1. DATA MANAGEMENT CONTENT ORGANIZATION AND MEDIA IDENTIFICATION Eric Iverson Executive Vice President Digital Division

2. Objectives Setting the Stage – Basic Concepts (10) Review current approaches (15) – Spain – Budapest – UK – Digital Backbone / SPE Distribution – LATAM – EIDR What definitions need to be worked out? What do we want our practices to be: (40) Smart Numbers (5 min) Master Data Opportunities (15) Metadata and VOD/OTT Metadata Requirements (15) What Systems and Data flows are in play? (10) Data Migration (10) Wrap (5)

3. Setting the Stage – Key Concepts Numbering (Smart / dumb) Master Data –vs- Data –vs- Metadata Basic Definitions – Title/Program – Version – Alpha – Component – Assets/Inventory  Core Media (Physical/Digital)  Supporting Media  Promotions  Deliverables – Deliverable – Metadata Identification between within and between systems – Intra-system – Inter-system (Across the Enterprise) – Inter-enterprise (Across multiple Enterprises)

4. CURRENT CONTENT ORGANIZATION APPROACHES

5. Content Org Approaches: :LATAM Program record created representing a season. No series level record seems to exist Season Identified by ‘ID’ field Contains full list of episodes which exist season Materials for Transmission Associated directly to the TX id/Barcode on the alpha Content reference id from episode is referenced for each segment Program record created representing an episode. Episode record Identified by ‘Content Reference’ ID Contains full list of alphas for episode. Each alpha contains distinct ‘Transmission ID’ which is the same as the barcode

6. LATAM Cont This are the basic ones. If you need other tabs, please let me know and I print them for you. 1.House ID not used but TX ID is referred to as house ID

7. LATAM Content Organization Program: Beveriy Hills 90210 – Season 3 ID: 1111046 Episode: Mystery Loves Company Content Ref ID: 24633 Version A: LAT Barcode: X194636 Materials – Segment 1 Barcode X194636 Content Ref ID: 24633 Materials – Segment 2 Barcode X194636 Content Ref ID: 24633 Materials – Segment 3 Barcode X194636 Content Ref ID: 24633 Version B: BRA Episode: Home and Away Version A: LATVersion B: BRA

8. Vision - London 1.No Series / Season Only 2.Barcode Matches TXID 3.House ID’s are generated by Vision and sometime manually overidden depending on channel and delivery method. 4.House ID’s are generated by channel specific templates in Vision for Promos. 5.House ID’s for commercials are imported from Ad Sales systems via a spot import. 6.Versions are created for SD/HD,(assigned TX ID)

9. London Cont This are the basic ones. If you need other tabs, please let me know and I print them for you. 1.House ID not turned on for London users.

10. Vision - Budapest 1.No Series / Season Only 2.Barcode Matches TXID 3.TX ID’s and Barcode ID’s match. These would appear to be the Channel code, Abbreviated programme title, Episode number and version combined…. 4.House ID’s for commercials are imported from Ad Sales systems via a spot import.

11. Broadcast Master- Spain 1.From the screenshot provideed by Eva it would appear an ‘EventNumber’ and ‘Media ID’ is used. Eva would need to clarify how this is generated and which other numbers it relates to.

12. SPE Content Organization Structure Title is the highest organizing level of intellectual property Alpha can be thought of as a version or a unique cut of a title Component is an asset approved to fulfill a specific title alpha

