Sony Pictures Television Media Management Consultancy

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Quote No.6247

Project Report

Version 1.0

Confidential

A. VERSION HISTORY

Date Author Role Description of Change Version 29/2/2012 Mark Hill Consultant First draft 0.1

1/3/2012 Mark Hill Consultant First draft 0.2

4/3/2012 Mark Hill Consultant First draft 0.3

4/3/2012 Mark Hill Consultant First draft supplied for preview 0.4

7/3/2012 Mark Hill Consultant Second draft 0.5

13/3/2012 Mark Hill Consultant Second draft 0.6

16/3/2012 Mark Hill Consultant Second draft 0.7

20/3/2012 Mark Hill Consultant Second draft supplied for 0.8 internal TSL QC 20/3/2012 Mark Hill Consultant Customer release 1.0

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B. TABLE OF CONTENTS

A. VERSION HISTORY ------2 B. TABLE OF CONTENTS ------3 C. EXECUTIVE SUMMARY ------6 D. INTRODUCTION ------7 E. PURPOSE AND SCOPE ------7 F. SONY PICTURES TV CHANNELS AND THEIR KEY FEATURES ------8 G. REVIEW OF CURRENT WORKFLOWS AND PROCESSES ------12

G.1 OVERVIEW ------12 G.2 COMMENTARY AGAINST CURRENT WORKFLOWS ------12 G.2.1 SPT Networks London CineShare (cineSHARE+) Traffic Workflow ------12 G.2.2 In House Ingest Workflow - SET UK since July 2011 (v 20 February 2012) ------13 G.2.3 Record / QC Report ------15 G.2.4 SET Russia Workflow ------15 G.2.5 SET Baltics Workflow ------16 G.2.6 Proposed SET Russia Workflow - 16 February 2012 ------17 G.2.7 SET Russia & Sci-Fi Russia Commercial Workflow------17 G.2.8 Sony Africa Workflow ------18 G.2.9 Sony MAX Africa Workflow ------18 G.2.10 SET Africa Commercial & Cross Promo Workflow ------18 G.2.11 AXN Germany Workflow ------19 G.2.12 Animax Germany Workflow ------19 G.2.13 German Commercial Workflow ------19 G.2.14 Russia / Germany / Africa Promo Workflow ------20 G.2.15 German VOD Workflow - AXN & ANIMAX ------20 G.2.16 AXN Sci-Fi Italy Workflow ------21 G.2.17 AXN Italy Workflow ------22 G.2.18 Italy / UK Promo Workflow ------22 G.2.19 Central Europe - Non-linear management workflows ------22 G.2.20 Sony Multi-platform systems diagram ------23 G.2.21 Presentation Items Workflow - UK Channels ------23 G.3 PLANNING AND SCHEDULING ------25 G.4 AIRTIME SALES ------25 H. POTENTIAL FOR IMPROVEMENT ------26

H.1 WORKFLOWS, PROCESSES AND CRUCIAL INTERFACES ------26 H.2 TECHNOLOGY INFRASTRUCTURE ------29 H.2.1 TV Planning and scheduling ------29 H.2.2 Videotape transports ------29 H.2.3 Craft edit environment ------29 H.2.4 Automated QC ------30 H.2.5 'Traffic Mac' ------31 H.2.6 Promotions production ------31 H.2.7 Dynamic graphics ------31 H.2.8 Networked, MAM-driven transcoding / transwrapping ------31

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I. MEDIA CENTRE SYNOPTIC ------33 J. VOLUMETRICS ------35

J.1 ARCHIVE / LIBRARY CONTENT ------35 J.2 NEW (FIRST-RUN) CONTENT FOR TV - OVERVIEW ------38 J.3 NEW (FIRST-RUN) CONTENT - DETAIL ------40 J.3.1 Programme content (for TV)------40 J.3.2 Programme content (for non-linear) ------45 J.3.3 Programme language localisation (CE channels) ------50 J.3.4 Programme subtitle localisation (CE channels) ------51 J.3.5 Commercials content ------53 J.3.6 Promotions content ------57 J.4 CONTENT FLOWS BETWEEN IN AND AROUND THE MEDIA CENTRE ------61 K. PROPOSED NEW WORKFLOWS AND PROCESSES ------67

K.1 PLANNING AND SCHEDULING ------67 K.2 AIRTIME SALES ------67 K.3 INGEST / IMPORT (CONTENT ACQUISITION) ------67 K.3.1 Programmes ------68 K.3.2 Commercials ------71 K.3.3 Promotions ------73 K.3.4 Graphics / VO (Presentation items) ------73 K.4 COMPLIANCE ------74 K.4.1 Programme Technical (QC) and Versioning ------74 K.4.2 Programme Editorial ------77 K.4.3 Commercials ------79 K.4.4 Promotions ------79 K.4.5 Graphics / VO (Presentation items) ------79 K.5 LOCALISATION ------80 K.5.1.1 Programme Languaging ------80 K.5.1.2 Programme Subtitling ------82 K.6 PROMOTIONS PRODUCTION ------84 K.7 PRESENTATION ITEMS PRODUCTION ------86 K.7.1 Voice-overs (VO) / Graphics / Dynamic graphics ------86 K.8 OUTGEST / EXPORT (DISTRIBUTION) ------88 K.8.1 Assets for TV channel playout ------88 K.8.2 Assets for non-linear delivery points ------89 L. TECHNOLOGY REQUIREMENTS FOR THE EUROPEAN MEDIA CENTRE ------91

L.1 DATA STORAGE ------91 L.2 CONTENT DELIVERY NETWORKS (CDNS) ------91 L.2.1 Input-side ------92 L.2.2 Work-in-progress ------92 L.2.3 Output-side ------92 L.3 DESKTOP IT ------92 L.4 FACILITIES AT THE MEDIA CENTRE ------93 L.4.1 Ingest / Import ------93 L.4.2 QC ------93 L.4.3 Video editing ------94 L.4.4 Audio editing ------94

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M. REVIEW OF SONY DEVELOPED MEDIA TOOLS ------94

M.1 EAGL - INPUT FROM GLEN MARZAN ------94 M.1.1 Role in future MAM ------96 M.2 TECH LOGGER - INPUT FROM JASON BRAHMS ------97 M.2.1 Role in future MAM ------98 M.3 OPINION ON OTHER MEDIA TOOLS BEING CONSIDERED ------99 M.3.1 Shotgun ------99 M.3.1.1 Role in future MAM ------100 M.3.2 Cantemo Portal DAM / MediaBox / Vidispine ------100 N. CHOOSING A MAM SOLUTION ------101 O. SPECIFIC MAM TOOLS FOR CONSIDERATION ------102

O.1 MAM PRODUCTS ------102 O.2 STORAGE PRODUCTS ------103 O.3 OTHER PRODUCTS ------103 O.3.1 Vision and sound monitoring equipment ------103 O.3.2 Quality Control hardware / software ------103 P. OTHER CONSIDERATIONS ------103

P.1 PROJECT-RELATED ------103 P.1.1 Staging ------103 P.1.2 Timescales ------104 P.1.3 Resources ------104 P.1.4 Budget ------104 P.2 ACCOMMODATION-RELATED ------104 P.2.1 Accommodation ------104 P.2.2 Power supply ------104 P.3 NETWORKS-RELATED ------105 P.4 STORAGE-RELATED ------105 P.5 OTHER DEPENDENCIES ------105 Q. CONCLUSIONS AND RECOMMENDATIONS ------106 R. APPENDICES ------107

R.1 SONY PICTURES TELEVISION SUPPLIED REFERENCE DOCUMENTS ------108 R.2 ACKNOWLEDGEMENTS ------129 R.3 ABOUT TELEVISION SYSTEMS LIMITED (TSL) ------129

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C. EXECUTIVE SUMMARY

TSL has studied the existing processes and workflows of the current SPTV operation and has identified a number of areas for potential improvement in connection with plans for a London-based Media Centre.

Sony Pictures Television has an unquestionable need for a enterprise-wide Media Asset Management (MAM) system to support future operations in and around its London-based Media Centre. In order to maximise the effectiveness of an overall MAM solution, new processes, workflows and technology will be required, necessitating significant changes to working practices within SPTV (including in the regions). Essential to the success of a MAM implementation at SPTV will be development of interfaces with programme planning and scheduling (including for non-linear platforms) and airtime sales systems.

TSL believes that Sony should look to the market for the MAM system it will require for the Media Centre and recommends that a specification and RFP is drawn-up as input to this process.

TSL has studied the key content volumetrics of the SPTV business and these (together with assumptions where data was not available) have been documented for use as a baseline for design of the Media Centre. Validation of metrics is recommended as part of the design process.

TSL has proposed a set of harmonised business processes and workflows suitable as a reference for the design of the Media Centre. These workflows will need to be adapted and further developed according to the specific MAM product selected and also in light of automation, content storage and replay technology chosen for Singapore.

TSL has reviewed the strengths and weaknesses of two internally developed software tools - 'Tech Logger' and 'EAGL'. While the tools are in many ways capable in themselves, their applicability to a role in the Media Centre is limited. TSL does not believe that either of these tools (or both together) lend themselves to development in an economical and timely manner to obviate the need for a commercial MAM product for the Media Centre. Tech Logger has some potential applicability in conjunction with a MAM system as a desktop tool for use in QC (detailed in the report). It is difficult to see the value-add that would be offered by EAGL with a MAM system.

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D. INTRODUCTION

Sony Pictures Television is in the process of instigating a project to consolidate its European region TV channel playout to a single facility based in Singapore. There will however be a centre for media manipulation, processing and ingest based in the Sony Pictures Television facility in Golden Square, London W1 (the "Media Centre").

The London-based Media Centre, will form the centre for content-handling operations for TV channels programmed from, initially, London followed by those from Budapest and Madrid in a staged roll-out. Timescales applicable to the Media Centre are such that it needs to be in- place and operating to support the go-live on playout of channels from Singapore, scheduled to commence on 1 August 2013 (shadow playout), with full live on 1 October 2013.

It is understood that as part of this function Sony Pictures Television wishes to evaluate certain creation distribution and management tools developed by internal resources for their suitability to form all or part of a Media Asset Management (MAM) system for the new operation.

Sony Pictures Television is also experiencing problems/issues with some of their existing content preparation, currently outsourced and wish to evaluate bringing that function in house within their facility in Golden Square, London.

E. PURPOSE AND SCOPE

The scope of the TSL project was defined at a high level as:

• To meet with the Sony Pictures stakeholders (Golden Square); • To review the processes, workflows and metrics of the current Sony Pictures Television European operation; • To review the strengths and weaknesses of the Sony-developed tools - Tech Logger and EAGL - and give an opinion as to their potential applicability within a future Sony Pictures Television Media Centre (MC); • To propose file-based processes and workflows for the MC; • To propose a supporting high level technology architecture for the MC; • To suggest particular technologies and tools for consideration as part of the design of the MC.

Television Systems Limited Confidential Page 7 of 130 Confidential Sony Pictures Television F. SONY PICTURES TV CHANNELS AND THEIR KEY FEATURES

The following table shows the portfolio of current SPTV channels, including planned expansion (where known):

HD / Brand Channel SD? +1? Languages Sub-titles Compliance Scheduling System Playout London Operations SET SET UK SD y English n OFCOM London Vision Arqiva (tba) SMC SD n English n OFCOM London Vision Encompass (tba) Men&Movies SD y English n OFCOM London Vision Encompass (tba) Movies4Men 2 SD y English n OFCOM London Vision Encompass Italian AXN AXN Italy HD&SD y Original n OFCOM (lite) London Provys Encompass Italian AXN AXN Italy Sci-Fi SD n Original n OFCOM (lite) London Provys Arqiva Russian Original AXN AXN Sci-Fi Russia SD n Ukrainian n OFCOM (lite) London Provys Encompass Russian SET SET Russia SD n Original n OFCOM (lite) London Vision Encompass Original MAX Max Africa SD n English English OFCOM (lite) London Vision Encompass Original SET SET Africa SD n English n OFCOM (lite) London Provys Encompass German ANIMAX Animax Germany SD n Original y OFCOM (lite) London Provys Encompass German AXN AXN Germany HD&SD n Original y OFCOM (lite) London Provys Encompass (tba) New German Ch (tba) (tba) (tba) (tba) OFCOM (lite) (tba) (tba) Encompass

Television Systems Limited Confidential Page 8 of 130 Confidential Sony Pictures Television (SET) AXN AXN Malta OFCOM (lite) (Levira) SET SET Moldova OFCOM (lite) (non-UK) SET SET Baltics OFCOM (lite) Vision (Levira) (tba) Expansion 1 (tba) Vision (tba) (tba) Expansion 2 (tba) Vision (tba) (tba) Expansion 3 (tba) Vision (tba) NON-LINEAR BIVL (non-TV: See non-linear) n/a tba

HD / Brand Channel SD? +1? Languages Sub-titles Compliance Scheduling System Playout Budapest Operations

Hungarian Czech Hungarian Romanian Czech, Bulgarian Polish, Polish Serbian Romanian, Croatian Bulgarian Slovenian AXN AXN HD&SD n Original Macedonian OFCOM Budapest Vision Encompass

Polish Polish AXN AXN Spin Poland HD&SD n Original English OFCOM Budapest Vision Encompass

Television Systems Limited Confidential Page 9 of 130 Confidential Sony Pictures Television Hungarian Czech, Polish, Hungarian Romanian, Bulgarian Bulgarian Romanian AXN AXN Crime SD n Original Czech Polish OFCOM Budapest Vision Encompass Hungarian Czech, Polish, Hungarian Romanian, Bulgarian Bulgarian Romanian AXN AXN Sci-Fi SD n Original Czech Polish OFCOM Budapest Vision Encompass

Hungarian, Czech, Hungarian, Romanian, Czech, AXN ANIMAX SD n Original Romanian OFCOM Budapest WhiteHorse Chello CE

HD / Brand Channel SD? +1? Languages Sub-titles Compliance Scheduling System Playout Iberia Operations AXN AXN Spain HD&SD CV/OV OPEN Madrid BCM v8 (Harris) SOGECABLE AXN AXN Portugal HD&SD OV PORTUGUESE Madrid BCM v8 (Harris) SOGECABLE SET SET Spain HD&SD CV/OV OPEN Madrid BCM v8 (Harris) SOGECABLE SET SET Portugal HD&SD OV PORTUGUESE Madrid BCM v8 (Harris) SOGECABLE AXN Black AXN Black Portugal HD&SD OV PORTUGUESE Madrid BCM v8 (Harris) SOGECABLE ANIMAX ANIMAX Spain SD CV/OV OPEN Madrid BCM v8 (Harris) SOGECABLE

Television Systems Limited Confidential Page 10 of 130 Confidential Sony Pictures Television Herzegovina Serbian Macedonian AXN AXN Adria SD ? Original Slovakian Madrid ? Encompass AXN AXN Sci-Fi Adria ? n ? ? Madrid ? Encompass (tba) (Mozambique) (tba) (tba) (tba) (tba) (tba) (tba) (tba) (tba) (Cap Verde) (tba) (tba) (tba) (tba) (tba) (tba) (tba)

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G. REVIEW OF CURRENT WORKFLOWS AND PROCESSES G.1 Overview The current workflows and processes have been presented to TSL by Sony Pictures Television essentially on a 'per channel' basis. Across the entire portfolio of channels - managed from the three European offices (London, Budapest and Madrid) - there are currently significant variations in business workflow and process based on factors such as:

• Where the channel is managed from • The extent to which the channel has already transitioned from tape- to file-base working • Whether the channel is localised, or not • The nature of the channels suppliers of content • The nature and number of the channels outsourced processors of content • The needs of the service providers' responsible for delivering the channels content to its audience • Whether the content under consideration is of type programmes, commercials, promotions etc • The extent of 'on-demand' and similar content outlets allied to the channel

A key objective for the Media Centre will be to harmonise workflows and processes across the Sony Pictures Television Europe region with a view to maximising operating efficiency, lowering operating costs and making the SPTV business more agile.

G.2 Commentary against current workflows G.2.1 SPT Networks London CineShare (cineSHARE+) Traffic Workflow CineShare is a Sony owned and operated system for the receipt, storage and distribution of file-based content. Together with supporting networks (a combination of leased private and public Internet) and storage, it forms the principal Content Delivery Network (CDN) used by Sony Pictures Television. The system is accessible over the public Internet using clients running any standard web browser.

Occupying such a pivotal position in supporting the supply chain, CineShare is a critical system for Sony Pictures' Television business.

Some 80% of programming for Sony Pictures TV channels is obtained by acquisition from sources outside of the Sony organisation. Many of the larger distributors prefer Sony (as a customer) to pull content from their file repositories. Some success has been had encouraging other (smaller) distributors to push content into Sony (using CineShare). It seems certain that the MAM system for the Media Centre will need to support both push and pull content acquisition models.

External users' of CineShare include suppliers of content - programmes, commercials and work in progress types (e.g. language tracks). Other external users' include service providers, such as those responsible for production of localised audio tracks and subtitles. Content sent out to service providers for ultimate distribution of content to the audience, e.g.

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TV channel playout and VOD platform providers do not in the main use CineShare. Instead, dedicated FTP drop-boxes are in operation.

Internal users of CineShare are principally those responsible for the receipt, checking and trafficking of content between other users'.

CineShare was introduced as a managed, single point replacement for what were previously multiple, individual FTP drop-box arrangements. CineShare makes use of Aspera accelerated file transmission technology for content transactions between some users.

The current absence of an identifiable, unified enterprise MAM system means that CineShare is at present used as a manual, stand-alone tool. CineShare is liked for its simplicity, which arises from it not requiring any metadata to be entered on the part of users to successfully upload, store, move and download content. Its web-based user interface is clean and, being based on display of folders in a tree-like structure, familiar to users of standard desktop computer file management software.

There have been recent examples where CineShare has been used so intensively that the total network bandwidth between Sony US and Sony UK has become saturated with content traffic.

G.2.2 In House Ingest Workflow - SET UK since July 2011 (v 20 February 2012) Sony Pictures moved to a tapeless content trafficking operations for its UK channel (SET UK) in mid-2011. The channel is now 99 % file-based. Remaining small volumes of videotape are ingested under contract by Encompass at the playout centre in Stephen Street, central London in the case of SD content, or at JCA in Acton, west London for HD content.

As its preferred delivery formats for file-based content, Sony Pictures Television in Europe has adopted the IMX30 / MXF OP1A format for encoding and wrapping of SD content and the XDCAM HD422 / MXF OP1A format for encoding and wrapping of HD content for the purposes of receipt of programmes from distributors and for playout. Both are fit-for-purpose, pragmatic choices for current linear TV operations and are well supported by production and broadcasting equipment. Many of the larger distributors however have their own 'mezzanine' formats for delivery of content and Sony has elected to work with these rather than attempt to compel distributors' to adopt its own standards.

The UK channel is subject to OFCOM compliance framework.

Following commercial deals, a planning grid is output from the Harris Vision system at TX- 6w, giving a period of 5 weeks for delivery and preparation of content until the deadline for receipt by the playout Centre of TX-1w (the playout centre cut-off for delivery of commercials content is TX-2d).

The whereabouts / status of content for the UK channel is tracked by means of a spreadsheet, seeded with data from the planning and scheduling system. This spreadsheet is updated by multiple users using the facilities of Google Docs. It is recognised that this system is not sustainable long-term.

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Programme content for the SET UK channel received in file-based form at Golden Square is transcoded (if delivery is not to the house standard for any reason) and re-wrapped to Apple QuickTime (for optimum compatibility with Apple Mac / Final Cut Pro) and saved to local performant, networked disk storage.

Distributor masters are subject to a 100% (viewed start to end) check for technical quality. This 100% policy is followed regardless of the supplier (distributor) of content and without consideration of their prior track-record.

This process is as follows: Incoming distributor content for review is loaded onto the timeline of an Apple Mac Pro workstation running Apple's Final Cut Pro 7 video editing software. This workstation is installed in an open-plan office area on the third floor of 25 Golden Square. The content is viewed through once by the QC operator/editor and technical compliance rough notes made. These notes are made on paper and only some are retained.

Vision monitoring / grading is carried out using a JVC DT-V24G1 video monitor. Video signal levels are monitored using 'soft' vectorscope / waveform monitor functionality, part of the Final Cut software.

Monitoring of sound is carried out using a pair of headphones. No external audio signal level / phase measurement equipment is employed. No specific loudness measurement is employed.

No formal flash and pattern (relevant to Photo Sensitive Epilepsy - PSE) analysis is carried out on the content, however scenes that could cause concern in this regard are noted and edited accordingly.

Gross problems that render the content unusable result in rejection of the content. Such rejection requests are communicated to Traffic department and result in a request for re- supply of content from the relevant programme distributor.

Minor problems are fixed by means of repairing (by means of edit operations) the programme content. Typically such repairs might include the adjustment of video levels through application of the broadcast filter tool within FCP. Use of such tools can require the edited content to be rendered, a process which takes significant time, especially when the content being worked on is High Definition (HD). Viewing, logging and repairing content is undertaken by an operator during normal office hours. Any rendering is now set up as a batch on the timeline and left to complete overnight.

Emerging from the technical compliance process is a technically acceptable, QC PASS, 'A' version master. Masters within Sony Pictures Television are required to be 'seamless', any 'hard parting' found in the distributor content being removed as part of the QC edit process. This A version master is stored in an atomised / elementary stream format - separate .m2v video and .wav audio tracks, with a QuickTime reference file - SPTV's chosen house standard for internally held / managed content.

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In advance of the QC process, Traffic will have notified details of the break pattern to be used with the 'A' master to the QC operator / editor. The operator / editor will identify optimum 'in' and 'out' points for the soft parts and records details of these on the free- standing, electronic Record / QC Report. Copies of these electronic reports are stored in a networked location, with a filename that is the same as the programmes 'MAT ID'. A text file containing details of 'in' and 'out' points is made by the QC operator / editor and passed to Traffic for input against the version created in Harris Vision.

The finished The 'A' version master is stored for subsequent re-use (re-editing).

If subsequent editorial versions of the programme are required (e.g. to accommodate pre- watershed or speeded up end credits requirements), the 'A' version is re-edited to create 'B', 'C' etc versions. A range of editing operations is employed to create these other versions. Separate text files of 'in' and 'out' points will be produced for these versions for input by the Traffic Team to Harris Vision.

The Traffic team will watch through any versions made to make sure that all required edits have been made. If satisfied, Traffic will award 'READY FOR TX' status, else further edits will be requested.

Finished versions are trans-wrapped from QuickTime to MXF to adhere to Sony Pictures house standard using an instance of FFmpeg transcoder.

