Exploration of Digital Asset Application: A Blockchain-Enabled

Media Copyright Organizing Solution Based on Cloud Computing

Yunjing Zhang

* and Zhexu Zhang

Postdoctoral Research Fellow of Beijing E-Hualu Information Technology Co., Ltd., Beijing, China

Senior Solution Engineer of Beijing E-Hualu Information Technology Co., Ltd., Beijing, China

Keywords: Digital Asset Application, Media Copyright Trading, Blockchain.

Abstract: The media industry has been impacted by big data. Digital assets, as an important asset, with the combination

of cultural and economic attributes, owned by media companies, which is of great significance to explore its

innovative application. In this paper, we design a media copyright trading based on online-offline hybrid

model. Specifically, the online media asset hosting operation platform, is divided into two parts, MAM and

trading section. MAM is the foundation of the platform, and digital assets needs to be guaranteed through

MAM before the transaction. MAM stores certificates through block chain, to realize media digital data copy

right confirmation. Based on the premise of the separation of ownership and usufruct, the transaction plate

realizes the realization of the usufruct of media assets hosted on the media asset trusteeship operation platform

through "Block trading" and "Live trading" assets transactions. In addition, by giving full play to the charac-

teristics of media resources and extending the digital assets transaction scenarios offline, which can effectively

maximize the transaction value. It is expected that this paper can provide an effective path of digital assets

application for the media industry.

1 INTRODUCTION

At present, the theoretical understanding of digital as-

sets lags behind its application practice, and on the

whole, there are widespread disputes over big data's

confirmation of rights, transaction pricing and capi-

talization in all kinds of industries. This forms a po-

tential hidden danger to the sustained and healthy de-

velopment of big data's industry and digital economy,

as well as the media industry, cultural industry and

other related fields rooted in digital assets.

This paper focuses on digital assets, through the

construction of a blockchain-enabled media copy-

right organizing solution based on cloud computing,

to explore the digital assets' right determination,

transaction, digital application path, hoping to pro-

vide reference for the exploration of big data in cer-

tain industries and related fields.

2 THE DEFINITION OF DIGITAL

ASSETS AND THE

IMPORTANCE OF ITS

2.1 The Definition of Digital Assets

How to define digital assets? "A digital asset is any

item of text or media that has been formatted into a

binary source that includes the right to use it. " (Van,

2006), "Digital asset is an ownership with any kind of

data in binary form stored in your computer or over

the internet in a cloud somewhere." (Toygar, 2013),

"Any digital form of information stored in computers,

smart phones, digital media or clouds. " (Warwick-

Ching, 2012), however, these definitions are based on

format, without considerations of the content of digi-

tal assets.

Generally speaking, digital assets mainly refers to

video, audio, text, pictures and other media content

data generated by media companies in the process of

business production, as well as channel big data and

Zhang, Y. and Zhang, Z.

Exploration of Digital Asset Application: A Blockchain-Enabled Media Copyright Organizing Solution Based on Cloud Computing.

DOI: 10.5220/0011740400003607

In Proceedings of the 1st International Conference on Public Management, Digital Economy and Internet Technology (ICPDI 2022), pages 469-474

ISBN: 978-989-758-620-0

 2023 by SCITEPRESS – Science and Technology Publications, Lda. Under CC license (CC BY-NC-ND 4.0)

469

advertising resource big data. In addition, the appli-

cation of big data collection technology, the collec-

tion of user terminal data, interactive data, behavior

data and other derivative data. From the perspective

of asset attributes, on the one hand, digital assets is

not only the content asset of media companies, but

also the core asset, with high cultural value; on the

other hand, these "sleeping" assets are often sealed in

inventory, lack of effective scene applications, and its

potential commercial value needs to be further ex-

plored.

Looking at the typical characteristics of digital as-

sets for media, it is mainly based on original and con-

tained data, with obvious characteristics such as un-

structured, fragmented, massive disorder, high reuse

value, strong spillover effect and so on.

2.2 The Importance of Copyright

Trading for Digital Assets

dustry. In essence, the digital asset belongs to copy-

right industry. Media is the carrier of content assets,

which is the form of expression of media. With the

rapid development of modernization, industrializa-

tion and informatization of the media industry, the

traditional broadcasting channels owned by the radio

and television media are no longer scarce resources,

and the development of the media industry is gradu-

ally encountering a bottleneck. (Li, 2014) For media

industry, in addition to channel resources, a large

number of content resources accumulated for many

years should be their most valuable core assets. How

to transform the advantages of content resources into

industrial advantages and maximize the copyright

value and economic interests of content resources is a

realistic problem to be solved urgently. It is of great

significance to solve the problem of copyright use of

media assets inventory content resources, to make

these precious content materials really move, to pro-

mote the industrial development of media assets, and

to increase the value of content assets through the

market.

