Diapositiva 1

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The Digital Media Project Analogue Legacies in
the Digital Age (Barcelona, ES - 2004/10/25)
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• Indice

• Analogue Legacies in the Digital Age
• Multiplatform perspective
• Background expertise perspective
• Analogue legacies
• Context management
• Digital consumer
• Format issues
• User producer
• Open Source, open format, open market

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• Background expertise perspective

• Digitalisation process the new multi platform
  paradigm
• Integrated workflow, interactions among various
  media conceptions
• From adding metadata to new production models
• The digitalisation processes a broadcaster
  undergoes are far more risky in the back-office
  than at the frontal. This is so because of the
  lack of control and the uncertainty about their
  devices and capacities. Our experience, first as
  suppliers and later by co-developing software,
  has allowed us to understand the several rhythms
  of the shift and also the requirements that
  communication demands on the software so that a
  real and complete implementation happens.
• The experience of the extremes, both integrating
  digital tools in the productive processes and by
  knowing the TV user through a set top box, even
  about the analogical viewing itself, has made us
  think of a wider scenery beyond the digital
  phenomenon.

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• Analogue legacies

• Mistaking form for format
• Mistaking distribution for consume
• Pay for stream from object possession
  (on-demand capability) to the right of viewing
• Shifting does not only imply a new way of storing
  and distributing contents but also a redefinition
  of the nature of the format itself. The breaking
  of the barriers between audio and image, thanks
  to the dubbing and post-production industries for
  instance, is a process that has taken many years
  work to happen and has meant significant changes
  as far as audio-visual production and
  distribution are concerned. A digital content,
  apart from being able to adopt several
  audio-visual forms (size, fps, compression and so
  forth), it can also incorporate metadata, data
  and scripting, parameters in its visual forms or
  in the way the viewer interacts with the content.

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• Context management

• User, Content and Services
• Growing content-related services
• Standardization and the widespread use of
  technology homogenise all those produce that base
  their premium value upon the commodity functions.
  Our experience has lead us to consider the
  digital management and distribution on a context
  and not content management basis. A management
  which integrates the contents, the user and the
  service information into a single. Services that
  transform information while generating an added
  value, while getting the user involved in an
  interactive way or while retrieving the
  information the user has generated as a
  publishable content are now growing and are of
  great import when facing the content shortfall.

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• Context management

• Micro-markets tracking user preferences.
• A DTT experience Breaking the family unity
• Translating more than voices
• The fact of having more channels entails a
  greater segmentation. If this is carried to the
  limit a case that seemed impossible but which
  during the bubble years has almost come true (NY
  latin portal case)- it states the impossibility
  to develop segmentation unless automated
  processes and rules are settled. The tracking of
  the user, the segmentation of the very family or
  the collection of preferences require an
  integrated management that redefines the
  processes by which content is produced and
  distributed.

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• Digital consumer

• E-commerce segment, delivery big difference
• Replicability of the digital content at almost no
  cost -the connectivity is becoming a commodity as
  much as electricity- is the element which more
  affects the new paradigm of digital consumption.
  It creates a subsegmentation in the e-commerce
  which does not demand any logistics, nor stocks,
  nor transportation and it completes the general
  situation of digital content with the digital
  consumption whose delivery and devices are
  exclusively digital, without any physical format.
• Nevertheless, a legacy that inhibits the shift of
  model derives from the selling nature, which is
  still analogical-, not so much where the
  transaction is concerned as it is usually done
  through a digitized bank, but in the invoicing
  and control systems, still working in paper.

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• Digital consumer

• Overlapped value chains paying for digital
  content
• Banks are not eager to accept micropayments yet
  and this becomes a critical factor against the
  selling of digital contents because they are
  required as buying formats. And not only to
  enhance the impulsive shopping but also for the
  buying to independents. If we move now towards
  consumption nowadays, we see that the
  psychological threshold of 1 Euro per topic o 5
  Euros per CD or movie would be able to foster
  digital consumption, with a percentage of
  transaction in the value change of the
  traditional delivery, at distribution points.
  Fragmentation of payment should not be a problem
  in the digital world, although it may require an
  interoperable footbridge for payments to several
  suppliers or the creating of an intermediate
  transactional agent.