Using the facilities of the 'Traffic Mac', finished versions are uploaded to CineShare for archiving purposes and also sent to the playout centre for the SET UK channel (Arqiva - Chalfont) using FTP. Future availability of Object Matrix spinning disk storage at Sony's London Docklands Data Centre will provide for storage of finished versions at this location also.

Occupying such a pivotal position in supporting the supply chain, the Traffic Mac workstation is a critical system for Sony Pictures' Television business.

G.2.3 Record / QC Report Current Record / QC Reports are free-standing documents. They are stored in a network location. The information recorded was noted to be rather sparse. Programme (soft) parting 'in' and 'out' point timecode information is noted on the report, but is input manually to Harris Vision manually from a separately provided text files.

G.2.4 SET Russia Workflow The current SET Russia workflow is part-videotape, part-file-based. Following the successful move to fully-file-based and in-house working for the content handling for the SET UK channel, it is intended that SET Russia become the next to move to this model.

Planning grids for SET Russia are issued at TX-8w in order to allow additional processing time for the process of programme localisation.

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For SET Russia, a limited amount of content is produced in-region (Magazine Shows). This content is made available in file-based form.

Tapes containing programme content and also file-based programme content are sent direct from the distributor to Deluxe 142 in London for a 100% QC. SPTV Traffic is notified of any content awarded QC FAIL status. File-based content transfers between distributors and Deluxe 142 are made using Smartjog / FTP and Aspera technology.

Despite SPTV's delivery requirements being quite specific, some variations are seen as to the formats supplied by distributors with file-based content for SET Russia. These variations are more frequent for SD content than for HD, with IMX50 and MPEG-2 long-GOP variants sometimes being received.

On successfully passing QC, Tapes are shipped to Encompass in London for ingest into their Pharos Mediator MAM system. Tapes are retained in storage at Encompass. File-based content that passes QC at Deluxe 142 is sent to Encompass, London, by means of FTP.

To address the need for localisation, for each item of programme content, the SPTV Traffic Team strikes by means of transcoding an MPEG-1 with Burnt In Time Code (BITC) browse proxy video file and extracts the original language version WAV file audio tracks (including Music & Effects - M&E). These files are uploaded to CineShare and notification as to their availability sent to SPT Moscow. SPT Moscow organise production of a Russian language audio track, returning a WAV file containing a full Russian Language mix to SPTV London Traffic via CineShare. SPTV performs no QC checking of produced language WAV files. Some very limited checking may be carried out pre-TX by Encompass, although this is invariably at too late a stage in the process of getting content to air if major issues are detected.

Some sub-titling of SET Russia channel is undertaken, with ST being produced in Moscow. The producer(s) of sub-title (ST) files take the same input files as are used for language localisation and return a ST file in .STL format via CineShare for onward distribution to Encompass. SPTV performs no QC checking of produced ST files. Some very limited checking may be carried out pre-TX by Encompass, although this is invariably at too late a stage in the process of getting content to air if major issues are detected.

The Russian language WAV is forwarded by Traffic to Encompass, London, for wrapping into the 'RFTX' (Ready for TX) file.

Magazine Show content is sent direct from the distributor to Encompass, London, by means of FTP.

G.2.5 SET Baltics Workflow SET Baltics is an opt-out channel from SET Russia. The opt-out is in terms of language localisation and is delivered through Levira, based in Estonia. The quantity of opted-out programming is significant.

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Similar to SET Russia, programme content for the Baltics channel currently comprises a mix of videotape and file-based. QC on programme content is handled by Prime Focus in London. On passing QC, programme content tapes and files are trafficked to Encompass, London, for input to Pharos Mediator MAM.

Some content is sourced from distributors in Russia. QC standards are sometimes relaxed on content sourced in Russia that has been aired on non-Sony channels previously on the basis of it having been proven 'fit for purpose'. Occasionally, such content will be of poor quality and will be rejected, requiring the sourcing of alternative, or replacement copies. On other occasions, content sourced from Russia will have only Russian language audio present, requiring that Sony has to retrieve the original language audio and organise this to be added to the programme master. Content required for the Baltics opt-out is required in SD only format.

Browse proxy and original language WAV files are made by Encompass and uploaded to CineShare. These are picked up by Funk & Pihel in Estonia and SDI Media in London.

Funk & Pihel are responsible for production of EPG listings in Latvian, Lithuanian and Estonian languages. SDI Media are responsible for production of the localised sub-title (ST) files in Latvian, Lithuanian and Estonian languages. EPG listings and ST are returned from the producers direct to Encompass, London via Signiant. A copy of the ST files is also uploaded to CineShare.

These ST files are returned from the producer to SPTV Traffic Team in London via CineShare.

G.2.6 Proposed SET Russia Workflow - 16 February 2012 The proposed SET Russia workflow (a development of the current to an interim in advance of the existence of the Media Centre) sees responsibility for handling file-based content from distributors move from Deluxe 142 to Sony Pictures Television Traffic Team at 25 Golden Square, London. Sony would thus undertake QC operations using processes similar to those used for SET UK channel and produce the proxy video / original language audio WAV files and send these to the language production houses.

Sony would also take on responsibility for checking the integrity and synchronisation of the returned Russian language WAV files and for wrapping these with the corresponding high- resolution video track and sending to Encompass for playout.

QC and 'track-stacking' of Russian Language tracks would be undertaken on Apple Mac workstation(s) running Final Cut Pro edit software.

G.2.7 SET Russia & Sci-Fi Russia Commercial Workflow Commercials for these channels are scheduled in London, with ad sales function in Moscow.

Spot plans for commercials deals completed in Russia are sent to the Traffic Team in London on a TX-7d basis.

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Content is requested by SPTV Traffic in London and is sent from SPTV Moscow by FTP and downloaded by Traffic to shared, commodity IT storage in London. Content saves to the commodity storage is considered transitory and the storage is purged from time to time. Stored content is subject to a basic QC check before being transcoded and sent on to Encompass, again by FTP.

A secondary route in for commercials content is direct from the advertising agency (Video International - VI). Content obtained by Traffic from this source follows the same FTP - Download - QC - Transcode - Send process as that sourced via SPTV Moscow.

G.2.8 Sony Africa Workflow The Sony (SET) Africa channel takes content in original (English) language only. It is SD only and available in-region on the MultiChoice platform. There are no subtitles for this channel. The planning and scheduling system currently in-use is Provys. Programme grids are planned at TX-8w, following commercial deals done in London.

The workflow for SET Africa currently features both tape and file-based programme content.

Prime Focus is used as an external processor of content. The service they provide for the channel includes full QC of tape and file-based content, plus encoding of tape-based content into .m2v and .wav files, which are uploaded by Prime Focus to CineShare. Programme tapes are stored and managed by Prime Focus. Encompass accesses CineShare to retrieve these files, which are then imported into their Mediator MAM system. Programme content received as files by Prime Focus (by means of Smartjog/FTP and Aspera) are, following QC, sent to Encompass by means of FTP for import into Mediator.

Programme content held in Mediator MAM at Encompass (in the form of QuickTime-wrapped SD files) is retrieved regularly by SPTV Traffic in order to use as input to the promotions production process for the channel. Being QuickTime wrapped for compatibility with the Omneon playout servers used by Encompass has the benefit that the files are Apple Mac / Final Cut compatible also, as required by Promotions.

Promotions tend not to get re-made when series are repeated, reducing content volumes that would otherwise be necessary.

G.2.9 Sony MAX Africa Workflow The Sony MAX Africa workflow is similar to that for the SET Africa channel, except that Deluxe 142 is used as the external processor of content. Programme content on tape is sent to Encompass for ingest following QC by Deluxe. Tapes are retained at, and managed by, Encompass.

G.2.10 SET Africa Commercial & Cross Promo Workflow This workflow has similarities to that for SET Russia and applies to both the SET Africa and SONY MAX Africa channels.

Commercial deals are completed in by SPTV in London and spot plans issued on a TX-7d basis. Traffic in London request commercials copy from SPTV London. This is sent /received

Television Systems Limited Confidential Page 18 of 130 Confidential Sony Pictures Television by CineShare/FTP. As for SET Russia, received commercials copy is downloaded by Traffic onto shared Commodity IT storage.

Following basic QC and Transcode on Mac Pro, commercials for SET Africa are sent to Encompass by FTP. The material ID used for the content is noted and used for the commercials scheduling process.

Commercials for Sony MAX Africa are sent to Encompass by the On-Air team.

G.2.11 AXN Germany Workflow Workflow for this channel features a mix of tape- and file-based programme content. Provys is used as the planning and scheduling system. Programme grids are released at TX-8w.

Tapes obtained from the distributors are delivered to Prime Focus where they are subject to a full QC check. Following QC, SD tapes are sent to Encompass for ingest into Mediator MAM. HD tapes are sent to JCA for ingest, with the resulting files being sent to Encompass.

The majority of file-based content obtained from the distributors is delivered to Prime Focus on Hard Disk Drive (HDD). This is subject to a full QC at Prime Focus, with QC PASS content being uploaded to CineShare. This content is downloaded by SPTV Traffic in London and a copy save locally. The content is then sent on to Encompass by means of FTP.

Magazine TV Series programme content is uploaded to CineShare direct by the distributor and bypasses Prime Focus. This content is downloaded by SPTV Traffic in London and a copy save locally. The content is then sent on to Encompass by means of FTP.

G.2.12 Animax Germany Workflow This workflow is very similar to that for AXN Germany, with the following differences:

• No HD tape based content is used on the channel (channel is SD-only transmission). • Deluxe 142 is used as the external processor (QC) of content. • Non-Magazine TV Series content bypasses SPTV Traffic and is sent directly from Deluxe to Encompass.

G.2.13 German Commercial Workflow The German commercials workflow is entirely file-based, with the exception of some of that for cross-promotional purposes, see below.

. Sony Pictures Television conclude deals for commercial airtime and forward details of the agreed spot plans to the Traffic Team in London. Traffic then requests content from SPT Germany, which is sent from the Agency to Golden Square in London by FTP. Files received are subject to a manual QC and are then transcoded as necessary to output elementary stream (.m2v and .wav) files. These are sent by Traffic to Encompass for playout by means of FTP.

This workflow also contains processes related to cross promotions for non-Sony channels. Cross promotion deals are agreed by SPT Germany and the resultant trailer plan sent to the

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Traffic Team in London at TX-7d. Content is requested from SPT Germany. Some content is delivered on tape, with the rest being file-based. File-based content is downloaded by Traffic Team, saved locally, before being QC'd, transcoded and sent to Encompass for playout in the same way as for commercials above. Cross-promotional content arriving on videotape is sent directly to Encompass for ingest.

The Promotions team in London also supply the programme Manager in SPT Germany with Sony content for reverse cross-promotional purposes.

G.2.14 Russia / Germany / Africa Promo Workflow A make-list meeting is held at TX-8w, resulting in a marketing plan which identifies programmes to be promoted. The make-list is signed-off at TX-7w, following which emphasis is placed on obtaining the programme content to go into the promotion. This is an iterative process between the Traffic Team in London and the (Promotions) Production Co-ordinator in London.

Specific projects are assigned to individual producers and the co-ordinator books the required production resources, such as edit suites. Promotions vision beds are produced in an edit suite and quality checked by the Creative Director. A browse proxy is struck for each bed and this browse, together with the relevant script(s) sent to the region for local language VO production (FTP / CineShare). Returned VO is input to the final audio mix, done in London, and incorporated with the necessary graphics to form the specific versions required. These final versions are delivered to TX a minimum of one week prior to TX (between TX-3w and TX-1w).

Circa 10 promotions per channel are made. Promotions are typically 30 - 60 seconds in duration and each bed spawns 4 - 6 versions.

The principle issue faced by Promotions is getting access to programme content at an early enough stage to commence the creative process. This is particularly an issue if deals are done late. It is usually not possible to get access to content until a deal has been formally signed, often needing input from the US.

With the Programme Director / General Manager being in-region and the bulk of the promotions creation process being in London, it is difficult to maintain good communications.

With the current technology architecture at Golden Square, promotions creatives' have become accustomed to working solely with content at high-resolution and in a craft edit environment, even when only viewing and logging content. While the cost of on-line working has fallen dramatically over the years, this is still a somewhat luxurious way of working and reduces access to edit suites by other deserving users, such as programme QC / versioning.

SPTV has recently purchased a Resources Management System (RMS) (Framer's Wife). This should assist in making best use of the craft edit suites and other limited resources.

G.2.15 German VOD Workflow - AXN & ANIMAX Four platforms are serviced with non-linear content:

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• Kabel Deutschland (KDG) • UPC • Telekom • Sky Germany

Medienmotor is used as an aggregator of Sony Pictures Television for the KDG and UPC platforms. QC and transcoding for the KDG and UPC platforms is handled by the aggregator. Transcoding for the remaining two platforms is handled by the individual platform operators. Thus the output from SPTV comprises the high-resolution broadcast assets.

A spreadsheet is created in Excel three months ahead of 'TX' date for the non-linear content. Separate asset IDs are used in this spreadsheet to refer to the non-liner assets. SPTV Traffic Team then gather content called for by the spreadsheet into packages for despatch to the aggregator. SPTV use remote access to the Mediator MAM system used by Encompass to obtain the content. Issues have arisen previously related to the large volumes of content being pulled from Mediator.

A content package comprises a ZIP file containing the .m2v format, high-resolution video asset; the German language .wav file; and an Excel sheet containing metadata derived from information originating in Provys scheduling system and including information on rights. These packages are pushed by SPTV to three destinations using FTP upload - Medienmotor (for KDG and UPC); Telekom; and Sky Germany. A separate e-mail notification chain is used to notify delivery.

It is expected and required that the MAM system to be installed in the Media Centre will allow some improvement in the non-linear workflows.

G.2.16 AXN Sci-Fi Italy Workflow This channel is played out from Arqiva. Source programme content for the channel comprises a mix of videotape and file-based, SD and HD.

Deals are completed at between TX-6 months and TX - 3 months. Traffic aim to enter programme details into Provys (migrating to Vision) at TX-4 months. The programme planning schedule is locked down and issued at TX-6w in Provys.

Following programme deals, content is released by the distributors. Tapes and files are delivered to Prime Focus and are both subject to a full technical QC. QC fails are communicated to the SPTV Traffic Team in London, which then arranges replacement content with the distributors. On QC pass, Prime Focus supply a QC report containing details (including SOM / EOM of parts) that the Traffic Team enter into Provys.

In the case of content on videotape, SD content is ingested at Prime Focus and sent by FTP to Arqiva, no later than TX-2w, and also to Brightcove to feed the VOD service. HD content delivered on videotape is sent to and ingested at JCA, with the resulting files send by FTP to Arqiva.

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In the case of file-based programme content, following QC, this is sent to Arqiva no later than TX-2w. For file-based content in need of language localisation, a browse proxy video file is struck and this, together with the script and the full-resolution M&E audio WAV track, is uploaded to CineShare to be picked up by the language production company. The language production company returns a mixed Italian language WAV file via CineShare. This track is sent by FTP to Arqiva for playout.

The main issues identified with the current workflow relate to the impact of late deals and the need for lots of supplier liaison due to the sheer number of suppliers involved in getting content to air.

G.2.17 AXN Italy Workflow This channel is played out from Encompass. Source programme content for the channel comprises a mix of videotape and file-based, SD and HD and the workflow and timescales are practically identical for that for AXN Sci-Fi Italy, excepting the lack of delivery to Brightcove.

G.2.18 Italy / UK Promo Workflow This workflow is essentially the same as that employed for Russia / Germany / Africa, with different deadlines applying. The initial make -list meeting is held at TX-6w, with sign-off occurring at TX-5w. Promotion vision beds are edited commencing TX-3w (as opposed to TX-4w for Russia / Germany / Africa) , with delivery to TX between TX-2w and TX-1w.

Circa 10 promotions per channel are made. Promotions are typically 30 - 60 seconds in duration and each bed spawns 4 - 6 versions.

G.2.19 Central Europe - Non-linear management workflows Circa 400 videos per month, appearing on 80 different playlists (websites; devices; etc) in a total of 14 locations in Central Europe are provided for.

Similar to the German VOD Workflow described in section G.2.15, spreadsheets are used as the planning tool for Central Europe non-linear output.

The approach taken by SPTV for content is again based on SFTP transfers of high-resolution video assets by the Traffic Team. This makes significant demands on the capabilities of the Mediator MAM system used by Encompass and on content delivery networks.

Content for the UPC platform is transcoded by the Traffic team using an instance of ProCoder. Content for the remaining CE non-linear platforms is processed by the 'Vamos' software application provided by Vision, also used by the Traffic Team. (Vamos is in essence a GUI for a transcoder.) In addition to long-form assets, such as programmes, some short form assets are also sent. These are identified and scheduled by the Digital Media Team.

Metadata for the UPC platform is provided in the form of spreadsheets and XML, which (when combined) comprise the required total technical and non-technical. At present, metadata carried in XML is wrangled manually - a process taking up to 10 minutes per file,

Television Systems Limited Confidential Page 22 of 130 Confidential Sony Pictures Television with up to 100 files being required per month. It is expected and required that the MAM system to be installed in the Media Centre will allow some improvement in the non-linear workflows.

Metadata for the other CE non-linear platforms is output from Vamos, which takes as its input a hand-edited spreadsheet containing a complete list of long- and short-form assets.

G.2.20 Sony Multi-platform systems diagram In addition to websites linked to the linear TV channels, Sony's other multi-platform non- linear outlets also include:

• BIVL (Bravia TV) • Samsung Smart-TV • Sony PS3 • iOS platforms (Apple) • Android OS • Nokia mobile phones

These are currently operated as an extension to the linear TV business, rather than as a replacement. Future requirements however could include IP-only 'channels'.

The 'Drupal' tool is used as the web CMS, with the video player being provided by Brightcove. Drupal acts as a repository for text, image, EPG and programme and commercial video content.

Catch-up TV is a growth area for Sony TV and significant growth is planned over the next 12 months and beyond.

A key requirement on MAM as part of the Media Centre will be to increase flexibility and lower costs associated with this growth.

It is recognised that there are severe issues with cost-effective scalability at present, due to the manual nature of content 'wrangling' needed to service the platforms and the need for aggregators to play a major role in getting content on screen.

'CRACKLE' is a multi-platform offering, featuring advertisement-supported, premium Sony US movies and TV series. A possible future development would be o have regional CRACKLE web presences, offering localised content. Content for the current CRACKLE is provided by Sony Worldwide Product Fulfilment (WPL) and is processed in the US.

The future possibility exists for channels played out in-region, such as Turkey / Middle-East. For the new Animax channel, 300 - 400 hours of new content may be required in year 1 operations, with the possibility that multiple copies of the same assets may need to be created to accommodate platform limitations.

G.2.21 Presentation Items Workflow - UK Channels

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Dawn] provided input on the current workflows for presentation graphics, voice-overs (VO) and including those for dynamic junctions. These items are used primarily for the purpose of viewer navigation.

SPTV uses a combination of VO, graphics and dynamic junctions on various of its channels managed from the UK office. The dynamic junctions comprise 'next' and 'end credits' type events, with the latter mixing DVE effect, with simultaneous graphics, video clip and VO playback.

Usage varies according to channel. SET Africa, for example, employs only VO, whereas SET UK, AXN Italy and Sci-Fi Italy each use a dedicated branding engine, fed with VO, graphics and video clips content. SET Russia will also begin using advanced branding soon, also the three ex-Dolphin TV channels, playout for which is moving to Encompass.

For SET Africa, VO are scheduled over end-credits of programme content. The scripts employed are kept deliberately generic and there is lots of VO re-use, so new VO volumes are typically low. Production occurs on a monthly basis, with Promotions Producers writing scripts and organising artistes and recording sessions in response to the need for VO identified by Dawn. VO is recorded in the Pro Tools suite at Golden Square and the resulting WAV files are delivered back to Dawn for forwarding to playout. Due to way that the VO are recorded in Pro Tools, an internally written metadata wrangler is needed to tidy filenames into the (human readable - of help to schedulers) format necessary. These filenames, plus related metadata, are entered into an Excel worksheet maintained by Dawn which gets passed to the schedulers for entry into Provys. Channel schedulers enter the required VO as secondary events, back-timed from the end of a programme by a suitable amount.

For other channels, SPTV uses Miranda Xstudio to compose graphics for playout and to build dynamic junctions.

The playout automations and engine combinations used on the channels varies, as follows:

For the two channels played out from Arqiva, SPTV employs 'Rascular' automation software controlling either Miranda Vertigo XG and Miranda Xstation playout server / graphics branding devices (SET UK) or Harris IconLogo and Miranda X-Station graphics branding and playout server / graphics branding devices (Italy Sci-Fi).

Certain of the Central Europe channels ( Crime Poland / AXN Romania) use Miranda Xstation.

Supporting different graphics branding devices in the playout environment, plus the need to produce separate content for SD and HD for AXN Italy and AXN Germany channels, complicates the production process considerably

Production is schedule driven, from the monthly programme grids, which inform regarding new programmes and /or new continuity / navigation required between programmes. Excel worksheets are used to record new content requirements and for production tracking. Content production is managed by the Promotions Producers, who inspect the sheets weekly.

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Presentation items for SET UK are produced on a weekly basis, starting at TX-2w, due to the high volumes of content required. VO are recorded on Monday, graphics and video clips are produced and composited on Tuesday / Wednesday / Thursday and the 'ready for TX' result delivered to playout on Friday.

Graphics are authored directly in Xstudio, while video clips are taken in the Edit Suites at Golden Square; saved to a working networked drive; and then imported separately into Xstudio.

Finished presentation items are exported separately from Xstudio; zipped; and sent to the relevant playout centre by means of FTP. An 'assets log' completed by SPTV accompanies the send to the playout centre and serves as a record of what has been delivered. On receipt of e-mal back from the playout centre confirming that the presentation items packages have been received as intended, entry of the event name (equivalent to the page name decided at time of composition) for the presentation item is made into the scheduling system. A human- readable naming convention is used for event names in the schedule (B=bug; T=Template; V=VO etc and incorporating date, effect details and time information.

G.3 Planning and Scheduling Detailed investigation of the operation of the, currently two, planning and scheduling systems - Harris Vision and Provys - operated by Sony Pictures Television in its European TV business was out of scope of this assignment.

Sony Pictures Television planning and scheduling for its linear TV channels uses either Vision or Provys, according to the particular channel concerned. Vision is the dominant system and Sony Pictures Television has decided that it will phase out Provys over the next 6 - 12 months and migrate channels currently using it to Harris Vision.

