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99
99
DIGITAL CATALOGING
3D/ANIMATION/HDTV
E-BRANDBUILDING
MAM SERVICES
STANDARDS
SYSTEMS
Th
Th
e
e
C
C
ONTEN
ONTEN
T
T
40
40
Pr Preview Edition, eview Edition,
Spring 1999 Spring 1999
1999 ContentWorld Publishing Ventures
Medi a Asset Creati on, Management, Brand Bui l di ng and E- Commerce
Stock
Stock
Film/Video
Film/Video
Dir
Dir
ectory
ectory
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s
The New Content:
Di gi tal Medi a Asset
Creati on and Management
SPECIAL PREVIEW:
This 16-page version of Content magazine serves as a preview of the full May/June 1999 issue.
CONTENT May/June 1999 May/June 1999 CONTENT
r
e
s
o
u
r
c
e
s
MEDIA ASSET
MANAGEMENT
PRIMER
A review of the fundamentals
of media asset management and
an overview of MAM technology
infrastructure. Ongoing coverage
of MAM audio, music, image, video,
and 3D catalogers; search engines;
rights and permissions; metadata,
brand, e-commerce and knowledge
management database systems.
10
DIGITAL STOCK
Definitive Content Digital Media
Stock directories covering anima-
tion, audio, film, music, photo-
graphic, object, 3D, and video
stock content. Industry directories
featured in each issue.
MAM GLOSSARY
The Content MAM glossary
will present a special subset of
the terms and definitions related
to New Content.
SUBSCRIPTION FORM
14
15
16
i
n
t
e
r
f
a
c
e
p
r
o
j
e
c
t
s
t
e
c
h
n
o
l
o
g
y
THE VISIONARIES
A brief visit with Dr. Douglas Engelbart,
the Thomas Edison of the Personal
Computer and new media, and the
founder of the Bootstrap Institute,
an educational organization committed
to creating new and better ways of
augmenting human intelligence and
knowledgeworkers productivity.
THE CONTENT 40
The Top 40 MAM Industry Leaders
according to the editors and readers
of Content and ContentWorld
online.
6
12

2
4
5
7
e
n
v
i
r
o
n
m
e
n
t
s
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.

www.content-world.com www.bootstrap.org
<lorin@content-world.com>
www.bbc.com
www.bbcfootage.com
www.juxtamedia.com
www.amianet.org
www.archivists.org
www.mamgroup.org
www.viewpoint.com <lou@content-world.com>
<jnoon@content-world.com>
<mgrush@content-world.com>
VIEWPOINT DATALABS:
DIGITAL CONTENT STUDIO
Reviews Viewpoint DataLabs 3D digital content
custom creation and stock management systems:
supports e-commerce network and CD environments
for advertising, animation, branding, corporate, film,
photographic, publishing, 3D, video, and web studios.
ENTERPRISE META-DATABASE
Reviews database and distributed computing
solutions for extended enterprise management.
Integrating content creation, cataloging, asset,
rights and brand management; global e-commerce;
executive descision support and legacy systems.
TABLE OF
CONTENTS
Inside Content.
EDITORS NOTES
Welcome to
Content magazine.
THE METACUBE
Introduction to the Content /
ContentWorld knowledgebase
model. Integrated Knowledge
User Interface (KUI) across
magazine, website, DVD,
and semi-annual conferences.
p
e
o
p
l
e
BBCFOOTAGE.COM:
BEST PRACTICE CASE STUDY
Juxta Media LLC and<bbcfootage.com>:
Focus on design, RFP, system deployment,
integration, metadata protocols, ROI
benchmarks, intranet / Internet networks,
archiving, storage, branding and
e-commerce systems.
MAM APPS & DATABASES
Analysis of Enterprise-wide Content
Applications, Meta-Database Architectures
and Global MAM / E-Commerce Systems.
8
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
Except for light, all other media come in pairs, with one acting as the content of the other,
obscuring the operation of both. Marshall Mcluhan, Understanding Media, 1964
2
3
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o
u
r
c
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s
t
a
b
l
e

o
f

c
o
n
t
e
n
t
s
The New Content:
Di gi tal Medi a Asset
Creati on and Management
SPECIAL PREVIEW:
This 16-page version of Content magazine serves as a preview of the full May/June 1999 issue.
CONTENT May/June 1999 May/June 1999 CONTENT
r
e
s
o
u
r
c
e
s
MEDIA ASSET
MANAGEMENT
PRIMER
A review of the fundamentals
of media asset management and
an overview of MAM technology
infrastructure. Ongoing coverage
of MAM audio, music, image, video,
and 3D catalogers; search engines;
rights and permissions; metadata,
brand, e-commerce and knowledge
management database systems.
10
DIGITAL STOCK
Definitive Content Digital Media
Stock directories covering anima-
tion, audio, film, music, photo-
graphic, object, 3D, and video
stock content. Industry directories
featured in each issue.
MAM GLOSSARY
The Content MAM glossary
will present a special subset of
the terms and definitions related
to New Content.
SUBSCRIPTION FORM
14
15
16
i
n
t
e
r
f
a
c
e
p
r
o
j
e
c
t
s
t
e
c
h
n
o
l
o
g
y
THE VISIONARIES
A brief visit with Dr. Douglas Engelbart,
the Thomas Edison of the Personal
Computer and new media, and the
founder of the Bootstrap Institute,
an educational organization committed
to creating new and better ways of
augmenting human intelligence and
knowledgeworkers productivity.
THE CONTENT 40
The Top 40 MAM Industry Leaders
according to the editors and readers
of Content and ContentWorld
online.
6
12

2
4
5
7
e
n
v
i
r
o
n
m
e
n
t
s
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.

www.content-world.com www.bootstrap.org
<lorin@content-world.com>
www.bbc.com
www.bbcfootage.com
www.juxtamedia.com
www.amianet.org
www.archivists.org
www.mamgroup.org
www.viewpoint.com <lou@content-world.com>
<jnoon@content-world.com>
<mgrush@content-world.com>
VIEWPOINT DATALABS:
DIGITAL CONTENT STUDIO
Reviews Viewpoint DataLabs 3D digital content
custom creation and stock management systems:
supports e-commerce network and CD environments
for advertising, animation, branding, corporate, film,
photographic, publishing, 3D, video, and web studios.
ENTERPRISE META-DATABASE
Reviews database and distributed computing
solutions for extended enterprise management.
Integrating content creation, cataloging, asset,
rights and brand management; global e-commerce;
executive descision support and legacy systems.
TABLE OF
CONTENTS
Inside Content.
EDITORS NOTES
Welcome to
Content magazine.
THE METACUBE
Introduction to the Content /
ContentWorld knowledgebase
model. Integrated Knowledge
User Interface (KUI) across
magazine, website, DVD,
and semi-annual conferences.
p
e
o
p
l
e
BBCFOOTAGE.COM:
BEST PRACTICE CASE STUDY
Juxta Media LLC and<bbcfootage.com>:
Focus on design, RFP, system deployment,
integration, metadata protocols, ROI
benchmarks, intranet / Internet networks,
archiving, storage, branding and
e-commerce systems.
MAM APPS & DATABASES
Analysis of Enterprise-wide Content
Applications, Meta-Database Architectures
and Global MAM / E-Commerce Systems.
8
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
Except for light, all other media come in pairs, with one acting as the content of the other,
obscuring the operation of both. Marshall Mcluhan, Understanding Media, 1964
2
3
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
i
n
t
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r
f
a
c
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I
n
t
e
r
f
a
c
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M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
i
n
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f
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The Content MetaCube
CONTENT May/June 1999
4
May/June 1999 CONTENT
5
General
Content is published bi-monthly by ContentWorld Publishing
Ventures, a division of Syllabus Press Inc. of San Jose, Calif.
Qualified subscriptions are available (see FREE subscription
offer on back page). Non-qualified subscriptions for other
individuals are available in North America for $24 per year;
outside North America, $75 per year. Fill out the
subscription card insert and send with payment (world
money order, check drawn on a U.S. bank, Visa, AMEX, or
MasterCard) to Content Circulation Department at the
above address.
Single copies are available for $3.95 each, U.S.; $4.95,
Canada.
Editorial
Letters to the editor should be addressed to the editor and
sent to the above address or via electronic mail. We reserve
the right to edit and publish all submissions.
News and product information will be considered for publi-
cation. Please send all materials to info@content-
world.com. If you are interested in writing for Content,
please send a brief description of your article idea along with
writing samples to the editor at the above address. We assume
no liability for unsolicited materials.
Copyright1999 by ContentWorld Publishing Ventures. All
rights reserved. Some images provided by 1994 PhotoDisc
Inc. Mention of products and services is for informational
purposes only and constitutes neither a recommendation
nor an endorsement by the publisher. Content and
ContentWorld are registered trademarks owned by
Syllabus Press Inc. All other trademarks mentioned belong
to their respective owners.
Editor-in-Chief
LOU CASABIANCA
Publisher
JOHN NOON
Managing Editor
MARY GRUSH
Contributors
BARRY HAMPE
LORIN DAVID KALISKY
ROBERT LUCAS
CHRISTINE OKON
Interactive Design
i5GROUP
Graphics / Production
BRUCE SALTZMAN
Cover Graphics
INHOUSE DESIGN
CONTENTWORLD PUBLISHING
VENTURES, INC.
President/CEO
JOHN NOON
Chief Content Officer
LOU CASABIANCA
Administration
ANGIE GALLEGO
System Administrator
DAVID WONG
Circulation Manager
NANCY ROGERS
Advertising Sales Managers
COLLEEN FERNALD-MOLINARI
NEAL SCHWARTZ
Conferences and Workshops
JOHN BOEGMAN
MARIA NIJMEH
NATIONAL EDITORIAL, ADVERTISING
AND BUSINESS OFFICES
CONTENTWORLD PUBLISHING VENTURES, INC.
345 Northlake Drive
San Jose, CA 95117
(408) 261-7200
FAX (408) 261-7280
(info@content-world.com)
www.content-world.com
Welcome to ContentWe analyze the news, mine, refine
and publish knowledge about the use of advanced computer,
media, database and network systems. We serve users and
managers of digital creation, media, marketing and e-commerce
systems. Digital convergence has accelerated the momentum
to online marketing and e-business taking place in corporate,
entertainment, education, government, information, and global
communications.
In this incredibly dynamic period of change, understanding
and leveraging media and knowledge assets will be critical to the
ability to foresee and capitalize on the transformations that this
convergence brings to your business and the Internet economy.
Because of the massive impact of these technolgies, we are par-
ticipating in the global redefinition of human communications.
In 1988, I founded, edited and co-published one of the first
journals to recognize digital media convergence, HyperMedia.
It served as the prototype for what later became NewMedia
Magazine. My personal ongoing observations and experience
as a content creator and media publisherworking as a writer,
analyst, film and video producer, and interactive media designer
continue to drive and guide my commitment to supporting
readers, i.e., end-users and technology providers.
ContentWorld Publishing also produces online and live
conference forums to leverage collaborative knowledge sharing
and analysis of technology trends, industry standards, best
practice analysis, and ROI success stories. Bringing together
the people, projects, technologies, environments, and resources
covered in this magazine and our companion websites and
conferences has been a labor of love.
The editors, publishers, contributors, and staff of Content and
ContentWorld hope that you will enjoy and gain great value
from our efforts. We invite you to apply the knowledge and
insight we provide to help put the new content in context.
Lou CasaBianca
ContentWorld
Editorial
analysis focuses
on evaluating
digital media studios,
enterprise-wide
systems, and
network distribution of
audio,
broadcast/cable, film,
interactive,
music,
photographic,
video,
and Internet-driven
content and
metadata.
E
D
I
T
O
R