13. Proposed 4-Level: Title/Version/Products/Assets 11/21/201113 Title Versions Assets IsEditOf Movie Theatrical Release EIDR: Root record Products VOD HDVOD SD EST SD Versions are represented by EIDR Edits. Version- Version hierarchy is optionally permitted, e.g. a country edit of the Director’s Cut could go under the Director’s Cut record or directly under the title. EST HD Similar Products & Assets Here IsEncodingOf (generic*) Xbox VOD HD Assets are represented by EIDR Technical Encodings. These are optional for MS in the Warner POC. IsEncodingOf (generic*) IsEncodingOf (technical) Director’s Cut Assets are tied back to Products using the EIDR Packaging relationship, which is loose and non-parental Xbox VOD SD Xbox EST HD IsEncodingOf (technical) Xbox EST SD MSFT Mezzanine IsEncodingOf (technical) IsPackagingOf Other EST HD Other Mezzanine Requests to EIDR: Additional metadata for Products. Rename Generic Encodings to Products. Products are represented by EIDR Generic Encodings (*currently HD vs. SD not supported. Workaround needed.) IsPackagingOf IsEncodingOf (technical) 24-Jun-2011

14. 4-Level Movie Hierarchy (Product + Asset) Title Versions Assets IsEditOf Movie Digital Edition EIDR: Root record Products EST Versions are represented by EIDR Edits. Version- Version hierarchy is optionally permitted, e.g. a country edit of the Director’s Cut could go under the Director’s Cut record or directly under the title. Future VOD IsEncodingOf (generic*) HD Assets are represented by EIDR Technical Encodings. IsEncodingOf (generic*) IsEncodingOf (technical) Theatrical Version Assets are tied back to Products using the EIDR Packaging relationship, which is loose and non-parental SD HD+ IsEncodingOf (technical) Requests to EIDR: Additional metadata for Products. Rename Generic Encodings to Products. Products are represented by EIDR Generic Encodings IsPackagingOf Mezzanine MPM-P MPM-I

15. Content Organization: High Level Program Version Inventory (Assets) Version Inventory (Assets)

16. Content Organization: Example - 1 Breaking Bad Version: HD HD SourceSubs Version: SD SD SourceSubs

17. Content Organization: Example - 2 Breaking Bad Version: Dom SourceSubs Version: Compliance Edit SourceSubs

18. Content Organization: Example - 3 Breaking Bad Version: Localized - Spanish SourceSpanish Subs Version: Localized - French SourceFrench Subs

19. Content Organization: Example - 4 Breaking Bad Version: Base HD SourceSD SourceSubs Version: Int HD Source French Subs Spanish Subs German Subs

20. Content Organization: Definitions Title/ProgramTitle is the master data describing the intellectual property, which is maintained as the highest level of organization for its content. AlphaAlpha is a unique picture/audio/content cut of a Title created for business, territory, S&P, etc. It can loosely be thought of as a "version". With regards to fulfillment, it is the secondary level of organizational data used with a Title in order to drive what end product needs to be manufactured. Version Master Data MetadataMetadata is data describing data. Metadata Specifications A Metadata Specification defines the information required to generate a metadata output file (i.e. XML, XLS) for a specific customer or client. The metadata specification contains information such as field definitions, xml node naming and structure, formatting rules (i.e. character limits, cdata tags, date formats), business rules, validations, etc. Technical Metadata Technical Metadata represents the data values that are captured for specific ingested or deliverable assets (i.e. frame rate, bitrate, aspect ratio, codec, audio configuration, file format). This excludes any content specific attributes associated to the asset (i.e. Language, Content Type). ComponentA Component is the building block for the creation of a 'Product', e.g. video, audio, subtitle, chapters, etc. A Component is the discrete audio, video, text and/or combined Assets that are associated with a Component Type, stored as raw materials for Automated Content Processing. Components are Title) and Alpha specific. A Component can be used in one or many deliverables (applies to both digital and physical media).

21. Content Organization: Definitions AssetAsset is meant to convey the broad scope of physical or digital elements maintained and tracked as a unit within any asset management system. Asset metadata uniquely describes the characteristics of the asset and must be permanently connected to the essence whether in a physical or digital asset management system. Whether an asset contains multiple parts, e.g. 5.1 Audio, or whether each part is maintained as an asset is subject to the specific protocol of the managing system. With regard to the more formal term, Component (See Components); an asset, once verified and matched to Component Type specification, becomes a component. All Components are assets, not all assets are components. WHAT DEFINITIONS DO WE NEED TO WORK OUT?

