Common Metadata 2.0• EMA Metadata 1.2 Media Entertainment Core
(MEC) Metadata 2.0
• Improvements– Support of DEG requirements– Support Avails– Additional optional Digital Asset information– Structural improvements
2.0 Technical Highlights• Basic Metadata
– DEG additions (Ratings, Work Type, etc.)– Added descriptive information (e.g., version language)– Detailed Content Ratings (broken out)
• Digital Asset– Improved accessibility (e.g., Signed Language)– Improved ‘Interactive’ (for extras, etc.)– Many encoding additions (e.g., colorimetry, sampling)– Improved Containers– Other additions: Cards (e.g., anti‐piracy), Watermark
• Structural– Improved extensibility (e.g., xs:any##other)– Identifiers for cross reference– Structured to allow better validation (redefine)
Status
• Specs completed• Ready for Implementation
For More…• Specs
http://entmerch.org/digitalemahttp://www.movielabs.com/md
• EMA Members should contactJennifer Lane Burnell, EMA(818) 385‐[email protected]
• Common MetadataCraig Seidel, MovieLabs(650) 224‐[email protected]
MEZZANINE FILESColleen Henry
Product Specialist Engineer ‐ Video InfrastructureGoogle
MEZZANINE FILES Technical Goals
• Lower bitrates than MPEG‐2 or ProRes based deliverable for practical storage, transmission and manipulation of assets
• Support for compressed or uncompressed audio• Reasonable encoding and decoding speed / complexity• No or low cost to begin creation or acceptance of assets in this spec. • "Creative" decisions are made by content owners or post production stakeholders,
rather than resellers.
MEZZANINE FILES Status = Public beta
• Please start testing and / or using it now and provide feedback to the working committee.
• EMA members should submit change/addition requests to Jennifer Lane Burnell at [email protected]
• We'll announce when it's considered finished.
MEZZANINE FILES High Level Tech Specs
• H.264 constant quality or multi‐pass VBR video encoding• PCM or AAC audio encoding• .MOV container• Primary language stereo and surround audio streams to be contained within the
same video file. • SD spec allows for MPEG‐2 for easy legacy support for 4:2:2 encoding of NTSC or
PAL content.
MEZZANINE FILES More In‐depth info available at EMA site.
• www.digitalema.org/committeescouncils/mezzanine‐file‐work‐group• More info includes:
o In‐depth H.264 encoding settingso Example command lines for libav and x264 file creationo Sample fileso Content preparation instructions are included for how to deal with things likeo Mixed media contento Interlacingo Cropping o Etc
MEZZANINE FILES Future
• A future draft will be published for desirable future capabilities, that were left out for current practicality of creation.
• Examples:o 10 bit color deptho 4:2:2 color spaceo Multi‐language audio delivery
IMAGE FILESAdam Simpson
Content Operations ManagerVUDU
IMAGE FILES Recommended Standard
• Unnecessary costs and the delay of new content as result of image files created for individual retailers.
• Frequently, retailers/distributors will edit and adapt studio‐supplied image files themselves in order to meet their merchandising needs; results in lengthy, cyclic approval process.
• QC issues slow down processes.
IMAGE FILES MOVIES TV
SIZES REQUIRED • Box Art ‐ 3:4 ‐ Minimum of 1000 pixels wide • Horizontal Image ‐ 4:3 and 16:9 ‐ Minimum of
2000 pixels wide
• Box Art ‐ 3:4 ‐ Minimum of 1000 pixels wide • Horizontal Image ‐ 4:3 or 16:9 ‐ Minimum of 2000
pixels wide • Square Image ‐ 1:1‐ 800x800 pixels
FILE FORMAT • Both a layered PSD file and either a png or
jpeg need to be available. • PSD files should contain any titles, branding,
or text in a separate layer. (Key art with title treatment layers removed should not show major gaps in design.)
• Both a layered PSD file and either a png or jpeg need to be available.
• PSD files should contain any titles, branding, or text in a separate layer. (Key art with title treatment
• layers removed should not show major gaps in design.)
SERIES/SEASON/ Episode Requirements
N/A • Required: Series and Season artwork • Option: Episode artwork
COLOR • RGB • TV Safe Colors
• RGB • TV Safe Colors
IMAGE FILES MOVIES TV
IMAGE GUIDELINES • No Tag lines • No Ratings • No Critic Quotes • No Dates • No Cast/Credits • Image must be recognizable from 10ft away
on an SD TV that is 38‐40 inches • If key artwork alternative, image provided
must have one focal point (i.e., not too crowded/busy ‐ 1 ‐ 2 people max.)
• No Tag lines • No Ratings • No Critic Quotes • No Dates • No Cast/Credits • Image must be recognizable from 10ft away on an
SD TV that is 38‐40 inches • If key artwork alternative, image provided must
have one focal point (i.e., not too crowded/busy ‐ 1 ‐ 2 people max).
• Lower 1/8 of portrait art is clear of important details
NAMING • Use EIDR if available • If no EIDR available, please refer to the naming
conventions agreed upon by the Studio/Network and Digital Distributor
• Use EIDR if available • If no EIDR available, please refer to the naming
conventions agreed upon by the Studio/Network and Digital Distributor
IMAGE FILES MOVIES TV
FOREIGN RELEASES • Need the localized name • Would prefer art used in the local territories
• Need the localized name • Would prefer art used in the local territories • Use “series” instead of “season’ when applicable
NO KEY ART AVAILABLE • Choose an image to be consistent across platforms such as a still frame or images from other promotional materials
• Choose an image to be consistent across platforms such as a still frame or images from other promotional materials
ADDITIONAL IMAGES • Minimum of two stills in each of above sizes
that are relevant to the audience (i.e., violent vs. conservative image.)
