#  Introduction

The amount of digital content available to creative industries is growing
exponentially, driven by the ubiquitous use of smartphones and the
proliferation of social media:

  * there is a tremendous increase in the amount of photographic content (more than 1.8 billion photos are uploaded to social media platforms each day and more than 700 million monthly users on Instagram); 

  

  * the ongoing transformation of factual, entertainment and social media publishers and platforms from textual and photo-centric format to video-driven format (more than 400 hours of video are being uploaded to YouTube each minute and 1 billion hours of video watched every day); 

  

  * the increasing impact of 3D and virtual reality for providing immersive storytelling experiences, offering new ways of audience engagement and monetization for content creators in the upcoming years. 

  

Acknowledging the above, the following critical questions become imminent in
both content production and dissemination contexts: how to repurpose this
massive amount of content; what kind of innovative tools are most suitable for
this process; and finally, how these tools can offer new forms of monetization
possibilities for creative industries' professionals.

FotoInMotion, sets to solve these critical questions and provide an innovative
solution to the repurposing of content by offering automated tools for
innovative contextual data extraction, object recognition, creative
transformation, editing and text animation as well as state of the art 3D
conversion options that allow content creators to transform their photos into
highly engaging spatial and three-dimensional video experiences.

FotoInMotion will focus on three major creative industries sectors:
photojournalism to develop interactive photo driven stories; fashion, by
opening up new forms of marketing, product placement and event coverage; and
festivals, by enabling PR and publicity managers to communicate the festival
experiences and engage audiences through immersive communication and
repurposing festival archives.

FotoInMotion aims to build a web and mobile video-editing tool designed to
transform single photographs into high-quality, low-cost videos for creative
industries’ professional and social usage. FotoInMotion will allow both
professional content producers, as well as creative citizens, to automatically
embed contextual information into a single photo or a set of photos, and
produce videos with rich semi-automated editing functions and dynamic effects
that can be easily shared on social media, as well as on professional digital
content delivery platforms, engaging them into new forms of immersive and high
impact storytelling in professional and social media utilizing video.
FotoInMotion videos could be used i) by news organisations to inform about an
event or create high impact video editorials, ii) by creative industries
professionals and companies for the promotion of products or services through
social and digital media marketing campaigns, iii) by festivals and cultural
events to provide on-site coverage and engage audiences, or generally iv) by
individuals who want to give a new power to their photographs, and explain
contexts and settings under which they were taken.

##  Document Scope

The FotoInMotion consortium consists of representative organisations from the
creative industry that they want to enhance their legacy data with rich and
attractive multimedia content able to strengthen and enhance the messages that
they want to promote throughout the society.

Taking into account the volume of data to be elaborated in the FotoInMotion
project and in addition the data to be generated using the FotoInMotion
technological tools it is very important at this stage to formulate the
framework to facilitate the usability and re-usability of the data.

The design of the technological framework and the services to be offered by
the FotoInMotion project is necessary by their nature to be compatible with
the FAIR principles which means that the FotoInMotion data needs to be
findable, accessible, interoperable and re-usable.

All the regulations and ethical restrictions which apply in the FotoInMotion
project framework will be thoroughly defined and incorporated in the
FotoInMotion processes without limiting the quality and the accuracy of the
provided services.

It is also very important to provide a secure and controlled data storage that
will easily allow data retrieval and at the same time will be able to protect
the integrity and quality of the stored datasets from losses and damages.

Taking into account that the project still stands at the user requirements
gathering and the architecture design phase this version of the DMP is a
preliminary one that will be updated on month 18 (June 2019) with more
concrete information as the FotoInMotion project evolves.

##  Document Structure

This document is comprised of the following chapters:

**Chapter 1** presents an introduction to the project and the document.

**Chapter 2** presents the data summary including the purpose of data
collection, data size, type and format, historical data reuse and data
beneficiaries.

**Chapter 3** presents FotoInMotion FAIR data strategies.

**Chapter 4** describes data security.

**Chapter 5** presents FotoInMotion Concerns related to Personal Data
protection

#  Data Summary

As it was explicitly described in the introduction of the DMP the FotoInMotion
project aims to enhance the content produced by the creative industries and
particularly in the domains of Photojournalism, Film Festivals and Fashion
industry.

