By David Austerberry
The second one version specializes in the media and leisure zone (M&E), with additional info proper to surround broadcasters migration to file-based creation. New know-how and new items also are incorporated and there's extra element on platforms integration and product examples, plus additional case studies.
New content material includes:
• garage administration the place numerous items were designed for the exact wishes of the media business;
• XML and net services;
• New case reports.
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Extra info for Digital asset management
It certainly revolutionized the storage. Vast numbers of documents could be stored on a few reels of film. But the system was no more than storage. It still relied on librarians to categorize the documents and to maintain the indices to the microfilms. The desire to share documents led to information technology. A paper document could be scanned into a digital format, and the files from an office computer application could be placed in a common repository. Other users on the network could then share these files.
The solution is media asset management. Up until the 1990s, the television broadcaster considered asset management to be a well-run tape library. The introduction of video servers in mainstream production demanded completely new systems to manage their program content and workflows. Rather than the physical videocassette, the broadcaster now had to deal with the more ephemeral computer file. Several basic operations can be performed on a content item: • Store • Move • Copy 36 Media Management • View Typically, content can be taken out of storage (the library) and viewed.
Broadcasting is much more complex. To cover equipment failure, the servers are often run as mirrored pairs. There may be a whole cluster of servers to feed many playout ports. These ports may be feeding, editing workstations, or be playing finished material to air. Typically, server groups are linked with a high-speed interconnection like a Fibre Channel fabric. Files can be rapidly copied and moved between servers. The media management must control all these operations. Historical Perspective Broadcasting workflows divide loosely into two groups, one to handle programs and a second for commercial spots.
Digital asset management by David Austerberry