BBC DMI Data Model

Digital Media Initiative (DMI)

Digital Media Intiative (DMI)
-
Project Logical Data Model (PLDM)

Version 2.1

Issued to backstage.bbc.co.uk community under a Creative Commons License

DMI Project Logical Data Model 1 of 87 DMI Data Model -
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Document History

Version State / Changes Date Author

1.0 Initial creation 10/05/2007

1.1 Updated with more structures 16/05/2007

Updated based on Process and Policy work
1.2 29/05/2007
Updated with full set of diagrams.

Updated based on mappings to P4A.
2.0 20/06/2007
Executive Summary also updated.

Updated based on mappings to P4A.
2.1 28/06/2007
Updated based on requirements from Process and Policy work

More updates from Process and Policy work
Mapping to P4A, Infax and MRS
Next
Stock Management
SportsLibrary

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CONTENTS

1 Executive Summary ............................................................................................................................................................4
2 Introduction ..........................................................................................................................................................................7
3 Reference Data ...................................................................................................................................................................7
4 Overview of Class Model Terminology...............................................................................................................................8
5 Changes since last version.................................................................................................................................................9
5.1 New Classes .................................................................................................................................................................9
5.2 New Attributes...............................................................................................................................................................9
6 Overview of the DMI Project Logical Data Model ............................................................................................................10
6.1 Publishable Asset .......................................................................................................................................................10
6.1.1 Publishable Asset Group..................................................................................................................................12
6.1.2 Publishable Asset Concept and Version .........................................................................................................12
6.1.3 Delivery Requirement .......................................................................................................................................13
6.1.4 Reuse of Versions ............................................................................................................................................15
6.2 Media Asset ................................................................................................................................................................16
6.3 Publishable Asset and Media Asset ..........................................................................................................................16
6.4 Material Instance ........................................................................................................................................................17
6.4.1 Content Location...............................................................................................................................................17
6.4.2 Technical Review..............................................................................................................................................18
6.5 Publication...................................................................................................................................................................18
6.5.1 Slot ....................................................................................................................................................................19
6.6 Usage Restriction .......................................................................................................................................................20
6.7 Contract.......................................................................................................................................................................21
6.7.1 Broadcast Contract ...........................................................................................................................................21
6.8 Contribution.................................................................................................................................................................21
6.9 Residual Rights...........................................................................................................................................................22
6.10 People and Organisations.....................................................................................................................................23
6.11 Stock Management................................................................................................................................................24
6.12 Delivery to Publication ...........................................................................................................................................25
6.13 Copyright Information ............................................................................................................................................26
6.14 Reports/Forms .......................................................................................................................................................27
6.15 Music Reporting .....................................................................................................................................................27
6.15.1 Example 1 .........................................................................................................................................................28
6.15.2 Example 2 .........................................................................................................................................................29
6.15.3 Music Codes .....................................................................................................................................................30
6.16 Compliance ............................................................................................................................................................31
6.16.1 Examples ..........................................................................................................................................................31
6.17 Storage...................................................................................................................................................................32
6.18 Language ...............................................................................................................................................................33
6.19 Production ..............................................................................................................................................................33
6.20 Application..............................................................................................................................................................34
6.21 Indexing..................................................................................................................................................................34
6.21.1 Example ............................................................................................................................................................35
6.22 Audit Trails .............................................................................................................................................................35
6.23 Access Rights ........................................................................................................................................................35
6.23.1 Access to Media ...............................................................................................................................................35
6.23.2 Access to Folders .............................................................................................................................................36
6.24 Requests ................................................................................................................................................................36
6.25 Policies ...................................................................................................................................................................37
APPENDIX 1 – Scenarios .........................................................................................................................................................38
APPENDIX 2 – Diagrams..........................................................................................................................................................42
APPENDIX 3 – Sources ............................................................................................................................................................49
7 Class and Attribute Descriptions ......................................................................................................................................50

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1 Executive Summary
The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented
using UML Class Modelling diagrams. The model is describing the structure on a class level, but where
possible examples have been added to explain how the structure works.

The current version has not been fully populated with attributes but the required data structures should be in
place.

The model covers all types of media assets, not just linear television programmes. The structure of the
model is supporting Linear Television Programmes, Radio Programmes, Interactive Services, Promotions,
Web Pages, Interstitials and Scripts etc. Several areas will require further analysis; this will be highlighted in
the detail of the document. It is expected that this will be looked at in the detailed design phase.

One of the main focuses of the model is that the asset information should be held separately from
information about the usage of that asset; this will simplify the reuse of the assets, from an information point
of view. The concepts Publishable Asset and Media Asset have been introduced to the model to support this
separation of the data.

Below is a simplified view of the DMI PLDM, showing some of the areas the model touches upon.

PUBLISHABLE GROUP RESTRICTIONS

RIGHTS

CONTRACT PUBLISHABLE ASSET MEDIA ASSET

CONTRIBUTORS

ASSET PACKAGE

MATERIAL INSTANCE STORAGE

ACCESS RIGHTS STOCK MANAGEMENT
DELIVERY REQUIREMENT PUBLICATION

Definitions:
Asset Package This represents a bundle of assets (Publishable Assets and Media Assets)
intended to be exported/outgested from the DMI system.
Access Rights Control of the users access to folders and assets.
Contract The contract between Commissioning and Production detailing which Publishable
Assets the Production team should deliver and also any terms and conditions
related to the Publishable Asset, such as number of transmission bought.
Delivery Requirement Defines the delivery requirements for a specific Publishable Asset Version. For
example BBC1 required Walking With Dinosaurs to be delivered on 1 x 625 line
PAL Digital Betacam videocassette. It may also define any reports, e.g. a “PasC
type” report that must be delivered.
Publishable Group Any grouping of a Publishable Asset such as Brand, Campaign, Series, Website
etc

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Publishable Asset Represents the usage of an asset, e.g. as a television programme, radio
programmes, webpages, interactive streams, interstitials and so on.
Publication The publishing of a Publishable Asset, this includes Linear Television, Interactive,
Radio and Web.
Material Instance The instantiation of a Media Asset. A Media Asset may have several instantiations,
e.g. with different compression type (jpeg, mpeg etc)
Media Asset An asset produced by Production, this could include any audio, video, stills, data
etc. A Media Asset may be used as a Publishable Asset, but other Media Assets,
such as rushes, may not be used as a Publishable Asset.
The Media Asset will have associated meta data, including details of the rights.
Rights Any rights information (copyright information and other rights) associated with the
Media Asset.
Stock Management Represents data required for Stock Management for the library.
Storage The storage unit (e.g. the specific tape or file) for the specified instance of the
media asset.
Talent Contributors to the asset, e.g. presenter, actor, cameraman etc.
Usage Restriction Any restrictions related to the usage of an Asset. Examples include Legal/Litigation
and Editorial restrictions.