Large media companies are working on their dig-

ital work-digitizing historical newspapers, valuable

documentary videos, audio materials, and even TV

dramas, variety shows, stage dramas, etc., so that peo-

ple can access them on the Internet. For example,

China Central Television has more than 1 million

hours of collection resources, of which nearly 700000

hours have been digitized (Sun, 2018); for example,

BBC's ambitious Digital Media Initiative (DMI)

spent £100millon, but cancelled the project because

of high costs, poor internal management, and inability

to explain the value of digital media assets (Steve

Hewlett). It is noteworthy that some local regional

media companies have been digitizing rapidly and ef-

fectively.

The Weekly Challenger, as a local newspaper in

Saint Petersburg, Florida, United States, established

in 1967, successfully realized digital through a spe-

cial legislative appropriation from the State of Florida

(García-Perdomo, 2021). Palopo Pos, a local media in

Luwu Regency, Sulawesi Selatan, Indonesia (Amir,

2022) and a newspaper library in Kerala, Malaysia

(Sreekala, 2019) have successfully realized digital by

the help of local authorities or companies’ funds.

Compared with large media companies, they have rel-

atively less media resources and lower costs, so they

can digitize faster. However, in the era of integrated

media, they face the same cost challenges in the future

as the volume of data storage continues to increase.

3 DESIGN OF

BLOCKCHAIN-ENABLED

MEDIA COPYRIGHT

ORGANIZING SOLUTION

BASED ON CLOUD

COMPUTING

For media asset management, the traditional way is to

store it and manage it through the platform. However,

with the rise of social media, the attention of local re-

gional media companies is decreasing, and the cost of

maintaining media assets is also increasing. There-

fore, it is necessary to make use of the value of media

assets through a series of combination methods, such

as technology and business, to reduce the cost of me-

dia asset management, and even become a new source

of income.

3.1 Traditional Media Assets Rights

Management in Regional Media

Company

Local regional media companies, different from

trans-regional media, even some multinational media

groups such as CNN, BBC, FOX, TASS and CGTN,

pays more attention to local news, activities and other

content related to the life of local residents. Although

it does not perform well in the media content variety,

compared with multinational media groups, its con-

tent is more accurate (Selina, 2018), and compared

with social media, it can reflect objective facts more

timely and comprehensively (Limaye, 2020). Local

ICPDI 2022 - International Conference on Public Management, Digital Economy and Internet Technology

470

regional media companies output includes local news,

especially breaking news, daily news, local variety

shows, films, documentaries, event records and so on.

With the expansion of data scale, especially the im-

provement of video definition, the cost of preserving

and managing these data assets increases gradually

over time, thus it is necessary to manage these valua-

ble local media data assets while managing them, in

order to give these assets effective and profitable pro-

tection, instead of increasing the pressure of financial

cost simply.

However, most Media Asset Management plat-

form (MAM) only focuses on (Veynberg, 2019) the

management of media assets, that is, digital assets

metadata governance, including a series of processes

such as the formation of data associations. At present,

there are some forward-looking researches, such as

FINA's MAM database (Kaliszewska, 2021), not only

does it have effective tools and multi-dimensional

metadata structures, but also detailed analysis of the

unique characteristics of audiovisual collections. Pay-

ing attention to the analysis of the content of media

assets is undoubtedly based on the establishment of

content-based transactions. Therefore, it is necessary

to design a platform that supports the trading of media

assets based on MAM function.

However, the copyright issue is a major difficulty

in media asset trading process, especially the context

of social platforms, while copyright is the restriction

of copying, whereas the ethos of social networking is

the promotion of sharing (Bosher, 2019). Informing

in its user agreement is useless because very few peo-

ple will read it, and most copyright infringement is

untraceable. Using block chain for certificate storage

and tracking combined with crawler technology is a

feasible way (Zhou, 2019), but it is a better way to

plan media property transactions through online plat-

forms or offline scenarios.

3.2 Integration of Digital Asset Hosting

Operation Plan Base on Online and

Offline

In the article, the online media asset hosting operation

platform, is divided into two parts, MAM and trading

section. MAM is the foundation of the media asset

hosting operation platform, carrying the responsibil-

ity of data governance and ownership determination.

Not only does MAM distinguishes data by format, but

also the semantic attributes of entities, including par-

ticipants, organizations, location, events, and time.

Among them, participants are not limited to the au-

thor of media, but also includes the main characters

in media, such as the protagonist of the play, the party

of the news and so on. Similarly, the other four ele-

ments, such as organizations, containing not only the

file metadata, but also the analysis of the content.

Meanwhile, the platform will complete the data min-

ing of media assets through data cleaning, association

and other steps, and ensure media data transmission

and data security through point-to-point transmission.

Media assets needs to be guaranteed through

MAM before the transaction. In view of the two prob-

lems, the difficulties of media assets tracing and the

unclearness of commercial value, MAM stores certif-

icates through block chain, and embeds copyright in-

formation and embedded coding in metadata to real-

ize media digital data copy right confirmation, build-

ing foundations for subsequent copy right evidence

obtaining. MAM crawls the embedded code in the

whole network and compares it with copyright con-

firmation to realize the media resource copy tracking.

Currently, a phenomenon exists that media assets

is in the hands of individuals, including editors, jour-

nalists, directors, and other staff. On the one hand,

this has caused economic losses to local-regional me-

dia companies-you can't force the staff to take out the

media assets that the company does not know exists.

