Removing barriers to creativity
at A+E Networks UK

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A+E Networks® UK, a joint venture between Hearst and Sky, is a leading media network reaching millions of homes across 100 countries. With a portfolio of popular, high-performing, and creative brands like HISTORY®, Crime+Investigation®, HISTORY2® and UK free to air BLAZE® their award-winning factual and entertainment content includes global hit franchises such as ‘Forged in Fire’ and ‘Born this Way’, as well as original local commissions including Al Murray’s ‘Why Does Everyone Hate the English?’

The network’s promo team is responsible for creating approximately 200 to 250 original pieces of content to promote these shows each month. This number scales up to 350 to 400 versions for different territories, and increases by another 25 to 30% once special projects like teasers, sales reels and internal comms are factored in. But until recently, the relatively small team responsible for these big deliverables was being held back by ageing infrastructure that was negatively impacting their business efficiency and creativity.

Held back by technology

While the media network had modernised many other parts of their operational stack, the asset management environment didn’t support the latest versions of Adobe Premiere Pro and they hadn’t been able to integrate the post-production environment with their enterprise scheduling systems or distribution systems. The company recognised that their technology was inhibiting their creative capabilities and that they needed a dedicated platform that was best in class for content production and supply chain management.

Matt Westrup, SVP Technology and Operations EMEA at A+E Networks UK said: ‘’As a content and creative company, the creative platform is at the very heart of our business. We wanted to be able to have something flexible, intelligent and efficient, but that also had production and creativity at its heart in terms of a toolset and a platform.”

 

Spending time on the front line

By the summer of 2020 A+E UK was focussed on the growing risks of an ageing system infrastructure. But while the network has all the complexity, legacy and challenges of a broadcaster many times their scale – they are only a company of   200 people.  As Westrup points out, “We needed to find a partner to elegantly provide the solution we needed quickly and seamlessly.”

Blue Lucy was partnered by 7FiveFive, a company who have provided engineering, network infrastructure and post-production support to the network for many years.  A+E UK decided against a weighty RFP in favour of a lighter market evaluation saying, “What we liked about Blue Lucy is that they are a smart and ambitious team. We don’t have a large in-house or specialised technology team, so having access to the talent at Blue Lucy instantly gave us an advantage. As with all technology-led change, there is huge complexity, but Blue Lucy absorbed a lot of that complexity on our behalf and created simplicity for us.”

Blue Lucy takes a unique approach to project delivery.  The company takes accountable ownership of the overall technology solution delivery, and their software development team works alongside the end-user stakeholder groups.  In this case Blue Lucy’s developers spent six months working with A+E UK’s creative and technology teams to understand the issues. By being on the front line with the users and seeing first-hand the operational context, the Blue Lucy team were able to enhance the original requirement to maximise the creative and business benefits. William Piper the Blue Lucy lead software engineer explains, “Working alongside the creatives and business operators meant I was able to understand the technology and could propose enhancements, such as how contextual searches in workflows could help automatically find source material. This wasn’t in their original scope, yet it’s one of the valuable features of the platform for the Creative teams.” Dan Anscombe, A+E UK’s head of technical operations concurs, “Automated matching of content to campaigns has been a game-changer, meaning less time spent by creatives searching and more time on producing,” he says.

 

A solution with creativity at its heart

At the core of the solution provided by BLAM is the integration with MediaGenix WHATS’ON which A+E UK use to create their campaign plans and schedule promo production. BLAM imports this campaign data from WHATS’ON and uses it to automatically create a folder hierarchy for each campaign within the platform. It also creates placeholders for all the material that needs to be produced and gathers the source assets associated with the campaign (for example, the master programme for which a promo needs to be produced.)

The result of this entirely automated process is that, when an editor opens the campaign in Premiere Pro, the media they need is already available and organised, and a sequence has already been created for them to begin working on. Piper elaborates, saying, ‘An editor can walk into their suite and have all the tasks assigned to them in pre-populated files. All the materials are there. They don’t need to go looking for the source material on the file-store. They don’t have to scan a spreadsheet for expected deliverables. It’s all there in front of them in Adobe Premiere.”

Outside of Adobe, the BLAM WorkOrder capability orchestrates the entire post-production process: finishing, including audio mastering and colour grading, as well as the editorial approval process. The WorkOrders automation includes task management for technical operations as well as secure links and email notifications for the producer and compliance approval.