In the current environment all metadata, such as Rights and Talent information, is captured against a
scheduled programme, where some information is not captured until post transmission. In DMI, metadata
should be captured against the Media Asset, i.e. independent of the usage of the asset. This means less
duplication of data, both from a storage perspective, and also the user (e.g. the Production Coordinator) will
not need to re-type information that already exists in the system. This will improve the data quality.

The main area of the model is surrounding Publishable Asset and Media Asset. The Publishable Asset
represents the editorial assets that are commissioned and scheduled. The Media Asset represents assets
created by a Production Team, which may at some point represent a Publishable Asset.

Information that is only relevant to the usage of an asset, such as episode number, will still be captured
against the Publishable Asset.

Some documents, such as memos, emails and notes, are not part of the Media Asset Structure on DMI.
However, DMI will need to hold a link to any of these documents, on a Publishable Group, Publishable
Version and Media Asset level.

1.1.1.1 Examples

Below is an example of how Fat Nation, the campaign, would be represented in DMI. Only part of “Fat
Nation” is included in this example to keep the example relatively simple.

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Fat Nation - The Big Challenge

Fat Nation Interactive
PUBLISHABLE_ASSET_GROUPs

Fat Nation Interactive Fat Nation Interactive
The Big Challenge Big Challenge Website
DTT DSat/DCab

Fridge Laundry FridgeLaundry
Prog 1 PUBLISHABLE_ASSET_VERSIONs
Events Web Page EDA C279H/71 EDA C278N/71
GFG A649X/72

MEDIA_ASSETs
Audio/Video Data Audio/Video

Concept As Is DMI
Fat Nation – The Big Challenge Represents a campaign, but in the current The campaign is represented as a
environment there does not seem to be a single Publishable Asset Group, with associations
place to find all the “parts” of the Campaign. to all parts of the campaign.
The Big Challenge Represents the linear television series/strand The series, grouping of programmes, is
(different systems use different terms), which represented on DMI as a Publishable Asset
has several programmes/episodes, one of which Group. A Publishable Asset Group may be
is called “Prog 1”. associated to other Publishable Asset
Groups, which allows for the Series to be
associated with the Campaign.
Prog 1 Prog 1 is one of the programmes that was part of Prog 1 is represented as a Publishable Asset
the series “The Big Challenge”. Version that can be associated to the
Publishable Asset Group.
Big Challenge Website “Big Challenge Website” represents Websites are represented as Publishable
http://www.bbc.co.uk/bigchallenge/ which has Asset Groups.
several webpages, one of them being “Events”)
Events A webpage at the url Webpages are represented by Publishable
(http://www.bbc.co.uk/bigchallenge/ events that Asset Version on DMI. The Publishable
is part of the website called “Big Challenge” Asset Version has an association to the
Publishable Asset Group it is part of.
Fat Nation Interactive “Fat Nation Interactive” represents the interactive The interactive service is represented by the
service which was part of the campaign. The Publishable Asset Group.
service had two different versions, one for DTT,
and one for DSat/DCab, each of these contained Each of the streams available as part of the
several “streams” related to the linear Group are represented by Publishable Asset
programmes Version.

In some instances the same audio/video was The Audio/Video that was used for the
used to represent streams on both DTT and Version are represented on the model by
DSat/DCab. All though they were given different Media Asset.
programme numbers the content was exactly the
same
Audio/Video/Script/Data etc Currently information is only captured on a In some cases the Media Asset represents
programme/stream level. the content used as part of the Publishable
Asset Version, but it may also represent any
documentation (asset) that is required, such
as a Script. Some Media Assets may be re-
used across several Publishable Asset
Versions, so by capturing metadata against
the Media_Asset rather than against the
Publishable Asset duplication is minimised.

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2 Introduction
The DMI Project Logical Data Model describes the sought after DMI Asset Metadata Structure represented
using UML Class Modelling diagrams. The model is not complete and examples have been added to explain
in more detail how the structure is intended to work. The main structure of the model is not expected to
change, but more detail will be added as the requirements become clear.

One of the main focuses of the model is that the asset and the usage of the asset will be kept separate to
easily allow for re-use of the asset from an information point of view.

USAGE

MEDIA
USAGE
ASSET

USAGE

The Media Asset represents any asset (audio/video/still/data etc) that is produced by Production. The usage
of this Media Asset could include a linear television programme, radio programmes, interactive services,
promotions, web pages, interstitials, and scripts and so on.

USAGE
ASSET

The example on the right is showing how an asset (in this case
an audio/video of Eastenders) can be used in several different
ways. The asset can be broadcast on BBC1, and it can also be
made available on iMP.

Another example is if a media asset is used both for a linear
television programme, and for an interactive service. Although Television

the information required to playout an interactive stream may be
different from a linear television programme, the information
regarding the asset is the same (as an asset could be re-used,
one time in a linear programme, another time as part of an
interactive service). iMP

3 Reference Data
Reference Data entities appears in yellow on the diagrams.
This document may list requirements to reference data values, but they should be implemented by a
Reference Data Management System.