• Minimum of two stills in each of above sizes that are relevant to the audience (i.e., violent vs. conservative image.)
IMAGE FILES SQUARE (1:1) IMAGE BOX ART (3:4) IMAGE
IMAGE FILES HORIZONTAL (16:9 and 3:4) IMAGES
AVAILSMark Fleming
Partner Operations SpecialistGoogle
AvailsCurrent Issues
• No standards exist across any of the studios or retailers. Avails arrive in a variety of formats that require manual handling, which is labor‐intensive and error prone.
• Entry errors or missed notices result in reduced revenue and/or can negatively impact business relationships.
• Most templates can’t keep up with evolving content/retail strategies.
AvailsRecommended Standard
• Since no two partners or retailers handle avails the same way, a set of formats were created to accommodate everyone.
• Excel – non‐technical, universally accessible, ready now, semi‐automatable • XML – highly automatable, support for future API integration that will
eliminate need for emails/notices
• Formats were developed with shared elements and structure. Mapping allows for eventual transition from Excel to XML with minimal re‐classification of elements.
AvailsRecommended Standard
• XML – Greatest flexibility for complex offerings. Integrates with greater Metadata standard.
• Excel – new format adjusts the title‐level focus to offer/SKU‐level focus. • Commonly used: 1:1 Title to spreadsheet row• Proposed: 1:1 Offer/SKU to spreadsheet row Results in more rows, but supports rapidly evolving product and retail strategies (e.g., new avail window types) and reduces confusion.
• Definitions and Mapping – Each field defined, including a direct mapping between Excel and XML
AvailsConclusion
• Proposed standard will• Reduce resource requirements to enter and/or audit data• Eliminate errors caused by manual entry or confusion• Support a constantly changing product and retail strategy• Establish a path toward automation that could be taken at each studio or retailer’s pace
• Next Step• Pilot implementation
AvailsFor more…
• Standard (specs, schema and spreadsheet template)• http://entmerch.org/digitalema • http://www.movielabs.com/md
• InquiriesJennifer Lane Burnell, EMA(818) 385‐[email protected]
BACKUP
Data Categories• Disposition: How message is processed• Licensor: Information about licensor• Asset: Identification and description of asset (including metadata)
• Transaction: Terms associated with Avail (where, when, etc.)
• Metadata
Sample XML<?xml version="1.0" encoding="UTF-8"?><avails:Avail xsi:schemaLocation="http://www.movielabs.com/schema/avails/v1.0/avails avails-v1.0.xsd"xmlns:avails="http://www.movielabs.com/schema/avails/v1.0/avails" xmlns:md="http://www.movielabs.com/schema/md/v2.0/md"xmlns:mdmec="http://www.movielabs.com/schema/mdmec/v2.0" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><avails:Disposition>
<avails:EntryType>Create</avails:EntryType></avails:Disposition><avails:Licensor><md:DisplayName>My Movie</md:DisplayName><mdmec:ContactInfo>
<md:Name>Ms. Moviemaker</md:Name><md:PrimaryEmail>[email protected]</md:PrimaryEmail>
</mdmec:ContactInfo></avails:Licensor><avails:Asset contentID="md:alid:eidrs-s:26E3-EC69-263F-A03A-D958-X"><avails:Type>Movie</avails:Type><avails:TitleInternalAlias>Top Movie</avails:TitleInternalAlias><avails:Metadata>
<avails:TitleDisplayUnlimited>Top Movie</avails:TitleDisplayUnlimited></avails:Metadata></avails:Asset><avails:Transaction><avails:LicenseType>EST</avails:LicenseType><avails:Description>EST for New Release of Top Movie</avails:Description><avails:Locale>
<md:country>US</md:country></avails:Locale><avails:LicenseRightsDescription>New Release</avails:LicenseRightsDescription><avails:FormatProfile>HD</avails:FormatProfile><avails:OtherTerms>
<md:Name>Contract-Reference</md:Name><md:Value>Contract2904a</md:Value>
</avails:OtherTerms><avails:OtherTerms>
<md:Name>TermsID</md:Name><md:Value>Terms-Group-A</md:Value>
</avails:OtherTerms></avails:Transaction></avails:Avail>
CLOSED CAPTIONING BEST PRACTICES
Dae Kim, Onboarding Engineer, Netflix
Steve Maher, Sales Engineer, TV & Film, YouTube/Google
Why Closed Captioning Best Practices?
• Better Serve Diverse Audiences• Twenty‐First Century Communications and Video Accessibility Act of 2010
• Conversion Can Be Complicated
Best Practices: Certification• If closed caption file is not provided for IP‐delivered video programming, the video programming owner should include a certification in the avails and the metadata that closed captions are not required and why.
Best Practices: Preferred Formats
• Delivery of closed caption files in SCC format (with .scc file extension) is preferred.
• Also accepted are the following TTML formats:– SMPTE‐TT (RP 2052) (.xml file)– DFXP Full/Timed Text Markup Language (.dfxp file)
Best Practices: Frame Rates• If the content distributor does not require the closed caption data file to be already synchronized to the video, the closed caption file may be submitted in any frame rate in which it was created, so long as the frame rate is clearly indicated.
Digital EMA Annual Forum at CESJanuary 8, 2013www.digitalema.org
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