S

N
O
T
E
S
If the student
of media will
but meditate
on the power
of this medium
of electric light
to transform
every structure
of time and space
and work and
society that it
penetrates or
contacts, he will
have the key to
the form of the
power that is
in all media to
reshape any lives
that they touch.
Except for light,
all other media
come in pairs,
with one acting
as the content
of the other,
obscuring the
operation of
both.
Marshall
Mcluhan
Understanding
Media, 1964
Emerging digital creation and media asset technologies drive new return on contenteconomics and business models. Now more
than ever, digital media technology system users, developers, and providers need to cooperate and optimize best practices to
leverage the asset and knowledge management revolution. Each is under enormous pressure to learn from the other, while trying
to understand the impact of massive changes on their personal and business, creative and information environments.
Interface
The MetaCube Knowledgebase Model provides
an intelligent view port into your Content magazine,
Internet ContentWorld Online, the ContentWorld
Conference and ContentStudio DVD. It serves
as an information filter and navigation
system. The Interface facilitates
and enhances accessing and
sharing project or corporate
archives and metadata. The
MetaCube serves as a personal,
logical, easily understandable
object-based navigational
system designed to help the
reader / user get the most out
of this integrated digital media
information resource.
Throughout Content, the menus,
icons, maps and 3D models maintain
continuity with the look and feel of the
graphic user interface used on the
World Wide Web site, DVD, and
interactive multimedia versions.
Technology
The Technology Section provides a metadata
framework for identifying, analyzing,
and reviewing the emerging
technologies and product solutions
we track and cover. 3D Graphics
and 2D Paint, Animation,
Audio/Voice Cataloging,
Broadband High-Speed
Networks, Digital Media
Compositing, DVD,
E-Commerce Networks,
High-Performance Servers,
Industry Standards & Protocols,
Internet/Extranet/Intranets, Mass and
RAID Storage, MIDI Music, Media Asset
Management Applications, Non-linear Video
Editing, Object-based Software, Operating Systems,
Presentation & Display, Programming Languages,
Search and Retrieval Engines, Simulation
and Visualization, Stock Media Libraries,
Very Large Databases, Video Cataloging, Web
Publishing Tools and Browsers.
People
This section features the most important element in
the world of emerging information technologies, the
People: architects, artists, brandbuilders, designers,
developers, directors, editors, engineers, entrepreneurs,
inventors, managers, programmers, producers,
publishers, scientists, and webmasters
who pioneer the frontiers of digital
media innovation.
Projects
This section showcases Top 10%
Best Practice projects demonstrating
the major interactive enterprise and
content development technologies.
Leading content creation and MAM
projects will be featured. Industry tracks:
Advertising, Brands, Broadcast, Computers,
Entertainment, Media, and publishing. Content is
a tool designed to help you understand the application
of the new technologies, identify the pitfalls, explore the
trends, and leverage the possibilities.
Environments
This section provides value-added world
views of various physical locations
including personal work spaces,
intelligent studios, presentation, and
network environments used in
content creation and asset manage-
ment development. Focuses on the
systems integration, MAMdesign,
networking, mass storage, security,
telecommunications, and facilities
management technologies.
Resources
The Resources section of Content contains a series of
directories, sliced by application, technology market
segment and location. The directories cover digital con-
tent, consultants, facilities, information services, tech-
nology vendors, conferences, and educational resources.
Select information and interactive software will be
covered in detail on CD ROM / DVD and online services.
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
i
n
t
e
r
f
a
c
e
I
n
t
e
r
f
a
c
e
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
i
n
t
e
r
f
a
c
e
The Content MetaCube
CONTENT May/June 1999
4
May/June 1999 CONTENT
5
General
Content is published bi-monthly by ContentWorld Publishing
Ventures, a division of Syllabus Press Inc. of San Jose, Calif.
Qualified subscriptions are available (see FREE subscription
offer on back page). Non-qualified subscriptions for other
individuals are available in North America for $24 per year;
outside North America, $75 per year. Fill out the
subscription card insert and send with payment (world
money order, check drawn on a U.S. bank, Visa, AMEX, or
MasterCard) to Content Circulation Department at the
above address.
Single copies are available for $3.95 each, U.S.; $4.95,
Canada.
Editorial
Letters to the editor should be addressed to the editor and
sent to the above address or via electronic mail. We reserve
the right to edit and publish all submissions.
News and product information will be considered for publi-
cation. Please send all materials to info@content-
world.com. If you are interested in writing for Content,
please send a brief description of your article idea along with
writing samples to the editor at the above address. We assume
no liability for unsolicited materials.
Copyright1999 by ContentWorld Publishing Ventures. All
rights reserved. Some images provided by 1994 PhotoDisc
Inc. Mention of products and services is for informational
purposes only and constitutes neither a recommendation
nor an endorsement by the publisher. Content and
ContentWorld are registered trademarks owned by
Syllabus Press Inc. All other trademarks mentioned belong
to their respective owners.
Editor-in-Chief
LOU CASABIANCA
Publisher
JOHN NOON
Managing Editor
MARY GRUSH
Contributors
BARRY HAMPE
LORIN DAVID KALISKY
ROBERT LUCAS
CHRISTINE OKON
Interactive Design
i5GROUP
Graphics / Production
BRUCE SALTZMAN
Cover Graphics
INHOUSE DESIGN
CONTENTWORLD PUBLISHING
VENTURES, INC.
President/CEO
JOHN NOON
Chief Content Officer
LOU CASABIANCA
Administration
ANGIE GALLEGO
System Administrator
DAVID WONG
Circulation Manager
NANCY ROGERS
Advertising Sales Managers
COLLEEN FERNALD-MOLINARI
NEAL SCHWARTZ
Conferences and Workshops
JOHN BOEGMAN
MARIA NIJMEH
NATIONAL EDITORIAL, ADVERTISING
AND BUSINESS OFFICES
CONTENTWORLD PUBLISHING VENTURES, INC.
345 Northlake Drive
San Jose, CA 95117
(408) 261-7200
FAX (408) 261-7280
(info@content-world.com)
www.content-world.com
Welcome to ContentWe analyze the news, mine, refine
and publish knowledge about the use of advanced computer,
media, database and network systems. We serve users and
managers of digital creation, media, marketing and e-commerce
systems. Digital convergence has accelerated the momentum
to online marketing and e-business taking place in corporate,
entertainment, education, government, information, and global
communications.
In this incredibly dynamic period of change, understanding
and leveraging media and knowledge assets will be critical to the
ability to foresee and capitalize on the transformations that this
convergence brings to your business and the Internet economy.
Because of the massive impact of these technolgies, we are par-
ticipating in the global redefinition of human communications.
In 1988, I founded, edited and co-published one of the first
journals to recognize digital media convergence, HyperMedia.
It served as the prototype for what later became NewMedia
Magazine. My personal ongoing observations and experience
as a content creator and media publisherworking as a writer,
analyst, film and video producer, and interactive media designer
continue to drive and guide my commitment to supporting
readers, i.e., end-users and technology providers.
ContentWorld Publishing also produces online and live
conference forums to leverage collaborative knowledge sharing
and analysis of technology trends, industry standards, best
practice analysis, and ROI success stories. Bringing together
the people, projects, technologies, environments, and resources
covered in this magazine and our companion websites and
conferences has been a labor of love.
The editors, publishers, contributors, and staff of Content and
ContentWorld hope that you will enjoy and gain great value
from our efforts. We invite you to apply the knowledge and
insight we provide to help put the new content in context.
Lou CasaBianca
ContentWorld
Editorial
analysis focuses
on evaluating
digital media studios,
enterprise-wide
systems, and
network distribution of
audio,
broadcast/cable, film,
interactive,
music,
photographic,
video,
and Internet-driven
content and
metadata.
E
D
I
T
O
R

S

N
O
T
E
S
If the student
of media will
but meditate
on the power
of this medium
of electric light
to transform
every structure
of time and space
and work and
society that it
penetrates or
contacts, he will
have the key to
the form of the
power that is
in all media to
reshape any lives
that they touch.
Except for light,
all other media
come in pairs,
with one acting
as the content
of the other,
obscuring the
operation of
both.
Marshall
Mcluhan
Understanding
Media, 1964
Emerging digital creation and media asset technologies drive new return on contenteconomics and business models. Now more
than ever, digital media technology system users, developers, and providers need to cooperate and optimize best practices to
leverage the asset and knowledge management revolution. Each is under enormous pressure to learn from the other, while trying
to understand the impact of massive changes on their personal and business, creative and information environments.
Interface
The MetaCube Knowledgebase Model provides
an intelligent view port into your Content magazine,
Internet ContentWorld Online, the ContentWorld
Conference and ContentStudio DVD. It serves
as an information filter and navigation
system. The Interface facilitates
and enhances accessing and
sharing project or corporate
archives and metadata. The
MetaCube serves as a personal,
logical, easily understandable
object-based navigational
system designed to help the
reader / user get the most out
of this integrated digital media
information resource.
Throughout Content, the menus,
icons, maps and 3D models maintain
continuity with the look and feel of the
graphic user interface used on the
World Wide Web site, DVD, and
interactive multimedia versions.
Technology
The Technology Section provides a metadata
framework for identifying, analyzing,
and reviewing the emerging
technologies and product solutions
we track and cover. 3D Graphics
and 2D Paint, Animation,
Audio/Voice Cataloging,
Broadband High-Speed
Networks, Digital Media
Compositing, DVD,
E-Commerce Networks,
High-Performance Servers,
Industry Standards & Protocols,
Internet/Extranet/Intranets, Mass and
RAID Storage, MIDI Music, Media Asset
Management Applications, Non-linear Video
Editing, Object-based Software, Operating Systems,
Presentation & Display, Programming Languages,
Search and Retrieval Engines, Simulation
and Visualization, Stock Media Libraries,
Very Large Databases, Video Cataloging, Web
Publishing Tools and Browsers.
People
This section features the most important element in
the world of emerging information technologies, the
People: architects, artists, brandbuilders, designers,
developers, directors, editors, engineers, entrepreneurs,
inventors, managers, programmers, producers,
publishers, scientists, and webmasters
who pioneer the frontiers of digital
media innovation.
Projects
This section showcases Top 10%
Best Practice projects demonstrating
the major interactive enterprise and
content development technologies.
Leading content creation and MAM
projects will be featured. Industry tracks:
Advertising, Brands, Broadcast, Computers,
Entertainment, Media, and publishing. Content is
a tool designed to help you understand the application
of the new technologies, identify the pitfalls, explore the
trends, and leverage the possibilities.
Environments
This section provides value-added world
views of various physical locations
including personal work spaces,
intelligent studios, presentation, and
network environments used in
content creation and asset manage-
ment development. Focuses on the
systems integration, MAMdesign,
networking, mass storage, security,
telecommunications, and facilities
management technologies.
Resources
The Resources section of Content contains a series of
directories, sliced by application, technology market
segment and location. The directories cover digital con-
tent, consultants, facilities, information services, tech-
nology vendors, conferences, and educational resources.
Select information and interactive software will be
covered in detail on CD ROM / DVD and online services.
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
p
e
o
p
l
e
gricolae agnascor vix saetosus apparatus bellis, semper Octavius ampu-
tat ossifragi. Fiducia suis conubium santet agricolae.
Apparatus bellis iocari adlaudabilis concubine, iam aegre pretosius rures
verecunde praemuniet syrtes, quamquam perspicax umbraculi insectat
Pompeii. Pretosius zothecas spinosus agnascor chirographi, ut incredi-
biliter perspicax umbraculi aegre neglegenter senesceret incredibiliter
bellus cathedras, utcunque tremulus agricolae imputat ossifragi,
quamquam pessimus adlaudabilis matrimonii circumgrediet Medusa,
quod utilitas saburre fermentet tremulus catelli. Utilitas apparatus bellis
circumgrediet tremulus catelli, ut saetosus syrtes senesceret cathedras.
Apparatus bellis praemuniet Pompeii, iam perspicax umbraculi circum-
grediet pretosius syrtes. Catelli vocificat parsimonia matrimonii,
quamquam apparatus bellis corrumperet adfabilis zothecas. Umbraculi
conubium santet concubine, iam vix pretosius cathedras satis comiter
agnascor fiducia suis, etiam agricolae circumgrediet catelli, semper chi-
rographi divinus iocari fragilis quadrupei, quamquam saburre agnascor
optimus parsimonia catelli, quod quadrupei amputat saburre.
Incredibiliter utilitas umbraculi corrumperet saetosus chirographi, etiam
cathedras amputat plane adlaudabilis rures, iam oratori praemuniet con-
cubine, quod quadrupei spinosus corrumperet incredibiliter verecundus
chirographi.
.......Parsimonia apparatus bellis conubium santet concubine. Caesar
deciperet utilitas cathedras, semper apparatus bellis fermentet rures.
Umbraculi circumgrediet Aquae Sulis, et rures plane libere senesceret
Octavius, ut apparatus bellis miscere verecundus umbraculi. Saburre
frugaliter insectat optimus utilitas umquadrupei, quod saburre pessimus
libere adquireret chirographi.
.......Fiducia suis agnascficat parsimonia oratori. Apparatus bellis fortiter
imputat oratori. Bellus fiducia suis conubium santet umbraculi, quod
chirographi iocari syrtes, quamqusyrtes. Saburre insectat quadrupei,
quod adlaudabilis cathedras iocari pessimus fragilis catelli. Chirographi
miscere catelli, semper agricolae insectat Augustus. Apparatus bellis
libere corrumperet ossifragi. Oratori deciperet rures, et parsimonia syrtes
verecunde praemuniet agricolae, etiam adlaudabilis zothecas spinosus
insectat lascivius quadrupei. Apparatus bellis deciperet utilitas saburre.
Vix adlaudabilis rures verecunde miscere Caesar. Fragilis oratori imputat
fiducia suis, et satis adfabilis quadrupei spinosus deciperet incredibiliter
tremulus agricolae. or gulosus appara
ONTENT
p
e
o
p
l
e
G U I D E T O C O N T E N T D E V E L O P M E N T A N D M A N A G E M E N T
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
May/June 1999 CONTENT
7
CONTENT May/June 1999
6
Compiled by the editors of Content, the Content 40 List
recognizes the companies we have identified as market
leaders and technology innovators in content creation,
knowledge, media asset, brand and e-commerce
management systems.
D
R
.
D
O
U
G