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4 Overview of Class Model Terminology
Classes
PUBLISHABLE_ASSET_VERSION
A class is a representation of something the
system needs to know about. Classes are
represented as boxes e.g. Organisation Type. A
class holds information called Attributes. The
attributes are shown under the class name e.g.
Identifier and Name.

Subclasses
PUBLICATION

Subclasses are used to divide a parent class into
child classes (subclasses). These subclasses
inherit attributes from the parent. They can also
have their own attributes. Subclasses are shown
using an arrow relationship from the Child Class
to the Parent Class.
PRE_RECORDED_PUBLICATION LIVE_PUBLICATION
In the example opposite, the PUBLICATION
class has two subclasses – PRE
RECORDED_PUBLICATION and
LIVE_PUBLICATION.

Associations
MEDIA_ELEMENT_GROUP

An association is used to relate two or more
classes together. It is depicted as a line between
the classes.
0..*
keyed
by

The cardinality and naming of the association is
represented at the end of each association line.
0..1
In the example opposite the association may be
keyed for
KEYFRAME
read as follows: KEYFRAME is keyed for zero or
many MEDIA_ELEMENT_GROUPs, and
MEDIA_ELEMENT_GROUP is keyed by zero or
1 KEYFRAME.

Association Classes
PUBLISHABLE_ASSET_VERSION

An association class is an association that
also has class properties. An association
0..* uses

class is shown as a class symbol attached
MEDIA_ASSET_USAGE

by a dashed line to an association path.
used by
0..*
In the example on the left
MEDIA_ASSET

MEDIA_ASSET_USAGE is the association
class, defining the association between
PUBLISHABLE_ASSET_VERSION and
MEDIA_ASSET, as this is a many-to-many
association.

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5 Changes since last version

5.1 New Classes
AudioNoiseReductionType
CopyrightScript
Country
Loan
LoanStatus
Request
RequestStatus
Reservation
Reserve
ScriptType
ShotFramingType
SpoolLoan
UrgencyType
WidescreenConversionType

5.2 New Attributes

aatCode nrtCode swtEffectiveFromDate
aatEffectiveFromDate nrtEffectiveFromDate swtEffectiveToDate
aatEffectiveToDate nrtEffectiveToDate swtName
aatName nrtName tcpSideNumber
acsCreationReasonDescription ostCode tcpStartTimecode
clwISBNNumber ostEffectiveFromDate tcpTrackCount
clwPublicationDate ostEffectiveToDate wctCode
clwSourceName ostName wctEffectiveFromDate
cntCode outEffectiveFromDate wctEffectiveToDate
cntEffectiveFromDate outEffectiveToDate wctName
paaExtractTitle
cntEffectiveToDate
cntName paaIdentifier
comCode paaNotesDescription
comEffectiveFromDate paaRunningOrderCount
comEffectiveToDate paaVideoSourceDuration
comName paaVideoSourceStartTimeMark
copDuration pacCommissionedTitle
copIdentifier pagCommissionedTitle
copNotesDescription pagDescription
copOriginalContractProgrammeNumber patCode
cosOnScreenDescription patEffectiveFromDate
cscPreviousTitlesDescription patEffectiveToDate
pavBUPID
cswCaptureDate
cswReferenceNumber pavCommissionedTitle
cswSourceText pdrCode
devIsoCameraIndicator pdrDescription
iqtCode pdrEffectiveFromDate
iqtEffectiveFromDate pdrEffectiveToDate
pevAudioDescriptionIndicator
iqtEffectiveToDate
iqtName pevVisionSourceName
kfrIdentifier phaCode
matIdentifier phaEffectiveFromDate

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medEditDetailsDescription phaEffectiveToDate
medFinalClosingCaptionDescription phaName
megFirstClosingCaptionDescription sctCode
mgtCode sctEffectiveFromDate
mgtEffectiveFromDate sctEffectiveToDate
mgtEffectiveToDate sctName
mgtName shoGoodShotIndicator
motCode sloCode
motEffectiveFromDate sloEffectiveFromDate
motEffectiveToDate sloEffectiveToDate
motName sutCode
mvsCode sutEffectiveFromDate
mvsEffectiveFromDate sutEffectiveToDate
mvsEffectiveToDate sutName
mvsName swtCode

6 Overview of the DMI Project Logical Data Model
This section presents an overview of the key elements of the DMI Project Logical Data Model (PLDM).
For a full view of the model see Appendix 2.


6.1 Publishable Asset

The structure below represents any Publishable Asset, i.e. content that is commissioned in order to be made
available to the public, such as television programmes, radio programmes, webpages, interactive streams,
mobile services and the grouping e.g. series/website the content belongs to.

In addition to supporting a Publishable Asset, the model will also support the relationship between
Publishable_Assets, e.g. a version is related to another; a webpage could be related to a linear programme,
an interactive stream could be related to a programme etc. This is supported by
PUBLISHABLE_ASSET_GROUP.

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* The above diagram contains only a limited set of classes and associations. For the full view see Appendix 2

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6.1.1 Publishable Asset Group

The Publishable Asset Group represents either a Grouping of Groups, or a Grouping of Publishable Asset
Versions.

This structure will support groupings such as Campaign, Series, and Websites etc.

6.1.1.1 Examples

Fat Nation, a Campaign that consisted of several Series and a Website.

PUBLISHABLE_ASSET_GROUP:
Fat Nation - The Big Challenge

PUBLISHABLE_ASSET_GROUP: PUBLISHABLE_ASSET_GROUP:
The Big Challenge Big Challenge Website

6.1.2 Publishable Asset Concept and Version

The Concept is the description of the features of a single “programme” that are general across all versions
as proposed as part of a Commission.

An example of a linear television programme within this structure could be the Series (Publishable Asset
Group), with a programme (Publishable Asset Concept) that has 4 different versions (Publishable Asset
Versions).

An example from New Media could be a Website (Publishable Asset Group), e.g. bbc.co.uk/eastenders,
where the idea of the webpages (Publishable Asset Concept), one of which is called Characters and the
content of this webpage will change over time, creating new versions (Publishable Asset Versions) of the
webpage.