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• Digital consumer

• New consumption objects from consuming
  marketing content to an Artist life
  subscription
• One of the most successful models in the mass
  digital consumption is the selling of ring-tones
  for instance. It is based on another legacy of
  even higher penalty the payment systems by SMS
  in the legislation currently in force- at least
  in Spain- are a data service working in the
  mobile operator environment. Todays perspective
  where a broadcaster broadcasts a content and
  offers the download- through the very same mobile
  phone or in a triangle with the Internet- the
  mobile operator is basically the payment
  footbridge, at a ratio that ranges from 30 to 40
  per cent of the transaction.
• When the changing of agents happens, it is
  necessary to regulate the market of digital
  consumption and redefine the stances in the new
  chain of values of the selling of digital
  contents of digital consumption-.
• In a short-mid term and with less incidence-
  another key aspect of digital consumption is how
  easy the offer can be productized or
  re-productized. Whereas traditionally the money
  spent in marketing has been a key factor to be
  considered when launching a product because this
  is a time when many things are at stake, not only
  the broadcast but also the way by which the offer
  is communicated now in the digital environment,
  this latter point allows a progressive
  adjustment, with immediate return and the
  possibility of atomising and segmenting the
  offer, with the same selling format in the hands
  of the marketing strategy. Something that is
  nowadays out of reach for the vast majority of
  the existing products.

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• Format issues

• Multi platform is multi-format, hybrid media
• The multi platform, as opposed to the mono
  platform, involves a restructuring of the
  exploitation formats. The technical solutions by
  which form and content are set aside or the
  automatical processes of transcodification may
  help solving the problem only partially. However,
  the exploitation of digital means implies changes
  at a deeper level, at the format origin itself.
  The radial relationship with the content
  substitutes the lineal production- a production
  where the material that is generated during the
  process is dismissed.

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• Format issues

• Now content as its perceived by the user- is
  more a point of view of media types than a media
  type
• The metainformation and the additional contents
  begin to organise themselves into relational
  models that respond both to the productive
  procedures and progressively to the exploitation
  procedures too. Besides having the information
  about the author, the credits, the synopsis or
  the metadata that is clearly linked to an asset,
  some other elements are also added. Namely, the
  content of a digital editorial department is
  added with elements such as lists, topic-related
  groups, transversal contents, related news or the
  audience opinion.

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• Format issues

• So, its not just a problem between analogue and
  digital content, its also about rendered
  content and format-content
• Missing information content is format
• The Last mille production house
• Creating a media product while bearing in mind
  digital exploitation from the very beginning
  generates some other objects that go further than
  what we call the audio-visual. The frontal
  packing for the decode in market players or in
  more complex engines which are able to include
  partially the logics of the same format in the
  customer is a huge step in conceiving the product
  as it widens the reaching of the formats, it even
  widens the broadcast and the payment model itself.

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• User producer

• User content and user edited content
• Prosumer content market(all we will be Video
  Jockeys, Sample model, Remix or broken phones)
• The introduction of user content, from
  preferences to winning data that are inherent to
  the audio-visual contents that belong to the
  broadcaster environment, involves a change in the
  relationship between the audience and the
  content. The bond established by storing their
  picture even with anonymous users who can not
  be exploited with a data mining- this bond can be
  capitalised in this final recapping, in open
  formats that allow much more personal
  experiences.
• The interactive viewer is not necessarily a user
  -at least not in the same terms of a person
  working in computing- even if the user changes
  the pull-push relation established with the
  content. The interaction that takes place is very
  primary. While in an early stage the viewer is
  merely a zapper viewer, in a second stage the
  user becomes a remixer and progressively a media
  jockey who incorporates their own contents to the
  whole mix.

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• User producer

• New media centres are holding media content and
  user memory
• The evolution of devices such as media centres is
  gradually allowing part of the logics and BO
  applications to be transferred to the user home.
  Those devices will foster a better articulation
  of the mix between the content generated by the
  user and the downloaded content. This is
  reproduced in interactive formats and includes
  local preferences and configurations.

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• Open Source, open format, open market

• Access to media production distribution for
  every potential producer
• New collaborative paradigms and the remix
  culture
• The productive and organisational model of the
  Open Source, no matter if owner code or free code
  models are used, allow a greater binding among
  the agents with a greater agility to call up new
  entries or small entries- in the chain of
  values. The very same approach to the
  viewer-producer raises the threshold to the
  production for mass media as long as rights and
  production management tools are well
  co-ordinated.
• Although one of the mainstays of artistic
  production is the original creation of every
  aspect of the form, advertising, the mediatic
  production and the remix culture are now turning
  creativity towards format, in combinations of
  pre-existing forms. The market fragmentation and
  the personalization of the mediatic experience
  entailed by the digital shift calls up for a more
  automated and collaborative production.
• .

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• Open Source, open format, open market

• Content is organisation of perceptions
• A key content creation capability is the ability
  of construction of some kind of relation to the
  viewer
• If the evolution of the software production
  models agrees on separating the logics of
  business from the logics of presentation, the
  unavoidable mixture of software and content will
  progressively generate a more open market where
  format not always indissoluble from the form-
  will be the digital object to be produced,
  distributed and sold and its rights managed.

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Thank you http//www.communi.tv Hernán
Scapusio Vinent h_at_communi.tv