Sony Pictures does not currently operate a dedicated planning scheduling system for non- linear content, e.g. Video On Demand (VOD). As a result, the workflows around content management for non-linear are more labour intensive than need be the case. Spreadsheets are typically used for the planning tool for Central Europe non-linear output. Rights for non- linear are managed as integral to the TV deal, where possible, as this simplifies their handling across multiple outlets. Some metadata for non-linear comes from exports from the linear TV channels planning and scheduling system.

There are several aspects of the planning and scheduling system relevant to the successful operation of a future MAM system. These are discussed in section K.1 of this report.

G.4 Airtime Sales Sony Pictures Television employs the 'Landmark' system across all of its European TV channel playout operation. Several sales houses are owned by Sony. Detailed consideration of the operation of this system was out of scope of this assignment. There are however, aspects of the airtime sales system relevant to the successful operation of a future MAM system. These are discussed in section K.2 of this report.

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H. POTENTIAL FOR IMPROVEMENT H.1 Workflows, processes and crucial interfaces A series of proposed new, MAM system-enabled workflows are proposed in section K of this report.

Following this brief study of the SPTV operation in London, it is obvious that major potential for improvement lies in the putting in place of a workflow and process management tool across the enterprise and extending (limited) access to such a tool to external organisations that are part of the content supply chain. Having such a tool would allow SPTV to tighten up the links in the many and various chains of communication used to keep track of the status of content in the pipeline to 'TX' (linear TV and other platforms). The current system of Excel spreadsheets / Google Docs used plus the many e-mail side chains that exist between individuals inside and outside SPTV is far from ideal at best.

Implementing a workflow and process management tool would in itself be a major step forward for SPTV however, were this to be done in isolation, it would then spotlight the other major-league issue the business faces, namely the extent to which current (and file-based in many places) content handling operations relies heavily on manual, repetitive, operator intervention.

Each of the above issues impacts negatively on the efficiency and economic scalability of the current operation. Were the SPTV channels to be more reactive, lessening time available for content preparation, the systems would doubtless have already been found wanting, both individually and combined.

The full extent of the content handling that will be required in the Media Centre is currently masked somewhat due to the role played by various external suppliers and service providers, for example those involved in the handling of videotape and those providing aggregation services in connection with non-linear. Proper account will need to be taken of these as part of the design of the Media Centre.

The means of addressing the above issues together is through the implementation of an enterprise-wide MAM system. In order for this to be successful however, a number of key metadata and essence interfaces will need to be implemented.

The crucial interfaces for MAM are:

Linear TV planning and scheduling This interface is necessary in order for MAM to receive details of non-commercials content required for delivery to linear TV (also content no longer required, e.g. to be purged) and also for MAM to communicate back details of content preparation status. It is assumed that the planning and scheduling system is required to be the master system for specifying which content is to enter the pipeline for linear TV.

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For non-linear content, a similar system plus interface will be required by MAM. This could take the form of manufacturer provided non-linear extensions to Harris Vision (which may be sufficient for the task on their own) and/or a VOD / non-linear publishing database / Content Management System (CMS). Further definition work is needed in this area.

Ad sales This interface is necessary in order for MAM to receive details of commercials content required for delivery to linear TV (also content no longer required, e.g. to be purged) and also for MAM to communicate back details of commercials content preparation status.

Historically, much of the trafficking of commercials necessary to support TV channel playout has bypassed the SPTV Traffic Team, having been managed directly between sales and the playout service providers. It has been assumed that the Media Centre will take on responsibility for supply of ALL content to the Singapore-based TV playout facility i.e. that Singapore will not have to scavenge for commercials from an entirely separate supply chain. Further definition work is necessary in this area.

Content Distribution Network (CDN) MAM will need to interface closely with the various CDN used by Sony in order for the Media Centre to be able to work efficiently and effectively with the content suppliers, processors and customers.

The CDN will consist of IT networks connectivity between the MAM and the business systems of other participants in the supply chain. Many of these participants will be external, such as programme distributors. Some will be internal to Sony, such as WPF; the regional offices; and the (wholly-owned) Singapore facility.

Also part of this CDN will be a number of secure 'drop-boxes' acting as repositories for content in transit into and out of the Media Centre. Some of these drop-boxes will be hosted by SPTV, others by suppliers, processors and customers. CineShare forms part of the current arrangement of drop boxes. It is possible that EAGL, as the successor to CineShare, could have a role to play in the future architecture here, however the value of this would have to be demonstrated over the more straightforward approach where the drop-boxes exist locally, at the Media Centre (in a DMZ for security), and with the suppliers.

Singapore TV playout automation system A 'push' model has been assumed for content to be sent from the Media Centre to the Singapore Playout Centre. This should encourage those in the Media Centre to be proactive in ensuring that ALL content is sent positively rather than assuming the playout centre will scavenge for missing items as happens presently.

A push model makes generally fewer demands on the sophistication of the interface and the coupling between the connected systems and so should allow greater freedom of choice in selection of MAM and playout automation products.

MAM local storage system MAM will require access to a high-performance, spinning disk and data tape storage system to support operations involving high-resolution content at the Media Centre. Experience has

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Craft editing tools and MAM In moving to lessen use of relatively costly on-line, craft tools for basic, office-friendly processes such as viewing, logging and rough-cut editing, as is recommended, it is important that the MAM system interfaces well to the craft environment.

To date, Programme Editorial Compliance and Promotions making operations at SPTV London have enjoyed working in the somewhat luxurious position of working fully on-line. Going forwards, and with an effective MAM system supporting many operations by means of browse-proxy video, this is unnecessary.

Many MAM systems, part of linear TV operations, have craft (on-line) edit seats attached directly to the MAM disk storage system and these seats work on an 'Edit-In-Place' (EIP) basis. Doing so avoids movement of substantial volumes of content between the MAM- managed storage environment and one or more separate storage environments that are often un-managed. This way of working is recommended for QC and Versioning edit operations in the Media Centre as these operations should be co-located.

For Promotions making, it is recommended that a non-EIP model be pursued for SPTV for the following reasons: It is not guaranteed that Promotions (craft) edit and Media Centre operations will be co-located. Indeed, in respect of Promotions production operations in Budapest and Madrid offices, this will definitely not be the case and so a model to support remote craft-editing operations will most certainly be required. Also, Promotions makers in London have enjoyed high-levels of creative freedom to date and the freedom to manage their own, locally stored content (including the complexities of project archiving) in the way that best fits their creative ambitions and to use those production tools most suitable for the task (it is estimated that 50% of promotions are produced in After Effects and not Final Cut). A 'distance working' and to some degree 'edit tools independent' model is therefore recommended for craft-edit operations. In such a model, MAM would be used for viewing, annotating, selecting content within defined projects, plus pushing (high-resolution) content out to the craft edit environment. Finished content would then be registered in MAM as specific assets.

Corporate IT MAM clients will be needed on corporate IT desktops and so consideration needs to be given to compatibility, networking and security needs. The need for interworking between networks that may be to some degree segregated by convention according to geography (e.g.' local / in-region offices) and /or function (e.g. technical / corporate) and / or user (e.g. internal company user / external supplier user) needs particularly careful thought as making best productive use of a MAM system will typically require that such notional boundaries are crossed.

Other basic office resources, such as printers, will need to be used by MAM.

Other important interfaces for MAM are:

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Web Content management System (CMS) A means of passing content required to appear on SPTV channel-related and other websites between MAM and web CMS is desirable, especially with the forecast growth in this area of operations.

'VOD' CMS (future) Sony is investigating the implementation of a dedicated content management system (CMS) to support its non-linear outlets. Implementation of such a system should reduce reliance on aggregators and other service providers. In any case, there is a clear demand for an internal to SPTV system to provide editorial metadata in an more efficient manner than at present (see comments under planning and scheduling, above).

H.2 Technology infrastructure H.2.1 TV Planning and scheduling Sony Pictures Television is currently running a project to move to Harris Vision as its sole planning and scheduling system for its TV channels. Having a single flavour of scheduling system will be beneficial in there being only one interface necessary for MAM. It is understood however that the native means of data exchange available on the Vision product is not particularly 'developer-friendly'. Jess Speechley at SPTV London has previously written a wrapper around the native Vision interface to assist in this regard.

H.2.2 Videotape transports Out of scope for this study was consideration as to how the profile of videotape usage will change going forwards. The working assumption has been that usage will diminish as per industry trend and that, by the time the Media Centre is in operation, volumes of ingest from videotape will be insignificant.

While it is not expected that there will be any significant volumes of (video)tape within the new London-based Media Centre, consideration should be given to re-deployment of the three existing VT decks (two times SD; one times HD) for incorporation within MAM. It is inconceivable that these will not be used for ad-hoc, and possibly short-notice, ingest / outgest from MAM.

Additionally, some further videotape capacity should be allowed for as part of the design of the Media Centre facilities on the basis of providing al of the necessary infrastructure minus the VT decks (which could be hired-in on an as-needed basis). Further work is required here to scale this aspect of the design.

H.2.3 Craft edit environment Based on observations to date, utilisation of the London suites appears modest. It is understood that SPTV has recently purchased a Resources Management System (RMS - 'Farmers Wife' product) to better manage this.

The current eight Final Cut-based craft edit suites represent a more suitable environment in which to carry out the technical compliance (QC) process. Some improvement in monitoring is required, specifically the installation of audio signal level monitoring and better speakers,

Television Systems Limited Confidential Page 29 of 130 Confidential Sony Pictures Television which could also cater for monitoring of 5.1 sound. It is suggested that the functionality of a QC / Versioning edit suite and one used for Promotions editing could be harmonised to improve resources utilisation.

The edit suites are attached to a local SAN and all work is undertaken at on-line quality. This is a somewhat luxurious way of working. The introduction of MAM system will allow basic viewing and logging processes currently undertaken in the suites to be moved out.

If editing is not to be subject to a two-shift per day / extended hours operations, it is possible that the edit suite workstations could undertake rendering of edit projects out of hours. What support a MAM system could lend to automate any such arrangement would need to be determined.

The current apparatus room at 25 Golden Square, London which services the existing edit suites is essentially at capacity, making it unsuitable for servicing the MAM system.

H.2.4 Automated QC Technical compliance (QC) is currently carried out on a 100% watched / fully attended basis. The introduction of pre-screening using automated tools, such as Interra Baton, Tektronix Cerify, AmberFin iCR, Harris QuiC would improve the efficiency of the QC process, particularly if combined with a more flexible approach to the process based on the content suppliers track-record.

The introduction of Harding Flash Pattern Analysis checking as part of the QC , together with loudness monitoring would give SPTV additional confidence that content entering the Media Centre processing chain was to a high-standard. The extent of integration of FPA technology with MAM will need to be determined.

QC of language tracks and subtitle files should be introduced in the Media Centre as these are generally not checked for content or sync at present. A means of confirming the content of a language track actually is the required language would be desirable. In some cases this is straightforward to accomplish manually. In cases where the languages involved sound similar to the non-native language speaker / untrained ear, this checking and sign-off could be done by a native language speaker, in-region, using the browse proxy viewing features of the MAM.

It is conceivable that speech to text / language recognition technology could be employed allied to MAM. In addition to language recognition, such technology could potentially be of assistance in the automated identification of bad language as part of a compliance process. Companies such as Autonomy are known to have done work in this area previously.

Likewise it is possible that subtitles could be extracted automatically from an .STL file and placed on a metadata track in MAM. Companies such as Starfish, Screen, Softel etc may have experience in this area.

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It is recommended that Promotions editors self-certify their work as 'QC PASS' as part of the craft edit process in order to avoid having separate process for this. Eyeheight manufacture a software product for Final Cut (Compliance Suite FC) that could assist in this regard.

H.2.5 'Traffic Mac' Much content incoming and outgoing to and from SPTV is currently channelled through a Mac Pro computer installed in an open-plan office area on the third floor of 25 Golden Square, London. Reliance on such single-ended devices in a non-controlled environment (power, air conditioning etc) should be designed out of the Media Centre. The MAM system should be directly responsible for the majority of content transfers, instigated automatically wherever possible.

H.2.6 Promotions production These are scheduled on somewhat of an 'open loop' basis at present, i.e. they are scheduled in Vision / Provys, but there is no reliable feedback from the production process to say whether the corresponding content exists, or not. This can lead to missing material errors on TX. Currently the playout service providers chase content found to be missing in this way. This will not be the case when playout moves to Singapore. The potential exists to design this out with a MAM-enabled Media Centre and appropriate interface between MAM and scheduling systems.

H.2.7 Dynamic graphics A means of reducing the number of on-air errors and increasing the robustness of these 'next' / 'end-credit effect' events is required. The current production processes - dictated largely by the differing on-air graphics delivery technologies in service at the TV playout service operators for the various channels - are far too complex and inefficient to be taken forward and scaled-up.

As now, the choice of technology, processes and workflows that will be needed in this area will be determined largely by the equipment selected for the Singapore playout centre. SPTV will benefit from this equipment being from a sole manufacturer, rather than from several and from the prospect of the graphics replay engine being an integral part of the video replay server for the channels. The latter should avoid the need for separate 'clipping' of programme content at the Media Centre as part of the creation of content for dynamic junctions.

A means of previewing dynamically rendered graphics at the Media Centre will be desirable when playout moves to Singapore. This could be by means of technology installed as part of the Media Centre that would allow replication of certain of the operations of the playout centre. Alternatively the same could probably be accomplished by having visibility and control of preview channel chains at the playout centre itself.

As part of choosing the particular approach here, it is recommended that SPTV review the benefits that accrue in terms of simplification of the content scheduling process vs. the 'cost' to the business in terms of the efficiency of the process that produces the graphics for use on air.

H.2.8 Networked, MAM-driven transcoding / transwrapping

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The Media Centre will require significant infrastructure for transcoding / transwrapping of file- based content as part of operations, including:

• Normalisation of distributor programme master content to SPTV house formats • Re-wrapping of content that has extra language tracks added over its lifetime • Production of browse proxy-format content for use internally and with suppliers of language tracks and subtitles

It has been assumed as part of this study that a MAM-enabled SPTV will also assume responsibility for producing content formatted suitable for direct use on non-linear platforms, rather than continuing to rely on the services of service providers / aggregators to do this.

This will require additional, MAM-controlled transcoding / transwrapping resources. It is suggested that these resources be designed and installed as a separate instance to those for the core-MAM functions (above) in order for them to be scaled on a more independent basis in response to the anticipated growth needs of non-linear.

Television Systems Limited Confidential Page 32 of 130 Confidential Sony Pictures Television I. MEDIA CENTRE SYNOPTIC

The following diagram (also supplied under separate cover to this report) illustrates the overall concept envisaged for the SPTV London-based Media Centre.

Television Systems Limited Confidential Page 33 of 130 Confidential Sony Pictures Television High level operations at the Media Centre, arranged into managed workflows, are supported by content within the business and by technology which is either specific to the TV business (e.g. a video edit suite), or else may be regarded as generic, such as office desktop PCs. These items form a logical part of the overall MAM system.

Interacting with the operation of the Media Centre and the workflows therein are various internal and external users. Examples of internal users include SPTV regional production operations in Budapest and Madrid and WPF. External users include content distributors and service providers, such as those responsible for production of language localisation materials.

Adjacent to MAM are a number of other SPTV business systems. Many of these systems, knowledgeable about what content is required, where, and at what times, are required to be interfaced to MAM in order to automate content handling operations and thus deliver improved levels of efficiency within the business overall.

Television Systems Limited Confidential Page 34 of 130 Confidential Sony Pictures Television

J. VOLUMETRICS J.1 Archive / Library content The following table shows the estimated size of the Media Centre archive required at commencement of operations:

Programmes Channels Items Hours Av. Dur. (mins) %SD %HD TB SD TB HD Encompass ALL 45,906 25,574 33.4 70% 30% 290 193 (ex-Dolphin) 1,750 1,050 100% 0% 17 0 Arqiva SET UK 2,012 1,704 50.8 30% 70% 8 30 AXN Italy Sci-Fi 3,000 961 19.2 30% 70% 5 17 Madrid AXN SP AXN PO AXN WHITE SP AXN WHITE PO ANIMAX SP AXN BLACK PO 26,000 19,500 45 20% 80% 63 393 Levira (opt-out) - 30% 70% 0 0 Sub-totals 78,668 48,789 37.2 383 633

Promos Channels Items Hours Av. Dur. (secs) %SD %HD TB SD TB HD Encompass ALL 183,315 1,197 23.5 50% 50% 10 15 (ex-Dolphin) - 100% 0% 0 0 Arqiva SET UK 1,316 10 27.4 0% 100% 0 0 AXN Italy Sci-Fi 1,400 10 25.7 0% 100% 0 0 Madrid ALL 10,000 55 20 0% 100% 0 1 Levira (opt out) - 0% 100% 0 0 Sub-totals 196,031 1,272 23.4 10 17

Television Systems Limited Confidential Page 35 of 130 Confidential Sony Pictures Television

Commercials Channels Items Hours Av. Dur. (secs) %SD %HD TB SD TB HD Encompass ALL 0 0 0% 100% 0 0 (ex-Dolphin) - 100% 0% 0 0 Arqiva SET UK 26,577 182 24.7 0% 100% 0 5 AXN Italy Sci-Fi 1,444 9 21.2 0% 100% 0 0 Madrid ALL 6,500 36 20 5% 95% 0 1 Levira (opt out) - 0% 100% 0 0 Sub-totals 34,521 227 23.6 0 6

Grand Totals 309,220 50,288 393 656

Assumptions: Split of SD/HD programmes in archive is probably pessimistic, but sensitivity is less due to similarity of codec bitrates Data volumes for programmes in Encompass archive are inflated slightly over actual as a significant proportion of the (SD) library is MPEG-2 LGOP at 8/10 Mbit/s Volumes of programmes in Arqiva archive for SET have been doubled from actual 1006 items / 852 hours as Arqiva generally has only 'B' versions ex-Dolphin channels figure from Adam Moore (and includes short form) Madrid programme archive assumed figure based on 80% of 4,400 hour p.a. x 5 years of operation Madrid programme archive includes items out of licence but frequently re-licensed Levira programme volumes included in overall Encompass figure Non-linear (VOD etc) programme versions not counted separately

Promotions assumed to be all HD - pessimistic, but sensitivity low Madrid promo archive assumed to be 20% of Encompass totals Madrid promo archive assumed to be only for the 3 past years. Levira promotions volumes included in overall Encompass figure

Commercials assumed to be all HD - pessimistic, but sensitivity low NO 5% HD 95% SD

Television Systems Limited Confidential Page 36 of 130 Confidential Sony Pictures Television Assume 100% overlap between commercials at Arqiva and Encompass, so do not count twice Assume 100% overlap between commercials for ex-Dolphin channels and Encompass, so do not count twice Madrid commercials assumed to be 6500 total (250 unique TX per week) Levira commercials volumes included in overall Encompass figure

Codecs used SD: IMX30 CODEC 36 Mbit/s 16.2 GB/hr HD: XDCAM HD422 COIDEC 56 Mbit/s 25.2 GB/hr Browse: H.264? 3 Mbit/s 1.35 GB/hr

Updated to include figures from Budapest and Madrid operations - 14/3/2012

The above archive volumes are substantial and point to a major project as part of establishing the Media Centre in taking in-house this content. Based on the above figures, a storage volume of circa 1.1 PetaByte will be required for the archive. This equates to circa 800 LTO-5 data cartridges, stored in a one- frame robot, having a footprint of 1 square metre and weighing 650 kg (figures based on Spectralogic T950-series).

The greater challenge for the Media Centre project is however the content trafficking and validation required to consolidate SPTV archives currently located at the premises of the playout service providers and the implications for human resources if this process cannot be largely automated.

The above figures exclude an allowance for a browse proxy of each asset to be stored. The addition of browse will add an additional 5 - 10% to the total archive volume.

In relation to content versions produced for delivery to non-linear platforms, it has been assumed that these would not be held as part of the Media Centre archive.

