10 May 2021

Green Rock cements hybrid cloud facility

The pandemic panicked much of the post industry into remote workarounds. Now, as vaccine rollouts bring back some normality, companies are grappling with the long-term structure of work and office life.

“The pandemic has drop kicked the industry 5-10 years into the future,” says Niels Stevens, Snr Solutions Consultant Pro Video and Broadcast Workflows, Adobe. “Some companies already moving in the direction of cloud are setting themselves up for a full cloud-based workflow. Others who have made large investments in hardware are having to segue into a hybrid model as they go towards remote.”

These ideas and the technology underpinning them are explored in a webinar hosted by Broadcast and featuring a live demo of a hybrid cloud workflow connecting sites in London with New York and Los Angeles.

“Our journey to cloud predated the pandemic,” explains Simon Green, founder and CEO of Green Rock, a production and post production agency based in London and LA. “I had my first conversations about a completely virtual post facility over a decade ago. Distributed collaborative post production is no longer a dream. It is now a reality.”

With clients including ITV, NatWest, Netflix and XPRIZE, Green Rock is among the first UK facilities to transition away from bricks and mortar into a completely cloud-based shop.

“For us, cloud infrastructure means less capital investment in on-premise solutions and a more flexible approach to team working,” Green says. “These issues have magnified in recent months as more and more clients have begun requesting a more agile way of working.”

In the webinar, Green explains more of his thinking. “We are always looking to create the future first and get that advantage for us, and our partners. We are therefore looking to move completely out of our Soho facility and to use cloud to connect clients and colleagues with media and creative tools. It frees us up to scale at a global level like we have only imagined.”

“We have major brands and broadcasters keen to work with us because they can see that we are not limited to the physical suites we have on site. We can start to build a facility using cloud resources that enables us to bill and be billed by the hour.”

The demo explained

Green Rock is well on the way to achieving this with technology partner BASE Media Cloud, leveraging an integrated cloud-based platform with SaaS products from Adobe, Bebop and Iconik.

“What we’ve designed together with Green Rock and are rolling out for them will allow their US and UK teams to collaborate remotely via the Iconik cloud MAM,” says Ben Foakes, Founder & Managing Director, BASE Media Cloud. “On prem storage remains for high performance tasks with burst capacity enabled in the cloud.”

“There are no longer big fat PC towers under the desk,” Foakes adds. “It will be an entirely virtual workstation environment enabling Green Rock to re-invent its editing strategy.”

BASE Media Cloud acts as the cloud agnostic storage hub into which media applications such as Iconik, with integrations into the Adobe Creative Cloud suite are plugged. Access to application is by simple login secured with multifactor authentication.  Remote Workstations are powered by BeBop Technology, running on AWS.

“In essence this means your data becomes centralised in the cloud, your workstations run in the cloud but your users can be anywhere in the world,” Foakes says.

The evolution of post

Anecdotally it seems that from VFX boutiques to global broadcasters the industry is coming out of the pandemic seeking a more formalised and long-term strategy.

“At the start of COVID, everyone was in a rush,” Foakes says. “The broadcast and post community moved to nomadic working and had to quickly spin up reactive solutions such as using a Virtual Private Networks (VPNs) or running remote desktop or PcoIP sessions. These were temporary solutions because no one really had time to design for it.”

“Now we’re seeing a huge wave of interest in reducing the size of premises but not moving 100 percent to the cloud. It’s about changing the ratio.”

Post production has evolved. From the days of physical film cutting, into tape-to-tape and the transition at the end of the 1980s into nonlinear file-based editing, now things have gone pure digital.

“The virtual hybrid cloud has arrived as part of the eventual move towards full virtual,” Foakes said.

View the webinar including the live demo of virtual hybrid cloud:

DEMO

 

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18 Jun 2020

Facilitating Digital Content Production in the Age of COVID-19

Increased demand in a time of remote working.

As people around the world spend more time in their homes to help stop the spread of COVID-19, the amount of digital content they consume has skyrocketed. For my company, BASE Media Cloud, that has led to a significantly increased reliance on our platform to help media companies work remotely. Since 2015, we have provided media companies with centralised cloud storage integrated with media software tools online and on-demand—a business model that has special appeal now that many people must collaborate online.