E
N
G
E
L
B
A
R
T

p
e
o
p
l
e
"We know where our
organization is today.
How do we take it
forward as a market
leader? How do we
chart our future as
a high-performance
organization? What
technologies, practices,
and strategies will be
needed to support us?
How can we accelerate
our adoption of these
capabilities? What are
the initiatives we should
be undertaking now?
Next year? Who are
the leaders in these
innovations? What are
our competitors doing?"
Bootstrap Institute (510) 713-3550 info@bootstrap.org Visit http://www.bootstrap.org/
Dr. Doug Engelbart,
Bootstrap Institute
founder and director,
has an unparalleled
30-year track record
in predicting, designing,
and implementing the
future of organizational
computing. From his early
vision of turning organi-
zations into augmented
knowledge workshops,
he went on to pioneer
what is now known as
collaborative hypermedia,
knowledge management,
community networking,
and organizational trans-
formation.
Dr. Engelbarts well-known
technological firsts include
the mouse, display editing,
windows, cross-file edit-
ing, outline processing,
hypermedia, and group-
ware. Integrated proto-
types were in full opera-
tion under the NLS sys-
tem, as early as1968. In
the last decade of its con-
tinued evolution, thou-
sands of users have bene-
fited from its unique
team support capabilities.
Integrating intellectual and creative
functions, Intelligence and Knowledge
Technologies enhance ones meta-
cognitive focus capacities. They can:
help you find and filter information;
take command of it; and then amplify
dynamically updated personalized
meta-modeled worldviews. Increasing
computing and network power, the
Internet, and advanced software appli-
cations driven by the global entertain-
ment studios, broadcast/cable net-
works, and innovative web content
publishers will soon provide scaleable
services that will deliver the added
personal or corporate mental band-
width to execute multiple concurrent
creative, technical, business, and edu-
cational decisions functions.
We define Intelligence Technologies
as those technologies controlling,
from the executive POVthe minds
managerial levelstrategic vision,
and specific operations of the intellect.
Knowledge Technologies expand
beyond these to include the manage-
ment of the consciousness of an indi-
vidual or an organization, addressing
concentration, focus, and imaging
mechanisms. These systems support
conscious creation of the various states
of mind more likely to be receptive
to learning, creativity, collaboration,
communication, or other endeavors.
With advances in a synergistic group
of interoperating fields and the power
of the Internet, we now have the oppor-
tunity to develop and create the tools
of empowered intelligence and make
the words, sounds and images of
humanities collective media archives
available to everyone. The fields of
electronic commerce, education,
entertainment, information science,
medicine, and publishing now work
to understand, share, and leverage
each others knowledge markup
languages and meta-database models.
Now positioned to generate a qualita-
tive array of knowledge augmentation
technologies, content creation and
design, search and retrieval, network
communications, and systems analysis
can be applied in the enhancement
of intelligence for teaching, creative,
interactive management, marketing,
and other critical functions.
Content supports Dr. Engelbart and
the Bootstrap Institute Partners, and
recognizes the importance of their
commitment to innovation, collabora-
tive intelligence and high-performance
knowledge cultivation. Your support
and participation may have far reach-
ing benefits, while providing a connec-
tion with other content world profes-
sionals. We encourage you to con-
tribute your voice to the enhancement
and development of these shared
visions, and help influence the future
of creativity, education, and enterprise
on the Internet.
The Bootstrap Alliance is a set of collaborative forums,
programs and technologies designed to advance our
understanding of the knowledge-based high-performance
future. Subscribing organizations explore areas of self-
defined interest and need related to their own internal
development of high-performance capabilities.
Bootstrap Intelligence
by Lou CasaBianca
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
p
e
o
p
l
e
gricolae agnascor vix saetosus apparatus bellis, semper Octavius ampu-
tat ossifragi. Fiducia suis conubium santet agricolae.
Apparatus bellis iocari adlaudabilis concubine, iam aegre pretosius rures
verecunde praemuniet syrtes, quamquam perspicax umbraculi insectat
Pompeii. Pretosius zothecas spinosus agnascor chirographi, ut incredi-
biliter perspicax umbraculi aegre neglegenter senesceret incredibiliter
bellus cathedras, utcunque tremulus agricolae imputat ossifragi,
quamquam pessimus adlaudabilis matrimonii circumgrediet Medusa,
quod utilitas saburre fermentet tremulus catelli. Utilitas apparatus bellis
circumgrediet tremulus catelli, ut saetosus syrtes senesceret cathedras.
Apparatus bellis praemuniet Pompeii, iam perspicax umbraculi circum-
grediet pretosius syrtes. Catelli vocificat parsimonia matrimonii,
quamquam apparatus bellis corrumperet adfabilis zothecas. Umbraculi
conubium santet concubine, iam vix pretosius cathedras satis comiter
agnascor fiducia suis, etiam agricolae circumgrediet catelli, semper chi-
rographi divinus iocari fragilis quadrupei, quamquam saburre agnascor
optimus parsimonia catelli, quod quadrupei amputat saburre.
Incredibiliter utilitas umbraculi corrumperet saetosus chirographi, etiam
cathedras amputat plane adlaudabilis rures, iam oratori praemuniet con-
cubine, quod quadrupei spinosus corrumperet incredibiliter verecundus
chirographi.
.......Parsimonia apparatus bellis conubium santet concubine. Caesar
deciperet utilitas cathedras, semper apparatus bellis fermentet rures.
Umbraculi circumgrediet Aquae Sulis, et rures plane libere senesceret
Octavius, ut apparatus bellis miscere verecundus umbraculi. Saburre
frugaliter insectat optimus utilitas umquadrupei, quod saburre pessimus
libere adquireret chirographi.
.......Fiducia suis agnascficat parsimonia oratori. Apparatus bellis fortiter
imputat oratori. Bellus fiducia suis conubium santet umbraculi, quod
chirographi iocari syrtes, quamqusyrtes. Saburre insectat quadrupei,
quod adlaudabilis cathedras iocari pessimus fragilis catelli. Chirographi
miscere catelli, semper agricolae insectat Augustus. Apparatus bellis
libere corrumperet ossifragi. Oratori deciperet rures, et parsimonia syrtes
verecunde praemuniet agricolae, etiam adlaudabilis zothecas spinosus
insectat lascivius quadrupei. Apparatus bellis deciperet utilitas saburre.
Vix adlaudabilis rures verecunde miscere Caesar. Fragilis oratori imputat
fiducia suis, et satis adfabilis quadrupei spinosus deciperet incredibiliter
tremulus agricolae. or gulosus appara
ONTENT
p
e
o
p
l
e
G U I D E T O C O N T E N T D E V E L O P M E N T A N D M A N A G E M E N T
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
Company Product(s)) Markets URL Comments/News Technologies
1 Adware Systems, Inc. AdVisual 2.0 MarCom www.adware.com Integrates with IBM Digital Library
2 Avid Technology, Inc. Media Composer/OMM B&E/MarCom www.avid.com Leader in non-linear editing suites
3 Banta Integrated Media Bmedia MarCom www.banta-im.com Product formerly called Centrus
4 BroadVision, Inc. One-to-One E-Commerce www.broadvision.com
Rapid development for Internet, intranet, and extranet
environments
5 The Bulldog Group Two.Zero B&E/Publishing www.bulldog.ca
Sony Pictures Entertainment has acquired minority
interest in the company
6 Canto Software Cumulus 4.0 Publishing/Graphic Arts www.canto.com More than 100,000 licenses sold
7 Cascade Systems MediaSphere Publishing www.cascadenet.com
Integrates with Cascades workflow and advertising
and catalog planning products
8 Cinebase Software. Inc. Cinebase2 B&E www.cinebase.com Recently closed $9 million in financing
9 Comparisonics Corp. Comparisonics B&E www.comparisonics.com Sound matching, search and retrieval technology
10 CyberStar CyberStar Fortune 1000/B&E www.cyberstar.com IP-satellite broadband content distribution
11 Digital Lava VideoVisor, vPrism
MarCom/Distance
Learning
www.digitallava.com
Video publishing solution that integrates with leading
relational databases
12 EDS MediaVault Fortune 1000 www.eds.com/mediavault
Integrated with Versants database and Excaliburs
RetrievalWare technology
13 Excalibur Technologies
Screening Room
Video Analysis Engine
B&E/Fortune 1000 www.excalib.com
Content analysis engines are integrated with a variety
of leading products
14 Extensis Portfolio 4.0 Publishing www.extensis/portfolio Adds new client/server capabilities
15 IBM
IBM Digital Library
DB2 Universal Database
B&E/Fortune 1000 www.ibm.com/is/dig-lib/ Advanced middleware/content management platform
16 Imagine Products
The Executive Producer
ImageMine
B&E/Fortune 1000 www.imagineproducts.com
Separate archiving, media asset management, data-
base software product geared for 1000s of tapes
17 Informix Software Dynamic Server/Correlate
B&E/Fortune
1000/Publishing
www.informix.com
Advanced object-relational database and content man-
agement application
18 Inso MediaBank Publishing www.inso.com Sold to Inso by Bitstream
19 Islip Media, Inc. MediaSite B&E/Fortune 1000 www.islip.com
New MediaSite.net Web site delivers search, preview
and purchase of audio and video
20 Jazz Media Network Jazz Media Network MarCom/B&E www.jazzmedianetwork.com
High-bandwidth digital distribution and collaboration
system
21 Magnifi, Inc. Marketbase MarCom www.magnifi.com Marom supply chain automation system
22 Mate Visionary B&E/Fortune 1000 email: info@mate.co.il Video analysis engine born from military technology
23 MediaWay MediaAssets 2.0 MarCom www.mediaway.com Optimized for distributed marketing organizations
24 MuscleFish SoundFisher B&E www.musclefish.com Content-based retrieval engine for digital audio
25 NCompass Labs Resolution Web publishing www.ncompasslabs.com
Integrates Web publishing, authoring, design,
and management
26 Oracle Oracle8/8i Fortune 1000/B&E/ www.oracle.com Leading object-relational database management system Publishing
27 Perspecta Perspecta 3.0 Fortune 1000/B&E/ www.perspecta.com Suite of technologies, tools, and professional services Publishing
28 Quark QuarkDMS Publishing www.quark.com
Based on an Oracle8 backend, integrates with Quarks
leading DTP content production tool
29
Qwest Communications
Intl., Inc.
Macro-capacity Fiber
Network
Fortune 1000/B&E www.qwest.com
High-bandwidth content distribution over IP-based
fiber network
30 Silicon Graphics Inc. StudioCentral Library Fortune 1000/B&E www.sgi.com
Provides in an open development environment
and scaleable client/server systems
31 Sybase Studio Warehouse Fortune 1000/B&E www.sybase.com
Specializes in an open development environment
and client/server systems
32 Speer WorldWide Digital [services] Fortune 1000/B&E www.swwdc.com
Specializes in online and near-line digital storage
and distribution systems
33 The Stibo Group STEP Fortune 1000/B&E www.stibo.com
Provides a media neutral, single source solution for the
effective reuse or repurposing of product information
34 TeamToolz TeamToolz MarCom www.teamtoolz.com
Archives information, streamlines communication
and facilitates project management
35 Thomson Consulting TEAMS Fortune 1000/ www.teams.thomtech.com
Now partnered with Virage to integrate video search
technology
MarCom
36 Vignette Corporation StoryServer 4
Web publishing/e-com-
merce
www.vignette.com
New Syndication Server enables the exchange of digital
products across a network of partners and affiliates
37 Virage
VideoLogger and
AudioLogger
B&E www.virage.com
Compaq recently acquired a 10 percent interest in the
company
38 Vyvx [network services] B&E/Advertising www.vyvx.com
Now merged with Williams, provides content transmis-
sion services over its 18,000-mile fiber network
39 Wam!Net Wam!Net/Wam!Base Graphic Arts/Medical/B&E www.wamnet.com
Content collaboration and distribution network,
packaged as a monthly service
40 WebWare MAMBO MarCom/Publishing/ www.wexbwarecorp.com
Media asset management and workflow services for
e-business
Manufacturing
May/June 1999 CONTENT
7
CONTENT May/June 1999
6
Compiled by the editors of Content, the Content 40 List
recognizes the companies we have identified as market
leaders and technology innovators in content creation,
knowledge, media asset, brand and e-commerce
management systems.
D
R
.
D
O
U
G

