Metadata about an asset typically exists in a rights and/or scheduling system before the metadata, or even the media itself is entered into the media supply chain. It is highly common for the scheduling system to trigger the creation of a “placeholder” in the MAM or media supply chain system, such that metadata can be posted prior to any video, audio, or other asset components entering the supply chain. The complete system here starts to look like any order and fulfilment process, with the scheduling being the “order” and the media supply chain managing the fulfilment.
In the past, where TV was primarily broadcast “over the air” in defined territories, IP and rights management was relatively straightforward. Broadcasters would typically have the rights to broadcast a specific program within their territory for a defined period and/or sell the rights to other broadcasters to broadcast-owned programs in the other broadcasters’ territory. This was only “relatively” straightforward because there would still be some complexity over localized language (“dub” tracks), closed captions and other ancillary data which may or may not be used across territories.
Today, things are a little bit more complex. In addition to traditional OTA (over the air) channels, there are multiple OTT (over the top) or online services that serve multiple territories. OTT services have enabled content owners to launch D2C (direct to consumer) offerings, alongside content aggregators and distributors. This means that in some territories, the same programming can be accessed via multiple channels – for example, the BBC show “Top Gear”, which has been a hit around the globe, is available in some countries on Amazon, Netflix and the BBC’s own platform(s). However, what specific episodes you can watch, when, in what quality (SD, HD, UHD), and what language can vary between platforms.