Aiden Hacket, Senior Creative at A+E UK says, “Blue Lucy has allowed us to work with the latest editing software whilst integrating with key systems like WHATS’ON, which means all our work is entirely managed in BLAM. This has given us the tools to swap manual workflows for automated ones such as creating projects and managing approvals for our creative work. With everything now available in one place, it makes for a far more cohesive, intuitive, and efficient process to work with.”

Going forward

Implemented in the midst of the pandemic, the project was successfully completed in September of 2021 as Westrup explains, “If you’d said to me, you’re going to put an system like this  in, avoiding a heavy procurement process   and get it right the first time, I would have been a bit scared. But that’s what happened with Blue Lucy.”

The next phase of development is to integrate the power of BLAM into A+E UK’s digital social teams who are increasingly expanding their short form production for social networks such as Facebook, YouTube, and Tik Tok.

Westrup has been pleased with the result of the project. He adds, “This has been a smooth integration, and the outcome is  more than we expected. The implementation of workflows and opportunities created by bringing media under management has improved our business efficiency and really allows our creatives to be just that, creative.”

 

This article first appeared in the IABM Journal 121:
IABM Journal 121 Removing Barriers to Creativity

Artwork Credit: Forged in Fire Copyright AETN.

AWS hosted BLAM scores goals for national Australian sporting body

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The following case study was created by Blue Lucy partner Amber Technology and first published on their website.

A major national sporting body overseeing multiple competitions has undertaken a project to migrate and manage a sizable content archive while designing and implementing new media acquisition and distribution workflows.

To assist with this process, and following extensive market analysis, the entity chose to subscribe to the Blue Lucy Automation for Media (BLAM) Platform hosted on Amazon Web Services (AWS) and managed through local ANZ partner Amber Technology.

 

The challenges

The national body was a fledgling organisation with no pre-existing media acquisition or distribution process, and no existing archive and media management strategy. With limited experience in this area, they called on Amber Technology’s Media Systems team to provide advice on the best way forward.

There were disparate archives from multiple agencies, metadata or content tagging did not exist, also there was no proxy content or web portal to view and manage assets. Multiple distribution endpoints often required unique content versions.

No media automation or orchestration existed, creating cumbersome work processes that hindered efficient management of media.

 

The solution

After extensive consultation with the customer, Amber Technology recommended the implementation of a core AWS-hosted BLAM platform with on-premise orchestration and application services within the broadcast services partner datacentre.

Blue Lucy facilitated the migration of assets from external storage repositories, cataloguing and indexing upon ingest.

Amber and Blue Lucy partnered together with the stakeholders to design and deploy a range of media workflows using the BLAM’s no-code workflow builder, including:

  • Automated versioning, editing and branding of highlights content.
  • Distribution of content to multiple partners and online destinations such as Brightcove and broadcast rights holders

Content metadata enrichment from external match statistical data sources made the management of storage and archiving easier for stakeholders with enriched data facilitating future search processes.

Tiered storage management via direct integration with AWS S3 storage provides the ability to easily scale in the future depending on their requirements.

Other features built into the agile system design included web-based editing and integration with Adobe Premiere Pro, automated dialogue transcription via a connector to the AWS speech-to-text AI service, and automated asset creation that is driven from the fixtures and match schedules.

The outcomes

The result of this project has been the development of a highly scalable and adaptable content platform ensuring the immediate and future requirements of the sport are supported.

Following the successful implementation there has been an observable reduction in editorial effort for media preparation and distribution.

A single content archive that is organised, searchable, browsable and enriched, together with automated storage management, has provided a simple and effective self-serve media access to the content library for all Clubs.

Julian Wright from Blue Lucy commented: “This project demonstrates the importance of finding the right technology partner for media automation and management solutions. The success of the collaboration shows developing a trusted relationship with experienced partners can help organisations achieve their business goals. “

Paul Devlin (AWS) said:

“Blue Lucy’s BLAM integrated seamlessly into the AWS platform, creating a system that is built for the future.”

 

Conclusion

Managing large content libraries and media distribution workflows can be complex and require specialist development to implement and adapt. The investment in the BLAM platform serves as an excellent example of how technology can be leveraged to simplify complex media workflows yielding immediate business benefits and significant long-term benefits.

The success of the collaboration between the client, Amber Technology and Blue Lucy is a testament to the importance of finding the right technology partner when implementing a media automation and management solutions. This ongoing partnership demonstrates how a trusted and experienced technology partner can help organisations navigate the complexities of media workflows and content management to achieve their business objectives.

 

BLAM Manages the BAFTA Content Catalogue

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Hybrid BLAM for Banijay Rights content operations

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Banijay Rights logo

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Automated Content Supply Chain Management, in the Cloud

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Off the Fence logo

How taking control of their video content management and delivery system in the cloud has opened up a world of opportunities for Off the Fence.