E
N
G
E
L
B
A
R
T

p
e
o
p
l
e
"We know where our
organization is today.
How do we take it
forward as a market
leader? How do we
chart our future as
a high-performance
organization? What
technologies, practices,
and strategies will be
needed to support us?
How can we accelerate
our adoption of these
capabilities? What are
the initiatives we should
be undertaking now?
Next year? Who are
the leaders in these
innovations? What are
our competitors doing?"
Bootstrap Institute (510) 713-3550 info@bootstrap.org Visit http://www.bootstrap.org/
Dr. Doug Engelbart,
Bootstrap Institute
founder and director,
has an unparalleled
30-year track record
in predicting, designing,
and implementing the
future of organizational
computing. From his early
vision of turning organi-
zations into augmented
knowledge workshops,
he went on to pioneer
what is now known as
collaborative hypermedia,
knowledge management,
community networking,
and organizational trans-
formation.
Dr. Engelbarts well-known
technological firsts include
the mouse, display editing,
windows, cross-file edit-
ing, outline processing,
hypermedia, and group-
ware. Integrated proto-
types were in full opera-
tion under the NLS sys-
tem, as early as1968. In
the last decade of its con-
tinued evolution, thou-
sands of users have bene-
fited from its unique
team support capabilities.
Integrating intellectual and creative
functions, Intelligence and Knowledge
Technologies enhance ones meta-
cognitive focus capacities. They can:
help you find and filter information;
take command of it; and then amplify
dynamically updated personalized
meta-modeled worldviews. Increasing
computing and network power, the
Internet, and advanced software appli-
cations driven by the global entertain-
ment studios, broadcast/cable net-
works, and innovative web content
publishers will soon provide scaleable
services that will deliver the added
personal or corporate mental band-
width to execute multiple concurrent
creative, technical, business, and edu-
cational decisions functions.
We define Intelligence Technologies
as those technologies controlling,
from the executive POVthe minds
managerial levelstrategic vision,
and specific operations of the intellect.
Knowledge Technologies expand
beyond these to include the manage-
ment of the consciousness of an indi-
vidual or an organization, addressing
concentration, focus, and imaging
mechanisms. These systems support
conscious creation of the various states
of mind more likely to be receptive
to learning, creativity, collaboration,
communication, or other endeavors.
With advances in a synergistic group
of interoperating fields and the power
of the Internet, we now have the oppor-
tunity to develop and create the tools
of empowered intelligence and make
the words, sounds and images of
humanities collective media archives
available to everyone. The fields of
electronic commerce, education,
entertainment, information science,
medicine, and publishing now work
to understand, share, and leverage
each others knowledge markup
languages and meta-database models.
Now positioned to generate a qualita-
tive array of knowledge augmentation
technologies, content creation and
design, search and retrieval, network
communications, and systems analysis
can be applied in the enhancement
of intelligence for teaching, creative,
interactive management, marketing,
and other critical functions.
Content supports Dr. Engelbart and
the Bootstrap Institute Partners, and
recognizes the importance of their
commitment to innovation, collabora-
tive intelligence and high-performance
knowledge cultivation. Your support
and participation may have far reach-
ing benefits, while providing a connec-
tion with other content world profes-
sionals. We encourage you to con-
tribute your voice to the enhancement
and development of these shared
visions, and help influence the future
of creativity, education, and enterprise
on the Internet.
The Bootstrap Alliance is a set of collaborative forums,
programs and technologies designed to advance our
understanding of the knowledge-based high-performance
future. Subscribing organizations explore areas of self-
defined interest and need related to their own internal
development of high-performance capabilities.
Bootstrap Intelligence
by Lou CasaBianca
p
r
o
j
e
c
t
s
8
9
p
r
o
j
e
c
t
s
p
r
o
j
e
c
t
s
B
B
C
C
A
S
E
S
T
U
D
Y
CONTENT May/June 1999 May/June 1999 CONTENT
8
A software consultancy that works closely with
media businesses understands not only the
development of user-friendly databases and
high-impact websites, but also the complex
business issues involved in managing the rights,
sales, tracking, and distribution of content.
This is why any company looking to its media
assets or its content creation process on the
Internet, and wondering where the opportunities
lie, is right to examine the situation carefully.
The non-linear nature of the web offers new
solutions to old problems. Websites can have
many "front doors." Messages can be conveyed
in numerous creative waysin URL names, for
instance, as well as in animations, rollovers,
secondary windows, or scrolling text. Constructing
a website is more like building a museumyou
can put rooms, windows, doors, and wall hangings
anywhere you like.

A new, grand medium that combines all the others


broadcast, print, the Internetinto one new medium,
like some kind of Grand Unification Theory.

by Martin Schecter
Content
Systems
Developers
There will be
a continuing and
growing demand for
MAM (Media Asset
Management) custom
software consultancies
and digital content
management systems
integrators to work
closely with media
businesses, under-
standing not only
the development
of user-friendly
catalogs, databases
and high-impact
websites, but also
the complex business
issues involved
in integrating the
management of
rights, sales, tracking,
and the distribution
of content.
Martin Schecter serves as
a partner and co-founder
of Juxta Media LLC
(www.jmedia.com),
a Manhattan-based
software and new media
consulting firm specializing
in the global media
industries. In addition
to spearheading web
development for the BBC,
Juxta develops websites
and CD-ROMs for
companies such as IBM,
AT&T, Hearst, Armani, the
Smithsonian, John Wiley
& Sons, and HarperCollins.
! marty@jmedia.com
bbcfootage.com
Profile
The story of the
British
Broadcasting
Corporations (BBC)
stock footage unit,
Library Salesand
how Juxta Media
LLC helped the BBC
turn the Internet
and the Web into an
essential component
of their television
and film stock
sales business
L
ets look at the digital
content delivery systems
of the future. Two things
seem certain: (1) that more and
more people will contribute to
the process of creating content
(directors, writers, actors,
musicians, producers, program-
mers and e-commerce managers);
and (2) no matter what kind
of delivery systemtelevision,
theater, radio, computerall
content, other than the live
performance, will ultimately be
digital, and that this possibility
will place even more importance
on our rules for digital content
management.
Protocols and architectures
determine where content is to
be delivered, to whom, in what
ways, and in what form. Its only
logical to assume that the future
business of content will depend
on how well we characterize
and track metadatainformation
about the contents creation,
classification, and e-commerce.
A quarter of all customers sending
inquiries to BBC Library Sales
now come through the website.
A single one of these deals is
more than the entire investment
the BBC has made to build and
promote the website and inte-
grate it with their operations.
The design we eventually chose
combines the goal of branding
individually themed libraries, i.e.,
Stock Visions for natural history,
and News, with the goal of giving
Library Sales a consistent look
across all mediaprint advertising
and banner advertising as well.
The non-linear nature of the web
lets us take advantage of having
four "front doors" instead of
onea main homepage with
a general message, and then
a page with messages for each
of the libraries. Each design, while
distinct, carries across the look
and feel of the whole site.
BBCs website offers customers instant access
to information, without the need to wait for
researchers to get back to them. This is why
its become so popular over the last year. The
number of in-house producers using the BBC's
website to search for footage has increased
from 600 to1600 a month.
1800
1600
1400
1200
1000
800
600
400
October
1997
April
1998
September
1998
January
1999
Users searching website per month
a
Total server hits per month.
b
Total pages served per month.
c
Total number of distinct hosts (IP addresses) visiting site per month.
d
Distinct hosts using search engine (based on weekly total).
e
Monthly total of distinct userssome users may send multiple requests.
f
Average number of distinct hosts viewing website per day based on
weekly stats.
Data not available.
Hits
a
Page Vviews
b
Website Users
c
Search Engine
Users
d
Users Requesting
Footage
e
Average Users
Per Day
f
January 1999 213,700 69,862 8000 1,600 59 317
September 1998 1,150 51
April 1998 92,940 4,298 1,837 859 24 65
October 1997 23,128 3,888 1,340 620 47
Growth of all traffic on bbcfootage.com
BBC Library Sales Banner Ads
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
p
r
o
j
e
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t
s
8
9
p
r
o
j
e
c
t
s
p
r
o
j
e
c
t
s
B
B
C
C
A
S
E
S
T
U
D
Y
CONTENT May/June 1999 May/June 1999 CONTENT
8
A software consultancy that works closely with
media businesses understands not only the
development of user-friendly databases and
high-impact websites, but also the complex
business issues involved in managing the rights,
sales, tracking, and distribution of content.
This is why any company looking to its media
assets or its content creation process on the
Internet, and wondering where the opportunities
lie, is right to examine the situation carefully.
The non-linear nature of the web offers new
solutions to old problems. Websites can have
many "front doors." Messages can be conveyed
in numerous creative waysin URL names, for
instance, as well as in animations, rollovers,
secondary windows, or scrolling text. Constructing
a website is more like building a museumyou
can put rooms, windows, doors, and wall hangings
anywhere you like.