Supporting remote work

When lockdowns began in the UK, some of our customers had very little time to shift from working together in a common space with high-speed internet access to working remotely with varying levels of technology and connectivity. Suddenly, they were using our platform at record levels.

Fortunately, BASE Media Cloud’s multicloud platform is supported by IBM Cloud Services. Our solutions leverage IBM Cloud Bare Metal Servers on the IBM public cloud, as well as Aspera and IBM Cloud Object Storage. This provides our customers with reliable access to their important files and the ability to transfer files quickly for various editing and production tasks.

How our customers are coping

One of our long-standing customers, Little Dot Studios (LDS), creates content for social media networks. When stay-at-home orders were issued, Little Dot had 48 hours to set up more than 80 employees to work from home. Fortunately, LDS had been working in partnership with us toward a cloud-first infrastructure, and they were able to implement it quickly. Our IBM Cloud solution managed the surge in activity flawlessly.

Another of our UK customers is the British Broadcasting Corporation (BBC), which began preparing for the pandemic in advance, as soon as it became international news, which meant that we helped them move much of their editorial work to the cloud before the lockdown began. The first phase of the project was to quickly set up all systems in the cloud and back up the project data that was required immediately. We got them ready for remote access over a weekend. Today, BBC are using BASE Media Cloud for key parts of their essential news editorial work, incorporating backup storage, file sharing, and remote editing with BeBop.

A third example of how BASE Media Cloud is helping customers prosper during this difficult time comes directly from Taylor Made Media:

“When we needed to implement a remote post-production workflow at short notice, we reached out to Ben at BASE, who got us set up immediately. Because we had a large amount of material to transfer in a very short space of time, the team at BASE arranged for a drive to be sent out to us to make the initial upload process as quick as possible. As soon as everything was online, we were given a tutorial on how to navigate and operate the system, which gave us a clear insight into how we would use the service. Within a couple days of first contacting BASE, we were completely set up for remote working and our team of editors and freelancers were happily sharing footage and collaborating on multiple projects. It has made our transition from entirely office-based to entirely remote-based working pretty much seamless, allowing us to pick up from our homes on the Monday almost exactly where we had left off in the office on the Friday.”

 

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30 Sep 2019

BASE Media Cloud – Online Video at Scale 


Live Video Stream Event 

Monday30th September, 2019 

4 PM BST | 11 AM EDT | 8 AM PDT 

The world of online video has blown up and is taking over the Internet…   

As a result, brands operating in video production, post-production and distribution are re-designing their technical approach and business models in order to deal with the explosion of digital content. 

 Join our live BASE Media Cloud video stream event on 30th September 2019 as we interview guest speakers from pioneering companies including COPA90, Green Rock, Fifty Fifty and The Engine House Media Services, a sister company of Arrow Films, discussing their new and innovative approaches to dealing with online video content at scale.  

There’s still time to join us.  Don’t miss your chance to view this exclusive live video event. 

Click Here

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14 Sep 2019

Interconnection Drives Dynamic Content as Media Industry Embraces Cloud

Cloud-based media solutions business creates global scale and connectivity on Platform Equinix®

“Platform Equinix gives us speed, security and efficiency by enabling us to seamlessly connect multiple cloud services together via our own cloud gateway network. We can spin up resources in minutes, all security accredited. Working from a densely connected location has transformed our efficiency.”

Ben Foakes, Founder and Managing Director, BASE Media Cloud

Business overview

The media industry is moving faster and becoming more fragmented. With more content being produced and more consumers streaming entertainment, sporting events and news on devices at home, at work and on the go, media companies must be able to serve up the content consumers want whenever they want it. For BASE Media Cloud, which tailors cloud solutions for digital media companies, this presents both a challenge and an opportunity.

Business challenge

As a cloud-based services provider in an industry that is increasingly cloud-native, BASE Media Cloud needed to accommodate the rising volumes of media files being acquired, processed and delivered throughout the media production process. BASE Media Cloud processes hundreds of terabytes of data for clients every month, requiring maximum bandwidth and bespoke peering with leading cloud and IT partners to make this possible.

In addition, the company needed reliability, security, high speed and low latency (in some cases submilliseconds between services) to satisfy its customers, from producers to delivery systems, for worldwide on-demand data exchange. And it needed the ability to move into new markets quickly.

Solution

BASE Media Cloud’s founder and managing director, Ben Foakes, is a strong believer in the power of the cloud for everything from file backup and file transfer to processing, storage, postproduction and distribution.