Television Systems Limited Confidential Page 37 of 130 Confidential Sony Pictures Television J.2 New (first-run) content for TV - Overview The following table gives an overview of volumetrics for new (first-run) content for delivery to linear TV:

Programmes London Budapest Madrid Totals

New content hours per annum 9,201 2,387 2,920 14,508

Number of new items per annum (calculated) 23,755 8,284 3,893 35,932

Hours added to archive per annum 13,461 4,694 2,920 21,075

Data volume added to archive (TB) per annum 297 104 75 476

Hours sent to TV playout per day 37 13 8 58

Data volume sent to TV playout (GB) per day 763 269 194 1,226

Commercials London Budapest Madrid Totals

New commercials per month 500 250 250 1,000 Hours added to archive per annum 50 25 25 100 Data volume added to archive (TB) per annum 1.33 0.66 0.66 2.66

Hours sent to TV playout per day 0.14 0.07 0.07 0.27 Data volume sent to TV playout (GB) per day 3.45 1.73 1.73 6.90 Note: Budapest commercials volumes assumed same as Madrid

Promotions London Budapest Madrid Totals

Television Systems Limited Confidential Page 38 of 130 Confidential Sony Pictures Television

New promotions per month 390 300 300 990

Hours added to archive per annum 56 45 45 146

Data volume added to archive (TB) per annum 1.49 1.19 1.19 3.88

Hours sent to TV playout per day 0.15 0.12 0.12 0.40

Data volume sent to TV playout (GB) per day 3.87 3.11 3.11 10.08 Note: Budapest and Madrid promotions volumes assumed similar to UK

Summary

Total data volume added to archive (TB) per annum 482

Total data volume sent to Singapore TV playout (GB) per day 1,243 Sustained minimum bandwidth to Singapore TV playout (Mbit/s) 115

Note: Data volumes of presentation kit items assumed insignificant at this time, but will need accounting for in design

Television Systems Limited Confidential Page 39 of 130 Confidential Sony Pictures Television J.3 New (first-run) content - Detail J.3.1 Programme content (for TV) The following table shows volumetrics for the growth of programme content for delivery to linear TV:

Hours to Average Number TV Archiv Archiv Data number of TV playout Hours e e Archive to TV New TV of TV programm per year to TV growt growth growth playou content %SD %HD program es (& added playou h per per per t per hours conte conte me (calculate to t per year year year TB day Brand Channel per year nt nt versions d) Archive) day TB SD TB HD Browse (GB) London Operations

SET SET UK 800 30% 70% 2 2,824 1,600 4 8 28 2 99

(tba) SMC 800 30% 70% 2 2,824 1,600 4 8 28 2 99

(tba) Men&Movies 450 30% 70% 2 1,588 900 2 4 16 1 55

(tba) Movies4Men 2 450 30% 70% 2 1,588 900 2 4 16 1 55

AXN AXN Italy 800 30% 70% 1.5 2,118 1,200 3 6 21 2 74

AXN AXN Italy Sci-Fi 600 60% 40% 1.5 1,588 900 2 9 9 1 49

AXN Sci-Fi AXN Russia 600 95% 5% 1.2 1,271 720 2 11 1 1 33

SET SET Russia 500 100% 0% 1.2 1,059 600 2 10 0 1 27

MAX Max Africa 500 95% 5% 1.2 1,059 600 2 9 1 1 27

Television Systems Limited Confidential Page 40 of 130 Confidential Sony Pictures Television

SET SET Africa 500 40% 60% 1.2 1,059 600 2 4 9 1 36 Animax ANIMAX Germany 400 95% 5% 1.2 847 480 1 7 1 1 22

AXN AXN Germany 500 40% 60% 1.2 1,059 600 2 4 9 1 36 New German Ch (tba) (SET) 500 80% 20% 1.2 1,059 600 2 8 3 1 30

AXN AXN Malta 0 30% 70% 1.2 - - - 0 0 0 0

SET SET Moldova 0 60% 40% 1.2 - - - 0 0 0 0

SET SET Baltics 0 100% 0% 1.2 - - - 0 0 0 0

(tba) Expansion 1 600 50% 50% 1.2 1,271 720 2 6 9 1 41

(tba) Expansion 2 600 50% 50% 1.2 1,271 720 2 6 9 1 41

(tba) Expansion 3 601 50% 50% 1.2 1,273 721 2 6 9 1 41 London Operations sub-totals 9,201 23,755 13,461 37 109 169 18 763

Average Number Hours to Archiv Archiv Data number of playout Hours e e Archive to New of programm per year to growt growth growth playou content %SD %HD program es (& added playou h per per per t per hours conte conte me (calculate to t per year year year TB day Brand Channel per year nt nt versions d) Archive) day TB SD TB HD Browse (GB) Budapest Operations

Television Systems Limited Confidential Page 41 of 130 Confidential Sony Pictures Television

AXN AXN 1010 40% 60% 2 3,565 2,020 6 13 31 3 120

AXN Spin AXN Poland 470 40% 60% 2 1,659 940 3 6 14 1 56

AXN AXN Crime 288 60% 40% 2 1,016 576 2 6 6 1 31

AXN AXN Sci-Fi 519 60% 40% 2 1,832 1,038 3 10 10 1 56

Television Systems Limited Confidential Page 42 of 130 Confidential Sony Pictures Television

AXN ANIMAX 100 80% 20% 1.2 212 120 0 2 1 0 6 Budapest Operations sub-totals 2,387 8,284 4,694 13 36 62 6 269

AXN AXN Spain 2920 10% 90% 1 3,893 2920 8 5 66 4 194 AXN AXN Portugal 10% 90% 1

SET SET Spain 25% 75% 1

SET SET Portugal 25% 75% 1 AXN Black AXN Black Portugal 25% 75% 1

ANIMAX ANIMAX Spain 100% 0% 1

AXN AXN Adria

AXN AXN Sci-Fi Adria

(tba) (Mozambique)

(tba) (Cap Verde)

Television Systems Limited Confidential Page 43 of 130 Confidential Sony Pictures Television Iberia Operations sub- totals 2,920 3,893 2,920 8 5 66 4 194

GRAND TOTALS 14,508 35,932 21,075 58 151 297 28 1,226

Codecs used

SD: IMX30 CODEC

HD: XDCAM HD422 CODEC

Browse: H.264?

Average number of versions estimates from Adam Moore Programme repeat ratio assumes 12 minutes per hour of interstitials and is based on figures from Adam Moore Updated to include figures from Budapest and Madrid operations - 14/3/2012 Madrid figures corrected 20/3 (2,920 hours shown against AXN Spain is total for all channels

Madrid (JMI): As you can verify in the “Growth” table, AXN SP & PO have 90% of their materials in HD. SET (next brand AXN WHITE) and AXN BLACK have 75% HD / 25% SD, and all the items for ANIMAX are broadcasted from SD.

Television Systems Limited Confidential Page 44 of 130 Confidential Sony Pictures Television J.3.2 Programme content (for non-linear) The following table shows volumetrics for the growth of programme content for delivery to non-linear (including VOD) platforms:

Output hours from Input Data to VOD New VOD Number of transcode per Output hours volumes to and non- content (TV/VOD) year (NOT from transcode Input volumes Transcode linear hours per programmes added to transcode per day GB to transcode output volumes platforms Brand Channel year (calculated) Archive) per day SD per day GB HD per year GB per day (GB) London Operations SET SET UK 100 176 100 0 1 5 450 1 (tba) SMC ------(tba) Men&Movies ------(tba) Movies4Men 2 ------

AXN AXN Italy 150 265 150 0 2 7 675 2

AXN AXN Italy Sci-Fi ------

AXN AXN Sci-Fi Russia 200 353 200 1 8 1 900 2

SET SET Russia 100 176 100 0 4 - 450 1

MAX Max Africa ------

SET SET Africa ------

ANIMAX Animax Germany 67 118 267 1 3 0 1,200 3

Television Systems Limited Confidential Page 45 of 130 Confidential Sony Pictures Television

AXN AXN Germany 1000 1,765 4,000 11 18 41 18,000 49 (tba) New German Ch (SET) 133 235 533 1 5 2 2,400 7 AXN AXN Malta ------SET SET Moldova ------SET SET Baltics ------(tba) Expansion 1 ------(tba) Expansion 2 ------(tba) Expansion 3 ------

NON-LINEAR BIVL (assumed to be input to all non-linear) 600 1,059 14,310 39

London Operations sub-totals 2,350 4,147 9,550 26 52 81 38,385 105

AXN AXN - - - 0 0 0 0

Television Systems Limited Confidential Page 46 of 130 Confidential Sony Pictures Television

AXN AXN Spin Poland - - - 0 0 0 0

AXN AXN Crime - - - 0 0 0 0

AXN AXN Sci-Fi - - - 0 0 0 0

AXN ANIMAX - - - 0 0 0 0

VOD (total) 878 878 2 16 36 3951 11 Web 6547 6,547 18 116 271 14731 40 BIVL 1209 1,209 3 21 50 4352 12 Mobile 4816 4,816 13 86 200 17338 48 Tablet 2 2 0 0 0 7 0 Budapest Operations sub-totals - 13,452 37 557 40,379 111

Television Systems Limited Confidential Page 47 of 130 Confidential Sony Pictures Television 13,452 239

Output hours from Input Data to VOD New VOD Number of transcode per Output hours volumes to and non- content (TV/VOD) year (NOT from transcode Input volumes Transcode linear hours per programmes added to transcode per day GB to transcode output volumes platforms Brand Channel year (calculated) Archive) per day SD per day GB HD per year GB per day (GB) Iberia Operations AXN AXN Spain 960 2880 7,680 21 4 60 27216 75 AXN AXN Portugal 960 2880 7,680 21 4 60 27216 75 SET SET Spain 0 - - 0 0 0 0 SET SET Portugal 0 - - 0 0 0 0 AXN Black AXN Black Portugal 0 - - 0 0 0 0 ANIMAX ANIMAX Spain 0 - - 0 0 0 0

AXN AXN Adria AXN AXN Sci-Fi Adria (tba) (Mozambique) (tba) (Cap Verde)

Iberia Operations sub-totals 1,920 5,760 15,360 42 9 119 54,432 149

GRAND TOTALS 17,722 9,907 38,362 105 299 758 133,196 365

Television Systems Limited Confidential Page 48 of 130 Confidential Sony Pictures Television

Codecs used

SD: IMX30 CODEC

HD: XDCAM HD422 COIDEC

Browse: H.264?

VOD

Web

Other non-linear

Only 3 VOD delivery points for Germany at present as Medienmotor process content for two, plus there are two dea lt with directly Assume input hours for BIVL result in output hours across all non-linear platforms - Web; BIVL; PS3; iOS; Android; Samsung; Nokia No account taken of promotional content made / supplier for non-linear Assume 10% of programme hours for Spain and Portugal will relate to non-linear outlets

Madrid (JMI): 960 hours / year Catch-up + VOD

Television Systems Limited Confidential Page 49 of 130 Confidential Sony Pictures Television J.3.3 Programme language localisation (CE channels) The following table shows volumetrics for language localisation for the Central Europe (CE) channels, firstly for production of language tracks (dubs). Note that the figures are for the first nine months only of the quoted financial year.

Figures for the Madrid channels (language localisation in Castilian) were not available.

(Data from WPF)

Duration Hours produced Language tracks Items per annum (min.) per annum* Polish 96 30 48 1373 60 1373 5 90 7.5 2 120 4 Bulgarian 0 30 0 86 60 86 0 90 0 0 120 0 Czech 96 30 48 737 60 737 4 90 6 1 120 2 Hungarian 39 30 19.5 684 60 684 17 90 25.5 5 120 10

Television Systems Limited Confidential Page 50 of 130 Confidential Sony Pictures Television

Totals 3,145 3,051

Notes: * Figures are for first 9 months only of FY2011

J.3.4 Programme subtitle localisation (CE channels) The following table shows volumetrics for language localisation for the Central Europe (CE) channels, this time for production of subtitle files. Note that the figures are for the first nine months only of the quoted financial year:

Figures for the Madrid channels (subtitle localisation in Castilian and Portuguese) were not available.

(Data from WPF)

Subtitle files Items per annum*

Czech 142

Hungarian 50

Polish -

Bulgarian 794

Romanian 1,049

Serbian 763

Slovenian 763

Television Systems Limited Confidential Page 51 of 130 Confidential Sony Pictures Television

Croat 765

Macedonian 533

Totals 4,859

Notes: Figures are for first 9 months only of FY2012

Television Systems Limited Confidential Page 52 of 130 Confidential Sony Pictures Television J.3.5 Commercials content The following table shows volumetrics for growth of commercials content for delivery to linear TV:

Archive Archive Data to TV Number of Average Hours to TV playout growth growth playout commercials duration per year (& added to per year per year per day Brand Channel per month (s) Archive) TB HD TB Browse (GB) London Operations SET SET UK 250 30 25.00 0.63 0.03 1.73 (tba) SMC ------(tba) Men&Movies ------(tba) Movies4Men 2 ------

AXN AXN Italy 50 30 5.00 0.13 0.01 0.35

AXN AXN Italy Sci-Fi 50 30 5.00 0.13 0.01 0.35

AXN AXN Sci-Fi Russia 50 30 5.00 0.13 0.01 0.35

SET SET Russia 50 30 5.00 0.13 0.01 0.35

MAX Max Africa ------

SET SET Africa 50 30 5.00 0.13 0.01 0.35

ANIMAX Animax Germany ------

AXN AXN Germany ------

Television Systems Limited Confidential Page 53 of 130 Confidential Sony Pictures Television (tba) New German Ch (SET) ------AXN AXN Malta ------SET SET Moldova ------SET SET Baltics ------(tba) Expansion 1 ------(tba) Expansion 2 ------(tba) Expansion 3 ------London Operations sub-totals 500 50.00 1.26 0.07 3.45

AXN AXN 250 30 25.00 0.63 0.03 1.73

AXN AXN Spin Poland

Television Systems Limited Confidential Page 54 of 130 Confidential Sony Pictures Television

AXN AXN Crime

AXN AXN Sci-Fi

AXN ANIMAX

Budapest Operations sub-totals 250 25.00 0.63 0.03 1.73

AXN AXN Spain 250 30 25.00 0.63 0.03 1.73 AXN AXN Portugal

SET SET Spain

SET SET Portugal

Television Systems Limited Confidential Page 55 of 130 Confidential Sony Pictures Television

AXN Black AXN Black Portugal

ANIMAX ANIMAX Spain

AXN AXN Adria

AXN AXN Sci-Fi Adria

(tba) (Mozambique)

(tba) (Cap Verde)

Iberia Operations sub-totals 250 25.00 0.63 0.03 1.73

GRAND TOTALS 1,000 100.00 2.52 0.14 6.90

Codecs used

SD: IMX30 CODEC

HD: XDCAM HD422 CODEC

Browse: H.264?

Commercials figures are assumed for UK and Budapest channels (actuals for Madrid) Assume all commercials working in HD

Television Systems Limited Confidential Page 56 of 130 Confidential Sony Pictures Television J.3.6 Promotions content The following table shows volumetrics for growth of promotions content for delivery to linear TV:

Number of Archive promos Average Hours to TV playout Archive growth per Data to TV per duration per year (& added to growth per year TB playout per Brand Channel month (s) Archive) year TB HD Browse day (GB) London Operations SET SET UK 140 45 21.00 0.53 0.03 1.45 (tba) SMC ------(tba) Men&Movies ------(tba) Movies4Men 2 ------

AXN AXN Italy 50 30 5.00 0.13 0.01 0.35

AXN AXN Italy Sci-Fi 50 30 5.00 0.13 0.01 0.35

AXN AXN Sci-Fi Russia 50 45 7.50 0.19 0.01 0.52

SET SET Russia 50 60 10.00 0.25 0.01 0.69

MAX Max Africa ------

SET SET Africa 50 45 7.50 0.19 0.01 0.52

ANIMAX Animax Germany ------

AXN AXN Germany ------

Television Systems Limited Confidential Page 57 of 130 Confidential Sony Pictures Television (tba) New German Ch (SET) ------AXN AXN Malta ------SET SET Moldova ------SET SET Baltics ------(tba) Expansion 1 ------(tba) Expansion 2 ------(tba) Expansion 3 ------London Operations sub-totals 390 56 1.41 0.08 3.87

Number of Archive promos Average Hours to playout per Archive growth per Data to per duration year (& added to growth per year TB playout per Brand Channel month (s) Archive) year TB HD Browse day (GB) Budapest Operations

AXN AXN 300 45 45.00 1.13 0.06 3.11

AXN AXN Spin Poland - - - -

Television Systems Limited Confidential Page 58 of 130 Confidential Sony Pictures Television

AXN AXN Crime - - - -

AXN AXN Sci-Fi - - - -

AXN ANIMAX - - - -

Budapest Operations sub-totals 300 45 1.13 0.06 3.11

AXN AXN Spain 300 45 45.00 1.13 0.06 3.11 AXN AXN Portugal - - - -

SET SET Spain - - - -

SET SET Portugal - - - -

Television Systems Limited Confidential Page 59 of 130 Confidential Sony Pictures Television

AXN Black AXN Black Portugal - - - -

ANIMAX ANIMAX Spain - - - -

AXN AXN Adria - - - -

AXN AXN Sci-Fi Adria - - - -

(tba) (Mozambique) - - - -

(tba) (Cap Verde) - - - -

Iberia Operations sub-totals 300 45 1.13 0.06 3.11

GRAND TOTALS 990 146 3.68 0.20 10.08

Codecs used

SD: IMX30 CODEC

HD: XDCAM HD422 CODEC

Browse: H.264?

Promo figures for London channels are approximations from March UK make -lists and exclude ongoing showings Promo figures for Budapest and Madrid are assumptions, based on UK volumes, and are for all channels

Assume all promotions working in HD

Television Systems Limited Confidential Page 60 of 130 Confidential Sony Pictures Television J.4 Content flows between in and around the Media Centre The following diagram (also supplied under separate cover to this report) illustrates the principal content (essence + metadata) flows.

Television Systems Limited Confidential Page 61 of 130 Confidential Sony Pictures Television A. This is the primary route into the Media Centre work-in-progress disk-storage for content from the tens of distributors / suppliers that SPTV works with. As may be seen from the analysis in section J.3, some 14,500 hours of supplier programme content per annum is required to be input to the MAM- managed disk storage. This equates to 40 hours per day and, assuming an overall 30 % / 70% SD / HD content split, this is 900 GB of data per day. To be added to this figure is that for the circa 100 hours of supplier commercials content per annum, equating to around another 7 GB of data per day. This gives a total input data volume to the store of 907 GB per day.

Assuming a window for acceptance of distributor programme content of 30 days and that distributor content would not be staged to data tape storage during this period, this implies a storage volume for incoming content only of circa 30 TB.

It is likely that the same disk storage will be used for storage of work in progress content supporting programme QC and versioning operations, as well as source content for promotions, plus work-in-progress content for non-linear, plus browse proxy content for the whole operation.

B. This is the primary route into the Media Centre work-in-progress disk-storage for content originating from within the Sony organisation, e.g. US studios. Data loaded to the MAM-managed disk store via this input has been included in the calculations in A., above.

C. This is the primary route into the Media Centre work-in-progress disk-storage for content ingested from videotape using facilities at the Media Centre. Volumes entering this route are assumed to be negligible as part of this study, however further work is needed to validate this as an assumption. Data loaded to the MAM-managed disk store via this input has been included in the calculations in A., above.

D. This represents the movement / presentation of content to the automated QC engines. Content here will arise from several different points in the workflows, first and foremost of which are those around the receipt of new content from distributors. Data volumes input in connection with the initial automated QC pass of received distributor masters will be as per A., above (900 GB/day). Assuming the transcoded / transwrapped distributor masters will also be subject to automated QC, this will require that approximately the same volume of data will need to be input again (900 GB/day), giving a total of 1,800 GB per day. Other content volumes will be negligible in comparison.

Television Systems Limited Confidential Page 62 of 130 Confidential Sony Pictures Television E. This represents the movement / presentation of content input to the transcode farm responsible for content normalisation to SPTV house standards and for the production of browse proxy content to support MAM desktop viewing and metadata annotation operations. Input volumes will be as per A., above at 907 GB per day.

F. This represents the movement / presentation of content output by the transcode farm undertaking content normalisation and browse proxy production.

Output volumes from this transcode farm will be similar to input volumes with the addition of 5 - 10 % to account for the generated browse content, say 1,000 GB per day.

It is assumed that browse proxy content for use within SPTV will be persistent. Use could be made of the data tape storage to stage browse content that was older then, perhaps, 3 years. A browse proxy will exist for each item of TX ready content. A storage volume of 28 TB per annum is calculated for SPTV in-house browse. This browse storage could be separate to that used for high-resolution content operations, perhaps as part of a corporate-IT data storage provision.

To these figures for SPTV's internal browse proxy volumetrics, should be added figures for the separate browse proxies needed to support production of language localisation content (language tracks and subtitles). Production of these additional proxies could generate a further 25 GB per day (based on 12,000 programmes per annum requiring localisation). Were these proxies to be persistent, this would require a storage volume of 10 TB per annum for reference browse. It is suggested that browse proxies would be staged to data tape after, say, 60 days, reducing the required disk storage volume to circa 2 TB.

G. This represents the movement / presentation of content into and out of the (manual) QC / Version editing processes. It is proposed that QC / version edit seats be co-located at the Media Centre and that these seats work on an Edit-In-Place basis with the MAM-managed disk storage. In this way, there will be no transfer of content to edit local storage.

The QC / Version edit process will produce an 'A' version master for each item of distributer master content, equating to 14,500 hours as per A., above, or 900 GB per day. In addition, for certain channels, a 'B' version and possibly further versions will also be produced. Pessimistically, we assume every channel also requires a B version, resulting in further 900 GB per day of new programme content being output from QC/Version edit. This gives a total output of programme content from the QC / Version edit process of 1,800 GB per day. Assuming this content would remain held on the MAM-managed

Television Systems Limited Confidential Page 63 of 130 Confidential Sony Pictures Television disk storage for 30 days, this implies a storage volume for newly created programme versions only of circa 55 TB. This figure may be added directly to that in A., above.

H. This represents the movement of content between SPTV and legacy service providers who may retain some responsibility for QC and ingest of content on videotape. No specific separate volumes for tape trafficking / numbers of ingests are suggested here. The service providers role would be to QC content on videotape and ingest to SPTV house format. The content volumes that relate to the delivered files have effectively been included under A., above.

I. This represents the movement content between SPTV and those service providers responsible for the production of language tracks as part of language localisation for the channels. Browse proxy content will be produced by the MAM as reference files for use by the language track suppliers. The browse files will exist in addition to those produced for SPTV internal use. Using figures from WPF

Volumes of content are relatively low here in that what is being returned by the suppliers are .WAV language files (with metadata). 1 hour of 2-channel .WAV, encoded to 20-bit resolution with a 48 kHz sampling rate, equates to circa 865 MB of data. Using the WPF figures for the Central Europe channels and multiplying up to get estimated volumes for a full year gives a data volume of circa 10 GB per day. Multiplying this figure by two to account for the Madrid-channels and assuming that language tracks may reside on disk storage for up to 60 days, gives a total storage volume for language tracks only of circa 1.2 TB.

J. This represents the movement content between SPTV and those service providers responsible for the production of subtitle files as part of language localisation for the channels. Subtitle files are in general compact in file size compared with other content types. Despite their likely numbers (perhaps 10,000 per annum, based on the figures from WPF together with assumed amounts for the Madrid channels), their total volumes may be ignored. An archive of subtitle files is already held by WPF. Persistent storage of subtitle files could make use of the Media Centre's data tape archive.

K. This represents the movement of content between the Media Centre and a London-based, localised production workgroup, such as will be responsible for production of promotions and presentation items for certain channels. It is conceivable that the storage supporting this workgroup could be an integral part of the MAM work-in-progress disk storage, however this has not been assumed.

Television Systems Limited Confidential Page 64 of 130 Confidential Sony Pictures Television With 9,201 input hours of programme content for the London-channels, and assuming a shot selection ration of 10% using MAM/browse, this equates to a transfer volume of 64 GB per day from the Media Centre to the London production workgroup.

Volumes of finished promotions being returned equate to 4 GB per day.

L. This represents the movement of content between the Media Centre and the Budapest-based production workgroup, such as will be responsible for production of promotions and presentation items for certain channels.

This content exchange would essentially involve sending partially-restored clips of programme content from the Media Centre to Budapest for use in promotions and return of finished promotions to the Media Centre for on-pass to Singapore for TX.

Some 2,400 hours of new programme content is delivered for the Budapest channels per annum. It is assumed that some 10% of this content would need to be sent to Budapest to facilitate promotions making (assuming producers would shot-select remotely using browse proxy / MAM system). This equates to a transfer volume of 17 GB per day from the Media Centre to Budapest.

Volumes of finished promotions being returned equate to 3 GB per day.

M. This represents the movement of content between the Media Centre and the Madrid-based production workgroup, such as will be responsible for production of promotions and presentation items for certain channels.

In the case of Madrid, some 2,920 hours of new programme content for the Iberia channels will be delivered to the Media Centre per annum. Again, assuming a shot selection ration of 10% using MAM/browse, this equates to a transfer volume of 20 GB per day from the Media Centre to Madrid.

Volumes of finished promotions being returned equate to 3 GB per day.

N. This represents the movement of content between MAM work-in-progress, disk-based storage and the MAM-managed, data tape archive at the Media Centre.