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6.1.2.1 Example

The Series “Blue Planet” has several programmes;
one of them is called “Coral Seas” and it has 5 different versions,
another is called “Frozen Seas”, which have 4 different versions.

Blue Planet : PublishableAssetGroup

Frozen Seas : PublishableAssetConcept Coral Seas : PublishableAssetConcept

Original TX Version : PublishableAssetVersion BBC TX Version : PublishableAssetVersion

Worldwide Version : PublishableAssetVersion

Repeat TX Version : PublishableAssetVersion BBC Repeat Version : PublishableAssetVersion

Signed Version : PublishableAssetVersion Signed Version : PublishableAssetVersion

AD Version : PublishableAssetVersion AD Version : PublishableAssetVersion

6.1.3 Delivery Requirement
The Delivery Requirements lists all assets a Production/Project has been commissioned to deliver.
Examples include the audio/video representing a programme, a script for a programme, and also reports
such as the current PasC or Music Report.

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Below is an object model illustrating how the model would support this:

Line1:BROADCAST_CONTRACT_LINE MyProgramme:PUBLISHABLE_ASSET_VERSION

VHS:DELIVERY_REQUIREMENT Delivered:DELIVERY_STATUS

PasC-info:DELIVERY_REQUIREMENT Pending:DELIVERY_STATUS

6.1.4 Reuse of Versions
A Publishable Asset Version may be part of several Groups.

A Publishable Asset Version can be part of several Groups over time. Amongst other things, for certain types
of Publishable Assets, Version In Group is keeping track of which Episode Number a Publishable Asset
Version has within a specific Group.


6.1.4.1 Examples

The programme “Coral Seas” was originally part of the Series called “Blue Planet” in 2002. In 2004 it was
repeated as part of a Series called “Repeats 2004/2005 BBC1”

Blue Planet Repeats 2004/2005 BBC1
Cost prefix: 01 Cost prefix: 06

Coral Seas
Programme Identification Number: NBS K538N/71

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6.2 Media Asset

The Media Asset structure represents the Assets that are produced during a production.

Media Element represents any individual piece of media that can be used as part of a production.
The Media Element Group represents a grouping of elements, for instance the editing together of two audio
elements to create a “stereo” group.


The structure in P4A (Content Items) represents the way production group the content that requires reporting
according to a local agreement within the production team or department in order to manage their work and
does not necessarily represent the identification of the publishable and media asset identifiers required for
indexing and usage.

6.3 Publishable Asset and Media Asset

A Media Asset is delivered against a Publishable Asset Version. Media Asset Usage specifies the usage of
the Media Asset, e.g. a Media Asset is used to represent the full Publishable Asset, or the Media Asset
represents the subtitling/audio description of a Publishable Asset.

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Media Asset Usage will hold the Editorial Acceptance Indicator, which indicates if a Media Asset has been
editorially accepted as a representation of the Publishable Asset Version.

6.4 Material Instance

MaterialInstance represents the instantiation of Media.


6.4.1 Content Location
The Content Location notes the places that have been involved in media asset development, e.g. where
action takes place or where it is considered to take place.


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6.4.2 Technical Review
A review to ensure that a programme meets the BBC’s technical standards.


The technical Review does not normally consider editorial or contractual issues, but instead focuses on the
technical quality of the video and audio recording.

6.5 Publication

The relationships from Broadcast Contract Line, Publishable Asset Group and Version In Group represent
the planning of a publication. The relationship from Material Instance to Publication represents the actual
publication.

Publication includes both what are traditionally known as transmission and also the publication of e.g. web
pages on the internet.

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6.5.1 Slot

A SLOT is a weekly/daily recurring period of time that is identified in order to facilitate strategic planning of a
radio service.

Examples include:
• Monday breakfast slot on R4 FM
• R2 drivetime slot
• Book at bedtime
• Every Monday night, 21.00-22.30 on BBC2, is branded ‘Comedy Night’

The terms “drivetime” and “breakfast” generally (but not always) refer to weekdays and their times will vary
between networks. The planners then decide what programming is use to fill the slots.

(A Slot is known as a “Strand” in radio.)

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6.6 Usage Restriction

Restrictions can apply to any level, Publishable Asset Group through to Media Element. Examples include:

Legal/Litigation – programme restricted as request/demand of BBC Legal Dept either because legal
•
action has been initiated/threatened (we get ‘early warning memos’) or a case has been concluded and
the programme in question cannot be re-used.
Rights/Contractual – The BBC may have an agreement to broadcast 1 live and 1 repeat of a Royal
•
Opera House production. After the repeat there can be no re-use without further clearance. R1 may
record the entire set of a band at Glastonbury, but only have agreement to use two tracks. The
remainder cannot be used without prior clearance. Personal contracts with talent may restrict re-use.
Editorial – a producer or department may request restriction based on real or spurious bases: a
•
programme may contain sensitive material which should not be used out of context. Or a scientist may
request that no use is made of an interview more than one year after first TX because the content may
be out of date. Sometimes programmes feel they ‘own’ the material and want to stop other BBC
programmes using it. Rare, but I&A would contest such restrictions.
Royal – TV use this as a separate restriction, but it would fit under any of the above probably Rights.
•
E.g. the Queen’s Christmas message cannot be re-used complete or in extracts at all.

If for instance a Legal/Litigation restriction has been raised DMI may need to hold a link to the “Early
Warning”. This document would be regarded as an Other Asset on DMI. The same goes for any memos,
emails, notes etc that is related to a production/campaign/programme etc.

Below is an extract from the model which covers Usage Restrictions.


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Contract

6.7 Contract

It is unclear at the moment how much information about a contract would be held in DMI. Contracts related
to copyright or talent are mastered in Acon, but the contract number may have to be available in DMI.


6.7.1 Broadcast Contract
The Broadcast Contract represents the agreement between commissioning and a production team as to
what should be delivered when.

