We Need to Talk about MAM

The Muddle in
the Middle Series
Dealing with a problem child and
the birth of something new
A Nativ Whitepaper/ www.nativ.tv
WE NEED
TO TALK
ABOUT
MAM

2 A Nativ Whitepaper/ www.nativ.tv

3
Media asset management and
its family of relatives have been
around for decades and are still
an omnipresent subject in media
technology circles.
The industry continues to generate numerous “Request for Proposals” stating the need
for a new “MAM System”.
However, MAM increasingly represents a nebulous term - a silver bullet to solve all media
management woes. More worryingly, it no longer seems to encapsulate many of the problems the
industry faces when managing the creation and distribution of TV content in today’s data-driven,
multi-platform world.
In this technology-focused paper we discuss why the siloed, monolithic MAM approach will die
out and why addressing the entire value-chain is becoming increasingly important. We explain
how new “Media Logistics Platforms” promise to provide a content and data pathway to the
ultimate big data, OTT promise: programmatic service creation.

A Changing World
If you were to ask somebody at the turn of the millennium to define media
asset management, you’d probably be told that it meant maintaining control
and access to your media assets. A MAM system was a place to put your
audio-visual content, to store it, to sort it and to categorise it. Ultimately,
some would argue that the MAM was also a place where content went
to die – such was the closed and clunky nature of early MAM systems.
Back then, when broadcast TV dominated, workflows were
well understood and technology was keeping pace with market
demands. It was assumed that business processes would
remain unchanged for long periods, or at least be subject to
only minor modifications, and I.T. systems were built to support
this assumption. In addition, the broadcast engineering division
was a very different beast to the in-house I.T. department and
it wasn’t always clear where a MAM should sit in an organisation,
or whom should manage it.
Much has changed in recent years. Multi-platform OTT video
has grown from a stuttering start to a worldwide powerhouse.
Digital TV Research predicts that OTT video revenues are set
to rocket to $42 billion by 2020. In fact, OTT video services are
now threatening to disintermediate many incumbents, bringing
greater targeting and richer content. Although few would
suggest that OTT will replace linear broadcast altogether,
most would agree that the TV landscape has changed
radically and forever.
This explosion of OTT services creates opportunity and threat
in equal measure. Although demand for TV content is growing,
increased competition requires content owners to produce
more content more efficiently and target audiences wherever
they are. To address this new TV marketplace, content owners
and distributers are facing huge challenges both commercially
and operationally as they seek to navigate a dizzying array of
technologies, standards and commercial models. In this new
TV ecosystem the risks are high, the rewards are great and
the competition is fierce.
So, although consumers are awash with
great content on exciting new platforms,
behind the scenes the logistics elements
of the TV supply chain are creaking and
starting to show their age: The old MAM
architectures no longer meet the new
media management challenges.

5
A Broken Concept
What’s clear is that the file-based, multi-platform TV industry hasn’t just placed
demands on the delivery side of TV. It has put pressure on the entire value
chain, from commissioning and production all the way to post-production and
distribution. This in turn has forced the MAM system to do so much more.
The list of requisite features is now seemingly endless; ingest,
QC, storage, transcoding, metadata enriching, tagging, editing,
approvals, publishing and on and on. In fact as the list of features
grows, MAM seems an increasingly amorphous concept; more
of a catch-all agglomeration of features relying on software
architectures that are rapidly showing their age. To make matters
even more confusing, new terms have arisen such as “PAM”,
“OVP” and “video content management”, so that purchasers
are faced with a Venn diagram or evolving concepts.
In addition to the long list of “must-have” features, some
of the non-functional characteristics of a traditional MAM
are just as problematic:
• Monolithic – typically one or two servers carrying all the
software. No option for scaling horizontally and sharing
resource across multiple machines in the cloud.
• On-Premise – usually the MAM is an internal
technology that sits behind the corporate firewall
with no multi-tenancy support.
• Siloed and partially closed – It has an API which is more
of an afterthought, using outdated integration technologies.
• Workflow is a separate consideration – this is seen
as a completely separate piece of software that must also
be bolted on.
• One-size-fits-all user interface - The UI needs to offer
myriad functionality while providing contexts to support both
operational and creative users.
• Requires a lengthy integration project – The above
characteristics mean that a new MAM project can easily
cost you upwards of a million dollars.
• Risky implementation – Most traditionally managed,
large-scale I.T. integration projects fail.
Combine these with the rapidly changing
demands of the new TV ecosystem and
it’s no wonder so many MAM projects
fail to deliver on their promise.