Television Systems Limited Confidential Page 65 of 130 Confidential Sony Pictures Television The summary of volumetrics analysis presented in section J.2, indicates that approximately 480 TB of new content data will be written to the data tape archive annually. This equates to some 1,300 GB per day coming from the MAM-managed disk storage.

O. This represents content flows out to the Singapore-based TV playout facility.

The summary of volumetrics analysis presented in section J.2, indicates that approximately 1.25TB of new content data will be sent to the Singapore TV playout facility per day. This equates to a minimum sustained data transmission bandwidth through the CDN connecting the Media Centre to Singapore of some 115 Mbit/s.

P. This represents content flows out to the legacy playout centres, migration away from which will happen over the lifetime of the Media Centre. Content volumes here are effectively a proportion of the total already accounted for in O., above.

Q. This represents the movement / presentation of content input to the transcode farm responsible for the automated production of content versions for use directly by the various non-linear platforms serviced by the Media Centre.

The volumetrics analysis presented in section J.3.2, indicates that 1,057 GB per day of data will be input to the transcode farm responsible for production of content versions for non-linear platforms.

R. This represents the movement of content output by the non-linear platforms transcode farm . The volumetrics analysis presented in section J.3.2, indicates that an aggregate amount of approximately 365 GB of new content data will be sent from the Media Centre to the non-linear platforms per day. This equates to a minimum aggregate sustained data transmission bandwidth through the CDN connecting the Media Centre to the platforms of some 34 Mbit/s.

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K. PROPOSED NEW WORKFLOWS AND PROCESSES K.1 Planning and Scheduling Detailed consideration of this system is beyond the scope of this study.

TSL understands that SPTV has selected Harris Vision to be its sole TV planning and scheduling system for EAME region and that Provys will be phased out in next 6 - 12 months. From a MAM perspective this means that a single interface will be required and not two.

In order for a MAM system as part of the Media Centre to operate effectively, it is likely that some development to Harris Vision system will be required. In outline, the interface between MAM and Harris Vision will need to support the following:

• Exports of channel programme grids to MAM (twice daily, plus an on demand facility to cater for late changes) • Export of purge lists to MAM (when content required to be deleted) • Export of Promotions make-lists into MAM • Creation by MAM of programme versions in Harris Vision (including, part times and compliance flag) • Link to QC reports held in MAM • Link to browse video in MAM

Harris Vision as a product is capable of supporting scheduling and rights management for non-linear content. As there is at present considerable commonality of content between SPTV linear and non-linear platforms, taking advantage of this capability of Vision would appear to make sense from a MAM perspective as only one, functionally rich, interface between scheduling and the MAM system would then be required.

K.2 Airtime sales Detailed consideration of this system is beyond the scope of this study.

Similar to planning and scheduling above however, some development work may be expected to be required to Landmark in order to maximise the efficiency of a MAM system. In outline, the interface between MAM and Landmark will need to support the following:

• Exports of channel spot plans to MAM (twice daily, plus an on demand facility to cater for late changes) • Export of purge lists to MAM (when content required to be deleted) • Import of SOM / EOM data • Import of 'QC' status flag from MAM

K.3 Ingest / Import (Content acquisition)

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K.3.1 Programmes A copy of the diagram that follows is included under separate cover to this report. PROGRAMME MAM will need to know the INGEST / IMPORT source of the content Contracts and WORKFLOW (distributor) and the rights distributors own Material ID 1 for the content. The deals Deals done grid done grid gives info. on the Release former and a field could be Programme added to Vision. planning grid into Multiple facilitators for the MAM same distributor likely Programme Export from / Data planning interchange with Harris Vision Programme planning grid (MAM works out what’s missing) Content required report Given the above information in MAM, MAM could produce an order per distributor. Deal reference would also need to be known to do this Content order (e- Order content mails from MAM?) 2 from distributors

From External QC / Number of VTR / Ingest Ingest workflow ports tbd 3 NO (VIDEOTAPE DELIVERY – EXCEPTION) File delivery?

Will probably be no hard and E-mail notification etc fast rules about how much YES tape will be tolerated. Could be an essential part of Receive Content from distributors is NO (SPTV MUST PULL) handling late-delivered in a variety of mezzanine Supplier content. notification of formats (but generally OP1A. Pushes? delivery from distributor Content delivered YES E-mail or appearance in Receive watched folder notification of Receive availability from Implementation of distributor notification of distributor drop boxes in DMZ? delivery from Aspera / Signiant clients for Content available distributor Handle distributors? internally? Content delivered Download content manually into Copy content MAM local YES from drop box storage / import into MAM local metadata 4 disk storage / import metadata Traffick to QC Send for external area Ingest / QC

From External QC / 30 days from delivery? E-mail or appearance in Ingest workflow watched folder (Start acceptance window timer)

Some content may have distributor filename = SPTV To External QC / house ID. Need metadata- Ingest workflow based solution here. 5 Match content MAM auto match received with content against Content not content required required matched Use Title, series, episode etc to match Manual entry of metadata Manually rename needed to allow undescribed MAM auto rename distributor essence to be imported distributor filename to Content matched filename to SPTV SPTV house ID house ID Including audio loudness profiling and a Harding FPA check MAM moves content from ‘big bucket’ to Need to keep distributor asset specific bucket / master content until SPTV Create MD5 Version A is produced (circa checksum Gross QC issues that point 30 days max) to rejection of distributor master dealt with at this point Would be nice if MAM could Distributor strip subtitles from .STL files MAM Auto QC of mezzanine and place in a metadata received content format track (and onto FCP QC report on timeline?) distributor master

NO QC PASS? 6 YES International NO master? (Stop acceptance window timer) YES - DEFAULT Normalisation requirements based on distributor profile Go-find and import related script, language Could include video legalise Could include putting script and ST files at this point, but probably not text and ST on project audio loudness control timeline if tools could be found that do this Reject distributor master / re-order MAM normalises distributor master to .M2V and Need to keep normalised Prepare QC/ SPTV house standard .WAV with content until SPTV Version A Version Edit (transwrap, transcode, QuickTime is produced (circa 30 days project ‘Awaiting QC / metadata mapping reference file max) Finish etc) / Make MD5 Version Edit’

MAM ‘Lite / Basic’ ST files and scripts also To Programme QC Auto QC of normalised Workflow QC report on content normalised distributor master SPTV Programme Ingest / Import

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With reference to the above diagram and numbered boxes:

1. MAM will require an interface to Harris Vision planning and scheduling system in order for it to know what content is required for delivery (playout) and by when. This interface should ideally be real-time and not batch-based to avoid notification delays.

In order to automate later parts of the programmes acquisition process (under 5.), MAM system should be aware of the sources of supply of content and of the relevant supplier references (filenames) for the supplied masters. This information currently exists outside of the planning and scheduling system, however were this information to be entered into Vision, it could be communicated to MAM through a single interface. Failing this an operator could enter the required supplier information directly into MAM.

Within the MAM system, the facility to establish a profile for each supplier of content (as part of an 'on-boarding' process, where delivery points and content formats are agreed between SPTV and suppliers) would be advantageous. Information from these profiles would allow MAM to make some decisions on content routing / processing automatically.

2. The process of ordering content from distributors may be able to be automated given capabilities of 1., above. A MAM system could prepare lists of content required and potentially e-mail these internally and/or externally.

3. It is envisaged that only a very low volumes of videotape will be handled directly within the Media Centre and that, if this is inconsistent with the volumes still in existence when the Media Centre goes live, external suppliers will be used to transform content on videotape into a file-based form for import.

4.A number of supplier-drop boxes are envisioned for use for delivery of programme content. These will be external and internal to SPTV, depending on whether the supply model for a particular distributor is SPTV pulls or the distributor pushes. Both models will need to be supported, with this being part of a suppliers profile (see 1., above).

5. Acquired programme content from distributors will typically not be identified by a SPTV house ID (as a rule, all commissioned content should be). For this reason, a process of matching received files with their asset placeholders will be required. Were Vision to contain the distributor ID as well as the Sony house ID, the task becomes automatable and trivial. The back-stop position is that a MAM user matches content manually.

6. All programme content received from distributors should be subject to an automated (technical) QC check. Where the programme is to form an international master, the original version script, other language audio and other language subtitle files should be retrieved and associated at the earliest possible point.

An automated QC check should be carried out following normalisation (to SPTV house format) of incoming programme content. MD5 checksums should be made for all received files in order that (should they fail QC) it will be easily possible to determine whether replacement content supplied is actually different.

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K.3.2 Commercials A copy of the diagram that follows is included under separate cover to this report. Multiple instances of COMMERCIALS / Landmark are in use due to Planning / CROSS-PROMO different sales houses / scheduling Sales ACQUISITION channels. IF MAM is to WORKFLOW handle ALL commercials traffic then interfaces to Landmark will be required for best efficiency. Policy Sales decision needed here. Channel break Assume Media Centre patterns (TX-7) 1 Manual entry of responsibility to push ALL Release Spot commercial content for time being. Plan into MAM content required (TX-7d) Channel break Campaign details / into MAM patterns (TX-7) Spot plan Manual workflow covers all Campaign details / Content required non-AdStream / IMD Spot plan delivered, BACC cleared commercials inc. cross- promo

Order content from suppliers Content order Manual process Exports from Landmark

2 Receive Watch folder / metadata / e- notification of mail delivery from Big ‘bucket’ of incoming supplier Could be AdStream / IMD content needing to be etc servers at the Media identified – could separate Content delivered Centre and/or in Singapore, COMMS logically from other depending on approach content at this point taken. Also Aspera / Signiant secure client / FTP for non- Copy content Supplier BACC comms. from drop boxes Use Title, duration and other mezzanine into MAM local details to match format storage

Content not matched

Should be mainly auto Match content MAM auto match matched for BACC comms received with content against content required required

3 (If required)

Manually rename MAM auto rename distributor SPTV ID currently 16 char + distributor filename to filename to SPTV 4 for language SPTV house ID Need to keep distributor house ID supplied content until SPTV award QC PASS (circa 7 days max)

MAM moves content from big bucket to Content matched commercials library bucket

Gross QC issues that point to rejection of supplied Supplier Less of a reason to keep master dealt with at this point MAM Auto QC of mezzanine commercials content as received content format atomised rather than fully QC report on wrapped as no requirement supplied master to edit subsequently. What will Singapore require? Need to keep normalised content until SPTV Version A NO is produced (circa 30 days QC OK Could include video legalise max) and audio loudness control. Need supplier profiles here, or will MAM just work out Should the Media Centre YES what to do? supply wrapped assets for Gang technical and Editorial 4 COMMS? QC flags together (Editorial MAM normalises flag could have relevance for supplied master to cross-promo)? SPTV house standard (transwrap, transcode, metadata mapping etc) If QC on supplied master 5 6 PASS then could re-try here a number of times in case of Mark ‘QC PASS’ random error .M2V and in MAM .WAV with Frame accurate MAM Auto QC of QuickTime browse normalised content reference file

QC report on Content available normalised for viewing distributor master MAM makes SPTV house format browse NO proxy file QC OK

YES Notify distributor of content rejection and MAM flags ‘QC PASS’ arrange re-supply to Vision

Finish

SPTV Commercials / Cross-promo Acquisition

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With reference to the above diagram and numbered boxes: This process is also followed for short-form, cross-promotional content supplied to SPTV by other broadcasters for certain channels.

1. It is assumed that SPTV Media Centre will handle trafficking and preparation of ALL commercials for SPTV TV Europe channels and that this function will not be split / devolved / shared with the Singapore playout centre. This assumption is subject to confirmation.

To maximise operating efficiency, MAM will need to interface to one or more Landmark ad sales systems used by SPTV's commercials sales houses in order for it to be made aware of what commercials are required.

2. The ordering / delivery of commercials content should be handled within MAM if possible.

3. Filenames for content delivery will need to be matched against SPTV house IDs. In most cases, these should be the same and so matching will be an automatic process.

4. Commercials will have to undergo a process of normalisation to SPTV house standards unless the formats negotiated to be supplied are natively suitable for playout.

5. Discussion is needed allied to the design of the playout centre in Singapore as to whether commercials need to be held in an atomised form, or whether they could be held wrapped.

6. (Technical) QC process for commercials should be a 'lite' process as in most cases they will be delivered QC checked from the supplier.

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K.3.3 Promotions Part of Promotions production (see section K.6).

K.3.4 Graphics / VO (Presentation items) Part of Presentation items production (see section K.7).

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K.4 Compliance K.4.1 Programme Technical (QC) and Versioning A copy of the diagram that follows is included under separate cover to this report. PROGRAMME QC / VERSIONING WORKFLOW

MAM system

Versioning NO only?

Awaiting QC YES Select QC / Versioning job in MAM Select Versioning-only 1 job in MAM NO (VIDEOTAPE - EXCEPTION) File based?

YES MAM load 2 content to FCP QC editor will do this Edit Timeline with Load tape to VTR markers / comments from Auto / tape QC 9 .M2V and Planning / .WAV with scheduling QuickTime system Mark SOM/EOM reference file Check content ‘A’ Version part has been timings in MAM matched correctly Enter basic metadata for Version ID and ingest version break pattern details Mark ‘A’ Version Updated QC of programme as report Process QC ‘QC PASS’ in issues at marked MAM. Write MD5. points to create 3 ‘A’ version master Start ingest to .M2V and MAM .WAV with QuickTime MAM creates reference file NO programme version in Requires long Harris Vision and Closing breaks / legalising / render? uploads metadata technical repair edits etc

YES Monitor playback NO for quality issues International MAM Auto QC of tape- Copy to render based content? queue for master? 5 processing YES QC report on distributor master If not exist, MAM makes MPEG-1 or QC Issue NO WM9 w/BITC browse How might MAM manage Frame accurate detected? Off-edit seat render / proxy files and this process best? (Possible browse and use of edit suite down time Overnight render extracts .WAV .WAV YES for rendering) 10

MAM makes SPTV Note details in house format browse MAM Frame accurate YES proxy file browse and Need manual way of 4 .WAV triggering creation of these (Stop acceptance also Additional 6 window timer) NO versions required? NO Ingest YES complete?

NO YES Acceptance Notify distributor Automated? Versioning report: Distributor of content details file ID + SPTV acceptance available? created MD5 QC OK or NO fixable? Once browse of A version YES has been made, this can be QC editor will do this used for viewing and logging Retrieve YES versioning Mark SOM/EOM metadata / other Version(s) comments from part timings in MAM held against MAM A version (Stop acceptance window timer) Could pass each version through auto QC as final 11 check before files get moved Make edits to to TX Mark Version(s) of programme as produce ‘QC PASS’ in version(s)) MAM. Write MD5. Notify distributor of content rejection Requires long 7 MAM creates NO render? programme version in Harris Vision and YES QC FAIL Report uploads metadata. 8

Copy to render Could pass each version Editorial NO queue for compliance through auto QC as final NO International processing required? check before files get moved master? to TX YES YES MAM set ‘EDITORIAL Editorial compliance PASS’ flag and ‘RFTX’ If not exits, MAM Off-edit seat render / flag in Vision and send makes MPEG-1 or Overnight render version to TX Need manual way of WM9 w/BITC browse Frame accurate Awaiting triggering creation of these proxy files and browse and compliance also extracts .WAV .WAV

Finish

MAM makes SPTV house format browse Frame accurate SPTV Programme QC / Version proxy file browse and .WAV

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With reference to the above diagram and numbered boxes:

1. The programme (technical) compliance (QC) process and version editing processes are integrated, similar to current.

Programmes needing to be QC'd and / or versioned will be prepared into edit projects automatically by the MAM system as part of the import / editorial compliance processes.

2. QC / Version edit projects will be opened by an operator in Final Cut. The process of QC will be speeded by virtue of the prior automated QC process having populated the contents timeline with markers highlighting any specific QC issue. Hence the operator will not be required to 100% watch a programme, just move between marked points and taking action as appropriate.

3. As now, the objective of manual QC process is to produce a 'A' version master capable of being used directly on many of the SPTV TV channels. It is required that versions in Harris Vision are created by data passed from the MAM system. This will provide for there to be no repeated manual entry / re-keying of data between the two systems. Development to Harris Vision and its interface with MAM will be required to support this.

4. The MAM system will created a wrapped browse proxy format (to a SPTV house standard to be determined) for each programme version. These proxies will be used widely throughout SPTV for 'off-line' operations such as viewing and logging. MAM will communicate the location of these browse proxies back to Harris Vision to facilitate the click-through by schedulers to a viewable copy of the assets.

5. Some QC operations, such as the application of filters to long sections of video and audio within a programme may require long render times in Final Cut. It may be possible for MAM to manage these operations off the QC edit seats themselves in some way (possibly overnight).

6. Production of the 'A' version programme master and declaring this as 'QC PASS' should stop the acceptance window timer for distributor content. Technically the timer should be stopped at the point that the distributor master itself is accepted, however stopping it at this later point guarantees that SPTV has a 'fit for purpose' copy of the programme content.

7. MAM system should automatically back-populate Harris Vision with content related metadata. This requires suitable functionality within the Vision-MAM system metadata interface.

8. Formal editorial compliance (e.g. OFCOM) is not required for certain of the SPTV channels. It may be possible to take account of the need for editorial compliance automatically based on business rules operating on the channels profile which should be described in MAM.

9. The QC environment would be ideal for use as the point to ingest low-volumes of content from videotape. High volumes should be dealt with by external service providers.

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10. It may be possible to obtain support from the auto QC tools for tape-based content also and for this to be used when discussing tape-quality issues with suppliers.

11. Minor technical QC errors are tolerated on the basis that they can be repaired and that this often involves less organisational effort than it takes to arrange re-supply of content, particularly if deadlines are tight and the supply chain long.

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K.4.2 Programme Editorial A copy of the diagram that follows is included under separate cover to this report.

PROGRAMME MAM system EDITORIAL COMPLIANCE WORKFLOW The need for this ‘formal’ process only applies to Awaiting certain channels e.g. UK compliance needs OFCOM compliance

Planning / Find programme Would be of great assistance scheduling Version in MAM to SPTV if a MAM system 1 background process could scan audio tracks for bad language and set markers on timeline

Retrieve and view 2 browse copy of available Version Also, could MAM background scan to identify language present on audio track was the language identified by the filename suffix in the .WAV Compliance NO edits required? Annotations held against A version on different metadata tracks YES

Annotate browse Could be a new version video timeline in required or edits to an MAM with existing one instructions for Mark Version of Version programme as ‘EDITORIAL Harris Vision has only one PASS’ in MAM flag for ‘READY FOR TX’, so this step is the one that sets 3 the Harris Vision flag IF Version is QC PASS also

MAM publish status of Version back to Harris Add to ‘requires Vision version edit queue Awaiting versioning

To programme QC / MAM send version to Versioning TX 4

Finish

SPTV Programme Editorial Compliance

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With reference to the above diagram and numbered boxes:

A separate process of editorial compliance is proposed to replace the less than effective mixed technical and editorial compliance process of the current operation. This will improve accountability in what is regarded as a critical area by external regulators.

1. Compliance viewers will make use of the browse proxy of the programme content created as part of the ingest / import process. In this way the necessary viewing and logging of content may be undertaken at a generic office (not craft) workstation anywhere within the organisation (including the offices in-region).

2. MAM system should be capable of generating a list of content which requires to be viewed / complied based on the application of business rules to the metadata it holds.

3. Edit instructions will be held as time coded metadata against the A version of the programme (suggest a different track is used to record instructions for each subsequent version).

4. The compliance viewer will update MAM to record 'EDITORIAL PASS' Note that Harris Vision has only one 'READY FOR TX' flag against each asset and some thought needs to be given as to how status changes to this flag will be made.

Once a programme has been marked as 'EDITORIAL PASS' in MAM ('QC PASS' status having already been set), the MAM system should place the programme content in a queue for transfer to the Singapore playout centre.

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K.4.3 Commercials Part of content acquisition (see section K.3.2).

K.4.4 Promotions Part of Promotions production (see section K.6).

K.4.5 Graphics / VO (Presentation items) Part of Presentation items production (see section K.7).

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K.5 Localisation K.5.1.1 Programme Languaging A copy of the diagram that follows is included under separate cover to this report.

PROGRAMME LANGUAGING MAM should have logic that Sometimes it may be WORKFLOW works this out based on possible to retrieve DUB audio from an in-region MAM system channel profiles Search for DUB audio and import broadcaster to MAM NO Is content for a Requires DUB channel? 1 languaging YES NO Found?

Is DUB audio NO Treat Technical and Editorial YES in MAM? compliance as one initially as language editorial errors are few YES Original version Wrapped browse file will MAM upload script NO programme script need to be sent to language DUB audio has plus reference assets houses QC PASS? to language supplier

Frame accurate BITC at top of video frame YES browse and NO .WAV MAM send notification DUB audio has of availability to EDITORIAL language house / PASS? 2 WPF Requires track(s) YES WPF would be internal client on MAM system Language house produces mixed track(s) .WAV Aspera / Signiant powered secure upload?

Language house uploads to drop box Content available

Track(s) downloaded and matched Report from Auto QC should automatically in MAM populate metadata track in MAM for .WAV file in Asset (version) container

MAM moves into asset folder (now Basic checks on language associated) Automatic? file (levels / length)

Conform audio track on FCP, 3 checking for length and sync. Track accepted Tech Logger could MAM triggers ‘lite’ potentially do this instead of automated QC Notify supplier / FCP. Need to see audio WPF of track waveform. Could process be Auto QC report acceptance automated / done in a MAM client? Three-point check / conform .WAV on FCP timeline with video and YES Mark track as ‘QC other audio tracks PASS’ and Check that track is correct ‘EDITORIAL PASS’ in .M2V and language as part of this MAM .WAV with In practice, with SPTV process and set ‘EDITORIAL QuickTime chosen formats, this PASS’ flag according to NO reference file amounts to re-making the result. This could be done in- QC Issue QuickTime reference file region. 4 detected? MAM triggers automated ‘track stack’ of additional YES – QC FAIL 6 audio track (inc. re- 5 write QuickTime Or this could be a streamed reference file) proxy of the newly added Note details in audio. MAM Frame accurate browse, including new Full (auto + MAM makes SPTV audio track manual) QC house format browse Report proxy file And ‘EDITORIAL PASS’ in (Need to resolve MAM, if not treating problem with separately track supplier) 7 Re-mark TX asset as How will language tracks be ‘QC PASS’ in MAM represented in Vision? (individual / associated assets – ideal if so?)

MAM updates Harris Vision has only one asset Vision record against a version so how to distinguish ‘RFTX’ status when versions used across different channels? Asset could be RFTX for one channel but not for another due to missing language track!