6.8 Contribution
A Contribution is the intersection between a Person/Organisation/Group and a Media Asset

The contribution to a Media Asset must be captured, e.g. that a person is a director, or an actor. Currently
this information is typed manually into metadata capture tools, such as P4A, but in the future it may be
possible for some of this information, such as contract number and person name, to be populated from Acon
in the cases where a contract has been raised. (“No Fee” or Public Domain contribution or material will not
exist in Acon, and so all information will have to be mastered in DMI, which could mean that Acon will need
to check with DMI before creating a new person record, just in case the person already exists in DMI.)

Any specific usage information, e.g. that an actor was OOV (Out of vision), or that the actor wasn’t used after
all, must be captured in DMI. Contributors contracted for a performance but not used in the media or
publishable asset will also be indicated and flagged as such within DMI, although the contract details are
recorded in ACON. (This could mean that Acon will need to check with DMI before payment for repeat fees
or residuals)

Examples:
PERSON, Joe Bloggs, is contributing to a Media Asset with the Contribution_Type of Director.

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PERSON, Douglas Adams, is contributing to a Copyright Information (the book the film was based on) with
the Contribution_Type Author.
ORGANISATION, BeeGees, is contributing to a Media Asset with the Contribution_Type Performer.


Direct contributions to a Media Asset, e.g. an actor, are represented on the model by the relationship from
Contribution to Media_Asset. An indirect contribution, such as the author of the book the Media_Asset is
based on, is represented by the relationships from Contribution to Copyright_Information to Media_Asset.

6.9 Residual Rights
A placeholder...


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6.10 People and Organisations
People and Organisations have been represented as Party on the model. PARTY is the umbrella term used
to describe PERSON and ORGANISATION.


The contact information of a person or organisation. The Party_Location_Address class will include postal
address, telephone numbers and email addresses.

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6.11 Stock Management
There are approx 75 tables in Infax that support Stock Management.

Below is a subset covering the loan of an asset – this area of the model is still very much work in progress.

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6.12 Delivery to Publication
The requirement for “as run” data and post-tx reporting means that DMI must record publication (linear and
non-linear). Packaging of material for distribution is treated as a special case of the creation of new material
and/or new instances of material.


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6.13 Copyright Information

Any item covered by copyright that is used in a media asset must be reported on. Some of this information is
mastered in Acon.

If a programme features a book, a contract should already exist in Acon which allows for the book to be used
in a programme. The title and the author of the book should then not be required to be captured on DMI (but
will be visible in DMI), but information about how the book was actually used in the programme must be
captured and mastered, by DMI as this is specific usage information. E.g. the book was shown for 3 seconds
in a programme. (To ease the capture of the usage of the item, it may help if the item information that exists
in Acon is displayed to the DMI user).

Any items that have not been contracted do not exist in Acon, and as such, the information around these
items must be captured and mastered by DMI. An example would be a No-Fee.

The model below has been based on the current TRG requirements as supported by P4A.


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6.14 Reports/Forms

6.15 Music Reporting
The model below represents information the Music Reporting Unit (MRU) are interested to know about a
Publishable Asset.

The information used for Music Reporting will be linked to the Media Asset rather than to the Publishable
Asset Version to allow for re-use.

Music has been represented on the model in two different ways as there are to different “types” of music;
• Pre-recorded music used within a programme exists as a separate Media Asset
• Music heard or reproduced in the course of a production (e.g. The London Philharmonic Orchestra at
the Proms, or a group playing in the studio for TOTPs, or an actor whistling or singing a song during
a play)


This structure does not only support songs on CDs, but also other sound items like a speech, or sound
effects. E.g. the hunger cry of a WHITE-CRESTED HORNBILL (Berenicornis albocristatus) recorded in
captivity. (Example from Infax.)

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6.15.1 Example 1

Music Reporting from P4A:

DMI Representation:
(The song itself is represented by a Media Element Group, as is the programme.)

Note: the title given to the MOG may
Title: “I Just Don’t Know What To Do
be different from the title of the song
With Myself”
it represents.

Composer: Bacharach/David
Music Publisher: Carlin Music
Performer: Dusty Springfield

Time In: 10:01:52
Time Out: 10:02:12
Visual Cue:
Music Code: B (Background Music,
solely for the benefit of audience)

Side: 1
Track: 16

“The Very Best of Dusty Springfield”
Philips 848 789 -2
Music Code: C
(Commercial Recording)

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6.15.2 Example 2
Not all music/sound will exist on a CD. The example below represents music that is captured when talent is
singing/humming/whistling. For example in an episode of Keeping Up Appearances where the character, Mrs
Bucket, sings part of the song “I am sixteen going on seventeen” from the Sound of Music. (Example from
P4A)

Example from P4A:

DMI Representation:
(No Media Element Group exists for the Song.) R: Studio Recording

Duration: 00:06
Music Code: V (Visual music)

Title: “I am sixteen
going on seventeen”

Perfomer: Patricia Routledge

Composer: Rodgers and Hammerstein
Publisher: Chappel

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6.15.3 Music Codes

Music Codes are used by MRU and represent where the music came from, and how it was used, and the
Production is expected to provide this.

Below is a table explaining where in the model the Music Codes are supported.