 

Off the Fence is a pioneer in content supply chain management.  By March 2021 the international company’s entire factual content catalogue, totalling 1.3 petabytes and including over 6 500 hours of programming, will be stored and managed entirely in the cloud.  The bold move also sees Off the Fence migrating from an outsourced service provision to an in-house operation, enabled by Blue Lucy’s BLAM.

Motivation

“OTF is a company with a wide range of services covering every aspect of the chain from content development, production, co-production and post-production to financing and distribution; the only missing component was program library management,” explains Sukhan Bains, director of media solutions at Off the Fence. “We weren’t unhappy with the service we were receiving from our third-party provider, but we wanted to become truly ‘360’ – so it was a natural progression to examine the supplier market.”

Once they’d decided to bring their content management in-house, the Off the Fence team turned to trusted technology partner and provider of their distribution management software, EasyTrack, for advice.  “We’ve worked with EasyTrack for a number of years, their software is well and truly embedded in the company, and they recommended Blue Lucy based on a project they’d worked on for a similar company that went in-house with a hybrid solution,” continues Bains.  “When we met with the Blue Lucy team, we could see that BLAM was exactly what we needed.  We shopped around a bit more but, between the product and EasyTrack’s relationship with Blue Lucy, it felt like an obvious choice.”

 

Solution Overview

BLAM is provided to Off the Fence as a managed Platform as a Service (PaaS) delivering the following cloud-based services and capabilities:

  • content migration and storage management,
  • fully automated content delivery,
  • service orchestration & process automation (conversion, transcode, QC, delivery, reconciliation etc) and
  • precise management information through detailed reports and configurable dashboards.

Whilst there is a high degree of workflow-based automation during ingest, the fulfilment function is entirely automated using BLAM WorkOrders which create relationships between individual workflows. WorkOrders allow a set of separate but dependant processes to be aggregated to deliver a specific set of outcomes through fully automated processes; they also provide real-time management information and precise reporting, enabling operators to closely monitor business functions and associated costs.

Behind the browser-based user interface, Blue Lucy uses AWS services as infrastructure to provide a cost-effective solution with infinite scalability.  BLAM also integrates with a number of other cloud-based services that  has direct relationships with including:

  • AWS S3 for all content storage;
  • AWS Elemental Media Convert for transcode / media conversion;
  • Signiant Media Shuttle for content delivery;
  • Telestream CloudQC for automated quality assessment;
  • EasyTrack for content rights management. EasyTrack is the master business system and is the ‘single source of truth’ component in the overall solution, holding the   rights and material metadata for the entire inventory.

 

Making the Move

Typically, the biggest concerns about migrating large media catalogues to the cloud are how long it will take and how much it will cost.  While AWS’ Snowball service makes the bulk migration of material easy, and automatically triggers ingest workflows in BLAM, Off the Fence were apprehensive about the pricing structure of cloud-based services and the potential for losing control of costs.  “We learnt very quickly how easy it is to forget about files you’ve moved and to fill high-cost storage locations,” cautions Bains.  “We’re now using automated processes to help clean up routines – so content is automatically archived or deleted 30 days after delivery – but we didn’t have these systems in place at the beginning.  Automation and a good file management strategy are key to keeping costs down.”  Bains’ team also adopted an iterative approach, focussing on creating efficient, automated workflows for broadcast delivery first, before working towards more complicated VOD workflows.

Because Off the Fence had historically outsourced their entire content management and delivery process, they were also concerned about their in-house team’s lack of technical expertise.  “Blue Lucy don’t just offer you software, they’ve got a lot of experience in the industry and their product comes with really helpful advice,” says Bains.  “We started with a traffic team of four people and a separate content operations department with just three staff members.  Since then, two of the original team members have moved onto other projects and we’ve hired two specialists in ingest and QC and VOD delivery, but you don’t need a big team or one with advanced technical expertise to manage the system.”

With content upload rates of around 80TB per month, approximately 40% of OTF’s content has already moved to the cloud.  Bains describes the experience as exciting but stressful, “There’s a lot of pressure on you when you’re building something new and there’s been a lot of interest in what we’re doing because very few other companies have taken these steps before us.  This project isn’t only a big move for us, it also represents a big change for the industry – but it’s been easier than I thought it would be!”