In its search for the right solution, the BASE Media Cloud team turned to Equinix. Platform Equinix is the world’s largest global platform of interconnected data centers and business ecosystems, connecting more than 9,800 companies in 24 countries inside more than 200 International Business Exchange(IBX®) data centers.

This cloud and network density ensures superior interconnection, powering collaboration among customers and ecosystems, including more than 750 content and digital media companies worldwide. By colocating within the 129,000 square foot (12,000 square meter) Equinix LD6 IBX data center in the London area, BASE Media Cloud gains direct, private access to content and media companies, cloud and IT service providers, financial service providers and many other companies.

Securely interconnected with digital supply chain partners in dynamic business ecosystems, BASE Media Cloud can accommodate the increasing volume of media files it handles, while accelerating business performance and reaching new markets.

Business results

With the 99.9999% availability of Platform Equinix for seamless access to multiple cloud providers, BASE Media Cloud is able to create bespoke service packages with best-of-breed cloud solutions.

The cost savings are significant. Foakes says Platform Equinix has helped reduce BASE Media Cloud’s data storage costs alone by one-third. For BASE Media Cloud, the benefits of interconnecting via Platform Equinix are clear:

Provides the agility to react quickly to frequent changes in the digital media industry, such as the transition from satellite to streaming delivery.

Enables the business to accommodate bursts in demand around broadcast events, including the 2018 FIFA World Cup and 2019 Women’s World Cup.

Establishes a global expansion roadmap, simplifying the means to open in new Equinix facilities near new markets.

“Platform Equinix means we can peer direct to multiple cloud providers. This has a huge impact on the ability to control data traffic costs,” says Foakes.

 

About Equinix

Equinix, Inc. (Nasdaq: EQIX) connects the world’s leading businesses to their customers, employees and partners inside the most-interconnected data centers. On this global platform for digital business, companies come together across more than 50 markets on five continents to reach everywhere, interconnect everyone and integrate everything they need to create their digital futures.

Equinix.com

To download a PDF version, click here

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09 Sep 2019

Multi-Cloud – The Next Evolution of Cloud Services for Media

The DPP recently gathered a group of industry experts to define the characteristics required for a ‘media-cloud’. They described a highly portable, scalable and interoperable ‘multi-cloud’ tailored for media as the way forward:

“the ability to stitch together small functions and features of different clouds into applications; choosing the best tooling from each cloud offering”

‘Building the Media Cloud’ DPP Report, 6th June 2018.

‘Cloud’ is such a broad term, encompassing a whole variety of remotely hosted services, from IaaS (Infrastructure-as-a-Service), PaaS (Platform-as-a-Service) and SaaS (Software-as-a-Service) consumption models through to hybrid, private and public cloud implementations. AWS, IBM, Microsoft and Google (to name a few) have done a fantastic job in delivering highly scalable IaaS and PaaS solutions that have defined what most people interpret to be the ‘cloud’. It is far more than that though, and the beneficial features and implementation methodology varies depending upon your needs and your unique media workflow use case.

Private Cloud

Private cloud data centres allow you to host your kit offsite to free up space in expensive-to-rent media hub office spaces like London’s Soho, NYC and LA, while improving security, redundancy and collaboration between locations. Office space is designed for people to work and data centres are designed for IT kit, and both have very different requirements. In an office, it is hard to limit physical access to your building to protect your IT kit without impairing your staff’s ability to get to their desk. In most cases, it is also highly unlikely to be able to get two different power providers and multiple power generators in your office. This is easy and included in the private cloud and offers the chance for better ‘availability’ so you can always access your assets and systems to get your content to the consumer, even in the event of some significant power outages.

While these are great benefits, you now have a new problem that your content and systems are over there and you are over here!

Hybrid Cloud

In a hybrid cloud model, part of your infrastructure is hosted offsite in the cloud and part onsite. This way, you can still perform tasks needing low latency, like video editing, while also achieving some of the benefits of the cloud. In the past, media companies have only taken this approach for ‘Disaster Recovery’, with most infrastructure still on-premises and only backup storage and systems offsite, however now the reverse is becoming true. In fact, with solutions like those from BeBop Technology, your onsite footprint can be tiny, as you can run your desktop apps and even remotely edit in your favourite post-production software without any onsite storage or computers!