MRU Music Codes Mapping to DMI
Code Code name Description
A Sound Music on archive material from the BBC Sound Archives. Label Supported by the class
Archives details must be blank. MUSIC_ORIGIN_TYPE
C Commercial Compact disc, LP, cassette or cartridge of music, speech and Supported by the class
sound effects. Label details are required. MUSIC_ORIGIN_TYPE
H Radiophonic Specially composed material from the Radiophonic Workshop. Supported by the class
Workshop Label details must be blank. MUSIC_ORIGIN_TYPE
I Local Radio Specially composed idents for Local Radio only. Label details Supported by the class
Idents must be blank. MUSIC_ORIGIN_TYPE
K Commercial old Recordings published over 50 years ago. Label details are Supported by the class
required. MUSIC_ORIGIN_TYPE
L Live Performance (and miming on live programmes for TV). Label Supported by the class
details must be blank. PUBLICATION
M Library music Publisher’s library music, speech and sound effects, eg Bruton, Supported by the class
Carlin, Chappell, De Wolfe. Label details are required. MUSIC_ORIGIN_TYPE
N Private tapes Non-commercial private tapes. Label details must be blank. Supported by the class
MUSIC_ORIGIN_TYPE
P Music video Will have an ISRC number on packaging or time clock. Short Supported by the class
form video usually 3-4 mins. Not likely to be cartoons / extracts MUSIC_ORIGIN_TYPE
from feature films / concerts. DVD versions reported in the same
way. ISRC and Label details are required.
R Studio BBC studio or location recording (not specially composed). Label Supported by the class
recording details must be blank. MUSIC_ORIGIN_TYPE
nd st
2 2 or further Within 28 days of the 1 transmission. Label details must be Supported by the class
use of “R” code blank. PUBLICATION
T Soundtrack From BBC’s Film Unit or film soundtrack from Programme Supported by the class
tape Acquisitions. Label details must be blank. MUSIC_ORIGIN_TYPE
U Foreign tapes Stock music from Foreign Broadcasters (e.g. EBU tapes). Put Supported by the class
Foreign Tape as the label name. MUSIC_ORIGIN_TYPE

X Specially Excluding Radiophonic Workshop. Label details must be blank. Supported by the class
composed MUSIC_ORIGIN_TYPE
music
S Signature Tune If the music item has been used as a signature tune for your Supported by
programme. MEDIA_ASSET_ASSOCIATION.
Signature_Tune_Indicator or
COPYRIGHT_MUSIC.
Signature_Tune_Indicator
D Dubbed If an A, C, M or T code (above) has been dubbed (or you are Supported by
reporting a pre-recorded programme). MEDIA_ASSET_ASSOCIATION.
Dubbed_Indicator
or
COPYRIGHT_ITEM_USAGE.
Dubbed_Indicator
B Background Music added solely for the benefit of the audience and thus forms Supported by
music no intrinsic part of the programme. (TV only). Use in addition to a MEDIA_ASSET_ASSOCATION.
primary code. Visual_Indicator
or
COPYRIGHT_ITEM_USAGE.
Visual_Indicator
V Visual music Visual music forms a part of the programme in as much as it Supported by
appears to be or is audible to those taking part in the programme, MEDIA_ASSET_ASSOCATION.
e.g. any music sung or played in vision, music which characters Visual_Indicator
in a play can hear even if it comes from a performer or record or
player not in vision, music heard by people sitting in a cafe even COPYRIGHT_ITEM_USAGE.
though to those in the programme it would be background music. Visual_Indicator
All actuality music is visual. (TV Only). Use in addition to a
primary code.
* These codes may change dependent upon the approach taken as part of the Reference Data work – however, it is assumed that the
requirement will be the same.

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6.16 Compliance
Every programme made for the BBC must adhere to the BBC Producer Guidelines and Credit & Branding
Guidelines.

The diagram below represents information about Compliance that must be captured for a Programme. The
requirements have been taken from the Compliance Manager. It is believed that similar information is also
captured for radio and television trails.


Some of the information is specific to the slot the programme/content has been scheduled for (Publication),
other information is specifically related to the content of the programme (Media Asset).

The classes CulturalDiversityReportingValue and DiversityCategory are placeholders as the detailed
requirement has not yet been specified.

6.16.1 Examples

Example 1:

Publishable Asset Version: Spooks Interactive Mission

Alert: Timecode_In 00:16:09
Alert: Timecode_Out 00:16:14 Alert_Type: Violence - Fictional
Alert: Description:Two men wrestling each other.

Alert: Timecode_In 00:20:04
Alert: Timecode_Out: 00:20:23 Alert_Type: Violence - Fictional
Alert: Description:Man & woman struggle for gun.

Alert: Timecode_In: 00:02:29
Alert: Timecode_Out: 00:02:40
Alert_Type: Flashing Images
Alert: Description: 6 versions of same image changes
very rapidly

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Example 2:

Publishable Asset Version: Little Britain

Alert: Description:Possibly offensive terms throughout

Alert: Timecode_In: 10:09:00
Alert_Type: Portrayal - Religious
Alert: Description: Andy dresses up as Baby Jesus.

(Examples from Compliance Manager)

6.17 Storage

STORAGE represents any type of storage in the system, e.g. a Tape, CD, Film or File Based (e.g. wav,
mpeg etc).

The Storage entity will have an indicator to specify if e.g. a Tape exists or not. Even if the Tape does not
exist anymore the details should be held on the system. [I&A requirement in 2005 - need to be verified]


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6.18 Language

Below is a simple representation of this requirement which limits metadata of a specified record to being in a
single language and to merely the primary language of any material being recorded. The actual
requirements, when defined, may be considerably more complex than this.


6.19 Production

A Production team (or a project) are responsible for delivering/creating all the delivery requirements for a
Publishable Asset Version. A Production could subcontract some of the content to other teams, such as
independents.


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6.20 Application

Applications are required to distribute some types of content, e.g. All Interactive Services are dependent on
an application to run on the Set Top Box, DMI is not interested in knowing the details about how an
application is created, but would need to know which application, or version of application is required for a
piece of content.


Interactive TV application rights are the rights to use the interactive TV software application on which the
content runs. Currently this information is not available through the Rights Group, but through Rights and
Business Affairs, New Media. Production is not required to fill in any information about the usage of the
application, so the only requirement currently captured is a requirement to be able to refer to the number of
the contract that governs the usage of the Application.

6.21 Indexing

Indexing is the process of applying classification schemes to content.


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6.21.1 Example

Infax Structure DMI

SCHEME
SCHEME on Infax is represented by
LO - LONCLASS
SUBJ_REFERENCE_CONCEPT_SCHEME on DMI.