 

Unexpected Benefits

WorkOrders, and the Workflows that underpin them, are entirely configurable in BLAM, meaning that they can easily be created and updated by a system administrator.  This means that BLAM users can take control of their operation without suffocating in service change requests or getting bogged down in a development backlog.  While the current OTF solution is is designed to meet their needs for the few years, the ability to either develop additional Workflows and BLidgets themselves, or commission Blue Lucy to do so on their behalf, was a big selling point.

Another benefit, which Off the Fence immediately took advantage of, is Blue Lucy’s commitment to develop new functionality – at no cost to the individual client – if it adds value to the platform.  “Because cost tracking is so important to us, and because we all thought it would be relatively simple to do, Blue Lucy agreed to develop a cost tracking tool for us,” Bains explains.  “As time went on, we realised that it was more complex than we thought, and more powerful than we anticipated.  We imagined it would give us a high-level summary of what we’re spending, but we can actually pull detailed reports to track all sorts of complex scenarios. We’re looking forward to using this data in the future to optimise costs and create more efficient workflows.”

Originally, when OTF were researching and planning their new supply chain management solution, one of the biggest motivating factors was cost.  But, while there’s undoubtedly less financial risk involved in cloud-based services than in hardware investment, for Bains the biggest benefit has been gaining control of their content library.  “Even after being in production for only six months, we’re already seeing the benefit in cost and flexibility.  Now, if we want to explore content opportunities, instead of having to ask a third-party to provide a quote, we have immediate access to the information. It’s opened up a whole new world of opportunities.  If you have the time and resource to explore new content revenue streams, then bringing your content management and delivery in-house provides direct control and is a great opportunity to adapt quickly.

 

Read the BLAM Briefing for a detailed technical description of this solution or get in touch to find out more.

Image production credit Smithsonian Networks, distributed by Off the Fence – Air Warriors Series 7

 

Library Migration made easy with BLAM

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Plaza Media logo

When PLAZAMEDIA, a leading provider of smart solutions for media content, sought to migrate their long-term archive away from aging legacy systems they chose Blue Lucy’s BLAM as the platform and netorium as the application integrators for a modern, cost-effective solution.

PLAZAMEDIA is a leading sports TV producer in the German-speaking world and an established provider of digital content solutions for all media platforms. They have provided a range of services designed to support business operations along the entire content value chain, from their base in Munich since 1976. PLAZAMEDIA’s clients include public and private broadcasters, platform operators, international sports federations, and sports rights agencies, with services ranging from OB-based and remote production, staging live events, content management, editing, archiving and content distribution.

Project Scope

The broad requirement for the project was straightforward: to migrate the long-term, deep archive of around 2.5PB of media from an Avid MAM (which utilised an SGL Flashnet Hierarchical Storage Management system and Quantum Scalar i6000 LTO library for media storage) to BLAM, managing a brand-new object-based disk storage from NetApp. Notably, PLAZAMEDIA provide production services to several operators and, as such, there is a need to ensure the content is kept separate but on shared storage resources. PLAZAMEDIA required a multi-tenant media operations management system with sophisticated migration tools.

 

 

Multipli Tenant 

BLAM enables service providers such as PLAZAMEDIA to offer truly partitioned services to their customers within a single platform which shares resources such as storage, media transformation (transcode), packaging and accelerated transfer.

This is possible because BLAM-3 has been developed from the outset as a multi-tenant platform with an organisational hierarchy model of: Organisation > Groups > Users, with users belonging to one or more groups and an organisation supporting multiple groups.  Logically, organisations are entirely separate meaning that BLAM may be configured to support multiple tenants, in this case PLAZAMEDIA customers.

 

Integrations

The most significant business gains that may be realised from deploying new technology come from the integration of systems – that is particularly the case in media technology.  The PLAZAMEDIA archive migration required several integration connector BLidgets, for the short-term migration of media as well as to support the ongoing operation.

 

Avid MAM

The Avid MAM at PLAZAMEDIA is of the Blue Order vintage, developed at a time before open and well documented APIs were common practice.  This presented a potential technical difficulty to overcome. However, given that the Avid MAM was due for retirement on completion of the project, the data only needed to come in one direction – outwards.  As such we developed the BLidgets not as dynamic bi-directional connectors as we would normally but as data readers from a raw dump of the Avid DB.  This made things a little less complex and two BLidgets were developed to manage the data migration.

The first and most complex connector BLidget extracts a list of assets from a dump of the Avid BD file and creates a BLAM Placeholder for each.  The BLidget has a filter in the reader which enables the asset records for each PLAZAMEDIA client to be imported individually to support a controlled migration.  The second BLidget then imports the metadata, including the asset location data for the BLAM Placeholders created in the first step.