Public Cloud

In both on-premises and private cloud approaches, you are responsible for investing in and supporting the kit. The public cloud takes this all another step further, and actually provides the storage and server infrastructure for rent on a ‘Pay-As-You-Go’ basis. Instead of long and expensive kit procurement lead times, you can provision new solutions in minutes and for a few dollars. There are many IT articles citing the generic benefits of the cloud (although they typically mean the ‘public’ cloud) such as ‘flexibility’, ‘scalability’ – but what does this mean for media?

Our needs as media businesses evolves rapidly. One of our BASE Media Cloud customers was commissioned for a number of projects at once and their solution needs changed and throughput increased by 300% within a month! Within hours they were able to use different solutions to meet the new needs. Also, one of our public cloud-based encoder solutions features an automated broker that can ‘spin up’ thousands of machines in seconds to cope with the additional throughput, without any need for manual intervention. On-premises, it is not possible to change solutions or increase capacity that quickly. I do not envy the CTOs that must accurately predict their business requirements for the next 5 years and bet their entire new infrastructure budget on it!

Cloud Challenges

The cloud is typically provided as an ‘Infrastructure-as-a-Service’ only, so it does not include the expertise as to how to deploy your solutions there. If you were simply to deploy your apps in the cloud in the same way as you do on-premise, you might find that it just ends up costing you more without achieving all of the potential benefits, which is why cost-comparisons are often misleading. Public cloud costs are based on usage, which can make them difficult to predict as businesses come to realise they are not so familiar with exactly how much time and storage are needed for each project. Solutions are often only available on one of the Cloud Service Providers (CSPs); with egress costs to move assets between CSPs, it can be limiting and impractical to have all your assets with a single public cloud vendor.

In addition, many of our industry’s media applications and video bitrates sometimes require certain types of ‘filesystem’, latency or guaranteed storage performance for continuous playback. One customer we work with needed to edit 16bit 4K TIFF sequences at 24fps across many different edit suites. This scenario needed over 80Gb/s of throughput, which may not be possible to achieve in the public cloud but can be catered for by combining private cloud storage, peered with public cloud compute.

We believe the answer for the media sector is a ‘Multi-Cloud’ based architecture.

Diagram shows BASE Media Cloud’s innovative multi-cloud architecture.

What is multi-cloud? This is a combination of them all – taking the best bits from multiple private and public cloud providers and best of breed media software solutions, provided as one seamless managed service to the end users.

This approach allows us to deliver all of the features beneficial to media companies, while negating some of the factors that just do not work for our clients’ workflows. For example, you can have the guaranteed storage latency and performance required by editing, the scalability to handle peak project workloads and lower business risk with better ‘availability’, ‘redundancy’ and ‘resiliency’ to ensure that you can deliver great content on time and for a predictable cost.

Next Steps

If you would like to learn more about the cloud, the IABM will shortly be publishing my short course on the cloud, entitled: ‘The Cloud: A Comprehensive Overview for Technologists and Business People’.

If you would like to find out more about our multi-cloud solutions, why not visit us at IBC 2019, Hall 7Stand B25 or check out this interview video with myself and BASE Media Cloud Founder & Managing Direct, Ben Foakes.

Please find link here.

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11 Aug 2019

COPA90 EMBRACES MULTICLOUD, AI-POWERED MAM INFRASTRUCTURE

For diehard football fans everywhere, COPA90 is “How Football Feels.” That tagline says it all: As the world’s largest independent football media business, COPA90 reaches millions of fans and followers across a multitude of online platforms and social media channels. Unlike traditional rights holders that stream live matches, COPA90 focuses on the world of fan culture – serving up a rich helping of content ranging from chats with favourite footballers and in-depth documentaries to amazing animations and explainers about the biggest stories in the game.

LARGE-SCALE CONTENT CHALLENGES

In its role as a content creator and publisher, COPA90 has amassed a tremendous volume of content over the years – close to 350 terabytes representing millions of individual video assets. Content was formerly stored on many different types of disconnected repositories ranging from portable hard drives to individual Google Drive and Dropbox accounts. With storage so fragmented, COPA90 editorial teams didn’t have a comprehensive means of searching on and discovering specific types of content.


“As we started to scale the business, we realized we needed a more effective way of managing our content assets to keep us as agile as possible,” says Barry Flanigan, chief product officer at COPA90.