In order to accomplish the objectives of this project it will be needed the
support and the guidance of the important representatives of the these domains
NOOR and Worldcrunch for the photojournalism case study, Tallinn Black Nights
Film Festival (TBNFF) for the Film Festival case study and Marni for the
Fashion case study.

Thus the data that will be provided in order to explore and validate the
FotoInMotion technological modules that will be developed by the project’s
technological partners will be provided by the Photojournalsm, Film Festival
and Fashion domains’ project partners.

Photographs delivered by Photojournalists are provided for the project in 2
different formats. Common usage is JPEG. But for quality, and also for non-
alteration of the work, photographers are also using RAW file. Clients of NOOR
might happen to request the raw files before publication in order to verify
that no manipulation has been done.

The photos are produced by professional photographers with their camera. Files
are always digital. In case of analog files, photographers then processed
images by digitalization and then created digital files. The archives of
photos that are available for the FotoInMotion projects consist of
approximately 56000 items. The target groups for the data to be generated from
the Photojournalism Pilot could be potentially news agencies, media companies,
photographers, editorial clients, images buyers.

The data that will be provided by TBNFF for the film festivals case study are:

  * Photos – portraits of filmmaker and event photos (landscapes, portraits, closeups) made at parties, film screenings, galas, cinemas, industry panels, workshops, concerts. 

  

  * Marketing and merchandising photos, “behind the scenes” photos. 

  

  * Film still photos for catalogue, website, in venue, social marketing 

  

  * Film related metadata: title, original title, synopsis, cast and crew, credits, sales company, festival program, screening data 

  

  * Festival guest related metadata: name, position, company, participation in 

  

specific festival program (jury, screenings, industry, VIP), short biography

  * Event related metadata: name of the event, type of the event (screening, concert, gala, special event, workshop, conference, workshop, panel) The provided data from TBNFF derives mainly from: 

  

  * Photos made by hired photographers and festival social media/marketing team. 

  

  * Film stills provided by film distribution companies licensed for festival related use. 

  

  * Film, guest metadata provided, submitted and verified by the particular person through festival management database solution Eventival (eventival.com) and processed by the festival staff for festival related use. 

  

The data archives that are available for the Film Festival Pilot consists of:

  * 8054 photos per year (2017). Photo sizes depend on the level of photographers and range from 2 mb to 22 mb. 

  

  * Approximately 1500 persons related entries per year 

  

  * Approximately 3000 entries for films per year 

  

The data to be generated by the Film Festival Pilot might be Public, press,
news agencies, photo banks, industry professionals, PR, distribution and sales
companies, festival guests (depicted on the photos), festival audience
(general public).

The data that will be provided by MARNI for the fashion case study mainly
consists of photo datasets with clothing collections, fashion garments and
accessories, and photo collections from MARNI’s fashion events. All the
datasets that will be used for the Fashion Pilot are property of MARNI created
by professional photographers. The datasets for the fashion pilot consists of
thousands of photos that will be available in the FotoInMotion project. The
data to be generated by the Fashion Pilot is primary the MARNI itself and
fashion media and press.

The content that will be produced from the three pilots will be mainly short
videos with enriched audiovisual content, such as 3D effects embedded with
structured metadata. The volume of the data to be produced during the project
lifespan is expected to be significant taking into account the nature of the
generated content.

#  FAIR data

##  Making data findable, including provisions for metadata

The data naming that the FotoInMotion content providers are using could be
described follows:

NOOR’ photos’ datasets are created with certain naming convention that
provides detailed information of the photo collection, the attributes of the
image including contextual, place, date, photographer’s name and other related
info. The images provided by NOOR are accompanied with IPTC metadata.

TBNFF photos also follow concrete naming convention. The file name includes
festival abbreviation + event name/ portrait the name of the person depicted
and date.

MARNI’s filing system of the fashion photos is using a dedicated inventory
number composed of numbers and letters.

The data that will be provided for the festival and fashion pilots are not
using any particular metadata schema thus the FotoInMotion will provide a
mechanism to import the data into the project’s repository with concrete
metadata that will allow the reusability of this content.

