This talk proposal is about part of the work carried out in the context of the EU project MediaMi... more This talk proposal is about part of the work carried out in the context of the EU project MediaMixer. This project aim was to promote adoption of semantic technologies by the media industry. The proposal was based on a workflow enhanced by semantic technologies, as shown in Figure 1.
A method for managing requests (104) media data to a server (103) metadata, the method comprising... more A method for managing requests (104) media data to a server (103) metadata, the method comprising: receiving a request (104) media data from a client (106), receiving the request by a server (103 ) metadata in a distributed media network comprising a plurality of servers (109, 115, 121, 127) media data; retrieving metadata associated with the request (104) media data from a base (100) of meta data; and transmitting the metadata to the client (106) for use by the client (106) to locate a server (109, 115, 121, 127) media data to retrieve the media data; wherein said plurality of servers (109, 115, 121, 127) media data are separate and independently operated from the server (103) metadata; each of said data servers storing means and only a percentage of a total number of media data files available via the distributed media network; said meta data identifies at least two of the servers (109, 115, 121, 127) media data that can store and manage the requested media data; and said metadata...
The recording industry has begun selling and distributing its media assets online. Online music d... more The recording industry has begun selling and distributing its media assets online. Online music distribution is vastly different from the normal means of media distribution. These untested methods of music sales and distribution require experimentation in order to determine which business models and pricing tiers will most resonate with the consumer. This translates into the need of versatile and robust data models to enable these market trials. Copyright owners and media companies require well designed data structures to enable them to transmit and receive these complicated sets of business rules. This metadata is an essential part of an overall digital rights management system to control and limit access to the associated media assets.
The first part of the workflow is about automatic fragmentation of media assets to facilitate the... more The first part of the workflow is about automatic fragmentation of media assets to facilitate their reuse and repurposing, using the Media Fragments URI specification. These fragments are then semantically annotated during the second step of the workflow (using automatic, semiautomatic and manual approaches). Annotations are based on semantic data and existing vocabularies and ontologies. Finally, rights information is also attached to fragments. This information is also based on semantic technologies and the Copyright Ontology.
This talk proposal is about part of the work carried out in the context of the EU project MediaMi... more This talk proposal is about part of the work carried out in the context of the EU project MediaMixer. This project aim was to promote adoption of semantic technologies by the media industry. The proposal was based on a workflow enhanced by semantic technologies, as shown in Figure 1.
A method for managing requests (104) media data to a server (103) metadata, the method comprising... more A method for managing requests (104) media data to a server (103) metadata, the method comprising: receiving a request (104) media data from a client (106), receiving the request by a server (103 ) metadata in a distributed media network comprising a plurality of servers (109, 115, 121, 127) media data; retrieving metadata associated with the request (104) media data from a base (100) of meta data; and transmitting the metadata to the client (106) for use by the client (106) to locate a server (109, 115, 121, 127) media data to retrieve the media data; wherein said plurality of servers (109, 115, 121, 127) media data are separate and independently operated from the server (103) metadata; each of said data servers storing means and only a percentage of a total number of media data files available via the distributed media network; said meta data identifies at least two of the servers (109, 115, 121, 127) media data that can store and manage the requested media data; and said metadata...
The recording industry has begun selling and distributing its media assets online. Online music d... more The recording industry has begun selling and distributing its media assets online. Online music distribution is vastly different from the normal means of media distribution. These untested methods of music sales and distribution require experimentation in order to determine which business models and pricing tiers will most resonate with the consumer. This translates into the need of versatile and robust data models to enable these market trials. Copyright owners and media companies require well designed data structures to enable them to transmit and receive these complicated sets of business rules. This metadata is an essential part of an overall digital rights management system to control and limit access to the associated media assets.
The first part of the workflow is about automatic fragmentation of media assets to facilitate the... more The first part of the workflow is about automatic fragmentation of media assets to facilitate their reuse and repurposing, using the Media Fragments URI specification. These fragments are then semantically annotated during the second step of the workflow (using automatic, semiautomatic and manual approaches). Annotations are based on semantic data and existing vocabularies and ontologies. Finally, rights information is also attached to fragments. This information is also based on semantic technologies and the Copyright Ontology.
Uploads
Papers by Nick Sincaglia