Finish SPTV Programme Languaging

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With reference to the above diagram and numbered boxes:

1.TV channel profile stored in MAM should determine whether language localisation is by means of audio dubbing, subtitling or both.

2. WPF is currently an important player in arranging supply of language tracks. If this is to continue, it is suggested that WPF be given access to the MAM system and that the need for maintenance of separate spreadsheet management tools be reviewed.

3. Supplied language tracks should be subject to an automated QC check. Further work is required to devise the best way of checking tracks for correct language and conforming them (if required) against the video. Doing this in FCP is straightforward. Alternatively it is possible that Tech Logger could be developed to undertake this operation. It is hard to conceive of a means by which this process could be fully automated under MAM control at this time.

4. Language tracks should be subject to a formal QC process as they are relied upon by viewers for many channels.

5. MAM system could should maintain separate flags for technical and editorial compliance of language tracks.

6. QuickTime is used as an essential part of the SPTV house format, rather than a non- proprietary industry standard wrapper, such as MXF. This gives excellent compatibility with current desktop edit tools (Apple Mac / Final Cut).

7. There is an issue with how 'READY FOR TX' flags held in Harris Vision relate to assets with multiple audio tracks which needs to be considered.

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K.5.1.2 Programme Subtitling A copy of the diagram that follows is included under separate cover to this report.

PROGRAMME Sometimes it may be SUBTITLING MAM should have logic that possible to retrieve ST files WORKFLOW works this out based on from an in-region MAM system channel profiles Search for ST file broadcaster or WPF archive and import to etc MAM NO Is content for a ST channel? 1 Requires subtitling YES NO Found? Is ST file NO Treat Technical and Editorial already in YES compliance as one initially as MAM? subtitle editorial errors are few YES Original version Wrapped browse file will MAM upload script NO programme script need to be sent to ST ST file has QC plus reference assets production houses PASS? to subtitles supplier BITC at top of video frame Frame accurate YES browse NO MAM send notification ST file has of availability to ST EDITORIAL production house / PASS? WPF Content available 2 YES

ST production house produces ST file(s)

.STL Aspera / Signiant powered secure upload?

ST production house uploads to drop box Content available Report from Auto QC should populate metadata track in MAM for .STL file in Asset (version) container. Checks for valid characters; ST file(s) downloaded timecodes in range; etc and matched Checking for bad language automatically in MAM would be beneficial also

What tools are available for this?

MAM triggers 3 automated ST QC Auto QC report

QC Issue NO detected?

YES Mark ST file(s) as ‘QC PASS’ in MAM This could be done in-region with operator setting the ‘EDITORIAL QC’ flag 4 accordingly

Three-point check of streamed ST over video browse proxy 5

QC Issue NO detected? Automatic?

YES – QC FAIL Notify supplier of ST file(s) 6 acceptance Maintaining separate TECHNICAL and EDITORIAL compliance flags in MAM for ST is consistent with other asset types and has a value Mark ST file(s) as Note details in ‘EDITORIAL MAM PASS’ in MAM ST scheduled as secondary events in Vision. What about multiple ST tracks per asset?

Full (auto + manual) QC Report (Need to resolve MAM updates Harris problem with Vision track supplier) 7

Finish

SPTV Programme Subtitling

Television Systems Limited Confidential Page 82 of 130 Confidential Sony Pictures Television

With reference to the above diagram and numbered boxes:

1.TV channel profile stored in MAM should determine whether language localisation is by means of audio dubbing, subtitling or both.

2. WPF is currently an important player in arranging supply of subtitle files. If this is to continue, it is suggested that WPF be given access to the MAM system and that the need for maintenance of separate spreadsheet management tools be reviewed.

3. Supplied subtitle files should be subject to an automated QC check. It should be possible to procure automated tools that check for correct language with respect to the language reference contained in the filename.

4. Subtitle files should be subject to a formal QC process as they are relied upon by viewers for many channels.

5. MAM system could should maintain separate flags for technical and editorial compliance of subtitle files. Editorial compliance review would involve replay of subtitles overlaid on top of the browse proxy programme video.

6. It is believed that subtitles are scheduled as secondary events within Harris Vision and so may have the ability to support a 'READY FOR TX' flag.

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K.6 Promotions production A copy of the diagram that follows is included under separate cover to this report.

PROMOTIONS SPTV does not use make- PRODUCTION lists in Harris Vision. Make- WORKFLOW lists are currently Excel Harris Vision Sets up promo asset worksheets. placeholders in MAM under channel_ID and project_ID, Manually create with basic metadata. MAM new promo functionality could replace project in MAM Excel sheets. 1

MAM system

A ‘lite’ import process is Make original required to allow import of content for promo original content fro promo. Search for and import into Should discourage this content in MAM 2 MAM with basic content being taken straight metadata into edit as would not be viewable outside. Promo producers search for, view and annotate content outside of edit suites (not as NO now) Content Chase missing available content Content missing

YES

View, annotate and tag content for inclusion in 3 promo project Language house produces mixed SOM, EOM, DUR etc track(s) Content available MAM builds EDL and restore list against Promo project Import / register completed promo 8 London promo edit suits in MAM could work edit-in-place on Language house .WAV MAM disk storage. More NO uploads to drop .M2V and general approach is to All content box .WAV with assume they will have their tagged? QuickTime own pool of storage (needed reference file for Budapest and Madrid in YES any case) Mark as ‘QC PASS’ in MAM

Commit rough cut Track copied into EDL for Promo MAM 4

MAM makes SPTV house format browse MAM exports EDL and proxy file of finished Frame accurate promotion browse schedules content for MAM copies track to Book on-line restore as necessary project workspace on facilities in RMS edit storage

NO All Promo projects done? Editorial approval 9 May be Final Cut Pro and / process or After Effects etc YES depending on project Video edit suite

Open EDL (and content) in craft edit tool(s) NO Re-work / drop OK? promo

YES

Produce VO Edit Promo bed Scheduler responsibility content 5 Mark as ‘EDITORIAL PASS’ in MAM

Produce graphics Fully post producing content completed promotions would NO International be a safe way to commence version operations with playout in MAM sends link to Singapore, but increases browse proxy to Harris 10 YES loading on edit suites in the Vision Media Centre Add VO and mix Import to MAM / .M2V and register promo .WAV with Same comment as per VO, with basic QuickTime above. Moving to dynamic metadata reference file promo creation would save time in editing, but would add MAM auto updates complexity to playout Harris Vision with operations and require a ‘READY FOR TX’ Add Graphics capable playout product

6 MAM produces browse and .WAV

.M2V and Generate hi-res Script .WAV with .M2V and MAM push to TX output files QuickTime .WAV with reference file QuickTime MAM uploads script reference file and reference assets Frame accurate to drop box browse and .WAV QC check and Finish 7 legalise

QC Issue NO detected? YES SPTV Promotions Production

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With reference to the above diagram and numbered boxes:

1. It is assumed that make-lists will continue to be prepared and maintained outside of Harris Vision. As such, notification of what specific promos are required need not be known in advance. It is therefore proposed that MAM works with promotions initially on a 'project' basis, acquiring knowledge as to the existence of specific promo assets within a project only after they have been produced.

Promotions projects (which could relate to individual items or complete campaigns, or something in between) would be manually created in MAM with basic metadata.

2. The purpose of these projects is to act as a vehicle for viewing, collecting and annotating content under consideration for inclusion in promos to be made under the project. Original content shot for promotions would be imported to MAM separately under a 'lite' import process.

3. Operations in 2., above, would be carried out using the browse proxies of programme content stored in MAM .

4. Collections of content arranged in a rough-cut EDL would be maintained by the MAM system together with links to the high-resolution content that relates. On committing the promo project, MAM would format the EDL suitable for use in a craft edit seat and arrange for (partial) restores of the high-resolution content from the disk- and/or data tape archive sources to the required production storage (this production storage could be in Budapest or Madrid etc).

5. Promo vision beds would be made using the appropriate creative tools. If these were subject to language localisation, the beds would be registered in MAM and MAM would upload a browse proxy of the bed, plus script to the drop box of the language supplier. If the promotion was 'domestic', Voice-overs would be produced locally. The domestic or language localised VO would be mixed and graphics added using the appropriate creative tools.

7. Promotions content would be QC self-certified in the creative environment to avoid need for a separate, subsequent to production, manual QC process.

8. Once to promo had been produced, its existence could be registered in MAM and MAM would acquire by import from the production storage drop box, the finished content. This would automatically be marked as 'QC PASS' on import and a browse proxy produced.

9. A separate editorial approvals process could run using the browse proxy.

10. MAM would reverse-populate a new record in Harris Vision for the promotion and transfer appropriate metadata. MAM would add the promo content to the queue for transfer to Singapore for TV channel playout.

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K.7 Presentation items production K.7.1 Voice-overs (VO) / Graphics / Dynamic graphics A copy of the diagram that follows is included under separate cover to this report. There should be no need to The workflows for produce separate video clips presentation items for TX will for use in dynamic junctions depend on the specific PRESENTATION if a separate branding engine capabilities of the VO and ITEMS WORKFLOW is not used, providing that graphics production tools Harris Vision can fully and replay tools at the specify the juction using Singapore playout centre secondary events. Much will depend on the capabilities of the TV channel playout VO GRAPHICS product (automation + Harris Vision content replay engine) selected for Singapore

Manually create Sets up VO asset Make-lists for VO are new VO project in placeholders in MAM under included on current MAM channel_ID and project_ID, promotions make-lists (Excel with basic metadata. MAM Manually create sheets). More flexible to functionality could replace new Graphics Content required Excel sheets. project in MAM make VO first and then Content required import to MAM going Sets up Graphics asset forwards. placeholders in MAM under channel_ID and project_ID, with basic metadata. MAM functionality could replace Script 1 8 Excel sheets. Graphics production system 2 Done by Promo producers at present Produce presentation Formats? Arrange for VO Graphics artist / book Graphics preview facilities system 9

QC check in Graphics Tool MAM system Record VO in Audio Tool .WAV

NO Opportunity for remote QC Issue recording by artist and detected? submission of WAVS? 3 QC check in YES Audio Tool Replay and level-check etc

NO QC Issue detected?

YES NO All Graphics 5 done?

A method to do this on a YES batch basis may improve NO efficiency here All VO Import Graphics recorded? Match essence with ID into MAM and placeholders in project SOM, EOM, DUR etc Register with ‘QC PASS’ status A method to do this on a Formats? YES batch basis may improve efficiency here Import VO into MAM and Scheduler responsibility Register with ‘QC Match essence with ID Mark as PASS’ status placeholders in project ‘EDITORIAL PASS’ in MAM

.WAV 10 Mark as May not be possible to ‘EDITORIAL construct a meaningful PASS’ in MAM MAM sends graphics preview of graphics that can Scheduler responsibility preview link to Harris be accessed from Vision Vision 6 A separate graphics preview function linked to composition may be required MAM sends link to VO depending on equipment to Harris Vision choices for Singapore MAM auto updates Harris Vision with ‘READY FOR TX’

MAM auto updates Harris Vision with ‘READY FOR TX’

7 MAM push to TX Formats?

.WAV MAM push to TX Finish

Finish SPTV Presentation Items Production

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With reference to the above diagram and numbered boxes:

The general approach to handling of presentation voice-over and graphics content with respect to MAM is similar to that proposed in relation to promotions i.e. MAM works initially with 'projects', only acquiring knowledge of the specific assets after they have been produced.

The specific processes and workflows, particularly in respect to graphics including dynamic junction events, and the MAM system's role in these will be informed by the specific choices of software and software made for the Singapore playout centre.

Voice-overs 1. Create project placeholder in MAM, with basic metadata.

2. Produce VO in chosen tools (currently Pro Tools).

3. Self-certify VO QC.

5. Import VO cuts into MAM with QC status = PASS. Scheduler (or producer?) marks as 'EDITORIAL PASS' in MAM.

6. MAM sends link to VO to Harris Vision, allowing schedulers to click-through in Vision and preview.

7. MAM updates Harris Vision 'READY FOR TX' flag and adds to queue for sending to Singapore playout.

Graphics 8. MAM works on a project basis.

9. Graphics are produced and QC checked external to MAM.

10. Finished graphics are imported to MAM with QC status = PASS. Scheduler (or producer?) marks as 'EITORIAL PASS' in MAM. If possible, MAM sends link to graphics to Harris Vision, allowing schedulers to click-through in Vision and preview. MAM updates Harris Vision 'READY FOR TX' flag and adds to queue for sending to Singapore playout.

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K.8 Outgest / Export (Distribution) K.8.1 Assets for TV channel playout With the exception of schedule-related metadata, it has been assumed the MAM will form a 'one stop shop' for all content needing to be sent from the Media Centre to the new TV channels playout centre in Singapore.

A 'push' model has been assumed, where responsibility for getting content delivered for playout will rest with the SPTV Traffic Team. This model is recommended in view of the Singapore-facility being wholly owned, but far distant in time zone and space.

A key requirement for the MAM system will be that it provides a highly functional interface to the selected playout automation system for Singapore, as well as to the content delivery network.

No specific workflow is proposed for outgest of content held within MAM onto videotape. The need for this shall be subject to review as part of the design of the Media Centre. Should such a need exist, it is suggested that the same VT decks as are available for ingest be used.

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K.8.2 Assets for non-linear delivery points A copy of the diagram that follows is included under separate cover to this report. Non-linear content To what extent will SPTV management extensions continue to use aggregators NON-LINEAR required to Harris Vision and/ to interface to the platforms? CONTENT or separate non-linear Policy decision required. WORKFLOW product database to Assume Media Centre will aggregate editorial metadata interface directly with platforms for the time being. from on-pass to MAM. Policy This should be automated decision needed on and triggered by planning approach here. Planning / rather than as a manual scheduling process driven by an system Identify non-linear operator a content in MAM 1

Each channel / platform non- linear delivery point will have an associated delivery b Add content to specification profile known to MAM system channel / platform MAM distribution point basket

This technical metadata is only part of the total metadata requirement. In the NO absence of a specific VOD / d non-linear management tool, VOD / non-linear All done? metadata will be needed CMS? from planning and YES scheduling also. Assume MAM will aggregate all metadata (needs further Technical consideration / discussion) MAM assembles A relatively simple database metadata in metadata into delivery might suffice here (depends multiple packages c on Vision capabilities) formats

Sony Global Product 2 Management System (GPMS) Channel; asset IDs (linear metadata JPEGs and non-linear); availability MAM imports JPEGs repository imported from window; delivery point; from source and adds For preview clips, MAM holding JPEGs; show metadata; into delivery packages could default to sending first SOM/EOM for clips all need systems(?) 30s unless it had received to be considered SOM/EOM metadata indicating otherwise

MAM builds list of transcodes required (including for 30 s 3 preview clips)

A means of a user .M2V and determining the order of .WAV with priority / order of transcodes QuickTime will be required (could be reference file channel based?)

MAM executes required transcodes Essence in multiple formats (platform specific)

Auto QC of transcoded output 4

QC PASS? NO

YES

MAM marks assets as ‘QC PASS’

MAM calculate checksums and 5 finalise packages for delivery to platforms

MAM could prepare a manifest and send an automated e-mail All done? NO

YES

MAM send delivery note / manifest to recipients

Finish

SPTV Non-linear content

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With reference to the above diagram and numbered boxes: a. - d.The extent of improvement that MAM can offer in this area is conditioned by what changes may be made in the planning / scheduling / rights / metadata management for VOD and non-linear content generally. Potentially, SPTV could take advantage of available extensions to Harris Vision to achieve this.

It is believed that SPTV is considering implementation of a new business system specifically aimed at improving the efficiency of its non-linear operation. A key requirement for this system will be that is will support a 'gateway' of some sort for automatic exchange of content with the MAM system used in the Media Centre.

The MAM system should be a flexible repository for technical metadata related to video and audio assets. Editorial metadata already resides elsewhere and will probably continue to do so. In the absence of a dedicated CMS to aggregate all metadata and package content for non-linear, it is feasible for the MAM system to receive the necessary editorial metadata and join this with the technical metadata to service the non-linear platforms.

1. Non-linear content requirements need to be known to MAM. These should be notified from a suitable external planning / scheduling system comprising Harris Vision and/or a VOD / non-linear CMS.

2. MAM assembles metadata into packages for delivery to platforms. Each platform / delivery point should have a defined profile / characteristics in MAM, such that formatting of metadata (and other components, such as stills, video, audio etc) may be automated. Note, this is a high-volume activity when all content across all platforms is considered. MAM imports still images required as supporting collateral to the video/audio from their source(s).

3. MAM system builds a list of transcodes required to support the required content on the required platforms. Preview clips are also included in the lists being built at this point. By default, these preview clips could comprise the first 30 seconds of the main AV asset, however the precise 30 seconds (or other duration required) could be specified in the platform profile and/or the import from the planning system.

4. MAM executes the AV transcodes. A dedicated transcode farm is proposed for this to make scale-up easier alongside continued operation of the main MAM system. A 'lite' QC process would run automatically on all transcoded content, checking for gross errors in the output files only. These output files would not be stored long-term. Sufficient storage will be required for them until transmittal to / acceptance by the platforms.

5. MAM will calculate MD5 checksums for the content packages as may be required to verify their successful receipt.

MAM will add the packages to a queue for sending to the platforms. It is possible that MAM could automatically assemble a manifest document for each of the packagers / platforms and send automatically by e0mail of why?

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L. TECHNOLOGY REQUIREMENTS FOR THE EUROPEAN MEDIA CENTRE

It is clear from this study that Sony Pictures Television will require a comprehensive MAM solution for the Media Centre and as part of its re-drawing of EAME technical operations.

While MAM systems started out as being focused largely on the management of content and support for operations carried out on the content, the past few years has seen these aspects taken as a given, with increasing emphasis now being placed on the workflow management capabilities of MAM systems as the key to improving business operating efficiency.

A key requirement for Sony Pictures Television is the need for a robust, real-time workflow management tool to replace the spreadsheet / Google Docs approach being used currently.

L.1 Data storage Various data storage systems will be required for the Media Centre.

Given the volumes of archive content that will be held, a robotic data tape library is the logical choice for bulk, near-line storage. An LTO-5 based library will offer a high storage capacity per unit volume of floor space, with those by Spectralogic being particularly efficient in this area.

Control of the near-line storage will be directly Hierarchical Storage Management (HSM) product. Sony Picture Television is already a user of Front Porch Digital (FPD). Many MAM systems already interface to FPD DIVArchive.

A quantity of high-performance disk storage will be required to store work in progress content at high-resolution. This will require sufficient capacity for storage of incoming distributor master content; content being worked on in the QC/versioning edit (and possibly London- based channels promotions production if co-located) processes; and for content in transit to playout (TV) and non-linear platforms. In order to avoid complex and time-consuming staging of content between domains (such as archive and edit), it is recommended that the edit sets are attached directly to this category of storage and that the edit clients work on an 'Edit In Place' (EIP)' basis where possible.

Other disk storage will be required to hold browse proxy video content and as a transitory store for content output from transcoding. The performance requirements on this class of storage are less than for that holding high-resolution video content.

It has been assumed that storage necessary for the operation of EAGL (and CineShare) systems will be additional to, and not be mixed with, the above.

L.2 Content Delivery Networks (CDNs)

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A number of logical, high performance and high availability CDNs will be required to support operations of the Media Centre.

L.2.1 Input-side On the supply side, connectivity between the Media Centre and large number of distributors of programme and other content is required. As per section J.4, a total of some 907 GB of content must be transferred from distributors to the Media Centre per day. This implies an aggregate CDN bandwidth of 84 Mbit/s on the supply side.

L.2.2 Work-in-progress Regarding work-in-progress production, a total of 101 GB of data per day must be sent from the Media Centre to the London, Budapest and Madrid production centres and a total of 10 GB per day of finished content received back in return. This implies an aggregate CDN bandwidth of 10 Mbit/s and 1 Mbit/s respectively.

Pushing reference browse proxy files out to suppliers of content for language localisation will add a further 25 GB of data per day to the outbound load and in the region of 10 GB of data per day to the inbound load.

L.2.3 Output-side Delivery of content to Singapore for TV playout will require in the region of 1,250 GB of data to be sent from the Media Centre to Singapore per day. This implies a minimum sustained CDN bandwidth of 115 Mbit/s.

Delivery of content to the multiple non-linear platforms will require in the region of 365 GB of data to be sent from the Media Centre per day. This implies an aggregate minimum sustained CDN bandwidth of 34 Mbit/s.

No allowance has been made in the above figures for client access across these networks to the MAM system. This access could involve streaming of browse video stored in the Media Centre out to client in regional production offices and possibly suppliers.

L.3 Desktop IT SPTV generally uses PC / Microsoft clients for general office applications and currently Apple Mac Pro / OSX clients for 'craft' applications. Most MAM systems recognise this as a common distinction in corporate environments and aim to support both types of clients.

It is attractive to search for systems that are web browser-based, with no special client-side installation requirements making easier the task of deployment in mixed--client environments. Experience has shown, however, that this attractiveness should not be allowed to dominate requirements when procuring a MAM product. More important is that users are provided with the right tools for the tasks to be undertaken.

No attempt has been made at this time to identify the total number / locations of MAM client workstations / concurrent users etc.

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L.4 Facilities at the Media Centre L.4.1 Ingest / Import Based on conversations at the head of this study, it has been assumed that the Media Centre will be a (video)tape-less facility. As such, no consideration has been given to aspects of a MAM system needed to support operation of a tape library.

SPTV needs to consider the quantity of videotape currently being handled by its service providers (Encompass, Deluxe 142, JCA, Arqiva, Prime Focus, etc) and to project forward to determine the position at the time the Media Centre design will be prepared. Doing so will inform as to whether the volumes of tape will by then have fallen to such levels that, what remains can be most economically handled externally.

It is recommended that the three VTR installed at Golden Square be migrated across to the Media Centre regardless. The MAM system will require as a minimum baseband video ports (and control facilities) to allow connection of these decks. It may be prudent to provide for a quantity of additional ports and infrastructure, minus the VT decks themselves (which could be hired in to deal with any unexpected / peak requirements).

L.4.2 QC SPTV has adopted Apple Mac Pro / Final Cut Pro for QC of file-based programme content. At present, QC is performed on a 100%, fully-watched basis.

To improve efficiency of the QC process, and to ensure efficient scaling once QC operations currently performed elsewhere become part of the Media Centre's remit, it is recommended that SPTV take advantage of automated QC tools. There are many potential products to choose from. It is suggested that the precise choice will be influenced by the existence and capability of interface / integration with the selected MAM system. Some candidates are listed in section O.3.

The manual QC function at Golden Square, London is currently being carried out in an unsuitable (open-plan office) environment. No attention has been paid to the need for controlled viewing and listening conditions. This situation should be addressed as part of the design of the Media Centre.