22. Metadata surrounding hierarchy AreaType ProgramGeneral Title Attributes, Program Identifiers, Localized Metadata (i.e. Synopsis, Titles, Genres, Copyrights, Ratings), Client Specific Identifiers, Rights, Transmission information? VersionGeneral Version Attributes, Alpha Identifiers, Localized, Rights, Transmission information? Inventory (Assets)Asset Identifiers, Technical Metadata (i.e. Aspect ratio, format, framerate), QC, Ingest related (encode facility, ingest date, source id), DeliverablesTechnical Metadata, Title and Version metadata, Client Specific, Rights Detail, Package Details, content status?

23. What are our practices? (Exercise) What are the strengths and weaknesses of each approach? What are the top key questions raised so far? What are the biggest design constraints known so far? What good design principles would we want to leverage from what we are doing? What Data entities (IDs) (Data) should be referenced across the enterprise or between enterprises? For enterprise or inter enterprise, how should re register or issue ids? Will this approach work for our digital distribution models (VOD/OTT)? If not, what needs to be considered What needs more discussion and needs to be sorted out before GL? What are the gaps from where we want to be to where we are today? Where do we do registrations? – Internal Product Identification  What internal identifiers are used within the existing business systems  Which identifiers are hardwired into existing business processes and automation – External Product Identification  Registration to external organization (i.e. EIDR, ISAN) Who is on point?

24. Sorting out your Numbers: Smart Numbering vs. Random or Dumb Numbering What identifiers are currently generated using smart numbering? – What is the logic used to generate the smart numbered id?  i.e. Budapest barecode/tx id – Channel code + Abbreviated prog title + Series number (3characters) + Episode number (2characters)+ Version Code What (if any) workflows require smart numbered ids? What are the pros/cons of smart numbering? What identifiers are generated using “dumb” numbering? How do we determine our design principles with Smart and Dumb numbering?

25. What does IMDB do?

26. What are the Key Data Flow Systems in Play? Broadcast Management Systems – Broadcast Master – Vision – Landmark – Provys GPMS Eagle Cineshare Media Center (CWM) Others?

27. What are our Master Data Opportunities? Title SPE Competitiv e SongIP Product AlphaItemSKU Configurati ons Agreement RightsContract Party TalentEmployeeContractorCustomerConsumerPartnerExhibitorSupplierLicenseeLicensor Reference Data GenreFormatLanguageMarket Location TerritoryCountrySiteStore Media Asset PhysicalDigitalDocumentMedia

28. Metadata for VOT/OTT

29. Metadata related to Linear, Non Linear, OTT EXERCISE What are the key metadata elements that are related to Digital Distribution models? Program Assets Version/Alpha Rights

30. Data Migration Scoping questions for data migration… What data can be migrated immediately? Implications of data migration Long term data migration goals

31. Wrap-up and Review Point Person Key Activities Next Steps

32. Appendix

33. Open Questions What will be the source system for setting up in the initial program? What level of content organization do we need within each business system in order to complete end-to-end process from program set up, delivery to play-out? Do we need standardized rules for defining versions for consistent inventory? How do we deal with promotions and supporting materials in the content hierarchy? What are the areas of data that will need to be interchanges across systems and at what point in the cycle are they needed? Metadata for content exports out of CWM – do we need to source this information from GPMS? Or are we storing and editing internally at the MC Where does schedule fit in the content oganization?

34. Internal and External Identifiers AreaIdentifiers ProgramTransmission ID, SPTN House Number, GPMS ID VersionVersion ID Alpha Inventory (Assets)Barcode

35. Outputs Homework or Decisions on – Content organization approach – List and Description of Identifiers used (Internal / External) – Master data in scope – Source systems Design Principles

36. Content Identification How is content identified WITHIN the following the existing business systems? – Harris – Broadcast Master – Landmark – Media Center – Eagl – Cineshare – GPMS How is content identified ACROSS the above business systems? How is content identified ACROSS MULTIPLE enterprises?