The preferred subject term for the
concept.
CONCEPT
CONCEPT on Infax is represented by
NORWAY STATE OIL COMPANY
SUBJ_REFERENCE_CONCEPT on DMI.

Contains a list of synonyms for a
CONCEPT

SUBJECT TERM on Infax is represented by
SUBJECT TERM
SUBJ_REF_CONCEPT_TERM.
NORWAY STATE OIL COMPANY
NSOC (NORWAY STATE OIL COMPANY)
STATOIL (NORWAY STATE OIL COMPANY)

6.22 Audit Trails

6.23 Access Rights
This is critical to control access to material and to enable or disable certain functionality for particular users
under certain conditions.

6.23.1 Access to Media


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6.23.2 Access to Folders


6.24 Requests
DMI will enable individuals to request Media Assets of any Editorial Quality Type and associated format.
A request is either for a whole or part of a Media Asset.


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6.25 Policies
The application of Policies within the DMI environment is summarised by an indicative structure:


This is, by necessity, a distinctly indicative structure which will be matured as the Policy requirements are
defined.

Examples of Policies include;

Retention Policy - Retention policy defines how long material should be kept by applying appropriate
set of retention criteria.

Selection Policy - Selection policy is necessary to identify valuable material that requires inclusion in
the archive. Selection is carried out in order to support the creation and re-use of BBC's output
across all broadcast platforms.

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APPENDIX 1 – Scenarios

Scenario Scenario Description Example Example Description
Number Number
E.g. the Blue Planet programme “Coral Seas” had four
A* versions: BBC TX Version, Worldwide Version, BBC
A Programme may have several Programme Repeat Version and a Signed Version.
1
Versions E.g. From Our Own Correspondent may come in two
B version, one 24 minutes long and another 28 minutes
long.
A Programme Version could contain extracts of
2
other Versions
See Scenario 1 (Series: Blue Planet Series with
3 A Programme may be part of a Series/Serial
Programme: Coral Seas)
A Programme may be part of more than one
4
Season over time?
E.g. Sold on Song: For instance Steve Wright (a R2
show) might devote 10 minutes each day to the Sold on
5 Part of a Programme may belong to a Season A
Song initiative. Or he may do a quot;Sold on Songquot; special of
his usual programme
6 A Series may belong to a Season?
7 A Programme may have 3 different endings
A Programme may have a 10 min opt out in the
8
middle
Promotion Stills may be associated with a
9
series or a programme.
E.g. Genius of Mozart when the programme started on
BBC1, then went interactive and then continued on BBC3.
A
To the person using interactive this would seem like one
An Interactive Stream can be related to more
10 long programme.
than one Linear Programme.
Chelsea Flower show. Same interactive stream used for
B origination, highlights programme and available all week.
(Karen 19/07/2004)
A* It is broadcasted at the same time.
It seems to be broadcast at the same time, but there
B
There are different ways an Interactive Stream could be a 3 second delay on the interactive service.
11
can be related to a Linear Programme. It is part of the same “Strand” but broadcasted at a
C different time, e.g. not associated with the Publishable
Asset Version, but with the Publishable Asset Group.
Vic’s Chicks was commissioned for Interactive, and was
not associated with a programme. But it was an eTV
A* service “enhancing Easter”, and it was available for 30
An Interactive Programme does not need to be
12 days.
associated with a Linear Programme.
Another example is Trinidad Carnival.
We do know of interactive streams repeated on their own
B
e.g. Untold Beauty for BBC Three. (Karen 19/07/2004)
Radio 1 was streamed as interactive during Glastonbury.
A (The same radio show that went out on radio, and at the
Radio Programmes (or part of) can be used as same time.)
13
content of interactive. Euro2004: Radio5Live commentary available on
B interactive (but delayed by 3 seconds as radio is faster
than TV)
TV Programmes (or part of) can be used as Life Style (a 24/7 “channel” has video-content that has
14 A
content of interactive. been taken from the archive)
E.g. for Sound Of Music (sing-a-long) there was two
A video-streams used: One with the film, and one containing
The Video going out on Linear and Interactive
15 the text...
might be identical.
Celtic Connections: The difference was the “text” on the
B
interactive.
A “linear” programme can be repeated on
17 A This is often the case for Children's. (Karen 19/07/2004).
interactive.
And I would assume that some “interactive” programmes
An interactive programme can be repeated on
16 A can be repeated on linear. E.g. some time in the future
“linear”?
Vic’s Chicks can be transmitted on BBC 1?
Pre-recorded music used within a programme exists as a
separate Media Asset: The song “I just don’t know what to
A*
do with myself” was used in a programme called “The
very best of Dusty Springfield”.
18 Music Reporting Requirements
A song may exist on several CDs, and it is a requirement
B*
to know which CD the song was taken from.
C Music heard in the background or reproduced in the

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Scenario Scenario Description Example Example Description
Number Number
course of a production (e.g. and actor whistling or singing
a song during a play): The character, Mrs Bucket, sang “I
am sixteen going on seventeen” from the Sound of Music.
19 A programme may have associated interstitials
Pride and Prejudice shown as feature length single
1h30m asset, then re-edited to 3 x 30m assets - how do
A publishable asset being commissioned as a A
we keep the relationship in the editorial concepts even
20 single entity, then edited into more than one
though the commission/contract may be unique
subsequently [or vice versa]
Bleak House being consolidated from its current 15 X
B
30m asset into 5 x 1h30m assets
The same version may change its various E.g transmittable or not, pre-watershed or not (rights
21 A
statuses change, tastes change, policies change).
22 A Programme may have a related script
E.g. the website www.bbc.co.uk/eastenders is part of the
23 A website may be related to other Websites A*
webiste www.bbc.co.uk.
The Website www.bbc.co.uk/eastenders has several
24 A Website may have several Webpages A*
pages; one of them is called Characters.
A linear programme may be interrupted by
25
news...
An Early Warning may be related to anything...
(e.g. “The BBC is now under a legal obligation
to preserve all documents relating to this
26 programme, the making of it and the
allegations about which complaint has been
made – including emails, memos, letters, CD-
Rom, notes, files, films and tapes.”)
E.g. RaW the Reading and Writing Literacy campaign,
Campaigns may not be directly related to a which had a promotional DVD available, and a storyline
27 A
programme on Eastenders was part of the Campaign, but no full
series/programme/stream was supporting the Campaign?
Part of a Programme may belong to a RaW (Reading and Writing) literacy campaign, where a
28 A
Campaign storyline on Eastenders was part of the campaign.
29 A webpage may be related to a Campaign A
A programme may have associated notes,
30
memos, emails etc.
31 A Season may have an associated webpage A http://www.bbc.co.uk/radio2/soldonsong/
A campaign may produce content that is not
32 A RaW produced content for DVDs that were distributed.
related to a programme/webpage etc.
A Programme may have associated Ceefax
33
Subtitles.