What’s Breaking It?
The usefulness of traditional MAM systems is being indirectly eroded by
rapid changes in consumer-driven technology and audience behaviour.
Advances in these areas have brought about user-friendly devices, with
fast processers to enable smooth video decoding and high resolution.
Fixed line and mobile networks have enabled delivery of high
quality video and a true multi-platform TV experience. Cloud-based
services have paved the way for easy file sharing, social
media and cross platform, scalable services.
These advances have catalysed a disruptive OTT play from new
entrants such as Google, Amazon, Apple, Netflix, and Spotify.
To combat this, many broadcast incumbents have also moved
to create new personalized, multi-screen service experiences
to test audience appetite. Whether you’re a disrupter or an
incumbent, the results of these early experiments are clear:
this is what consumers want. The services are successful.
The experiment is becoming the core business.
Multi-screen, personalized video services and the competitive
requirement to deliver on-demand content at scale hugely
increases the complexity of a now non-linear supply chain.
The commercial cost of getting this supply chain management
wrong is also increased. In this context traditional MAM
architectural models, engineered for predictable and linear
schedule services, become unfit for purpose. The challenge
here is further compounded by a lack of file format
standardization, and the problem of legacy systems still
largely engineered for a logistics model dictated by tape.
This leaves a media logistics and supply chain gap for premium
media and brands. On the delivery side, the market is served
by solutions that offer service delivery and service management
for the multi-screen consumer, the now mature Online Video
Platform (OVP) market. This space has reached a point in its
development where there are a small number of market-leading
players such as Ooyala, thePlatform, Brightcove, and Kaltura,
as well as major vendors such as Ericsson and Cisco.
However, as the OVP platform market has
matured, it has exposed the vital need
for upstream logistics solutions, and the
immaturity of current offerings in this area.
The best solution must provide both new-generation OTT service
providers and traditional broadcasters with hosted platforms
for production integration, media/data management, content
exchange and workflow control.

7
Vertical to Horizontal: The Birth of Media Logistics Platforms
As the fight for audience continues, there is a need to target viewers more
accurately with the right content and the right commercial model. The upstream
elements of the value chain need to support an end-to-end platform-approach
and replace silo-ed media management systems if this efficiency is to be realised.
So if MAM as you know it is dying out and there is a need
to create and deliver file-based content more cost-effectively
and intelligently, what fulfils this need?
The new TV marketplace requires modular media
management platforms and services to help media
companies manage this complexity – to help them be that
vital media management and staging platform for producers,
aggregators, and service providers. This demand has created
supply. A range of players in the media technology and
services market have launched platform propositions in
these otherwise undefined markets. These include
incumbents such as Technicolor, Deluxe and Sony DADC,
as well as new entrants such as Nativ.
These new platforms are being
developed using new technologies
and new architectures to address
the next big challenge.