Without documentation as to the structure of the Blue Order DB required a ‘reverse engineering’ method but, by taking this approach, the overall data migration may be re-run which means that BLAM now has ‘off the shelf’ BLidgets ready for other customers who may wish to migrate from the legacy Avid / Blue Order MAM platform.

The Avid data import BLidget allows the data to be filtered per organisation, enabling a controlled migration one customer organisation at a time.

SGL FlashNet

This integration was more straightforward because SGL-FlashNet has an API against which the BLidget could be rapidly developed.  In this case, the BLidget developed by Blue Lucy is a ‘proper’ connector which simply allows a given file, referenced by an SGL GUID, to be restored from LTO and placed on a working cache.   A subsequent BLidget in the workflow is then responsible for archiving the asset to the new NetApp StorageGRID object storage. Interaction with NetApp is also through a true REST API.

The migration workflow runs for each Asset to be migrated. Brancher BLidgets check the essence location before calling the restore from LTO via FlashNet.

 

Snell Morpheus

As well as providing archive library management capabilities, PLAZAMEDIA’s legacy Avid MAM also managed the transfer of assets to the Snell Morpheus playout system.  In order to replicate this functionality, we developed a BLidget to perform this function. Like all new BLidgets developed to deliver a specific project the Morpheus connector is available ‘off the shelf’ for other customers.

NetApp StorageGRID

Since NetApp is a modern platform which supports Amazon’s Simple Storage Service (S3) API, integrating with the NetApp StorageGRID object-based storage was the most straightforward of all the integrations. In development this required only a minor modification to the existing AWS S3 connector BLidget, but this minor tweak provides an operationally powerful integration.

A system administrator may set up a storage bucket of a given capacity for each customer (tenant) within NetApp, and mount this in BLAM. BLAM then monitors the bucket utilisation, which can be viewed in the storage pane of the platform, and the information can be used in workflows, to send notifications or to take other actions.

BLAM can mount any number of disk or object (including cloud) based storage.  Storage is partitioned on a customer-per-customer (Organisation in BLAM) basis.

 

 

The Migration Process

Working with PLAZAMEDIA engineering and our colleagues at netorium, a method was devised that allows a rapid but careful migration of data – metadata and media.

  • The migration begins when the schema and metadata masks for a given organisation in BLAM are approved by the PLAZAMEDIA operations team and end user customer.
  • A fresh database dump from Avid is created and the BLAM workflow is run on the DB file to read in the assets and metadata for the given organisation. Each asset has an additional metadata value which records the migrated status, i.e., a Boolean value to record if an asset been migrated from SGL / Quantum to the NetApp object-storage, or not.
  • On an ad-hoc basis, typically overnight, a BLAM workflow is run which generates a list of assets which have not been migrated, limits these to a manageable number (around 200) and triggers a subsequent workflow that makes a restore request of SGL FlashNet and then archives the resulting restored file to the NetApp storage.
  • Within the migration workflow there are integrity checks to ensure migrated files are complete and error free. In cases where the asset does not have a browse / proxy that has been migrated from Avid, one is created by BLAM.  This process runs until all assets for a given organisation have completed. During this period, which for large collections can be a few weeks, the operational teams continue to use the Avid system.
  • On completion of the migration for a given organisation, the Avid metadata import workflow is run again so that any changes which have been made in the Avid MAM during the migration period are copied to BLAM and not lost.
  • The process then starts for the next organisation.

Cost Effective Outcomes

Once the migration of assets is complete for all PLAZAMEDIA clients, the Avid MAM, the SGL FlashNet and the Quantum LTO library will be shut down.  In the case of the LTO library, this will yield 7-racks of floorspace, and the new storage will afford faster retrieval times and greater flexibility.  The commercial model for BLAM is SaaS based and is significantly less expensive than the support contracts of the legacy systems which are ended on completion of the migration.

In this case the storage media is an on-prem object-based solution from NetApp but could equally be cloud based storage such as AWS S3.  BLAM instance is obviously ‘on-prem’ which is increasingly rare for BLAM projects but demonstrates that although BLAM-3 has been developed as a ‘cloud-native’ platform it delivers the same scalability and flexibility when deployed on the ground.

Cost-effective Migration

The Avid / SGL / LTO library combination was a common ‘eco-system’ based archive solution in the late 1990’s and early 2000’s.  The delivery of this project demonstrates that a migration to a more modern platform need not be a headache for media companies or service providers.  With a small range of off-the-shelf BLidgets BLAM can release operators from legacy vendor lock-in allowing them to exploit service-based technology models and fully realise the value of archive content.

Get it in touch to find out more.