“Job number one was to get our hugely valuable content archive into a secure cloud system, where it could be organized, intelligently tagged, and made instantly accessible to our editorial teams around the world. And job number two was to make it fast and easy for those teams to publish that content across our distributed media network, including our own websites and social platforms and those of our distribution partners, broadcasters, and OTT platforms.”

COPA90 explored various traditional media asset management (MAM) options, including “rolling their own” in-house solution, but in the end decided to move to a 100% cloud-native MAM system. In addition to near-instant search, access, use, and distribution of targeted content, the COPA90 team felt that the cloud would offer greater security and system redundancy for protecting content assets.

A TEAM EFFORT

With those objectives in mind, COPA90 chose two key technology partners – BASE Media Cloud and Veritone – to deliver an end-to-end, multicloud solution based on best-of-breed technologies. With BASE Media Cloud providing IBM Cloud Object Storage, the system incorporates Veritone Core for cloud-native enterprise asset management. In addition, the cloud MAM system drives a branded Veritone Digital Media Hub, a white-label portal for management, delivery, and monetization – including the optional e-commerce functionality to license content to media partners around the world.

In record time – a little more than four weeks – the team completed the first phases of the project. All 350 terabytes of data were securely backed up and migrated to the cloud, and each asset was indexed and tagged with rich metadata to facilitate fast and easy search and retrieval and delivery to COPA90’s global platforms.

Ben Foakes, founder and managing director of BASE Media Cloud, comments,


“Typically, old-fashioned MAM projects are notorious for taking months and years and millions of dollars to complete. But our tight working relationship with Veritone from previous sports-related projects, together with automation built into the Veritone Core and Digital Media Hub applications, meant we were able to build the multicloud MAM solution on time and on budget. And since this is a pay-as-you-go, software-as-a-service cloud solution, it will scale very easily as COPA90’s content continues to grow.”

MEETING THE NEED FOR SPEED

Content time to delivery is a core element in COPA90’s business model, and one that has been greatly accelerated through the new multicloud MAM system.


“It’s really critical that we’re able to capture football moments as they occur and turn content around very, very quickly. What just happened in the game that fans are buzzing about on social media and messaging platforms? We have to get the content out there while the conversation is still happening, particularly with our young audience,” Flanigan comments.

After a particularly exciting match or other high- profile events, COPA90 receives a huge influx of fan-generated content from its Fan Creator network. The new multicloud MAM system enables the editorial team to clip, edit, and publish videos to multiple platforms in a fraction of the time it took with the old manual processes.

The true value of moving data storage and file transfer to the cloud hit home last June with COPA90’s coverage of the FIFA World Cup in Moscow.


“We had roving production teams that were at the games throughout Russia, in addition to our production and editorial teams in London, New York, Los Angeles and Latin America. And we also had around 300 Fan Creators sending in footage from locations around the world,” Flanigan explains. “With the BASE Media Cloud storage system, we were able to make that fan content, along with the content we were creating in Russia, available almost instantly to our global editorial team. For the big emotional moments – for instance, when Germany got knocked out of the group stages and Mexico was able to advance – we were able to publish amazing footage of the fan reactions almost as they were happening.”
Flanigan adds, “We don’t have the massive resources of a traditional broadcaster, so this is a perfect example of how a cloud infrastructure can benefit an organization like ours. Our team was able to operate very quickly to create brilliant content.”

BUILDING IN CONTENT INTELLIGENCE

 

With the initial successes of the multicloud MAM solution, COPA90 is now working with BASE Media Cloud and Veritone to expand the system’s AI-driven workflows and intelligent metadata features.

 

 

FOAKES COMMENTS,


“Veritone is intrinsic to this entire venture, not just for the brilliant MAM capabilities of Veritone Core, but also because we have access to (Veritone) aiWARE. It means we have a powerful toolkit to tap into and build clever AI workflows for managing inbound streams and outputting content with cognitively enriched metadata, which significantly assists in the rapid discovery and monetization of content.”


FLANIGAN CONCURS.

“It’s early days with the AI features, but our vision is to deliver tailored content to individual fans on the device of their choosing, based on their location, the teams they support, and the types of content they have interacted with previously. That requires outstanding metadata enriched by AI, and an automated process that goes beyond what our human editors can accomplish.”

