Download Descriptive metadata for television : an end-to-end by Mike Cox PDF
By Mike Cox
Descriptive Metadata for tv is a finished advent for tv execs that have to comprehend metadata's objective and expertise. This easy-to-read ebook interprets vague technical to hands-on language comprehensible through actual humans.
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Additional resources for Descriptive metadata for television : an end-to-end introduction
Clearly, it makes sense to capture metadata 22 Publish (playout) Library Deliver finished program Post produce, edit, etc. 1. A notional program production workflow. at the earliest stage possible as a program is made, and to either pass it through the chain or hold it in a common repository. This way, those stages that need the metadata can access it easily and do not need to look for it, reacquire it, or, worse, reinvent it. Sadly, this has not been the traditional way of doing things. 1 is not real, but is intended as an example of the process stages commonly encountered in a program production workflow.
Short summaries can be written at any time in the production process. 20 Types of Metadata Administrative Administrative metadata includes business and legal metadata and can be attached to a program produced by the company or to programs licensed by the broadcaster. ), who owns the intellectual property rights to the program, and any information on the program’s use and permissions. In the digital environment, legal metadata is often linked to digital rights management (DRM). Several levels of information about a program need to be tracked for the legal department, from licensing and contracts relevant to the production of the program to on-demand restrictions and permissions for the consumer.
This is a key difficulty as we move into the new digital age and begin to implement the new workflows enabled by this new technology. For example, at the program planning stage when a reconnaissance for a location shoot is being carried out, little thought is probably being given to the needs of the archivist at the end of the program-making chain—even though location details that might be useful in the future will certainly be known. Conversely, the archivist will probably see little need for knowing who owned the field where the shoot took place or what the access arrangements were.