10 executive summary theibcdaily The producers
Knowledge based
workflows
Multiplayer gaming for TV
Lesley Marr Senior Operations
Director, ITFC Region: UK
management’… except, perhaps, the word ‘metadata’. Both are resonant of a dusty, administrative process which gets in the way of the programme being made. That is quickly changing with the reali- sation that when content is available on different platforms, not describing that content well to make it attractive to watch or purchase is a massive marketing own goal.
A “Metadata is not only an effi-
cient production tool, it is essential to asset management and increasingly the currency linking content with discovery by viewers,” says Lesley Marr, senior operations director, ITFC a content management services supplier and part of the Deluxe Group. “Its stock is rising as content owners, VOD operators and broadcasters recognise it is a business rather than a purely engineering requirement.” A key element of metadata is contextual scene descriptors or temporal tagging. One issue is at what point in the production process should that metadata be generated? “It’s a challenge because
there is no quick and cheap way to input rich metadata at the
rguably there is nothing that turns a producer off more than the term ‘media asset
By Adrian Pennington
scene-level other than by starting at the beginning of the lifecycle, the concept and script stage, and adding to it all the way through.” Current workflows are typi- cally partitioned between the needs of production to turn around the immediate programme and the value of metadata for archive, sales and distribution several weeks, months, even years down the line.
Marr believes automation is part of the answer. “Automation is not about taking people out of the equation and plugging the gap with a machine,” she says. “Automated systems are only any good if they learn and adapt alongside humans. That is the
‘We need
new business cases to make the most of metadata’
key to developing intelligence in systems.” Until there is a decent auto- mated technology able to accurately take the grunt out of metadata generation, Marr calls for a more commercially- oriented approach. “There needs to be a more holistic view of a programme’s lifecycle and new business cases to make the most of metadata,” she says. “If you are a vertically integrated company and you shoot content to which you own the rights, you have a valid interest in creating metadata upfront. “Where that’s not the case
there needs to be greater dialogue between production, sales and distribution. “If we could get people to invest in workflows at the front of production then you can build on a growing knowledge file as it goes through the process. You begin with scripting and produc- tion information then add compliance and product place- ment for example, in post, and at every step of the way the data set becomes more and more relevant.
“At the moment any financial
reward for having data input correctly is accrued so far downstream that the two are disconnected and the business case is not apparent.”
ExMachina’s background is in multiplayer gaming technology – how is your technology being deployed on TV shows? Our PlayToTV platform was used on The Voice in Holland. Viewers were able to listen to performances on second screen devices prior to the show’s broadcast and then give their predic- tions on the live performances. During the Dutch elections this month [September] we will also be powering lots of second screen applications around opinion polls and political debates and will be able to provide realtime feedback to the studio. Unlike social networks a purpose-designed second screen app is structured. You can express an opinion on Twitter while a show’s going on - but you can’t conduct polls or quantify feed- back and channel it back into the programme in a matter of seconds. Where second screen apps really come into their own is when the show is devised with interactivity in mind.
What second screen app did you devise with Fremantle Media for RTL’s Dutch daytime quiz show Intuition? Intuition requires you to follow your instincts and rely on the wisdom of the crowd. It’s your group score that matters and viewers at home are rewarded with discount vouchers - like a second screen Groupon. The aim was to achieve an audience response rate of 10% and we achieved a 6-10% conversion rate. Around 10% played along on their second screens – that’s high as the average is around 2-5%. By the end of the series, once they had become familiar with the format, one in three people requested the coupons.
What’s the most popular second screen device? It’s varied and depends on the time of the day and age of the viewer. With Intuition our demographic was middle aged, predominantly female and the majority played along on their laptops. We do eight second screen shows a week for Viva in Germany where 85% of viewers are below 25 and the majority use Android. There’s no single best approach, but it’s a fair assumption that regardless of demographic it’s worth thinking about second screen as even with older viewers there will always be a fair percentage interested in playing along and winning prizes.
Second screen or connected TV? A big challenge for connected TV is the renewal cycle: people change phones and tablets every two years but only tend to change their TV sets every five - ten years. People are becoming increasingly familiar with the idea of going online and watching TV whereas the way people view the main screen has remained largely unchanged. AMC
Jeroen Elfferich CEO, ExMachina
Region: The Netherlands
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