Consumer-Driven Technology:
The New Building Blocks
Perhaps ironically, the same consumer technology that has broken the old
enterprise MAM approach is offering opportunities to fix media logistics
problems brought about by cross-platform, personalised TV.
When coupled with a lack of clarity around long-term cloud
pricing and the obligatory security concerns, it’s no surprise that
this new concept has seemed all too risky and more of a barrier
than an opportunity.
Things are now changing fast though as the media and
entertainment sector becomes an increasingly important
target market for IaaS vendors. As the price wars continue and
technology improves it’s becoming increasingly viable to manage
large media file storage and processing natively in the cloud.
The good news is that many of the forward thinking software
vendors are highly aware of this and are staking their future on
the cloud; and it’s clear that many more will follow.
The hype is over, IaaS technologies are
maturing and most would agree that the
writing is on the wall – cloud technology
is here to stay.
There are a number of new technologies and architectural
approaches that are finally paving the way for a more efficient,
end-to-end media logistics strategy. Although they have evolved
to support huge consumer-driven cloud-based propositions they
are now mature enough to be harnessed farther upstream in the
TV supply chain. They promise to deliver true cost savings and
allow more budget to be invested in the creation process rather
than overspending on media logistics.
Infrastructure as a Service (IaaS)
Replacing in-house I.T. infrastructure (“the server room”) with
cloud-based services enables companies to swap capex
for opex and meet spikes in demand by auto-scaling their
infrastructure as and when required. At a glance this seems an
attractive proposition when considering that many elements of
the production industry are project-based and budgets are tight.
It’s a great opportunity to throw out old on premise kit and start
afresh with a new, more flexible procurement model. In addition,
cloud offers advantages for providing end-to-end services as
infrastructure can reside outside the corporate network and
therefore be made available to partner companies, offering
enhanced collaboration and streamlined workflows.
However, the media and entertainment industry is one of the
last industries to embrace cloud en masse and end-to-end. This
has been for good reason, as production file sizes can be vast
and the cost and time taken to move heavy assets in and out of
the cloud has been prohibitive. Also a hybrid approach has made
software re-architecture hugely complex - cloud-based media
services have been too isolated from on premise systems and
lacked the rich APIs to make wider enterprise-integration viable.
It’s now clear that for content owners to enjoy the level of scale
and cost-savings offered by cloud platforms, the software must
make the leap to being “cloud-native”. The entire platform must
reside on a scalable, virtual environment, either in a private or
public cloud.

9
Web Technologies
The same market forces that have moved consumer software
to the cloud have brought about a rapid evolution in user
interface technologies, both in the browser and the back end.
Across all facets of enterprise I.T., user interfaces are becoming
increasingly HTML5-based.
Since the dot com bubble burst, HTML standards have moved
at pace. The latest HTML5 standard is evolving quickly and,
combined with powerful new JavaScript and CSS libraries, it’s
becoming quicker and cheaper to make beautiful user interfaces
that work well on desktops and tablets alike. The web start-up
world is buzzing again.
These new standards allow developers and designers to create
user interfaces that offer the same degree of sophistication
and responsiveness as desktop applications. As users more
frequently access web-based services through mobile devices
and apps, they have come to expect more elegant user
experiences in the enterprise I.T. space. This has brought about
a slew of disruptive start-ups aiming to replace the older, clunky
enterprise I.T. applications of the past. This new generation of
web start-ups has spawned many new technologies, frameworks
and device technologies, all of which can be harnessed for next
generation media management platforms.
These new technologies offer significant benefits for
future media logistics platforms because where end-to-end
collaboration is concerned, isolated desktop apps are not
going to cut it.
Consumerization of IT
Thanks to the consumerization of enterprise I.T., smartphones,
mobile apps, and cloud storage are the norm and users
increasingly enjoy almost unthinkably simple access to
business applications. It’s therefore no surprise that there
is an increasing trend towards BYOD (Bring Your Own Device),
where workforces bring their own technologies into the
work place and expect to use them for work purposes. The
smartphone and tablet revolution offers huge benefits when
it comes to media management workflows. Users can interact
with workflows at any time, in any location, which can bring
efficiencies to workflows and save time and money.
Mobile devices, with their limited screen size, naturally lend
themselves to an app-based approach. Media technology
companies can embrace this by offering simpler applications
that allow users to participate in media workflows without
having to log in to the full system. This approach offers discrete
functionality which can be accessed on the move – functions
such as review and approval, commenting and real-time
business analytics.
Microservices
Perhaps the biggest change brought about by the intersection
of enterprise I.T. and consumer cloud technologies relates to
underlying software architectures. As mentioned, the public cloud
offers almost limitless access to cheap compute and storage
with a promise that a shared technology platform can expand
and contract to meet demand. However, taking advantage of
commodity compute and storage at scale can only be harnessed
if a platform is architected to scale horizontally across hundreds
of servers. It will also only feasibly work if the application user
interface is web-based and the platform is multi-tenanted.
Hence, the availability of cloud services has helped usher
in a new way of architecting software where enterprise
applications are broken up into simpler, shared services that
can be developed and managed separately and scaled out and
deployed independently. This “microservice” concept is based
on a service orientated philosophy and allows faster development
and roll out through better decoupling of functionality, and
of course huge scale and cost-savings for shared platforms.
In the MAM world, these “cloud-native” platforms are few
and far between and in fact most MAM systems are single-server,
monolithic and cannot scale horizontally. It’s all very well
deploying a legacy MAM system to a virtual machine in the cloud,
but it offers few benefits if the underlying scalability is not there.