It is recommended that the design of the video edit suites for the Media Centre take account of the needs of QC as follows:

• QC / Edit booths should be controlled and closed rooms, with suitable (task) lighting and acoustic treatment • Vision and sound grading should be carried out on appropriate monitors (loudspeakers in the case of sound, not headphones) • External hardware video and audio signal level measurement equipment should be available.

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In addition to a network accessible automated QC tool, or tools, there may be value in installing an automated QC / legaliser tool on the edit seat itself. A suitable product here being the Eyeheight 'Compliance Suite FC'.

L.4.3 Video editing The introduction of a MAM system at the Media Centre will allow SPTV to move away from a fully on-line editing approach. This will improve utilisation of resources and broaden access to content for off-line activities (viewing, logging, annotating, EDL preparation etc). The extent of the functionality available on any off-line / proxy-based editing system will depend on the MAM system selected.

On-line edit seats at SPTV have been standardised as Apple Mac Pro / Final Cut Pro 6/7 software. It has been assumed that the SPTV Media Centre will retain Apple technology for video editing. This assumption is important as the then logical choice of QuickTime as the file wrapper for SPTV's internal house standard content formats is critically coupled to it.

It is recommended that the edit seats internal to the Media Centre be configured to work edit- in-place (EIP) with the MAM's high-performance disk storage. This is similar to current model, but with the added benefit of content on the storage being actively and in many cases automatically managed (by MAM). The proposed model for the MAM system allow for SPTV production operations in London to be located on a different site to the Media Centre.

The comments regarding environmental and monitoring considerations of section L.4.2 apply equally to the video edit suites. Content output from video editing should not require to re- enter a manual QC chain i.e. it should be self certified by the editor. As with QC, this may necessitate automated QC / legaliser tools being installed on the edit seats.

It is recommended that the functionality available in QC and video edit booths be harmonised to facilitate best possible utilisation of resources.

L.4.4 Audio editing Audio editing / dubbing at SPTV utilises Avid Pro Tools. This is a pragmatic choice for the work that will be undertaken in the Media Centre. The proposed model for the MAM system allow for SPTV production operations in London to be located on a different site to the Media Centre.

M. REVIEW OF SONY DEVELOPED MEDIA TOOLS M.1 EAGL - Input from Glen Marzan The Sony Pictures Entertainment Assets Global Library ('EAGL') tool has been developed in the US by the Digital Media Group as a front-end GUI for the Sony Pictures Digital Media Repository (DMR).

EAGL is the natural successor to 'CineShare', which itself formed a successor to earlier 'systems', where content was moved between delivery points of the supply chain using transfers to and from individually established and maintained FTP sites.

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Unlike CineShare, which may be likened to a managed FTP content transfer solution, integrated with security, storage and having a folder-based presentation to users', EAGL relies on metadata to structure content being stored and moved. Being metadata driven, it lacks the 'quick and easy' ability of CineShare to upload and move content simply by placing it in a folder however, with appropriate trimming of the mandatory minimum metadata required from users', this aspect of 'user friendliness' could doubtless be addressed.

The EAGL tool has a similar look to commercial Enterprise-level DAM systems, such as those by Open Text and North Plains. The user interface (UI) is web-browser based - an important non-functional consideration when looking to maximise use across an enterprise having mixed desktops. Given appropriate resources, the current UI (and back-end) functionality could be changed to operate differently to current, e.g. with a view to meeting the needs Sony's Television businesses. No estimates are available for the cost / time required for such change as requirements for the TV business have not documented and given to the EAGL team.

The browse video player within EAGL uses H.264-based proxies. It is not frame-accurate and is somewhat inflexible in its ability to select and replay audio from multi-track source content (only two-channels supported).

Functions implemented within EAGL to date include the ability to upload, describe, search, report on and transcode content. EAGL currently interfaces to Agility and FFmpeg transcoders and the development team regard integration to integrate with third-party systems as a key capability.

The product contains a workflow engine but the configuration and operation of this was not apparent during product demonstration.

EAGL currently has no integrations to any TV planning / scheduling / traffic / playout automation systems.

A key design policy for EAGL has been to maintain the same back-end software solution across all front-end 'customer' applications. This appears not to have caused significant issues to date, probably due to the nature of currently supported customer businesses being similar in nature. Potential issues with maintaining this policy may be envisaged were the product to be used across both features and TV applications.

The back-end of EAGL uses 'gold-standard' hardware and software. Servers hosting web services, database and applications are by HP; Databases software is by Oracle; and disk storage is by Isilon. This is consistent with the critical role EAGL plays in Sony Pictures operations and the other customers it supports, including BBC, MGM and NBC Universal. It would in theory be possible to host a version of EAGL in Europe, if desired.

EAGL has been designed to manage high volumes of assets and has a robust, relational database structure for holding metadata. The database maintains an audit trail of systems operations of potential use for management reporting.

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Reporting within EAGL is currently rudimentary. A few pre-defined reports are available on the system and others could be added by coding. There is no companion user-configurable report generator available.

EAGL has been in development for circa 2 years. The on-shore development team comprises in the region of 10 people.

M.1.1 Role in future MAM The obvious role for EAGL allied to a MAM solution for the European Media Centre is as a replacement to the current CineShare system and as a means for viewing of submitted content on corporate desktops e.g. for screeners.

In the first potential role, EAGL lacks the simplicity of CineShare and its use in conjunction with MAM would appear to introduce an intermediate content storage system between distributors and the Media Centre that is not strictly necessary. It would seem perfectly feasible for MAM to work with a combination of its own hosted secure drop boxes for content exchange and those already provided / available by distributors and service providers. There are concerns within SPTV (London) as to the desirability of introducing additional dependencies into the content pipeline to TX that do not add value and are not necessarily attuned to the needs of 24/7 operations.

In the second possible role for EAGL, as an enterprise-wide viewing system possible for screeners, there would be considerable overlap with the functionality provided by the MAM system itself for content that the MAM is aware of and, again, it is difficult to see the added- value here. For content not known to MAM, there is a clear value in having access to browse proxies of content that might form part of future programming for a channel and this application for EAGL is recommended.

To develop EAGL further with a view to it (meaning a significantly enhanced UI plus back- end) becoming the core MAM system for the Media Centre would require significant investment by Sony Pictures in specification, design and coding resources. The result would doubtless be a difficult, time-consuming and not inexpensive project. Many commercial MAM systems supporting linear TV channel playout operations have been in development for five years, or more. Many are yet to show their maturity in key areas, such as workflow management, reporting and user configurability and their development here remains ongoing.

Potential conflict lies ahead were the EAGL team to attempt to broaden the capabilities of EAGL and maintain the same back-end across all customer business applications. In the commercial world, and despite some ambitious marketing, MAM products have segmented into those that are good at corporate document management; those that are tailored to support collaborative video production; those that lean to supporting video playout (distribution) etc.

Broadcasters' other than Sony have in the past tried to develop their own, comprehensive MAM systems. We are unable to cite one example of where this has led to a successful outcome.

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None of the above is to say that the EAGL development team is not up to the task, however the difference between capability and desirability of the approach must be recognised, especially in view of the timescales associated with bringing the Media Centre and new Singapore TV channel playout operation on-line.

M.2 Tech Logger - Input from Jason Brahms The Sony Pictures 'Tech Logger' tool is a product of Sony Pictures Technology, an output from its programme of general development of tools for cloud-based production. Existing functionality is based on needs of the theatrical business. 6-7,000 programme masters have already been encoded using Tech Logger.

Tech Logger has been optimised to work on the Apple Mac platform. The user interface (UI) is web-browser based and tailored for Safari. Tech Logger Java on the server-side and JavaScript / HTML-5 / QuickTime libraries on the client side. Video is streamed by means of HTTP for playback from the host, located in the US. Tech Logger is a functionally rich tool, with the look of its UI resembling that of Apple's Final Cut edit software.

Outline functionality of the tool includes import / view / annotate / edit / transcode / export of content.

Initial work has been with J2K encoding of video, however the functionality of the tool does not depend on use of this codec. Video browsing is frame-accurate. Other codecs are supported, within the capabilities of FFmpeg transcoder, including IMX30 and XDCAM 422 HD, as specified by Sony Pictures Television Europe.

Tech Logger maintains an extensive set of metadata for assets held. Much technical metadata is extracted automatically from the content / wrapper. More and different metadata may be entered manually. Metadata input parsers have previously been written to take in QC reports.

The viewing of browse proxy content is sophisticated, with rapid navigation up and down the entire length of the content, plus the ability to go-to and zoom in on particular sections. Thumbnails are extracted from the content on import - this is not full scene detection but can be done on a timed interval basis. Arguably of more use than full scene detection is the tool's ability to search for bars and black in the video and highlight these to the user. This can be set as a default action (event) and has obvious applicability in the rapid trimming and closing of breaks in distributor content to make a seamless master. Such specific and useful functionality is absent from many commercial products.

Mark-up of points of interest in the content can be made (mark-in and mark-out supported from 1 to any number of frames). These mark-ups can be saved to different time-based metadata tracks and could provide for, for example, tracks for schedulers to mark break patterns, with a separate track for technical compliance comments and a third track for editorial compliance / versioning comments. XML-based metadata input by users in this way may be exported to non-linear edit systems. An interface to AVID may be accomplished by means of export of a QuickTime reference movie, containing markers.

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The tool's ability to stack, synchronise and display visually (as a waveform) audio tracks is also relevant to Media Centre operations and, specifically, to Sony Pictures Television's need for much language localisation. Use of Tech Logger for this process could avoid having to commit craft edit booths and should be further considered.

Of particular relevance to future Media Centre operations is the tool's ability to allow an operator to check editorial quality and placement of subtitles (ST), allowing a preview in the UI of the subtitles over the top of the programme video on the programmes timeline. This is similar to functionality offered by commercial products, such as those by Starfish and Screen and also of some MAM systems, such as Mediaflex by TMD. Subtitles are currently not QC checked by Sony between being received from suppliers and sent to the TV channel playout centres. It is not unknown for there to be basic issues with ST files that prevent them being played to air. The potential overlap of functionality with MAM systems and inability to automate Tech Logger (see below) however limits its applicability as part of an integrated MAM solution in this area.

No integration work has yet been undertaken with any other MAM systems. The tool does have an API which could potentially open up this option.

Tech Logger is currently not automatable, that is it is not intended for hands-off batch processing of content, as the presentation layer is integral part of the tool. This is a pity as automated track-stacking under MAM control would add a lot of value to the SPTV workflow.

A potential tactical role exists for Tech Logger in the verification (re-QC) / repair of content to be brought back from Encompass and Arqiva archives. Content held at Encompass (some 40,000 + items) will need audio / video track re-alignment prior to it being usable on TX with other than Omneon video servers (Omneon pre-charge issue) i.e. as will most likely be the case for the new Singapore playout centre. With development to add some batch processing capability and suitable transcoder (transwrapping) support, together with existing features, Tech Logger could fulfil this role in the Media Centre project.

M.2.1 Role in future MAM Tech Logger is a very capable tool and has potential to play some part in the operations of the Sony Pictures Television London-based Media Centre.

As with EAGL (above) however, we cannot recommend that attempts be made by Sony to grow Tech Logger into a fully-fledged, in-house MAM system. The reasoning is similar to that for EAGL: Tech Logger's functionality is undeniably useful to Sony, but is only a part of that of a full MAM system and it is unlikely that it could be developed into a fully-fledged, successful MAM system in a timely, cost-effective and resources-friendly way to play a part in the Media Centre project.

The biggest barrier to the combined use of Tech Logger in conjunction with a commercial MAM product is that of how the integration / interfacing and sharing of content between the two might operate. Many commercial MAM products offer browse and logging functionality similar to that of Tech Logger - functionality that it is not possible to selectively option out to

Television Systems Limited Confidential Page 98 of 130 Confidential Sony Pictures Television allow for the substitution of Tech Logger as an (full or partial) partial alternative. It is conceivable that a way could be found to use MAM and Tech Logger together, with some sort of 'content gateway' between the two, that would allow a user of Tech Logger to make use of content managed first and foremost by the MAM system and submit back metadata resulting from Tech Logger user actions. Any such feature would likely be a custom development (for both parties), and the business logic for accommodating Tech Logger in this way would need to be compelling.

A secondary barrier to the wide deploy-ability of Tech Logger is that it is not 'PC-friendly'. Much of the functionality offered by Tech logger is of relevance to the (PC) users in the Sony Pictures Television Channel Management and Traffic teams who will have to interact closely with MAM on a regular basis. For users of Apple desktops, including Promotions Producers, Tech Logger might avoid having to purchase Final Cut licences for some Apple hardware and is capable of running on lower-specification hardware than that required for Final Cut, giving a potential cost-saving were those users' needs not able to be accommodated by the PC clients of a commercial MAM system.

M.3 Opinion on other media tools being considered M.3.1 Shotgun Shotgun is workflow ('pipeline') management software having its origins in VFX production for features.

It's UI is entirely browser-based and suitable for use on all common hardware / software platforms.

The product can be customised extensively and it is this aspect that makes it potentially relevant for the Sony Pictures TV Media Centre project.

The mock-ups already produced by Sony clearly demonstrate the products potential as an enterprise-wide replacement for the ungainly system of job / content tracking spreadsheets / Google Docs 'system' used extensively within the organisation.

The relative ease of user configurability of the Shotgun product itself is significantly in advance of the capabilities of many mainstream commercial MAM products. The product has an extensive Applications Programming Interface (API) allowing it to be interfaced with adjacent systems. Use has already been made of this by Sony to deliver a proof of concept interface to the Harris Vision scheduling system, based on flat-file imports. Further potential exists for this interface to be developed and for others.

Commercial MAM systems have for some while now aspired to providing total support to users' for the management of content workflow. All are far from mature yet in this area. Some customers have found this support lacking and/or inadequate. It is still the case that modification of the business logic internal to many MAM systems workflow management feature is not fully in the hands of the customer, meaning that software coding by the manufacturer to accommodate changes remains commonplace (and not inexpensive for even modest changes).

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M.3.1.1 Role in future MAM Similar to Tech Logger, there is considerable overlap between the functionality provided by Shotgun and that that would be required of a commercial MAM system capable of meeting the needs of the Media Centre, a prime requirement of which must be for comprehensive management of workflow.

Given appropriate software development, it is conceivable that Shotgun could be used in conjunction with a commercial MAM system to some degree, but to what end? Having two UI through which workflow could be controlled / managed by users' would seem to make little sense, especially as the Shotgun product attracts a license fee of circa $100 per month per user. Should Sony procure a commercial MAM system for the Media Centre, part of the price for the system will be for workflow management capability.

Sony Pictures Television is trialling the Shotgun product and will gain valuable experience by implementing it practically. Should trials indicate the product to be so compelling a tool, it is suggested that Sony make provision in its engagement with the MAM product market to explore interfacing / integration possibilities.

M.3.2 Cantemo Portal DAM / MediaBox / Vidispine TSL has very recent experience (2011) with a deployment of Vidispine as the core of the bespoke MAM system supplied to the University of Salford (UoS), on which TSL was the sole systems integrator for the TV and radio production and broadcasting systems.

On the UoS project, Vidispine was paired with a custom-written, web-only user interface based on Google Developers Toolkit (GDT). The MAM system was integrated to five DVS Venice video servers, proving for a total of 10 baseband SD / HD video and audio input and output channels. Other integrations were to Film Partners MXFserver project management system and IBM disk storage and small LTO tape library and Avid iNEWS newsroom computer system.

Against a largely pre-existing specification, software detailed design, development and integration time for the UoS MAM system was in the region of 9 months and involved a team of circa five MAM supplier developers, assisted by Vidispine, DVS and Film Partners.

Use of the Cantemo front-end to Vidispine should reduce the amount of software coding required for certain aspects of this 'MAM' system. However, where the required functionality lies outside of that already provided for by Cantemo, the way forward is still by coding to form a complete system. The risks associated with this should not be underestimated in an enterprise-wide deployment.

Cantemo / Vidispine currently lacks any conspicuous pedigree in multi-channel, linear TV playout operations. Sony Pictures Television is intending to implement Cantemo MediaBox as part of its 'Promotions Disaster Recovery (DR)' project, sending content to Object Matrix storage located at its Docklands data centre for safe keeping off-site from its Golden Square premises. This project could serve as a valuable learning experience / proof of concept test of the Cantemo / Vidispine pairing.

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N. CHOOSING A MAM SOLUTION

Three options suggest themselves for the Sony Pictures Television MAM system:

1. Sony Pictures Television procures a comprehensive, commercial MAM product and uses this as the base platform to support all aspects of the Media Centre operation.

2. Sony Pictures Television enhances its current tools and develops the missing components of a MAM system to form a complete, in-house solution.

3. Sony Pictures Television specifies a combined systems solution, consisting of a core commercial product, enhanced with the integration to selected of its own-developed / third-party tools.

These three options are considered below:

Option Strengths Weaknesses 1. Sony Pictures • Commercial products • Sony Pictures Television procures a have published Television business comprehensive, capabilities built on would need to adapt commercial MAM hundred of man years to fit product product and uses this of development to operating model as the base platform date and are already • Often less than un- to support all aspects proven elsewhere limited scope to tailor of the Media Centre • Speed of system system operation operation implementation • Purchase and ongoing • Lowest demands on support costs can be Sony Pictures substantial Television human • Time and cost for resources future changes can be substantial 2. Sony Pictures • Sony Pictures • Requires high levels of Television enhances Television gets specification, design, its current tools and exactly the system it coding and develops the missing specifies management components of a • Potentially less resources MAM system to form expensive to • Many previous failed a complete, in-house purchase and support examples in other solution. broadcasters' • Highest demands on limited Sony Pictures Television human resources

3. Sony Pictures • Potentially combines • Gaps and overlap / Television specifies a best features from duplication between combined systems commercial and in- Sony tools and core

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solution, consisting of house developed functionality of a core commercial products commercial product product, enhanced • Ability to bespoke lead to managing two with the integration to some parts and reap MAM product selected of its own- benefits of a solid developments developed / third- commercial core • Substantial integration party tools product effort required in addition to that for adjacent systems external to the MAM system

O. SPECIFIC MAM TOOLS FOR CONSIDERATION O.1 MAM Products Candidate, commercial MAM systems for the Sony Pictures Television Media Centre are considered to be as follows (presented in alphabetical order):

• Dalet 'Media Life' • Harris 'Invenio' • mantrics 'Workflow Manager' • Miranda (formerly OmniBus Systems) 'iTX integrated content management' (iTX Enterprise) • Pharos (Evertz) 'mediator 4' • Tedial 'Tarsys / MPM / Ficus' • TMD 'Mediaflex' • vizrt 'Viz Ardome 4'

Of those MAM offerings closely aligned to integrated, IT-based playout ('channel in a box') systems, such as Pebble Beech Systems 'Anchor Media Manager', Playbox 'Metus', Snell 'Morpheus Media Management (M3)', only the Miranda iTX offering is considered worthy of inclusion here.

Other products with a broader, general enterprise level DAM focus, lacking pedigree in front- line TV channel playout operations, such as North Plains 'TeleScope Enterprise' and Open Text 'Media Management 7.0', were not considered to be candidates in this case.

Similarly MAM products who's prime purpose is to support collaborative production operations, such as Avid's 'Interplay / Interplay Media Asset Manager', were not considered candidates in this case.

Products having their principal strengths in resources management, such as Xytech 'MediaPulse' and ScheduAll 'Broadcast Suite', were not considered to be candidates in this case.

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O.2 Storage Products TSL has had positive experience with the disk and tape storage products and management sub-systems below:

• EMC Isilon IQ disk storage • Omneon (Harmonic) MediaGrid • Spectra Logic data tape robots w/ LTO-5 tape technology • Front Porch Digital - DIVArchive

It was noted that SPTV is already a user of Front Porch Digital DIVArchive at its Singapore facility.

O.3 Other Products Other products for consideration as candidates for inclusion in the Media Centre include: O.3.1 Vision and sound monitoring equipment • JVC picture monitors • Genelec loudspeakers • TSL Audio Monitoring Units (AMU)

O.3.2 Quality Control hardware / software • Interra Baton

• Tektronix Cerify

• AmberFin iCR

• Harris QuiC

• Harding Flash and Pattern Analyser - FPA X / XHD

• Starfish Technologies Isis Subtitle File QC Service

P. OTHER CONSIDERATIONS P.1 Project-related P.1.1 Staging Staging of the SPTV Media Centre and Singapore playout projects will be critical to their success. It is logical that they be treated as part of the same project programme.

High priority activities, part of the various stages of the projects, are identified below:

• Technology decisions for Singapore playout centre

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• Accommodation decisions for the Media Centre (including related business continuity aspects) • Design of the means of inter-working with (London), Budapest and Madrid production centres • MAM and systems specification and procurement for the Media Centre • Design of the Media Centre technical infrastructure • Content Delivery Networks (CDN) including drop-boxes specification and procurement • Migration of existing archive libraries back from Encompass and Arqiva • Channel migration planning • Training for the chosen MAM system / overall solution

P.1.2 Timescales TSL considers the revised timescales relating to the commencement of parallel- and solo- running of the Singapore TV channel playout facilities of 1 August 2013 and 1 October 2013 respectively, and the implied timescale for the design, construction and testing of the Media Centre to be realistic and achievable

P.1.3 Resources Out of scope.

P.1.4 Budget Out of scope. P.2 Accommodation-related P.2.1 Accommodation The present SPTV office space on third floor of 25 Golden Square, London is unsuitable for quality-critical, video and audio processing operations, which require purpose-built, controlled environments..

The nature of what is intended primarily as office space does not lend itself immediately to use to house technical facilities of the type required for the Media Centre, however conversation may be possible. Space on lower ground floor of 25 Golden Square, London, shows most promise in this regard.

Further study would be required to derive a suitable space plan for the Media Centre, taking into account adjacencies and inter-area security considerations.

P.2.2 Power supply The supply of robust, reliable technical mains power and other services will be critical to the successful operation of the Media Centre. In respect of mains power, the Soho area of London does not have a particularly good reputation in this regard, particularly during the Summer months.

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With the position of the future Media Centre so critical to the maintenance of the supply of assets to Singapore for linear TV channel playout and to many other delivery points for non- linear, SPTV should look to having diversity of supply in incoming mains power to the Media Centre, together with appropriate UPS and generator backup power.

Technical apparatus rooms, such as will be required to house the MAM 'back-end (server side)- and content storage-equipment, should have fit for purpose electrical distribution and air-conditioning systems.