On the other hand, hiding these media assets is a

waste of society, and people will no longer see or hear

the history behind these media assets. At the same

time, there are many phenomena of illegal use of me-

dia assets to develop derivative products or services

without permission, which cannot be completely

solved by crawler search and tracking, and it is diffi-

cult to obtain evidence and safeguard rights in court.

NFT has caught public attention since 2021, with

bright market expectations and variable collections

from videos, pictures, art masterpieces, even games.

Considering the difficulties to protect copyrights, and

the current situation that NFT could be seen as eco-

nomic bubbles because of lacking actual dependents.

Therefore, it is necessary by applying blockchain

technology, based on NFT tokens, through digital as-

sets dividends to enable stakeholders to have the op-

portunity to obtain benefits in a legitimate form. As-

sets owners and local-regional media companies can

achieve permanent accounts that cannot be tampered

with through the number of NFT holdings on the basis

of reaching an agreed dividend ratio. Through plat-

form access, developers, such as YouTube's organiz-

ers, can meet their needs and get their corresponding

income from buyers. Simultaneously, consumers can

also buy NFT through the platform, so as to get a cer-

tain income of digital assets to participate in divi-

dends, so as to make NFT produce value, rather than

simple speculation. In addition, by accessing the ju-

dicial chain of the court, the platform can upload the.

Exploration of Digital Asset Application: A Blockchain-Enabled Media Copyright Organizing Solution Based on Cloud Computing

471

Figure 1: NFT market description (Nadini, 2021).

Figure 2: Trading Sections based on Blockchain (Photo credit: Original).

evidence directly to the court as material evidence.

Finally, through the interconnection of multiple plat-

forms, we can achieve transaction union and form a

decentralized and untampered local-regional media

companies blockchain platform, so as to improve the-

liquidity of media assets and increase more value.

Based on the premise of the separation of owner-

ship and usufruct, the transaction plate realizes the re-

alization of the usufruct of media assets hosted on the

media asset trusteeship operation platform through

"Block trading" and "Live trading" assets transac-

tions. "Block trading" refers to the one-time sales of

media assets through the platform API interface to

operators, including professional trading platforms or

databases, such as Springer Link CNKI, or large com-

prehensive media such as BBC, social networking

sites such as YouTube, according to a certain theme,

pricing according to Digital Assets Valuation Model

(Song, 2010). MAM's trading section records the start

and end times of each transaction, so that the user is

notified of the termination of the contract at the end

and the new contract can be renewed.

"Live trading" digital asset transactions are based

on the consumer side, providing services to provide

media resources directly to consumers. One way to

open data is to sell directly, such as "Birthday Daily"-

- selling the electronic media resources to consumers

in the form of "birth-date newspapers", based on

ICPDI 2022 - International Conference on Public Management, Digital Economy and Internet Technology

472

Figure 3: Media Copyright Trading based on Online-Offline Hybrid Model (Photo credit: Original).

MAM's participants' face recognition data, extracting

the characters in specific media resources, etc. In ad-

dition to the direct pricing of similar referring prod-

ucts, auction bidding is adopted for popular media re-

sources and derivative products, and the final pur-

chasers can get the NFT tokens of media resources

and derivative products.

Traditionally, asset trusteeship only relies on

online platform, by using website or applications, los-

ing opportunities of extending to make money on

scale. However, the high-input city-level hall of com-

pared with, fully considering that the “trading station”

of the media resource application is more cost-effec-

tive, which can be deployed in shopping malls, librar-

ies, cinemas and other places that are fully related to

the content of media resources. It includes temporary,

mobile automatic interactive equipment, or spot with

personnel to promote the platform. These will be li-

censed to local service developers, such as film pro-

moters, event planners, curators, etc., helping local-

regional media companies develop its unique local

advantages over large media groups

4 CONCLUSION: RETHINKING

ON THE APPLICATION OF

DIGITAL ASSETS

Specifically, the online and offline integrated digital

assets copyright trading application has important in-

novative value, which effectively solves the business

"inertia" of "re-broadcasting over copyright". It pro-

vides a clear path of fine authorization and online-of-

fline integration, which is helpful to solve the di-

lemma of transaction channels in the market-oriented

development and utilization of digital media copy-

right resources. As a kind of identifiable intangible

assets, radio and television media assets are the pre-

cious wealth with the most development potential.

Only through the realization of the value of media as-

sets and the reorganization of the trading platform and

local-regional media companies’ organizational

structure, can we maximize its potential market value

in the face of huge media content assets, achieve ex-

tensive economic benefits, and maintain and increase

the value of valuable assets.

Generally, digital assets, as an important part of

big data in cultural area, which is a small step in the

application and exploration of digital assets, could

help to improve advance of the media industry. As

media industry is different from other industries, dig-

ital assets is also significantly different from data in

other industries. In addition to economic benefits, the

important cultural value, historical value and social

value of culture itself are also worthy of attention.

Technology serves the business, and it is expected

that this article can bring some different practical

paths and theoretical sublimation in the field of "big

data + culture".

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