Cox, Mike; Mulder, Ellen; Tadic, Linda

Descriptive Metadata for Television : An End-to-End Introduction

Introduction x 1 What Is Metadata? 1(18) So, What Is "Metadata"? 2(1) What Metadata Is Not: Myths and Facts 2(1) Perceptions of Metadata 3(1) Relationships with Current and Future Broadcast Technologies 4(1) The Perceived Relationship with the Data Handling (Information) Technologies 5(1) The Very Real Relationship with Information Science 6(1) Data Structures, Rules, and Values 7(3) Data Structure or Schema 8(1) Data Rules 8(1) Data Values 9(1) Metadata as the Key to Knowledge Management during the Production Processes 10(1) Knowing What You've Got and Everything about It 10(1) Libraries as a Resource and Gold Mine 11(3) Film Studios 11(1) Broadcast News 12(1) Broadcast Entertainment 12(1) The TV-Anytime Concept for the Use of Libraries 13(1) Where Is the Metadata? 14(4) Metadata Synchronization 18(1) 2 Types of Metadata 19(18) The "Purpose" of Metadata 19(3) Descriptive 19(2) Administrative 21(1) Preservation 21(1) Metadata in the Workflow 22(15) The Metadata of Program Production and Publication 22(7) Metadata Flow 29(1) The Metadata of Program Publication and Consumption 30(7) 3 Metadata Schemes, Structures, and Encoding 37(24) Metadata Schemes and Structures 37(3) Object Records and Item Records (Complex Objects) 40(1) Metadata Structure Standards 41(12) Broadcast Industry Standards 41(9) Society of Motion Picture and Television Engineers 41(2) European Broadcasting Union P/Meta 43(1) Institut für Rundfunktechnik GmbH (IRT) 44(1) Motion Picture Experts Group MPEG-7 44(3) Motion Picture Experts Group MPEG-21 47(2) Corporation for Public Broadcasting PBCore 49(1) British Broadcasting Corporation Standard Media Exchange Framework (SMEF) 50(1) Press Industry Standard 50(1) International Press Telecommunications Council (IPTC) NewsML 50(1) Library Standards 50(2) Dublin Core Metadata Initiative 50(1) Library of Congress MARC 21 51(1) Archival Standards 52(1) International Federation of Television Archives (FIAT/IFTA) 52(1) Independent Media Arts Preservation (IMAP) 52(1) Metadata Rules Standards 53(1) Anglo-American Cataloguing Rules (AACR2) 53(1) Archival Moving Image Materials, Version 2 (AMIM2) 54(1) Metadata Value Standards 54(4) Using Controlled Vocabularies and Thesauri 54(13) International Press Telecommunications Council (IPTC) 55(1) Library of Congress Name Authority File (LCNAF) 56(1) Library of Congress Subject Headings (LCSH) 57(1) Moving Image Genre-Form Guide 57(1) Maintenance of Metadata 58(1) Encoding of Metadata 59(2) 4 The Impact of Technology Change on People and Metadata Processes 61(15) How Is Metadata Captured and Stored? 64(3) Who Owns the Metadata? 67(3) Workflow Ownership 67(1) Legal Information and Metadata Content Ownership 68(1) Legal Information 68(1) Legal Ownership of the Metadata 69(1) Business Ownership 69(1) Practicalities and Opportunities of Desktop Production in the New Workflows 70(2) Where Can Metadata Leak Away? 72(1) Authenticity in Metadata 73(1) Mapping Metadata to Different Systems 74(2) 5 Identifiers and Identification 76(13) Registered Identifiers 78(5) International Registration Authorities 78(3) Identifiers with Program Production Relevance 81(2) International Standards Organisation 81(1) Society of Motion Picture and Television Engineers Registration Authority (SMPTE-RA) 81(1) International Digital Object Identifier (DOI) Foundation 82(1) Institution of Electrical & Electronic Engineers (IEEE) 82(1) European Broadcasting Union (EBU) 83(1) Internet Engineering Task Force (IETF) 83(1) Summary: Registered Identifiers 83(1) Unregistered Identifiers 83(3) Unique Material Identifier (UMID) 84(1) Universal Unique Identifier (UUID) 85(1) Summary: Unregistered Identifiers 86(1) Identifiers with Production to Consumer Relevance 86(3) Digital Video Broadcasting Project (DVB) 86(1) Advanced Television Systems Committee (ATSC) 87(1) Internet Assigned Numbers Authority (TANA) 87(1) Content ID Forum (cIDF) 87(1) TV-Anytime Forum (TVA) 87(1) Corporation for National Research Initiatives (CNRI) 87(2) 6 Metadata for the Consumer 89(17) Online: Yes or No? 91 Metadata as the Connector between Broadcast Content and Internet Content 93(1) Metadata and Consumer Needs 94(1) Stages of the Production and Transmission Process Chains to the Consumer 95(2) TV-Anytime Metadata Data Model 95(2) Content Creation 95(1) Content Publishing 95(1) Metadata Editing 95(1) Metadata Aggregation 96(1) Metadata Publishing 96(1) Content Selection 97(1) Location Resolution 97(1) Metadata Elements 97(4) The Content Reference ID (CRID) 97(1) Attractors 98(1) Suggested Elements to Create Attractors 98(3) Metadata for Locating the "Stuff" 101(1) Metadata in Marketing 102(2) Added Value for the Viewer 103(1) Added Value for the Marketers 103(1) Other Useful Metadata 104(2) Modification Date 104(1) Audio and Video Information 104(1) File Information 104(2) 7 Metadata in Public Collections 106(7) Donations by Broadcasters 107(2) Newsfilm 107(1) Current Affairs Programs and Documentaries 108(1) Donations by Individuals and Production Companies 109(1) Programs Recorded Off-Air 109(1) Metadata Added by the Public Archive 109(2) Adapting Legacy Metadata 109(1) Tracking History and Provenance 110(1) Preservation Metadata 110(1) Intellectual Property 111(1) Getting Metadata out to the Public 111(2) Appendix 1 Sample Metadata Records 113(18) PBCore 113(5) Kentucky Educational Television 113(3) Wisconsin Public Television 116(2) Raw News Footage Cataloging: CNN 118(13) CNN Library Metadata Dictionary (Field List) 120(2) Entertainment Program in MARC 122(8) Resources for Sample Metadata Records 130(1) Appendix 2 Extracts from SMPTE Documents 131(4) Index 135