A new, grand medium that combines all the others


broadcast, print, the Internetinto one new medium,
like some kind of Grand Unification Theory.

by Martin Schecter
Content
Systems
Developers
There will be
a continuing and
growing demand for
MAM (Media Asset
Management) custom
software consultancies
and digital content
management systems
integrators to work
closely with media
businesses, under-
standing not only
the development
of user-friendly
catalogs, databases
and high-impact
websites, but also
the complex business
issues involved
in integrating the
management of
rights, sales, tracking,
and the distribution
of content.
Martin Schecter serves as
a partner and co-founder
of Juxta Media LLC
(www.jmedia.com),
a Manhattan-based
software and new media
consulting firm specializing
in the global media
industries. In addition
to spearheading web
development for the BBC,
Juxta develops websites
and CD-ROMs for
companies such as IBM,
AT&T, Hearst, Armani, the
Smithsonian, John Wiley
& Sons, and HarperCollins.
! marty@jmedia.com
bbcfootage.com
Profile
The story of the
British
Broadcasting
Corporations (BBC)
stock footage unit,
Library Salesand
how Juxta Media
LLC helped the BBC
turn the Internet
and the Web into an
essential component
of their television
and film stock
sales business
L
ets look at the digital
content delivery systems
of the future. Two things
seem certain: (1) that more and
more people will contribute to
the process of creating content
(directors, writers, actors,
musicians, producers, program-
mers and e-commerce managers);
and (2) no matter what kind
of delivery systemtelevision,
theater, radio, computerall
content, other than the live
performance, will ultimately be
digital, and that this possibility
will place even more importance
on our rules for digital content
management.
Protocols and architectures
determine where content is to
be delivered, to whom, in what
ways, and in what form. Its only
logical to assume that the future
business of content will depend
on how well we characterize
and track metadatainformation
about the contents creation,
classification, and e-commerce.
A quarter of all customers sending
inquiries to BBC Library Sales
now come through the website.
A single one of these deals is
more than the entire investment
the BBC has made to build and
promote the website and inte-
grate it with their operations.
The design we eventually chose
combines the goal of branding
individually themed libraries, i.e.,
Stock Visions for natural history,
and News, with the goal of giving
Library Sales a consistent look
across all mediaprint advertising
and banner advertising as well.
The non-linear nature of the web
lets us take advantage of having
four "front doors" instead of
onea main homepage with
a general message, and then
a page with messages for each
of the libraries. Each design, while
distinct, carries across the look
and feel of the whole site.
BBCs website offers customers instant access
to information, without the need to wait for
researchers to get back to them. This is why
its become so popular over the last year. The
number of in-house producers using the BBC's
website to search for footage has increased
from 600 to1600 a month.
1800
1600
1400
1200
1000
800
600
400
October
1997
April
1998
September
1998
January
1999
Users searching website per month
a
Total server hits per month.
b
Total pages served per month.
c
Total number of distinct hosts (IP addresses) visiting site per month.
d
Distinct hosts using search engine (based on weekly total).
e
Monthly total of distinct userssome users may send multiple requests.
f
Average number of distinct hosts viewing website per day based on
weekly stats.
Data not available.
Hits
a
Page Vviews
b
Website Users
c
Search Engine
Users
d
Users Requesting
Footage
e
Average Users
Per Day
f
January 1999 213,700 69,862 8000 1,600 59 317
September 1998 1,150 51
April 1998 92,940 4,298 1,837 859 24 65
October 1997 23,128 3,888 1,340 620 47
Growth of all traffic on bbcfootage.com
BBC Library Sales Banner Ads
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
t
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F E A T U R E : M E D I A A S S E T M A N A G E M E N T P R I M E R
Overview
This primer explains how to produce more creative
content and generate higher profits from strategic
management of existing video libraries and digital
media-related projects. It proposes the review of a
suite of business process reengineering models
designed to help support the possible leveraging of
digital production and workflow data by-products of
work-for-hire projects into internal metadata and
commercial media assets. While media assets can
generate increased revenues in their own right, the
metadatadata about datamay in fact prove to be
the most valuable element in the digital continuum.
The insight from management of this knowledge can
be used to increase ROI (Return On Investment) and
margins for your company, while generating intellec-
tual property rights that independent or entrepre-
neurially minded creative professionals can re-use,
sell or license into the commercial, entertainment,
and/or educational media markets.
MEDIA ASSET
MANAGEMENT PRIMER
by Lou CasaBianca
The Content Media Asset
Management Primer, aims
to define and report on
the advanced end-user
strategies for the
integration of digital media
content management
systems for the advertising,
brand, broadcast, cable,
motion picture, video post
production, and visual
effects industries.
SEVEN KEY REASONS TO MANAGE
YOUR DIGITAL MEDIA ASSETS
CENTRALIZE DIGITAL COLLECTION
OF RE-USABLE MEDIA.
CATALOG THESE MEDIA AS ASSETS
FOR QUICK RETRIEVAL.
COORDINATE WORKFLOW OF
ASSETS THROUGH THE STAGES OF
DIGITAL CREATION, PRODUCTION
AND DISTRIBUTION.
PRESERVE AESTHETIC OR COMMER-
CIAL VALUE, USING ONLINE STYLE
GUIDES FOR BRAND MANAGEMENT
CONSISTENCY.
GIVE MANAGEMENT ABILITY TO
CONTROL THE FLOW OF MEDIA
IN VARIOUS WORKS IN PROGRESS.
PREVENT UNAUTHORIZED USE
OF CONTENT, RESTRICTING ACCESS
TO AUTHORIZED PERSONNEL.
REDUCE COSTS AND LOGISTICAL
PROBLEMS ASSOCIATED WITH
RIGHTS MANAGEMENT, PERMIS-
SIONS, LICENSING, AFFILIATE
RELATIONS, AND MERCHANDISING
LICENSES.
CONTENT May/June 1999
10
May/June 1999 CONTENT
11
For film, video, DVD, and web content
creation and production companies
and postproduction facilities owners
and managers, this primer can help
organize a strategy for increasing the
valuation of their business. It can be
used to show potential investors
and business partners how cataloged
media assets and intelligent studio
workflow methods accelerate content
production cycle time, increase rev-
enue per employee, and increase busi-
ness valuation above traditional ROI
business model annual revenue lev-
els. Informed managers will invite
employees to become limited stake-
holders by supporting their active par-
ticipation in creating and managing
media assets for enterprise-wide
application. For creative and produc-
tion professionals, this primer lays out
an approach to maximize their time
spent in creative activities and leverage
the content and data sources theyve
already produced. They can improve
the quality of their work through better
content creation and production
management practices and tools
generating improved efficiencies and
content assets to create value in addi-
tional revenues and higher profits.
For content creation companies and
video production service providers
already involved in or considering
integrating media asset management
systems, this primer articulates possi-
ble strategies for maximizing return-
on-investment. We advocate system-
atically cataloging video and digital
media files (produced in-house or in
work-for-hire client projects) along
with capturing and dynamically
sharing metadata with the purpose of
reexpressing content and leveraging
the intrinsic knowledge in related
business data in future projects. This
means that video production compa-
nies, now integrating digital media
and web production capabilities, will
begin to recognize the inherent value
represented in their production pro-
jects and media vaults. Within every
project, there are any number of
media assets, ranging from company
logos and color palettes, to audio and
video clips that can be re-purposed as
creative content.
That same project may have other
media assets, ranging from generic
video, audio, to computer graphics
and photography that can be
reexpressed as cross-media content
for use on the web or DVD projects.
Additionally, metadata such as EDLs
and compression tables, as well as
unstructured data like business pro-
posals, budgets, and competitive
analysis support the automation of
knowledge-driven apps used in man-
aging enterprise-wide marketing,
brand, and sales automation systems.
In the development of original media
for content creation companies we
emphasize organizing an environ-
ment that allows designers and editors
to participate as stakeholders in the
upside potential from the reexpression
of assets and optimization of work-
flow strategies in other departments
and divisions.
We also underscore the development
of strategies designed to support
retaining appropriate intellectual
property rights for select video and
digital media files, having first negoti-
ated with a client or content provider,
and later selling the idea of a license
to use these assets to new clients.
Best practice users content strategies
help define how specific content
elements will also be used in branding
products on their Internet website,
and as graphic source hyperlinked
material for the use in sales, marketing,
and training CD ROM/DVDs. Media
asset management protects the
economic value of re-usable or
reexpressible media. In order to man-
age and protect their media assets,
owners must:
Invest in the integration of their
content creation systems and media
assets.
Develop policies that ensure that
their content exists in the most
reusable form.
Organize content and metadata in
a media asset management system.
Automate the flow of content within
projects and across client and
supply chains.
Competitive Strategies
At the center of media asset-driven
business strategyhow to make
more money from content manage-
mentrests the systematic re-use
and reexpression of new and
pre-existing media. To execute this
strategy, the creative firm will need
to invest in technology and a set pro-
cedures and policies for media asset
management.
Industry research demonstrates that
a media-producing firm or heavy
media-using enterprise (e.g., broad-
cast production company), can realize
an 8 to 14 times return-on-investment
over its first three years using a media
asset management system. For work-
groups, a media database can save
hundreds of hours per person over a
three-year period, resulting in signifi-
cant net savings and increased pro-
duction cycles.
These kinds of returns now make
investment in a media asset manage-
ment system a fiduciary responsibility.
In effect, to ignore or delay deploying
some form of media asset supervision
could constitute a breach of manage-
ment responsibility.
The strategic application of media asset management systems builds shareholder value,
showing investors and potential corporate partners how reexpressible media assets and
leveraged metadata can help create competitive advantage in delivering faster cycles,
lower costs, license revenues, and boost valuation of their companies.
P
R
I
M
E
R
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
t
e
c
h
n
o
l
o
g
y
m
e
d
i
a