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Scenario 1a
Blue Planet:PUBLISHABLE_ASSET_GROUP
The Series “Blue Planet” has several programmes;
one of them is called “Coral Seas”. “Coral Seas”
has 5 different versions:
Coral Seas - 50/NBS K538N:PUBLISHABLE_ASSET_CONCEPT

BBC TX Version: A 60 minute version
•
(includes 10 minutes of includes of
Making Waves) BBC TX Version - NBS K538N/71:PUBLISHABLE_ASSET_VERSION

Worldwide Version: A 50 minute version
•
Worldwide Version - NBS K538N/72:PUBLISHABLE_ASSET_VERSION

BBC Repeat Version: A 50 minute
•
version BBC Repeat Version - NBS K538N/76:PUBLISHABLE_ASSET_VERSION

Signed Version: A 50 minute version
•
Signed Version - NBS K538N/77:PUBLISHABLE_ASSET_VERSION

Version with AD: A 50 minute version
•
AD Version - NBS K538N/78:PUBLISHABLE_ASSET_VERSION

Scenario 11a
Programme 1 of the linear series “Fat Prog 1 GFG A649X/72:PUBLISHABLE_ASSET_VERISON 01 FAT NATION -REARENDERS:PUBLISHABLE_ASSET_VERISON

Nation” had a related “interactive
programme” (available via the red
button) called “Rearenders”.

related to:PUBLISHABLE_ASSET_ASSOCIATION

Scenario 12a
Vic’s Chicks was commissioned for Interactive, and Vic's Chicks:PUBLISHABLE_ASSET_GROUP
was not associated with a programme. But it was an
eTV service “enhancing Easter”, and it was
available for 30 days.

Vic's Chicks:PUBLISHABLE_ASSET_VERSION

Scenario 18a
The Song “I Just Don’t’ Know What Living Famously- DustySpringfield:PUBLISHABLE_ASSET_VERSION Eastenders Episode 695-698 Omnibus:PUBLISHABLE_ASSET_VERSION

To Do With Myself” was used in two
different Media Assets (represented
on the right as Media Element
Groups).

Living Famously- DustySpringfield:MEDIA_ELEMENT_GROUP omnibus:MEDIA_ELEMENT_GROUP

In the element that represents the
programme “Living Famously” the
song appeared for 20 seconds.

MOG contains 20 seconds of the song...:MEDIA_ASSET_ASSOCIATION MOG contains 26 seconds of the song...:MEDIA_ASSET_ASSOCIATION

In the element that represents the
programme “Eastenders omnibus”
the song appears for 26 seconds. Visual
Used as Background Music

I Just Don't Know What To Do With Myself:MEDIA_ELEMENT_GROUP

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Scenario 18b
The song “I Just Don’t Know What To Do I Just Don't Know What To Do With Myself:MEDIA_ELEMENT_GROUP

With Myself” appears on two different CD’s.

On the CD “The Very Best of Dusty
Springfield” it is track 16 on side 1.
Object_1:MATERIAL_INSTANCE Object_2:MATERIAL_INSTANCE

On the CD “Dusty – The Silver Collection” it
is track 3.
Side 1 - Track 16:STORAGE_POSITION Side 1 - Track 3:STORAGE_POSITION

The Very Best of Dusty Springfield:STORAGE Dusty - The Silver Collection:STORAGE

Scenario 23a
has/part of:PUBLISHABLE_ASSET_GROUP_IN_GROUP
The website bbc.co.uk has another website
called bbc.co.uk/eastenders.

The website bbc.co.uk/eastenders is part of the
website bbc.co.uk. www.bbc.co.uk:PUBLISHABLE_ASSET_GROUP www.bbc.co.uk/eastenders:PUBLISHABLE_ASSET_GROUP

Scenario 24a
www.bbc.co.uk/eastenders:PUBLISHABLE_ASSET_GROUP
The website bbc.co.uk/eastenders has
several webpages.

“Characters” and “Crew” are two of the
webpages that is part of the “Eastenders”
Characters:PUBLISHABLE_ASSET_CONCEPT Crew:PUBLISHABLE_ASSET_CONCEPT
website.

Scenario 33
A Programme may have associated Ceefax Subtitles. (Media Asset Association)

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APPENDIX 2 – Diagrams
This section contains a full set of diagrams for the DMI PLDM.


Diagram 1 – Publishable Asset

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Diagram 2 – Contributors

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Diagram 3 – Media Asset

Diagram 4 – Contract

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Diagram 5 – Publication

Diagram 6 – Storage

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Diagram 7 – Container and Access

Diagram 8 – Material Instance

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Diagram 9 – Asset Creation

Diagram 10 – Asset Usage

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Diagram 11 – Policies

Diagram 12 – Subject Reference

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APPENDIX 3 – Sources
Source When Used in Section/Area
www.bbc.co.uk/commissioning/delivery/txreview.shtml 18/05/2007 Technical Review
www.bbc.co.uk/commissioning/delivery/essentials.shtml 18/05/2007 Compliance
http://ia.gateway.bbc.co.uk/ia_site/main.asp?page=2167 28/06/2007 Policies

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BBC DMI Data Model

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