What Defines a
Media Logistics Platform?
There are some key features that the new TV
supply chains demand and that define the
new breed of media logistics platform.
Production Integration
In order to manage end-to-end, file-based content workflows,
MLPs must be integrated into the heart of pre-production and
production processes. Such systems must be deeply embedded
into edit and logging environments and support workflows
related to commissioning, storage and data management.
Gathering data at source is key to understanding the
performance of content, so MLPs must support the gathering
of a rich set of business data and content metadata that can
be embellished throughout post production and distribution.
In many existing workflows, loss of data can inhibit the
successful exploitation of content for new services.
Asset Management
An MLP has to be more than just a faster and more efficient
content pipe. It has to be an asset management platform in its
own right. One major inefficiency of the systems architecture
of many media companies is that multiple content and data
repositories make it difficult to track and retrieve content.
The MLP needs to offer a pathway to a single hosted asset
management system that enables media to flow into, and be
warehoused in, one common platform. It must integrate with
hierarchical storage management systems to support advanced
retention policies and economical storage of content at scale.
End-to-End and File-based
In order to enjoy real cost savings when managing the creation
and delivery of TV content it’s important to consider an end-to-end
approach to manage both data and media. Shifting content
from file to tape and back again is hardly going to bring about
cost savings. Only when a file is digitised can it be stored and
processed on commodity I.T. It’s only by allowing content and
data to pass more efficiently along the value chain that money
can be saved and content can be better targeted.
Multi-tenanted
Multi-tenancy is an architecture in which a single software
platform serves multiple customers. Each customer is called
a tenant. Multi-tenancy allows MLPs to support fine-grained
access control and the ability for internal and external users and
systems to interact with content and data services in a secure
fashion. From an architectural standpoint, this is also a critical
function if economies of scale are to be offered via shared
microservices, scaled across commodity cloud infrastructure.
Data Continuity
End-to-end data continuity is critical. It’s all very well delivering
content to myriad platforms, but without a rich set of data,
how will it be matched to audiences and their on-demand
viewing profiles?
Much of MAM has been focused on managing assets and
limited metadata and yet data is the key to the OTT promise
of a personalized TV experience and high content performance.
A lack of taxonomy standardization and the proliferation of
silo-ed MAM systems means that from creation to consumption,
much valuable metadata is lost between each stage of the
supply chain.
The key to supporting search, profiling, advertising and TV
monetization in general is capturing as much data as possible
at the commissioning stage and preserving and enriching it
through production, post and distribution, without the need for
manual data wrangling. Hence, a core requirement of an MLP is
the ability to translate and preserve business data and metadata,
manage taxonomies, and validate exchange formats end-to-end.