a
s
s
e
t

m
a
n
a
g
e
m
e
n
t

p
r
i
m
e
r
t
e
c
h
n
o
l
o
g
y
F E A T U R E : M E D I A A S S E T M A N A G E M E N T P R I M E R
Overview
This primer explains how to produce more creative
content and generate higher profits from strategic
management of existing video libraries and digital
media-related projects. It proposes the review of a
suite of business process reengineering models
designed to help support the possible leveraging of
digital production and workflow data by-products of
work-for-hire projects into internal metadata and
commercial media assets. While media assets can
generate increased revenues in their own right, the
metadatadata about datamay in fact prove to be
the most valuable element in the digital continuum.
The insight from management of this knowledge can
be used to increase ROI (Return On Investment) and
margins for your company, while generating intellec-
tual property rights that independent or entrepre-
neurially minded creative professionals can re-use,
sell or license into the commercial, entertainment,
and/or educational media markets.
MEDIA ASSET
MANAGEMENT PRIMER
by Lou CasaBianca
The Content Media Asset
Management Primer, aims
to define and report on
the advanced end-user
strategies for the
integration of digital media
content management
systems for the advertising,
brand, broadcast, cable,
motion picture, video post
production, and visual
effects industries.
SEVEN KEY REASONS TO MANAGE
YOUR DIGITAL MEDIA ASSETS
CENTRALIZE DIGITAL COLLECTION
OF RE-USABLE MEDIA.
CATALOG THESE MEDIA AS ASSETS
FOR QUICK RETRIEVAL.
COORDINATE WORKFLOW OF
ASSETS THROUGH THE STAGES OF
DIGITAL CREATION, PRODUCTION
AND DISTRIBUTION.
PRESERVE AESTHETIC OR COMMER-
CIAL VALUE, USING ONLINE STYLE
GUIDES FOR BRAND MANAGEMENT
CONSISTENCY.
GIVE MANAGEMENT ABILITY TO
CONTROL THE FLOW OF MEDIA
IN VARIOUS WORKS IN PROGRESS.
PREVENT UNAUTHORIZED USE
OF CONTENT, RESTRICTING ACCESS
TO AUTHORIZED PERSONNEL.
REDUCE COSTS AND LOGISTICAL
PROBLEMS ASSOCIATED WITH
RIGHTS MANAGEMENT, PERMIS-
SIONS, LICENSING, AFFILIATE
RELATIONS, AND MERCHANDISING
LICENSES.
CONTENT May/June 1999
10
May/June 1999 CONTENT
11
For film, video, DVD, and web content
creation and production companies
and postproduction facilities owners
and managers, this primer can help
organize a strategy for increasing the
valuation of their business. It can be
used to show potential investors
and business partners how cataloged
media assets and intelligent studio
workflow methods accelerate content
production cycle time, increase rev-
enue per employee, and increase busi-
ness valuation above traditional ROI
business model annual revenue lev-
els. Informed managers will invite
employees to become limited stake-
holders by supporting their active par-
ticipation in creating and managing
media assets for enterprise-wide
application. For creative and produc-
tion professionals, this primer lays out
an approach to maximize their time
spent in creative activities and leverage
the content and data sources theyve
already produced. They can improve
the quality of their work through better
content creation and production
management practices and tools
generating improved efficiencies and
content assets to create value in addi-
tional revenues and higher profits.
For content creation companies and
video production service providers
already involved in or considering
integrating media asset management
systems, this primer articulates possi-
ble strategies for maximizing return-
on-investment. We advocate system-
atically cataloging video and digital
media files (produced in-house or in
work-for-hire client projects) along
with capturing and dynamically
sharing metadata with the purpose of
reexpressing content and leveraging
the intrinsic knowledge in related
business data in future projects. This
means that video production compa-
nies, now integrating digital media
and web production capabilities, will
begin to recognize the inherent value
represented in their production pro-
jects and media vaults. Within every
project, there are any number of
media assets, ranging from company
logos and color palettes, to audio and
video clips that can be re-purposed as
creative content.
That same project may have other
media assets, ranging from generic
video, audio, to computer graphics
and photography that can be
reexpressed as cross-media content
for use on the web or DVD projects.
Additionally, metadata such as EDLs
and compression tables, as well as
unstructured data like business pro-
posals, budgets, and competitive
analysis support the automation of
knowledge-driven apps used in man-
aging enterprise-wide marketing,
brand, and sales automation systems.
In the development of original media
for content creation companies we
emphasize organizing an environ-
ment that allows designers and editors
to participate as stakeholders in the
upside potential from the reexpression
of assets and optimization of work-
flow strategies in other departments
and divisions.
We also underscore the development
of strategies designed to support
retaining appropriate intellectual
property rights for select video and
digital media files, having first negoti-
ated with a client or content provider,
and later selling the idea of a license
to use these assets to new clients.
Best practice users content strategies
help define how specific content
elements will also be used in branding
products on their Internet website,
and as graphic source hyperlinked
material for the use in sales, marketing,
and training CD ROM/DVDs. Media
asset management protects the
economic value of re-usable or
reexpressible media. In order to man-
age and protect their media assets,
owners must:
Invest in the integration of their
content creation systems and media
assets.
Develop policies that ensure that
their content exists in the most
reusable form.
Organize content and metadata in
a media asset management system.
Automate the flow of content within
projects and across client and
supply chains.
Competitive Strategies
At the center of media asset-driven
business strategyhow to make
more money from content manage-
mentrests the systematic re-use
and reexpression of new and
pre-existing media. To execute this
strategy, the creative firm will need
to invest in technology and a set pro-
cedures and policies for media asset
management.
Industry research demonstrates that
a media-producing firm or heavy
media-using enterprise (e.g., broad-
cast production company), can realize
an 8 to 14 times return-on-investment
over its first three years using a media
asset management system. For work-
groups, a media database can save
hundreds of hours per person over a
three-year period, resulting in signifi-
cant net savings and increased pro-
duction cycles.
These kinds of returns now make
investment in a media asset manage-
ment system a fiduciary responsibility.
In effect, to ignore or delay deploying
some form of media asset supervision
could constitute a breach of manage-
ment responsibility.
The strategic application of media asset management systems builds shareholder value,
showing investors and potential corporate partners how reexpressible media assets and
leveraged metadata can help create competitive advantage in delivering faster cycles,
lower costs, license revenues, and boost valuation of their companies.
P
R
I
M
E
R
e
n
v
i
r
o
n
m
e
n
t
s
13
Viewpoint DataLabs
International, Inc.,
A wholly-owned
subsidiary of
Computer Associates
International, Inc.
(NYSE: CA), Viewpoint
creates and publishes
the world's largest
library of 3D digital
content. Company
serves over 5,000
customers in cable,
advertising, broadcast,
entertainment, visual
simulation, corporate
communications, and
computer-based
training.
Viewpoint provides
high-level custom
modeling services
in developing digital
effects for films,
television programs,
advertisements,
games and Web sites.
12
e
n
v
i
r
o
n
m
e
n
t
s
CONTENT May/June 1999
C
O
N
T
E
N
T
S
T
U
D
I
O
ISLANDIA, N.Y., October 29, 1998Computer Associates
International, Inc. (CA) today announced the acquisition
of privately-held Viewpoint DataLabs International, Inc.
(Viewpoint).
Game Development Images
Model Bank Images
Viewpoint DataLabs Industry Partners
Viewpoint DataLabs
12,5003D Models
[17 Image Categories]
!Air Transport
! Anatomy
! Animals
! Architecture
! Characters
! Electronics
! Geography
! Ground Transport
! Household
! Industrial
! Military
! Miscellaneous
! Occupational
! Space
! Sports & Hobbies
! Vegetation
! Water Transport
PRODUCTS & SERVICES
! Creative Services
Polygonal, NURBS
and real-time 3D
models, photoreal-
istic texture maps
! Software Utilities
Interchange File
Translation System
40 3D file formats
! 3D Software Plug-ins
for leading animation
systems
! Desktop Visual
Communicators via
LiveArt Desktop
Illustration Software
Viewpoint DataLabs custom 3D models play starring and
supporting roles in award-winning special effects in popular
feature films such as Antz, Air Force One, Armageddon,
Godzilla, Starship Troopers, Titanic and many others.
Customers include major entertainment creative studios:
Digital Domain, DreamWorks SKG, Industrial Light & Magic,
and PDI; broadcast companies including ABC, CBS, CNN,
Fox, NBC; and corporations such as Boeing, Intel, General
Motors, Lockheed Martin and Microsoft.
by Lou CasaBianca
AN OVERVIEW OF
COMPUTER ASSOCIATES
(CA) BUSINESS UNIT,
VIEWPOINT DATALABSAND
HOW VIEWPOINT FUNCTIONS
AS THE LEADING
3D CONTENT CREATION AND
DIGITAL STOCK HOUSE.
Images from ANTZ provided courtesy
of PDI and DreamWorks.
All rights reserved and copyright
of the respective copyright holders.
Mars, The Moon and Deep space
backgrounds
Images from "Evolution" provided
courtesy of Crossover Technologies.
Dolphin rendering from Model Bank
provided courtesy of Viewpoint DataLabs.
May/June 1999 CONTENT
e
n
v
i
r
o
n
m
e
n
t
s
www.viewpoint.com
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
Joining Computer Associates enables us
to significantly accelerate our ability to
deliver comprehensive content, creative
service and software solutions to a wide
range of visual communicators.
Martin Plaehn,
Chairman and CEO of Viewpoint.
Interchange
TM
5.0
3D File Translation System
3D Content Management Tool
An important innovation coming
soon from Viewpoint DataLabs:
Interchange 5.0, the latest version of the companys
software tool for converting 3D models across
more than 40 different file formats. Interchange 5.0
provides new format support for LightWave, and
a new engine which makes content manipulation
and file translation faster, easier and more efficient.
Includes new editing features, texture conversion
capabilities and an enhanced graphical interface.
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
Game Developers such as Acclaim, Accolade,
Activision, Spectrum Holobyte, Electronic
Arts, GTE Interactive, NovaLogic Ocean,
OddWorld Inhabitants, Sega, Sierra On-Line,
and Time Warner Interactive draw on
Viewpoints digital production talents: fast,
accurate modeling of characters and props
for their popular action games.
Mars_400
Luna400
Starrysky
Archer
Antzla
Stonehenge
images and animation have moved
from games and feature film on to
the web and into business applications. Emerging
3D environments and KUIs (Knowledge User
Interfaces) will merge content creation, media
asset, and business and e-commerce integration.
These systems will access unstructured data such
as presentations, budgets, with audio and video
catalogers, and very large distributed databases.
As they become integrated across content studio
value chains, we will see the emergence of digital
content sharing partnerships and e-commerce
media asset solutions.
Viewpoint DataLabs serves as an example of the
successful application of best practice techniques
and content creation and management systems
designed to facilitate custom 3D production,
while providing more transparent access to high-
quality digital content.
e
n
v
i
r
o
n
m
e
n
t
s
13
Viewpoint DataLabs
International, Inc.,
A wholly-owned
subsidiary of
Computer Associates
International, Inc.
(NYSE: CA), Viewpoint
creates and publishes
the world's largest
library of 3D digital
content. Company
serves over 5,000
customers in cable,
advertising, broadcast,
entertainment, visual
simulation, corporate
communications, and
computer-based
training.
Viewpoint provides
high-level custom
modeling services
in developing digital
effects for films,
television programs,
advertisements,
games and Web sites.
12
e
n
v
i
r
o
n
m
e
n
t
s
CONTENT May/June 1999
C
O
N
T
E
N
T
S
T
U
D
I
O
ISLANDIA, N.Y., October 29, 1998Computer Associates
International, Inc. (CA) today announced the acquisition
of privately-held Viewpoint DataLabs International, Inc.
(Viewpoint).
Game Development Images
Model Bank Images
Viewpoint DataLabs Industry Partners
Viewpoint DataLabs
12,5003D Models
[17 Image Categories]
!Air Transport
! Anatomy
! Animals
! Architecture
! Characters
! Electronics
! Geography
! Ground Transport
! Household
! Industrial
! Military
! Miscellaneous
! Occupational
! Space
! Sports & Hobbies
! Vegetation
! Water Transport
PRODUCTS & SERVICES
! Creative Services
Polygonal, NURBS
and real-time 3D
models, photoreal-
istic texture maps
! Software Utilities
Interchange File
Translation System
40 3D file formats
! 3D Software Plug-ins
for leading animation
systems
! Desktop Visual
Communicators via
LiveArt Desktop
Illustration Software
Viewpoint DataLabs custom 3D models play starring and
supporting roles in award-winning special effects in popular
feature films such as Antz, Air Force One, Armageddon,
Godzilla, Starship Troopers, Titanic and many others.
Customers include major entertainment creative studios:
Digital Domain, DreamWorks SKG, Industrial Light & Magic,
and PDI; broadcast companies including ABC, CBS, CNN,
Fox, NBC; and corporations such as Boeing, Intel, General
Motors, Lockheed Martin and Microsoft.
by Lou CasaBianca
AN OVERVIEW OF
COMPUTER ASSOCIATES
(CA) BUSINESS UNIT,
VIEWPOINT DATALABSAND
HOW VIEWPOINT FUNCTIONS
AS THE LEADING
3D CONTENT CREATION AND
DIGITAL STOCK HOUSE.
Images from ANTZ provided courtesy
of PDI and DreamWorks.
All rights reserved and copyright
of the respective copyright holders.
Mars, The Moon and Deep space
backgrounds
Images from "Evolution" provided
courtesy of Crossover Technologies.
Dolphin rendering from Model Bank
provided courtesy of Viewpoint DataLabs.
May/June 1999 CONTENT
e
n
v
i
r
o
n
m
e
n
t
s
www.viewpoint.com
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures. All Rights Reserved.
Joining Computer Associates enables us
to significantly accelerate our ability to
deliver comprehensive content, creative
service and software solutions to a wide
range of visual communicators.
Martin Plaehn,
Chairman and CEO of Viewpoint.
Interchange
TM
5.0
3D File Translation System
3D Content Management Tool
An important innovation coming
soon from Viewpoint DataLabs:
Interchange 5.0, the latest version of the companys
software tool for converting 3D models across
more than 40 different file formats. Interchange 5.0
provides new format support for LightWave, and
a new engine which makes content manipulation
and file translation faster, easier and more efficient.
Includes new editing features, texture conversion
capabilities and an enhanced graphical interface.
M A Y / J U N E 1 9 9 9 P R E V I E W I S S U E
Game Developers such as Acclaim, Accolade,
Activision, Spectrum Holobyte, Electronic
Arts, GTE Interactive, NovaLogic Ocean,
OddWorld Inhabitants, Sega, Sierra On-Line,
and Time Warner Interactive draw on
Viewpoints digital production talents: fast,
accurate modeling of characters and props
for their popular action games.
Mars_400
Luna400
Starrysky
Archer
Antzla
Stonehenge
images and animation have moved
from games and feature film on to
the web and into business applications. Emerging
3D environments and KUIs (Knowledge User
Interfaces) will merge content creation, media
asset, and business and e-commerce integration.
These systems will access unstructured data such
as presentations, budgets, with audio and video
catalogers, and very large distributed databases.
As they become integrated across content studio
value chains, we will see the emergence of digital
content sharing partnerships and e-commerce
media asset solutions.
Viewpoint DataLabs serves as an example of the
successful application of best practice techniques
and content creation and management systems
designed to facilitate custom 3D production,
while providing more transparent access to high-
quality digital content.
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures All Rights Reserved
r
e
s
o
u
r
c
e
s
May/June 1999 CONTENT
15
r
e
s
o
u
r
c
e
s
I
N
T
E
R
F
A
C
E
CONTENT May/June 1999
14
r
e
s
o
u
r
c
e
s
R E S O U R C E D I R E C T O R Y : A U D I O , M U S I C , F I L M , V I D E O , 3 D & O B J E C T S
by Barry Hampe
Sourcing Stock Footage