P.3 Networks-related Availability and Quality of Service (QoS) considerations for the Content Delivery Networks (CDNs) supporting Media Centre operations will be crucial to the success of the future operation. SPTV is acquiring increasing experience as to what this means in practice as more channels migrate to majority file-based working and more content becomes vectored through Golden Square. The future operation of the Media Centre will see data volumes multiply many times over current (as detailed elsewhere in this report).

There have been recent instances at SPTV London where the shared MPLS network connectivity has become saturated with content to the exclusion of other general business traffic. While it is logical to share networking across the enterprise, those charged with designing and maintaining the network must be fully aware of the volumes, throughputs and generally somewhat more time-critical (and 24/7) nature of content for TV than business data for corporate applications.

It is vital that the Media Centre design team has proper representation from networks and (as the overall MAM solution will rely on it) from the corporate-IT function generally.

P.4 Storage-related Space in the London Docklands data centre available to SPTV for installation of disk-based storage for the 'Promotions Disaster Recovery (DR)' project would be inappropriate for installation of the MAM-managed disk- and data tape storage for the Media Centre due to its remoteness. Hosting of MAM systems in the cloud is still in its comparative infancy, the main obstacle being the ongoing close-coupling of MAM with adjacent systems.

A data tape robot of modest size will be required to store archive content for SPTV at the Media Centre. The bulk of the (high-resolution) content will be replicated in Singapore and could in addition be replicated elsewhere, such as at a dedicated DR facility. There is some logic to suggest that any (limited) playout DR facility should be a part of (adjunct to) the Media Centre.

P.5 Other dependencies With the Media Centre on the critical path for delivery of content out to the platforms, care will be needed to minimise the impact of other dependencies. One example is the Sony user authentication system. Such as system has a value to the enterprise in reducing the maintenance of separate Access Control Lists (ACLs) for different business systems. It's

Television Systems Limited Confidential Page 105 of 130 Confidential Sony Pictures Television application to MAM should only be considered if its reliability can be guaranteed to be at the same level, or higher, than that expected of the MAM system itself.

Q. CONCLUSIONS AND RECOMMENDATIONS

TSL has studied the existing processes and workflows of the current SPTV operation. While these are generally effective as regarding getting content delivered to the intended audience, they are clearly not efficient and do not lend themselves to adoption for the Media Centre. This is understandable given the structure of the business as it has evolved; the number of service providers on which SPTV depends critically; and the diversity of technologies in use.

TSL has identified a number of areas of the SPTV business where there exists potential for improvement with a view to securing increased operating efficiency and cost-effective scaling of future operations. Sony Pictures Television has an unquestionable need for a enterprise- wide MAM system to support future operations in and around its London-based Media Centre. In order to maximise the effectiveness of an overall MAM solution, new processes, workflows and technology will be required, necessitating significant changes to working practices within SPTV (including in the regions). Essential to the success of a MAM implementation at SPTV will be development of interfaces with programme planning and scheduling (including for non-linear platforms) and airtime sales systems.

TSL has studied the key content volumetrics of the SPTV business. Lack of data surrounding some content types has meant that many assumptions have been listed in conjunction with these volumetrics. In most cases, the sensitivity of the assumed figures is relatively low, however a re-validation of the figures prior to the detailed design of the Media Centre is recommended.

The scale of the process of Sony taking back control of its archive content (and the content itself) from Encompass and Arqiva service providers in the UK and from Sogecable in Spain should not be underestimated. Detailed planning of this project should commence as soon as possible.

TSL has proposed a high-level technology architecture for the Media Centre, highlighting the key technologies required. A number of suggestions for specific products have been made for consideration by SPTV.

Sony has developed two internal software tools - 'Tech Logger' and 'EAGL' - that have potential applicability to certain of the operations needing to be carried out in the Media Centre. TSL has reviewed the strengths and weaknesses of these, as presented. While it is technically possible that these tools could be re-worked, enhanced and combined with other, yet to be developed software, to form the required MAM system, TSL believes that this would not be a wise course of action for Sony in view of the major investment that would be required in specification, design and development resources. Such level of investment and

Television Systems Limited Confidential Page 106 of 130 Confidential Sony Pictures Television the programme of work that would arise would represent a major risk to the timely, economic and effective putting into service of the Media Centre and consolidation of TV channel playout to Singapore.

The 'EAGL' tool forms a logical successor to the current CineShare (cineSHARE+) file trafficking system, however its adoption in conjunction with / as part of a overall MAM system for the Media Centre would have to demonstrate some added value over MAM working with content drop boxes in a more direct manner.

Of the other (commercial) tools currently being considered for an interim (or possibly longer- term) role in SPTV file-based operations - 'Shotgun' and Cantemo 'MediaBox', TSL believes that the former shows much promise as a replacement for the current system of content status tracking based on Spreadsheet and Google Docs. In the same way as for EAGL and Tech Logger however, TSL also believes that these tools are unlikely to be capable of being economically and quickly developed into the enterprise-wide MAM system that SPTV is seeking. Sony has to decide to what extent (if any) to pursue implementation of these tools with the knowledge that they are likely not to form part of the final solution for the Media Centre and with the benefits of any learning from the R&D involved diminishing as the design of the Media Centre gets underway.

In summary, TSL recommends that:

Sony Pictures TV prepares a specification for the MAM system required for the Media Centre for inclusion in a Request For Proposals (RFP) for issue to the commercial market, targeting specifically those companies and products listed in section O.1 of this report. The RFP should require the MAM system to interoperate with SPTV's other identified critical business systems, particularly Harris Vision; Landmark airtime sales; and the solution selected for planning and scheduling of content for non-linear delivery.

The MAM RFP should emphasise the key role that workflow and process management will play in Media Centre operations and that it is required that the MAM system delivers all of the necessary functionality in this area. Furthermore, in this same area, the RFP should emphasise that it is expected and required that user configurability (as opposed to coding by the manufacturer) shall be the dominant means by which MAM support for future changes to workflows is effected.

R. APPENDICES

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R.1 Sony Pictures Television supplied reference documents

Workflow-related: 1. SPT Networks London Cineshare Traffic Workflow

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2. In House Ingest Workflow - SET UK since July 2011 (v 20 February 2012)

IN HOUSE INGEST WORKFLOW – SET UK since July 2011 (versFeb 2012)

Traffic

QC/Editor (freelance)

Scheduling / Planning

IMX 30 SD Material QC report stored

Transcode / Rewrap to 1st Pass – master IMX 30 d10. mov 2nd Pass Schedule Released creation: Material Requested by Compliance view and after Channel Ingest Storage Full Tech QC FCP output to render Traffic per the SET UK Import to FCP edit: blur, pan & Manager (Local SAN) Pull blacks queue (stream copy) file spec scan, zoom, frame confirmation Audio levels Rewrap to XDCAM.mov repeat, audio slip/cut

XDCAM mov XDCAM HD Material Material Watch IMX 30 mov Scheduler informed Through to establish in advance if edits if ALL edits have are required been made accurately Create MXF Output File to guarantee GOP structure

Traffic create new version and enter new TC’s in Vision

Upload to Cineshare Delivery to Arqiva for for archive playout via FTP

3. Record / QC Report

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4. SET Russia Workflow

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5. SET Baltics Workflow Encompass Scheduling Team in London SET Baltics Workflow Prime Focus Distributors

Traffic Team in London SPT Moscow

Physical material All SD tapes sent to delivered to Full QC Pass QC Encompass for Encompass from ingest into Mediator distributor

Physical Assets housed at Tapes Encompass Tapes Fail QC Mpeg 1 & OV Wav files exported and Mediator ingests uploaded Cineshare

Commercial deal Rejection reported Material released completed for to distributor by by distributor EPG Listings created content * Traffic Cineshare for Latvia, Lithuania Notification sent to & Estonia at Funk Funk Pihel & SDI Pihel Files Fail QC

Delivered via Subs created for Upload to Subtitles uploaded Smartjog/FTP & Full QC Pass QC Latvia, Lithuania & Encompass FTP to Cineshare Encompass Estonia at SDI

Sent to Encompass via Signiant

Programme Presentation Pre TX Check Encode at scheduling* scheduling* Playout at Levira Encompass *Vision *Vision

* Commercial deal completed by SPT London - Grids planned 2 months in advance

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6. Proposed SET Russia Workflow - 16 February 2012

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7. SET Russia & Sci-Fi Russia Commercial Workflow

Encompass

SET Russia & Sci Fi Russia Commercial Workflow Ad Agency

Miroslav in London

SPT Moscow

Commercial deal Spot plan sent to Material Commercial completed by SPT Miroslav (usually 7 Requested from material sent via Russia prior to TX) SPT Russia FTP

Sent to Download and QC and transcode Encompass via saved locally FTP

Commercial deal Running order Check for new Agency send completed by local sent from Agency scheduled spots material via FTP Agency (7 day prior to TX) on running order. Commercial scheduling

Pre TX Check

Upload to TNS Compliance monitoring agency recording Playout FTP requested

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8. Sony Africa Workflow

Encompass Scheduling Team in London Sony Africa Workflow Deluxe 142 Distributors

Traffic Team in London Sales in London

Physical material All SD tapes sent to Digital assets delivered to 142 Full QC at 142 Pass QC Encompass for SD TX Files stored on DIVA at from distributor ingest into Mediator Encompass

Physical Assets Tapes housed at Tapes Fail QC Encompass

Commercial deal Rejection reported Material released completed for to distributor by by distributor content * Traffic

Programme Presentation Pre TX Checks scheduling* scheduling* TBC with Playout Files *Provys *Provys Encompass

Delivered via Fail QC Smartjog/FTP & Aspera to 142

Upload to Full QC Pass QC Mediator ingests Encompass FTP

* Commercial deal completed by SPT Munich - Grids planned 2 months in advance by Sonia Grewal

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9. Sony MAX Africa Workflow Encompass Scheduling Team in London Sony MAX Africa Workflow Deluxe 142 Distributors

Traffic Team in London Sales in London

Physical material All SD tapes sent to Digital assets delivered to 142 Full QC at 142 Pass QC Encompass for SD TX Files stored on DIVA at from distributor ingest into Mediator Encompass

Physical Assets Tapes housed at Tapes Fail QC Encompass

Commercial deal Rejection reported Material released completed for to distributor by by distributor content * Traffic

Programme Presentation Pre TX Checks scheduling* scheduling* TBC with Playout Files *Vision *Vision Encompass

Delivered via Fail QC Smartjog/FTP & Aspera to 142

Upload to Full QC Pass QC Mediator ingests Encompass FTP

* Commercial deal completed by SPT London - Grids planned 2 months in advance by Sonia Grewal

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10. SET Africa Commercial & Cross Promo Workflow Encompass Scheduling Team in London Sony Africa Workflow Deluxe 142 Distributors

Traffic Team in London Sales in London

Physical material All SD tapes sent to Digital assets delivered to 142 Full QC at 142 Pass QC Encompass for SD TX Files stored on DIVA at from distributor ingest into Mediator Encompass

Physical Assets Tapes housed at Tapes Fail QC Encompass

Commercial deal Rejection reported Material released completed for to distributor by by distributor content * Traffic

Programme Presentation Pre TX Checks scheduling* scheduling* TBC with Playout Files *Provys *Provys Encompass

Delivered via Fail QC Smartjog/FTP & Aspera to 142

Upload to Full QC Pass QC Mediator ingests Encompass FTP

* Commercial deal completed by SPT Munich - Grids planned 2 months in advance by Sonia Grewal

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11. AXN Germany Workflow

Prime Focus Scheduling Team in London AXN Germany Workflow Encompass Distributors Deluxe 142 Physical Material Team in Munich Traffic Team in London Physical material All SD tapes sent to Digital assets delivered to Prime Full QC at Prime Pass QC Encompass for SD TX Files stored on DIVA at Focus from Focus ingest into Mediator Encompass distributor

Physical Assets Tapes housed at Tapes Fail QC Encompass

All HD tapes sent to Deluxe 142 for HD TX Files ingest into Mediator

Commercial deal Rejection reported Material released completed for to distributor by by distributor content * Traffic

Pre TX Checks Files Programme Presentation TBC with Playout scheduling scheduling Encompass

Magazine TV Series Files

Delivered via HDD Fail QC or FTP to Prime Focus

Full QC & upload Downloaded & Upload to to Cineshare at Pass QC saved locally by Mediator ingests Encompass FTP Prime Focus Traffic

Downloaded & Upload to Upload to saved locally by Mediator ingests Cineshare Encompass FTP Traffic

* Commercial deal completed by SPT Munich - Grids planned 2 months in advance by Bjoern Fickel

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12. Animax Germany Workflow

Prime Focus Scheduling Team in London Animax Germany Workflow Encompass Distributors Deluxe 142 Physical Material Team in Munich Traffic Team in London

Physical material All SD tapes sent to Digital assets delivered to 142 Full QC at 142 Pass QC Encompass for SD TX Files stored on DIVA at from distributor ingest into Mediator Encompass

Physical Assets Tapes housed at Tapes Fail QC Encompass

Commercial deal Rejection reported Material released completed for to distributor by by distributor content * Traffic

Files Programme Presentation Pre TX Checks scheduling* scheduling* TBC with Playout *Provys **Provys Encompass

Magazine TV Series Files

Fail QC Delivered via FTP to 142

Upload to Full QC Pass QC Mediator ingests Encompass FTP

Downloaded & Upload to Upload to saved locally by Mediator ingests Cineshare Encompass FTP Traffic

* Commercial deal completed by SPT Munich - Grids planned 2 months in advance by Bjoern Fickel

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13. German Commercial Workflow

Encompass

German Commercial Workflow Traffic in London

Miroslav in London

SPT Germany

Cross Trailer plan sent Material Commercial Promortional deal to Miroslav Requested from Tape material requested QC Fail completed by SPT (usually 7 prior to SPT Germany from clients Germany TX)

File

Tape Transfer and Download and Compliance, QC Traffic team send Material ID File QC Pass Tape saved locally and transcode to Encompass acquired

Tape

File

Spot Plan sent Commercial deal Material Sent to from SPT Agency send Ingest at completed by SPT Requested from QC and transcode Encompass via Germany (2 day material via FTP Encompass Germany SPT Germany FTP prior to TX)

Commercial scheduling

Media Plan Media Plan & generated out of Reports sent to Provys for SPT SPT Germany Germany

Pre TX Check Playout

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14. Russia / Germany / Africa Promo Workflow

Russia / Germany / Africa Promo Workflow

TX –8 Weeks TX –7 Weeks TX –4 Weeks TX –3-1 Weeks

Makelist Meeting Creative Director & Head of – Proposal by Makelist Sign Off Promo TX Date Programming Marketing QC all projects

Coordinator Chase Traffic on Arrival of Material Final Audio mix

Coordinator Marketing Plan informs Producer of Material delivery date and discusses Schedule GFX Added & Mastering Promo & Marketing Projects assigned to Producers Material Dubbed / prepped for TX Coordinator Programme TX schedules Promo Delivery Date facilities required for project

Creative Director monitors timeline and development of projects w/ Producers and Coordinator

Traffic Team

Production Coordinator

Producer

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15. German VOD Workflow - AXN & ANIMAX GERMAN VOD WORKFLOW – AXN & ANIMAX

Stephanie Bahar

Networks Traffic

Medienmotor

Rejected material flagged

Video/Audio material Transcode to KDG Requested out of Spec Mediator Upload to KDG staging server

KDG Metadata package created Schedule created by Marketing related Uploaded to Source package QC of source Stephanie Bahar 3 material (box cover Medienmotor FTP created and saved material months ahead and poster requested) site

Transcode to UPC Spec Metadata XLS Upload to UPC Upload notification generated using staging server email to Provys report and Medienmotor & schedule data once a Stephanie month UPC Metadata package created

Upload to Telekom staging server

Upload to Sky staging server (Autumn 2012)

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16. AXN Sci-Fi Italy Workflow

Arqiva Scheduling Team in London AXN SCI FI ITALY Workflow JCA Distributors Deluxe 142 Team in Milan Traffic Team in London Physical material Italian material Full QC at Prime FTP to Brightcove Pass QC delivered to Prime Focus VOD Service Focus

All HD tapes sent FTP to Arqiva to JCA for ingest TX- 2 weeks Tapes Fail QC

QC Report

Commercial deal Traffic order all Info from QC Programme format Deal Management Rejection reported completed for material 4 months Material released Reports entered checked and grid consulted to distributor by Playout content * out from distributor by distributor into Provys/Vision updated in Vision TX- 3-6 months Traffic TX- 3-6 months TX- 4 months TX- 6 weeks TX- 6 weeks

Fail QC

Programme titles Planning schedule Programme Presentation entered into locked down* schedule issued scheduling* Provys/Vision *Provys TX- 4 months TX- 6 weeks TX- 6 weeks

Files

QC Report

OV material Upload to Arqiva Delivered via Full QC at Prime required for Italian Pass QC FTP Prime Focus Focus Dubbing TX- 2 weeks

* Commercial deal completed by SPT Munich - Grids planned 2 months in advance

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17. AXN Italy Workflow Encompass Scheduling Team in London

AXN ITALY Workflow Prime Focus Distributors Traffic Team in London Team in Milan

All SD tapes sent Physical material to Encompass for Digital assets Italian material Full QC at Prime Pass QC ingest into SD TX Files stored on DIVA at delivered to Prime Focus Mediator Encompass Focus TX- 2 weeks

Tapes

Physical Assets QC Report housed at Encompass Tapes Fail QC Playout

Commercial deal Traffic order all Info from QC Programme format Deal Management Rejection reported completed for material 4 months Material released Reports entered checked and grid consulted to distributor by content * out from distributor by distributor into Provys/Vision updated in Vision TX- 3-6 months Traffic TX- 3-6 months TX- 4 months TX- 6 weeks TX- 6 weeks

Programme titles Planning schedule Programme entered into locked down* schedule issued Presentation Pre TX Checks Provys/Vision *Provys scheduling TX- 4 months TX- 6 weeks TX- 6 weeks

QC Report Files Fail QC

OV material Upload to Delivered via required for Italian Full QC Pass QC Encompass FTP Mediator ingests Prime Focus Dubbing TX- 2 weeks

* Commercial deal completed by SPT Munich - Grids planned 2 months in advance

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18. Italy / UK Promo Workflow

Italy/UK Promo Workflow

TX –6 Weeks TX –5 Weeks TX –3 Weeks TX –2-1 Weeks

Makelist Meeting Creative Director & Head of – Proposal by Makelist Sign Off Promo TX Date Programming Marketing QC all projects

Traffic advise on Arrival of Material Final Audio mix

Creative Director monitors timeline and development of projects w/ Producers and Coordinator

Traffic Team

Production Coordinator

Producer

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19. Central Europe - Non-linear management workflows Paper copy only available..

20. Sony Multi-platform systems diagram Paper copy only available.

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21. AXN CE Trafficking

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22. SPT Central Europe Operation (Further developments) Paper copy only available.

23. Encompass Media Centre - SPTI Ingest Workflow - 25 March 2011 Paper copy only available.

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Content Volumes / Throughput-related: 24. Encompass Archive / Nearline Storage Report (F15028_all_sony_material.zip)

25. Arqiva Inventory Report (SONY RPT.xls)

26. UK Channels throughput for next year 2012

27. Sony WTF Dubbing Volumes - FY11

28. Sony WTF CPS London Subtitling Activity Summary by Month / by Language FY12

29. Promo make-lists: • SET UK MARCH PROMO PRODUCTION MAKELIST vs. 3 200212.xls

• 01_AXNSCIFIITALY_PROMOGRID_MARCH12.xls

• 02_AXNITALY_PROMOGRID_MAR12.xls

• SET RUSSIA PROMO GRID 2011 (version 1).xls

• Makelist AXNSciFi Russia_2012.xls

• SET ZA MAR 2012.xls

30. AXN Traffic Report 270212

31. Sony Entertainment Television - Iberia Operations presentation

32. SET UK Schedule Example 25/02/2012

Standards-related: 33. Encompass Channel specification grid - updated 31 January 2012

34. Sony Pictures television - Sony UK - SD/HD Delivery Specification v6, dated 20 February 2011.

35. Sony Pictures television - Russia - SD/HD Delivery Specification v7.0, dated 20 February 2012.

36. Sony Pictures television - South Africa - HD/SD Delivery Specification 1.1, dated 5 July 2011.

37. Sony Pictures television - AXN Germany - HD/SD Delivery Specification 1.7, dated 11 April 2011.

38. Sony Pictures television - AXN Italy - HD/SD Delivery Specification 1.9, dated 17 February 2012.

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Media Centre / Future operations-related: 39. Sony Pictures Television - "Media Centre" ("MC") London based MAM/Ingest/Archive System. Functional Requirements, dated 2/2/2012.

40. Shotgun Traffic Management Workflow.

R.2 Acknowledgements The author of this report would like to thank all those at Sony Pictures Television who have contributed input and assistance to this assignment.

R.3 About Television Systems Limited (TSL) TSL was founded in 1986 to assist broadcasters with the installation of television systems. Since then, TSL has significantly broadened the scope of services and expanded the size and complexity of the projects delivered. TSL is an internationally renowned company, recognised for its superior expertise, as well as reputation and its forward thinking, independent values.

TSL works independently & internationally as a broadcast systems integrator and enjoys strong relationships, based on honesty and impartiality, with the leading third party manufacturers and suppliers of broadcast technology. Our systems integration design & implementation teams work closely with third party manufacturers to devise end to end solutions for all our customers.

TSL has offices in Maidenhead, Marlow and Manchester in the UK, as well as Dubai in the Middle East and Singapore in the Far East. With technical as well as commercial staff in all these locations, TSL is perfectly positioned to fulfil a variety of project requirements. In addition to being based in these regions, TSL regularly utilises temporary premises in other parts of the world to service the various projects being undertaken.

With over 50 full-time employees and more than 2,000 sq. m. of system build area, TSL has sufficient space to not only pre-build complete systems prior to shipping, but also house full size production vehicles. Whether the project is large or small, complex or simple, the added advantage of access to a trusted pool of contractors guarantees superior results, time after time.

Expertise TSL is motivated by the needs of the customer. This means achieving a balance between the technical and commercial requirements of each assignment; helping clients to evaluate and integrate leading edge technologies to build the systems that enable the latest techniques in efficient workflow, content management and automation.

Independence An independent perspective, supported by unequalled experience in the field, means that TSL can turn restrictive budgets and tight deadlines into achievable targets.

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By sharing this expertise, the results reach beyond engineering and into administration, equipment sourcing, procurement and cash flow management.

Tailored solutions Working closely with innovative third party manufacturers, yet remaining fiercely independent in its approach to solving problems and meeting customer requirements, TSL develops individually tailored solutions to meet customers’ specific needs.

[End of report].

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