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API Driven
As your media and data travels its end-to-end journey, it will
need to visit any number of integrated and third party services,
including transcoders, QC applications, review and approval apps
and edit tools. A rich API is key to avoiding vendor lock-in and
cheaply plugging into best of breed services both on premise
and in the cloud.
Clearly in the complex world of media management, openness
is key. This can only be realised by MLPs offering a robust and
flexible API that plugs into third party systems can use and for
new apps to be developed independently. In fact, in the vast
ecosystem of media technology software, many would argue
that the rich, web-based API is now far more important than
the MAM feature set.
This open API approach is a very different one to traditional
MAM systems. Rather than being an afterthought, modern
web-based APIs allow developers to rapidly develop new cross-platform
apps that capitalise on existing services, to decrease
time to market and allow them to focus on usability and features,
rather than building system level services like storage, transcode
and workflow from scratch.
Flexible Delivery
The need to increase the revenue yield on content acquired or
produced is common to all media companies. Hence an MLP
needs to facilitate the packaging and delivery of content to
a broad library of common third-party publishers, as well as
intermediary distribution infrastructure such as content delivery
networks. This will enable profitable exploitation of new outlets.
In this context plug-ability and data interchange is key.
Cloud-Native
The advantages of a cloud infrastructure model for a premium
video logistics platform cannot be ignored.
First, it enables a media company to more effectively scale its
capacity as the volume of media managed and stored by such
a platform grows. Second, it allows an MLP to offer a common
roadmap of new features and capabilities that enables its
customers to manage the common changes and challenges
facing all premium media companies, such as new file formats.
Third, it helps an MLP to directly reach production staff, service
managers, and producers who need new tools to manage their
media and, potentially, are not being appropriately served by
internal IT or broadcast engineering – or both.
Collaboration
The increasing complexity of the TV supply chain is driving the
need for greater collaboration between all parties in the media
ecosystem. An MLP model enables new and more flexible tools
for collaboration.
The cloud model also enables more efficient remote access
by increasingly nomadic operators working across multiple
screens. In a market where even the workhorse PC, the Mac
Pro, is effectively a portable device, anywhere and anytime
collaborative access to a cloud platform is highly valuable.
Workflow Automation
It is clear that many elements of the TV supply chain are
fundamentally creative and can neither be mechanized
nor commoditised. However, for everything else, workflow
automation can cut out manual labour, offer greater scale and
remove human error. In a file-based world, workflow automation
is a core component in the quest to lower the cost of creating,
managing and delivering premium content at scale. Workflow
is the cornerstone of the composable enterprise.
Composable
Greenfield opportunities in premium media are very rare.
The norm is legacy systems, idiosyncratic workflows, and file
format diversity. Hence it is vital that MLPs are highly modular
and extremely configurable to address huge complexity and
support existing legacy systems and processes.
To support the new composable media enterprise, APIs will
play a large role, but much more is required. To handle the level
of diversity in technologies, standards and business models,
every element of an MLP must be highly configurable, including
workflows, metadata, business data and access control, with
low operating impact and cost.
Data Driven
End-to-end business intelligence is key to “closing the loop”
and feeding end-user content performance data back into the
production process to maximise future production investment.
It also plays a critical role in providing insight into the
performance and efficiency of your media supply chain.
Successful content creation and monetization requires near
real-time analytics to enable content and finance operations
to understand viewing performance at a per-asset level and
help manage all content touch points for assets, from ingest to
delivery. This can only be enabled by tracking data across the
entire supply chain which in turn requires open media logistics
platforms (and is often hindered by siloed MAM systems).
Coupled with a composable enterprise, adaptability and
competitiveness can be sustained.