FotoInMotion will produce metadata describing the content and the context of
acquisition. Content metadata will be made available by Content Owners in the
project (Archive Content), by the Image Analysis Tools or will be manually
contributed. FotoInMotion will also acquire Context Metadata capture by
sensors and that provide additional information relevant to the context the
photo was taken. This metadata may include i) low-level metadata and ii) high-
level/textual metadata; examples in i) are numerical features extracted from
images such as colour histograms; numerical values extracted from the
smartphone sensors just as sets of acceleration or rotation values; examples
of ii) are: keywords inserted by the user or derived by the AI level of the
image analysis tools, such as “person”, “bag” or “car”; audio recordings from
the smartphone sensor and a tag indicating “metallic noise” or “human voice”.
To ensure portability, text/xml format will be used as the output of each of
the modules.

The project will define its own metadata schema for the representation of
digital events. The aim is to define a model that will enable to coherently
gather and express all the contextual multimedia data related to the picture,
including annotations, obtained in the three tasks of WP2. We will investigate
the suitability of some standard metadata schemas to cover parts of this model
and adapt them to the project requirements. Examples of possible schemas to be
considered include Dublin Core, IPTC and MPEG-7 and MPEG-21 standards.

##  Making data openly accessible

The Datasets that will be used and generated in the FotoInMotion project will
be licenced with strict copyrights of the providers/owners. Nevertheless
FotoInMotion project will not restrict the generation and usage of non-
licenced content (open data).

The Data that will be provided from the FotoInMotion Pilot partners (NOOR,
Worldcrunch, TBNFF and MARNI) will be made available in the FotoInmotion Cloud
based Data Repository together with the data to be generated by the
FotoInMotion technological outcomes. The videos of the narration tool will be
produced on the server of QdepQ and sent back through the API to the
FotoInMotion repository. The main objective of the FotoInMotion is to create
highly discoverable data that can be easily shared and reused by the users.

All the documentation related to FotoInMotion content generation mechanisms
will be accessible and provided to interested parties.

##  Making data interoperable

Two types of metadata will be produced: context metadata and content metadata.
Context metadata shall be acquired by the ECAT and Content Metadata will
either be manually produced, acquired from external archives or result from
image analysis. One of the objectives of the project is to define a metadata
model able to integrate all the different types of information. It may refer
to existing standard solutions whenever possible. Examples include IPTC,
Dublin Core and MPEG.

Mechanisms for exchange and re-use of data will be considered. Due to the lack
of one single standard supported by content owners and external archives,
import and export tools shall be added as required to increase the number of
supported external systems. The project will use, whenever possible, standard
concepts and approaches for content description. Data models are still to be
defined and have a strong dependency on the user requirements still being
refined. Whenever possible standard approaches will be followed.

##  Increase data re-use (through clarifying licences)

The Datasets that will be used and generated in the FotoInMotion project will
be licenced with strict copyrights of the providers/owners. Nevertheless
FotoInMotion project will not restrict the generation and usage of non-
licenced content (open data).

The FotoInMotion generated content is intended to be shared and available
(apart from the FotoInMotion repository) through Social Networks and other web
communication channels. During the Pilot phase period users from the three
pilot domains will be invited to use and validate the FotoInMotion content
generation mechanisms and evaluate the generated content quality.

The content to be used and generated by the FotoInMotion project will be
available at least for 3 years. The time period for the data preservation will
be defined at the end of the project taking into account the Consortium’s
decision to be undertaken.

#  Data security

The FototoInMotion storage safety and prevention of data harm and loss is one
of the main concerns of the project. The project technological partners and
particularly ATC which is the FotoInMotion integrator will undertake all the
necessary measures to avoid any unwilling situation related to the data
security. The FotoInMotion repository will be cloud based therefore the
project consortium will select an appropriate cloud service provider that is
able to facilitate all the necessary safeguards (regular backups, data
recovery etc.) in order to secure the FotoInMotion data integrity. Please see
WP4 technical deliverables to explore the measures taken for the security
assurance. (example D4.1).

#  Ethical aspects

Personal Data protection and privacy respect is also anther important issue
that will be lawfully and accurately handled by the FotoInMotion project. Any
personal data that will be processed by the FotoInMotion project will be
handled taking into account the restrictions and the obligations applied in
the General Data Protection Regulation and particularly of Articles 5 and 6
with respect to the Rights of the data subjects (GDPR, Chapter III).