American Time Lapse, Inc. - you can see exam-


ples of time-lapse and special effects online.
Web site: http://www.timelapse.com
e-mail: stock@timelapse.com
Archive Films and Archive Photos - supplier of
historical stock footage and photography, film
clips, and news photos.
Web site: http://www.archivephotos.com
e-mail: Contact through the web site
BBC Library Sales - stock footage, containing
over 500 million feet of film, video, television
broadcast, and sound recordings.
Web site: http://www.bbcfootage.com
e-mail: New York: nyls@bbcfootage.com
Toronto: tols@bbcfootage.com
Los Angeles: lals@bbcfootage.com
London: lols@bbcfootage.com
Cascom International, Inc. - specializing in spe-
cial effects, stock footage, and archival footage
for video and multimedia producers.
Web site: http://www.cascom.com
e-mail: cascom@ibm.net
Cinenet Cinema Network, Inc. - film and video
imagery available in all formats.
Web site: http://www.cinenet.com
e-mail: cinenet@pacbell.net
F.I.L.M. Archives- supplies TV/film/video/
multimedia producers, news organizations
and ad agencies with stock footage in all
film and videotape formats.
Web site: www.fastimages.com
e-mail: info@fastimages.com
Footage: the Worldwide Moving Image
Sourcebook - guide to moving image sources
worldwide, featuring over 2,000 U.S. sources
and 1,000 international sources.
Web site: http://www.footagesources.com
e-mail: info@footagesources.com
Footage Factory - a wide range of custom
images.
Web site: http://members.aol.com/
footagenow/footagenow.html
e-mail: footagenow@aol.com
FOOTAGE.net - serves as a directory for many
different stock footage sources.
Web site: http://www.footage.net
e-mail: info@FOOTAGE.net
Global Village Stock Footage - provides
footage from collections around the world.
Web site: http://www.videosource.com
e-mail: footage@videosource.com
Mediasite.Net Stock Footage Library -
provides instant online access to hundreds
of hours of stock footage.
Web site: http://www.mediasite.net
e-mail: info@mediasite.net (see illustration)
King Visual Technology - a professional photo-
graphic lab offering NASA and National Archive
image photographic libraries.
Web site: http://www.kvt.com
e-mail: info@kvt.com
Library of Congress and National Archives,
Library of Congress Motion Picture
Broadcasting and Recorded Sound Division
Web site: http://lcweb.loc.gov/rr/mopic/
National Archives and Records Administration
(NARA)
Web site: http://www.nara.gov
Producers Library Service - provides 16mm and
35mm stock footage to professional filmmakers.
Web site: http://www.filmfootage.com
e-mail: stockftg@primenet.com
The Source Stock Footage Library -
international collection of time-lapse, scenic,
destination, and elemental stock footage.
Web site: http://www.sourcefootage.com
e-mail: Requests@sourcefootage.com
Stock Footage Cooperative - virtual stock
footage library.
Web site: http://www.stockfootagecoop.com
StockShots - collection of film and video
stock images.
Web site: http://www.stockshots.com
e-mail: stephanie@stockshots.com
Video Tape Library, Ltd. - VTL houses one of
the most comprehensive collections in the
world and offers unbeatable client service.
Web site: http://www.videotapelibrary.com
e-mail: vtl@videotapelibrary.com
Wild Life Unlimited Foundation, Inc. - offering
wildlife videos as well as stock footage.
Web site: http://www.wildlifevideo.com
e-mail: wolf@wildlifevideo.com
D
I
G
I
T
A
L

S
T
O
C
K
Reexpression of
liquified content
will be seen as the
eco-digital equivalent
of the imperative
to recycle to protect
the information
environment.
The integrated digital
media production and meta-
content demands of the
broadcast networks; over
a dozen new cable channels;
the global movie studios;
Internet webcasting; and
interactive DVD content
delivery channels have
increased commercial need
and interest in producing,
providing and buying digital
stock footage.
Use of stock media can
provide an inexpensive alter-
native to traditional produc-
tion budgets. A stock clip will
often be far less costly to
license than producing a given
critical film or video shot, or
having to generate a new 3D
or animation sequence.
Today, you have an excel-
lent chance of finding the
footage you need from
commercial, educational,
government, or private
sources. Be prepared to pay
from $15 to $300 or more
per second for limited com-
mercial use, usually with a
ten-second minimum, plus
a duplication and possible
search fee.
Media Asset Glossary
Content
Content constitutes inte-
grated, single and/or multi-
purposed digital media
assets and their related
process metadata, charac-
terized by the ability for
cost-effective reuse
and reexepression across
diversified communications
systems.
Content Creation
Content creation constitutes
integrated, crossmedia devel-
opment that may include
analog and/or digital media
in the form of text, photog-
raphy, audio, film, video
and/or computer code that
may or may not include
metadata.
Intellectual
Property
The ownership of ideas and
copyrights, including control
over the tangible or virtual
representation of those
ideas. Use of others intel-
lectual property may or may
not involve royalty pay-
ments or permission, and
should include proper credit
to the source.
Knowledge Assets
Knowledge assets represent
structured knowledge gar-
nered from the integrated
analysis of media asset,
metadata and workflow
management.
Media Asset
The term media asset
implies that analog and digi-
tal media files have innate
value. Their repurposing can
reduce production time and
add value to future con-
tent-driven projects. They
may also have added com-
mercial value, if a third party
will pay to use them. Media
assets have additional value
as intellectual property
expressed in original content.
Owners need to manage
their media assets; they
need to establish proce-
dures to protect them for
the extended enterprise.
Service bureaus need to
evolve ways to retain own-
ership or share in the upside
potential of the re-use of
non-branded content origi-
nally produced as client
work-for-hire.
Media Asset
Management
Media Asset Management
(MAM) constitutes the sys-
tematic and dynamic orga-
nization of digital media
files, digitized
proxies of analog media,
artifacts such as artwork,
props, scripts, etc., and
the related technological
and business metadata.
MAM systems enable duly
authorized individuals to
quickly find, retrieve, physically
locate, and/or route an
item to an authorized or
designated person or into
a workflow process.
Metadata
Metadata is definitional
data that provides informa-
tion about other data or
media managed within an
application or environment.
Metadata may describe the
characteristics, condition,
context, ownership and/or
quality of the data or
media.
Multi-purposed
Multi-purposed media
means that the producer,
designer or editor took
explicit steps to ensure
the future efficient re-use
or reexpression of media
assets and related metadata.
Re-use implies using a given
media element again, gen-
erally in the same medium,
e.g., industrial video content
re-used in a sales training
video.
Reexpression
Reexpression of content
emphasizes minor modifica-
tion of the relevant source
media for its expression
across two or more mediums,
enhancing it for each medium.
For example, a computer
graphics artist might create
a composite of a still photo-
graph, 2D graphics, and live
action video for use in
a broadcast television
commercial.
Repurposing
Repurposing, a lower level
of content and data source
media preparation, involves
a salvaging approach to
the re-use of a piece
of digital content whose
creator never intended
its subsequent re-use or
reexpression. Generally, this
results in inferior or
mediocre expression.
Workflow
The structured movement of
documents or media across
an organization
for purpose of performing
activities in a collaborative
process that includes cata-
loging, development, evalua-
tion, sign-off, and archiving.
Project / Program Master
Project Tech. / e-Business Metadata
Cross Media / Brand Content / Marketbase
Project / Program Media Files
Production Dept. / Business Unit Collection
Authoring / Digital Media / Intelligent Content Studios / Smart Objects /
All Data, Voice, and Media: Digital and Physical
Digital Archive / Repository / Information Systems / Networks
Customer Satisfaction / Branding / Direct Marketing / Legacy / Risk / Facilities
C
o
n
t
e
n
t
THE NEW META-CONTENT MODEL -1.9 MAMGROUP 1999 All rights reserved. www.mamgroup.org/model/licensing
Digital Media Files Accessible Desktop & WWW
Production Company / Corporate Mediabase
Distance Learning / WorkGroup / Project Management / Legacy / Risk / Facilities
M
e
t
a
-
A
s
s
e
t
s Intellectual Capital / IP
Copyrights / Licenses / Security
e-Commerce & Distribution
M
e
d
i
a

A
s
s
e
t
s
Knowledge
Workers
Knowledge
Systems
Knowledge
Engineering
Knowledge
Resources
Knowledge
Architecture
Knowledge
Management
interface people technology projects environments resources
Interactive Corp.
Knowledge Assets
Content Management
The NEW CONTENT
METAMODEL
Good
Will
Spiritual
Assets / Vision
1999 ContentWorld Publishing Ventures. All Rights Reserved. 1999 ContentWorld Publishing Ventures All Rights Reserved
r
e
s
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u
r
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s
May/June 1999 CONTENT
15
r
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s
I
N
T
E
R
F
A
C
E
CONTENT May/June 1999
14
r
e
s
o
u
r
c
e
s
R E S O U R C E D I R E C T O R Y : A U D I O , M U S I C , F I L M , V I D E O , 3 D & O B J E C T S
by Barry Hampe
Sourcing Stock Footage

American Time Lapse, Inc. - you can see exam-


ples of time-lapse and special effects online.
Web site: http://www.timelapse.com
e-mail: stock@timelapse.com
Archive Films and Archive Photos - supplier of
historical stock footage and photography, film
clips, and news photos.
Web site: http://www.archivephotos.com
e-mail: Contact through the web site
BBC Library Sales - stock footage, containing
over 500 million feet of film, video, television
broadcast, and sound recordings.
Web site: http://www.bbcfootage.com
e-mail: New York: nyls@bbcfootage.com
Toronto: tols@bbcfootage.com
Los Angeles: lals@bbcfootage.com
London: lols@bbcfootage.com
Cascom International, Inc. - specializing in spe-
cial effects, stock footage, and archival footage
for video and multimedia producers.
Web site: http://www.cascom.com
e-mail: cascom@ibm.net
Cinenet Cinema Network, Inc. - film and video
imagery available in all formats.
Web site: http://www.cinenet.com
e-mail: cinenet@pacbell.net
F.I.L.M. Archives- supplies TV/film/video/
multimedia producers, news organizations
and ad agencies with stock footage in all
film and videotape formats.
Web site: www.fastimages.com
e-mail: info@fastimages.com
Footage: the Worldwide Moving Image
Sourcebook - guide to moving image sources
worldwide, featuring over 2,000 U.S. sources
and 1,000 international sources.
Web site: http://www.footagesources.com
e-mail: info@footagesources.com
Footage Factory - a wide range of custom
images.
Web site: http://members.aol.com/
footagenow/footagenow.html
e-mail: footagenow@aol.com
FOOTAGE.net - serves as a directory for many
different stock footage sources.
Web site: http://www.footage.net
e-mail: info@FOOTAGE.net
Global Village Stock Footage - provides
footage from collections around the world.
Web site: http://www.videosource.com
e-mail: footage@videosource.com
Mediasite.Net Stock Footage Library -
provides instant online access to hundreds
of hours of stock footage.
Web site: http://www.mediasite.net
e-mail: info@mediasite.net (see illustration)
King Visual Technology - a professional photo-
graphic lab offering NASA and National Archive
image photographic libraries.
Web site: http://www.kvt.com
e-mail: info@kvt.com
Library of Congress and National Archives,
Library of Congress Motion Picture
Broadcasting and Recorded Sound Division
Web site: http://lcweb.loc.gov/rr/mopic/
National Archives and Records Administration
(NARA)
Web site: http://www.nara.gov
Producers Library Service - provides 16mm and
35mm stock footage to professional filmmakers.
Web site: http://www.filmfootage.com
e-mail: stockftg@primenet.com
The Source Stock Footage Library -
international collection of time-lapse, scenic,
destination, and elemental stock footage.
Web site: http://www.sourcefootage.com
e-mail: Requests@sourcefootage.com
Stock Footage Cooperative - virtual stock
footage library.
Web site: http://www.stockfootagecoop.com
StockShots - collection of film and video
stock images.
Web site: http://www.stockshots.com
e-mail: stephanie@stockshots.com
Video Tape Library, Ltd. - VTL houses one of
the most comprehensive collections in the
world and offers unbeatable client service.
Web site: http://www.videotapelibrary.com
e-mail: vtl@videotapelibrary.com
Wild Life Unlimited Foundation, Inc. - offering
wildlife videos as well as stock footage.
Web site: http://www.wildlifevideo.com
e-mail: wolf@wildlifevideo.com
D
I
G
I
T
A
L