Shattering the Monolith: The Composable Enterprise
Below we discuss a fundamentally different architecture for future media
management based on our own MioEverywhere platform design and the
more general “Composable Enterprise” approach.
Search Workflows
Structured
Unstructured
This model takes horizontal process integration to an entirely
new level by assuming that operating functions, processes,
products and services will undergo continuous change and
re-configuration. Recombinant “building blocks” can be selected
and assembled in various combinations to satisfy specific
user requirements.
Rather than considering “islands” of functionality in the cloud
or on premise, such as transcode and storage, we adopt an
approach where the entire platform resides in a public or
private cloud environment and business processes are broken
down into the minimized set of “atomic” functions.
The bottom layer represents commodity infrastructure as a
service. The MLP “plugs in” to storage, network and processing
services such as transcode, QC and rendering via its Resource
layer. The Resource layer controls access to enterprise
resources and ensures there are limitations based on access
control and quotas.
Screener /
Portal
Mio
Console
Review & MAM / CMS OVP / OTT
Approval
Creative Tools Logging
Adobe
Avid
Tasks
Jobs
Events
Event Processing
Jobs
Actions
Timed Actions
Players
Templates
Assets
Ingest
Packaging
Delivery
Data
Metadata
User-defined objects
Resources - Storage, I/O, Processing
REST API
Mio Objects
Mio Services
SDK / Java / Scripting
Compute Storage Network
Apps Mio Cloud
Access
Users
Roles
Accounts
Analytics
Above the resource layer sit a number of media management
microservices that interact but are loosely coupled:
• The Asset service provides access to functionality
offered by a traditional MAM system, such as storage
management, metadata management, media manipulation
and content structuring.
• The Access service provides security and fine grained access
control. It layers on a multi-tenanted approach where objects
and services can be accessed securely.
• The Workflow service is a key component that allows upper
level applications to automate repetitive tasks at scale and
orchestrates between machine-based work and remote user-based
tasks.
• The Job service supports the simultaneous execution of an
array of different background media processes which can be
monitored and tracked.

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• Perhaps the most important service is the Data service.
It goes much further than managing metadata for assets.
It allows users and developers to define completely new
object types and complex data hierarchies, for example,
productions, series, episodes and rights information. This
means that a single platform can manage and maintain data
from pre-production and commissioning all along the supply
chain to distribution to OTT and broadcast platforms. Data
continuity is key to allowing content to be personalised,
searched and found.
On top of the service layer sits the RESTful API, which provides
access to the underlying services. This open, web-based
interface allows applications to be built on top of these services.
The upper Application layer is where individual, cross-platform
media management apps reside. The app approach allows
individual applications to fulfil coherent roles and independently
address both creative and operational needs for media asset
management, workflow and beyond. (This goes against the
traditional MAM model where a single user interface has to serve
all functionality to all people.) App types can vary from traditional
content management systems to mobile review and approve
apps. Some products such as Adobe Premiere and Prelude
already support this architectural approach and have worked
successfully with an MLP. It seems likely that others will follow.
What are the Barriers
and the Drivers for MLP?
There are still some barriers that have until recently slowed the
progress of an MLP approach. For example in the cloud space
alone, there are some big issues to tackle:
• Moving heavy assets in and out of the cloud can
be expensive.
• The price fluctuation of cloud service providers
is hard to predict long term.
• Cloud often raises a fear of losing control of
one’s content.
• Worry about a public cloud platform suffering
a sustained outage.
Another barrier has been a lack of software solutions to bring
the MLP promise to life, as for many vendors, re-architecting
an on premise, monolithic platform from scratch is a real stretch.
The composable / microservices approach is the complete
opposite to the static, monolithic approach and re-engineering
is a costly and complex challenge.
Luckily many of these barriers are finally being overcome and
accelerated by standards efforts from organisations such as
DPP and AMWA, which are helping to make software and media
interoperability more standardised. This in turn drives down costs
and helps to commoditize the media logistics platform.
A further catalyst is the increased maturity of cloud and IaaS
and the fact that procurement is catching up with this approach
to utilising I.T. infrastructure. As consumer IT breaks into the
enterprise, BYOD and other trends are forcing enterprise
software companies to think about usability and portability
in their software design.
Perhaps the biggest driver is confidence. There have now
been some high-profile success stories in the realm of cloud
TV and media management. (Netflix, BBC iPlayer, Amazon
Instant Video to name but a few.)