 

With aiWARE , COPA90 will be able to automate content tagging and apply rich metadata that incorporates features like facial recognition, object detection, and automatic content/image classification.


“The ability to surface tailored content to fans automatically is just one huge advantage of rich metadata. The aiWARE platform will also make it much easier to find and reuse assets with specific items appearing in the shot; for instance, we have a huge volume of content shot over the years at exotic locations around the world with specific football stadiums in the background,” Flanigan notes. “Unless the editor specifically tagged the content with the name of the stadium, it would be really difficult to find that content. But with AI-driven tagging, we’ll be able to search and access these assets in an instant and use them to add even more color to our coverage.”

DEVELOPING NEW REVENUE OPPORTUNITIES

As a front end for content search, access, and retrieval, Veritone’s Digital Media Hub is already in use internally by the COPA90 team to create playlists and aggregate content for editorial teams around the world. As a next step, COPA90 is working with BASE Media Cloud and Veritone to build out the portal as a “shop window” for the types of content that can be licensed to specific distribution partners, including large media outlets.


“We’ve recognized that this huge volume of content that we’ve created over the years is actually a commercial product in its own right, with huge new potential for monetization,” Flanigan says. “We already get inbound requests from people such as broadcasters, filmmakers, and documentarians for specific clips, and now we see opportunities to create and market even more robust licensing products to our large media partners.”

He adds, “Digital Media Hub will make it possible for us to organize the assets and then make it quick and easy for people to come in and access the content they’re looking for, under the terms of a commercial, marketing, or editorial relationship. And one of the great things about Digital Media Hub is that Veritone has built in flexible terms that give different partners different types of access, based on their requirements and the specific license.”

Again, Veritone aiWARE plays an important role. David Candler, senior director of customer solutions, channel for Veritone, comments, “Digital Media Hub is what happens when an enterprise video platform meets an AI operating system. With AI-enriched metadata, not only will licensees be able to search and discover the precise content they’re looking for, but COPA90 will be able to surface specific types of content to distribution partners based on their profiles. For example, an Argentinian publisher would see a very different set of content than a distribution partner in Germany.”

CONCLUSION: BORN TO THE CLOUD

To date, COPA90 has migrated around half a petabyte of high-resolution media files to the multicloud MAM platform, launched international content distribution services, and enabled global file sharing between their London- and New York-based production teams representing hundreds of staff members. COPA90 is forecasting petabyte-scale growth in video assets – an expansion rate that simply would not have been achievable if they had chosen to build a traditional on- premises MAM infrastructure.


“Our long-term goal is to get our content on as many screens as possible around the world,” Flanigan notes.

 

“The exciting thing about the FIFA World Cup last June (2018) was that it showed us how much we could achieve by moving our content assets to the cloud – and we could innovate in the realm of content publishing for a major worldwide sporting event.”

He adds that just before the football tournament, COPA90 launched a new service in China with help from a local partner that translates videos into Mandarin and assists with publication of content to the largest Chinese social media platforms. By August, COPA90 had generated more than a million new followers in China.


“Our Chinese launch is a brilliant example of how the multicloud MAM allows us to publish content in English and then make the project immediately available for localization in another language. They’re not just slapping on Mandarin subtitles – they have all the layers of the project, which enables them to recut and re-edit the video to make it relevant to Chinese fans,” Flanigan explains. “Trying to do something like that without the cloud would have been an incredibly clunky process of moving files around. And the end product would not have been as good because it would have been more difficult for the local partner to access the raw files needed for the localization.”

Working with BASE Media Cloud and Veritone to build the multicloud MAM infrastructure has opened new horizons for COPA90 to expand its business, reach new global markets, and respond nimbly with exciting, fan-pleasing content for every major happening in the global football world.


“With our business built on scalable, flexible cloud-native technology, the sky’s the limit,” Flanigan says.

 

Veritone’s Candler adds, “Unlike many traditional media enterprises that are replacing old legacy systems, COPA90 is a modern online company that was born to the cloud and therefore a perfect candidate for Core and Digital Media Hub; in fact, it began as a YouTube channel. That gave it the luxury of building just the right cloud infrastructure from the beginning, and the ability to scale flexibly and rapidly. It’s been a pleasure to partner with BASE Media Cloud and COPA90 on this transformative project, and we can’t wait to see what the future holds for this exciting company.”

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