S
T
O
C
K
Reexpression of
liquified content
will be seen as the
eco-digital equivalent
of the imperative
to recycle to protect
the information
environment.
The integrated digital
media production and meta-
content demands of the
broadcast networks; over
a dozen new cable channels;
the global movie studios;
Internet webcasting; and
interactive DVD content
delivery channels have
increased commercial need
and interest in producing,
providing and buying digital
stock footage.
Use of stock media can
provide an inexpensive alter-
native to traditional produc-
tion budgets. A stock clip will
often be far less costly to
license than producing a given
critical film or video shot, or
having to generate a new 3D
or animation sequence.
Today, you have an excel-
lent chance of finding the
footage you need from
commercial, educational,
government, or private
sources. Be prepared to pay
from $15 to $300 or more
per second for limited com-
mercial use, usually with a
ten-second minimum, plus
a duplication and possible
search fee.
Media Asset Glossary
Content
Content constitutes inte-
grated, single and/or multi-
purposed digital media
assets and their related
process metadata, charac-
terized by the ability for
cost-effective reuse
and reexepression across
diversified communications
systems.
Content Creation
Content creation constitutes
integrated, crossmedia devel-
opment that may include
analog and/or digital media
in the form of text, photog-
raphy, audio, film, video
and/or computer code that
may or may not include
metadata.
Intellectual
Property
The ownership of ideas and
copyrights, including control
over the tangible or virtual
representation of those
ideas. Use of others intel-
lectual property may or may
not involve royalty pay-
ments or permission, and
should include proper credit
to the source.
Knowledge Assets
Knowledge assets represent
structured knowledge gar-
nered from the integrated
analysis of media asset,
metadata and workflow
management.
Media Asset
The term media asset
implies that analog and digi-
tal media files have innate
value. Their repurposing can
reduce production time and
add value to future con-
tent-driven projects. They
may also have added com-
mercial value, if a third party
will pay to use them. Media
assets have additional value
as intellectual property
expressed in original content.
Owners need to manage
their media assets; they
need to establish proce-
dures to protect them for
the extended enterprise.
Service bureaus need to
evolve ways to retain own-
ership or share in the upside
potential of the re-use of
non-branded content origi-
nally produced as client
work-for-hire.
Media Asset
Management
Media Asset Management
(MAM) constitutes the sys-
tematic and dynamic orga-
nization of digital media
files, digitized
proxies of analog media,
artifacts such as artwork,
props, scripts, etc., and
the related technological
and business metadata.
MAM systems enable duly
authorized individuals to
quickly find, retrieve, physically
locate, and/or route an
item to an authorized or
designated person or into
a workflow process.
Metadata
Metadata is definitional
data that provides informa-
tion about other data or
media managed within an
application or environment.
Metadata may describe the
characteristics, condition,
context, ownership and/or
quality of the data or
media.
Multi-purposed
Multi-purposed media
means that the producer,
designer or editor took
explicit steps to ensure
the future efficient re-use
or reexpression of media
assets and related metadata.
Re-use implies using a given
media element again, gen-
erally in the same medium,
e.g., industrial video content
re-used in a sales training
video.
Reexpression
Reexpression of content
emphasizes minor modifica-
tion of the relevant source
media for its expression
across two or more mediums,
enhancing it for each medium.
For example, a computer
graphics artist might create
a composite of a still photo-
graph, 2D graphics, and live
action video for use in
a broadcast television
commercial.
Repurposing
Repurposing, a lower level
of content and data source
media preparation, involves
a salvaging approach to
the re-use of a piece
of digital content whose
creator never intended
its subsequent re-use or
reexpression. Generally, this
results in inferior or
mediocre expression.
Workflow
The structured movement of
documents or media across
an organization
for purpose of performing
activities in a collaborative
process that includes cata-
loging, development, evalua-
tion, sign-off, and archiving.
Project / Program Master
Project Tech. / e-Business Metadata
Cross Media / Brand Content / Marketbase
Project / Program Media Files
Production Dept. / Business Unit Collection
Authoring / Digital Media / Intelligent Content Studios / Smart Objects /
All Data, Voice, and Media: Digital and Physical
Digital Archive / Repository / Information Systems / Networks
Customer Satisfaction / Branding / Direct Marketing / Legacy / Risk / Facilities
C
o
n
t
e
n
t
THE NEW META-CONTENT MODEL -1.9 MAMGROUP 1999 All rights reserved. www.mamgroup.org/model/licensing
Digital Media Files Accessible Desktop & WWW
Production Company / Corporate Mediabase
Distance Learning / WorkGroup / Project Management / Legacy / Risk / Facilities
M
e
t
a
-
A
s
s
e
t
s Intellectual Capital / IP
Copyrights / Licenses / Security
e-Commerce & Distribution
M
e
d
i
a

A
s
s
e
t
s
Knowledge
Workers
Knowledge
Systems
Knowledge
Engineering
Knowledge
Resources
Knowledge
Architecture
Knowledge
Management
interface people technology projects environments resources
Interactive Corp.
Knowledge Assets
Content Management
The NEW CONTENT
METAMODEL
Good
Will
Spiritual
Assets / Vision
What is your organizations primary
business at your location?
(Check ONLY ONE response for this question)
! 01 Accounting
! 02 Aerospace/Aviation
! 03 Architecture/Engineering/Contracting
! 04 Advertising, Brand Management, Marketing, Public Relations
! 05 Dealer, Retailer, Distributor, VAR, VAD
(computer/multimedia related)
! 06 Design/Graphic Arts
! 07 Digital Content Creation/Production: Audio, Film,
Multimedia, Video
! 08 Education
! 09 Government
! 10 Health/Medical
! 11 Manufacturing (computer/multimedia-related computer/audio/video/
visual hardware, software, interactive games, peripherals)
! 12 Manufacturing (other)
! 13 Media: Broadcast
! 14 Media: Film
! 15 Media: Music
! 16 Media: Publishing
! 17 Media: Television
! 18 Other _________________________________________
(please specify)
What term best describes your job function?
(Check ONLY ONE response for this question)
! 19 Chairman/President/Owner/Partner
! 20 Vice President/General Manager
! 21 Director/Department Manager
! 22 Content Officer/Asset Manager
! 23 Database Director/Manager
! 24 Corporate Communications Executive
! 25 Technical Management and Engineering (including Video
Editor, Audio Engineer, Special Effects Supervisor, Technical Director)
! 26 Production Management (incl.Production Manager, Director,
Producer, Creative Director, Graphic Designer, Colorist, Photographer)
! 27 Audio/Music Recording/Production
! 28 Software Development/Engineering
! 29 Education/Training
! 30 Consulting
! 31 Other__________________________________________
(please specify)
Which of the following operating systems are
in use at entire location? (Check ALL that apply)
! 32 Windows 95/98
! 33 Windows NT
! 34 OS/2
! 35 MAC OS
On which formats do you deliver content?
(Check ALL that apply)
! 39 CD-ROM
! 40 DVD
! 41 Internet/WWW
! 42 Intranet(s)
! 43 Game cartridges
! 44 Kiosks
! 45 Film/Video/Audio (Motion Pictures, Cable/Broadcast TV, Corporate)
! 46 Film/Video: Corporate, Marketing, Training
! 47 Print
! 48 Other________________________________________
(please specify)
Which hardware products do you specify,
authorize, or recommend for purchase?
(Check ALL that apply)
! 49 PC-compatible Computers
! 50 Macintosh-compatible Computers
! 51 Workstations (NT or UNIX)
! 52 Servers (NT or UNIX)
! 53 High-speed Modems
! 54 Color and Presentation Monitors
! 55 LCD Projectors/Panels
! 56 Graphics Accelerators
! 57 CD, CD-ROM, DVD, Recorders/Players
! 58 Fixed/Removable Storage Drives/RAID/Mass Storage
! 59 Networking Servers/Routers/Hubs
! 60 Digital Cameras
! 61 Video, Motion Capture/Compression Boards, Editing/Effects
Hardware
! 62 Audio Capture Cards, Processing Effects, Mixing Boards,
Digital Workstations
! 63 MIDI Sequencers/Synthesizers
! 64 Scanners/Digitizers
! 65 Drawing Tablets
! 66 MPEG Encoders, Decoders
! 67 Video Tape Recorders
! 68 Digital Disk Recorders
! 69 Other_____________________________________
(please specify)
Which software products do you specify,
authorize, or recommend for purchase?
(Check ALL that apply)
! 70 2D Draw/Paint/Cel Animation
! 71 3D Modeling/Animation/Paint/Rendering
! 72 Authoring
! 73 Audio Recording/Editing
! 74 Audio/Video Media Servers
! 75 CD-ROM/DVD Recording
! 76 CD/DVD Formatting/Mastering
! 77 Content/Media Asset Management Suite
! 78 Database Management
! 79 Desktop Publishing/Electronic Publishing
! 80 Image Processing/Photo Enhancement
! 81 Internet Access Providers
! 82 Internet/Intranet Server Software
! 83 Media Asset Cataloging/Applications
! 84 MPEG Encoding, Decoding
! 85 Presentation
! 86 Programming Languages (Java, C, C++)
! 87 Simulation/Prototyping
! 88 Stock Media (images, sounds, models, textures)
! 89 Video Composition/Effects/Tilting
! 90 Video Editing
! 91 Web Publishing Tools/Web Browsers
! 92 Other ____________________________________
(please specify)
Please indicate which of the following best
describes your involvement in the purchase of
computer products and/or services.
(Check ALL that apply)
For Entire
For Department Organization
Determine needs/features ! 93 !98
Evaluate products/brands/services ! 94 !99
Specify/Recommend products/brands/services ! 95 !100
Authorize/Approve products/brands/services !96 !101
Not Involved !97 ! 102
Over the course of one year, what is the
worth of the products or services for which
you specify, recommend, approve or buy?
(Check ONLY ONE response for this question)
! 103 $5 million or more
! 104 $2.5 million to $4.9 million
! 105 $1 million to $2.4 million
! 106 $500,000 to $999,999
! 107 $250,000 to $499,999
! 108 $100,000 to $249,999
! 109 $50,000 to $99,999
! 110 $25,000 to $49,999
! 111 $24,999 or less
! 112 None of the above
How many employees are at your location
and your entire organization?
(Check ONE in each column)
Location Entire Organization
20,000 or more !113 !122
10,000-19,999 !114 !123
5,000-9,999 !115 !124
1,000-4,999 !116 !125
500-999 !117 !126
100-499 !118 !127
50-99 !119 !128
49-25 !120 !129
24 or less !121 !130
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