Conclusions
The web-connected consumer is forcing the traditional TV supply chain to evolve.
The new TV market is a digital audience of one, where the consumer is in control and
demands access to a personalized media experience across multiple, fragmented
platforms. Maintaining competitive differentiation requires continuous innovation as
product and service lifecycles continue contracting. In other words change is a constant.
There is now a need to drive down the cost of producing and
distributing content in a cross-platform way and to address
emerging business models for monetising content. It is a reality
of the media landscape today that supplier relationships, logistics
networks, product design and customer service all live in a state
of permanent flux. Hence, sustainable competitive advantage
requires a high degree of operational adaptability.
The same consumer-driven technologies which have paved
the way for personalized, multi-platform TV have in turn made
upstream processes in the production and post-production world
really show their age. Many media I.T. services were built to serve
static and often functionally siloed operating model which are
rapidly dying out. The incumbents are frequently weighed down
with unwieldy, patched-together technology stacks. They still rely
on outsourced manual labour and extensive workarounds and
front offices are disjointed from their colleagues at the back.
Media I.T. needs to become much more horizontally integrated
and dynamically composable to keep pace with the speed
of media businesses today. Fortunately, new consumer
technologies can be harnessed to improve the entire TV and
video supply chain. This can only be brought about by removing
silos and introducing new end-to-end, data-driven architectures
that rely on composable, web-based technologies that can
operate cheaply at scale. It brings about the need for a new
media management paradigm as drastic as the paradigm
shift from linear broadcast to OTT.
The overwhelming complexity of cross-platform TV can only
be managed by a completely new family of software products
that replace the old on premise, monolithic MAM systems.
By harnessing MLPs, content owners will be unhampered by
outdated IT paradigms and these new platforms will keep the
wheels of the TV industry spinning freely and quickly in response
to changing demands.
Just as the OVP market has seen rapid growth and an
accelerated journey to maturity, so the MLP market is now
set for growth, as premium media companies look to solve
the media management and logistics challenges that are
today acting as an impediment to growth.
The core drivers of growth for the MLP market will be the
expansion of multi-screen TV markets, the growing complexity
of media management, and the increasing maturity of technology
and platform strategy at media companies. It will also be driven
by the need for richer data about content and its usage in the
market place.

15
In summary:
• New technology offers a new start for MAM and new ways
of working mean we need one! In fact MAM isn’t dead – it’s
evolving to something new.
• Workflow is more important than MAM. Storing and
retrieving content is a “must have” but vital is the requirement
to mobilise media and think in terms of workflow and media
logistics. It’s about making the journey from creation to
consumption as short and profitable as possible.
• Data continuity and end-to-end, data-driven platforms
are key to assessing the performance of TV content and
targeting the right audiences with content which they are
prepared to pay for and advertising which they are prepared
to watch. In the long term, audience insight coupled with great
content will separate the winners from the losers.
• Not every MAM vendor will make the leap to an MLP
model. The unwelcome truth is that for a system to really
scale in the cloud, it requires the opposite architectural
approach to traditional MAM systems. Not all vendors will
have the capital or the time to invest in this transition and will
continue to milk the aging MAM market.
• Technology started it, user behaviour will drive it.
Ultimately consumer technology ignited cross-platform TV
and it is now driving innovation upstream in the production
and post-production markets. The key priority now is making
production and distribution of premium content at scale as
efficient as possible and continuing to focus on the data itself
to drive this evolution.
Contact us to talk about your Media Logistics challenges:
t: +44 207 580 9488
e: info@nativ.tv
www.nativ.tv

Contact us to take back
control of your content
t: +44 207 580 9488
e: info@nativ.tv
: @NativLtd
www.nativ.tv

We Need to Talk about MAM

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