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Blue Lucy

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Press releases

Blue Lucy Renews Multi-Year Partnership with Banijay Rights

LONDON, England –  June 4, 2025 – Blue Lucy, a leading provider of media management and workflow automation solutions, is pleased to announce the renewal of its long-standing relationship with Banijay Rights, the global distribution arm of content powerhouse Banijay Entertainment. The new four-year agreement extends a trusted partnership and reaffirms Blue Lucy’s pivotal role in supporting Banijay Rights’ daily operations across its expansive content portfolio.

Blue Lucy’s powerful BLAM platform – an integration and orchestration engine purpose-built for high throughput media workflows – has become core to Banijay Rights’ day-to-day operations. Deployed in a cloud-ground hybrid configuration, the platform manages both AWS S3 cloud, and on-prem Quantum storage, with workflows executed where the media is most cost-effectively accessed. Operationally the platform supports the management, adaptation, and delivery of content to partners and platforms across global markets, evolving continually to meet the growing complexity of rights management, localisation, compliance, and multi-format delivery.

Since the initial deployment, BLAM has scaled significantly in response to Banijay Rights’ expanding content catalogue but without an increase in compute resource requirement. The system has seen a nearly 300% increase in asset volume, growing from just over 250,000 assets on initial deployment to almost 1 million now under active management. Today, BLAM manages more than 550,000 hours of material for Banijay Rights, including 360,000 hours of finished video content.

“Banijay Rights is a world-class distribution organisation , and we’re incredibly proud to continue supporting their global operation,” said Julian Wright, CEO of Blue Lucy. “The numbers speak for themselves, and this renewal reflects the strong collaboration we’ve built over recent years, as well as the strength of our shared commitment to innovation and agility.  In the past 12 months alone, the system has handled 1.3 million workflow runs and over 13 million microservice executions. It truly is a platform which performs at scale for Banijay Rights.  Perhaps most tellingly, there were more than 2,500 workflow configuration changes made in just one year – proof of the agility, responsiveness, and operational flexibility our platform enables. BLAM truly is a vital performance engine for Banijay Rights, and we’re proud to play a part in getting their content to screens around the world.”

“In our business, operational excellence is paramount. Blue Lucy consistently provides the speed, precision, and agility required to support our constantly evolving distribution needs.” said Richard Clarke, Head of Content Operations, Banijay Rights. “Their technology underpins key aspects of our global operations, with a platform that adapts effectively to our evolving requirements. Their responsiveness and ability to tailor solutions have contributed to improved operational efficiencies and measurable improvement in distribution workflows. We look forward to building on this trusted partnership.”

About Banijay Rights

Leading global distributor, Banijay Rights, represents a world-class, multi-genre portfolio of 205,000 hours of standout programming. Handling the distribution for content powerhouse, Banijay Entertainment, the division specialises in the exploitation of premium scripted and non-scripted brands to broadcasters worldwide.

Representing quality, excellence and experience in the business of linear and non-linear television and ancillary activity across all platforms, Banijay Rights’ catalogue encompasses a host of top titles from Banijay’s 130+ in-house labels, and a number of third-party producers, spanning drama, comedy, entertainment, factual, reality, family, formats and theatrical.

Delivering high-quality IP, which was born locally and travels globally, the distributor offers the best stories told the best way. Its landmark brands include Survivor, Big Brother, MasterChef, Peaky Blinders, Rogue Heroes, Marie Antoinette, Grantchester, Deal or No Deal, Home and Away, Mr Bean and Black Mirror. Built on independence, creative freedom, entrepreneurialism and commercial acumen, Banijay Rights operates under the direction of Chief Executive Officer, Cathy Payne.

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Blog

What NAB told us about the future of media tech

This year’s NAB Show in Las Vegas marked a noticeable shift in the priorities of media and broadcast organisations. Gone are the days of chasing flashy, or “cool”, innovation for innovation’s sake. Instead, the conversations we had—and the interest in our solutions—made one thing clear: the industry is doubling down on practicality, efficiency, flexibility and value. As a technology partner, that message resonated with us. It validated our ongoing focus on delivering tools that don’t just push boundaries, but solve real-world challenges—scalably, securely, and cost-effectively. Here are the key themes that shaped our NAB 2025 experience:

Cost Control is Now a Strategic Priority

Across the board, operational cost reduction has become the top agenda item. Many vendors push a “transformation” agenda but from users we heard most “measurable RoI,” “efficiency,” and “time to value.”

Instead of massive technology overhauls, customers are prioritising targeted improvements with measurable outcomes. Our BLAM integration and orchestration platform is designed to support such an approach, streamlining operations without requiring wholesale change – BLAM stood out as a natural fit.

Hybrid Cloud/Ground Is the New Norm

The industry’s cloud conversation has matured. It’s no longer about choosing between on-prem or cloud—it’s about finding the right balance based on operational business need and cost. Organisations are increasingly adopting hybrid architectures that maintain critical workflows on-premises while using the cloud to when its more efficient or cost effective.

Our platform was designed to support hybrid deployment from the outset and enables seamless integration across systems, services, and territories. 80% of our deployments are cloud-ground hybrid and deliver cost effective control, flexibility and scale.

Integration Is Essential, Not Optional

With consumer platforms seeming to grow exponentially across OTT, FAST, and social manual workflows simply can’t keep up.

The benefit of automation is a given, but integration delivers more value through reduced friction, removing manual process, and providing end-to-end visibility. At scale operational efficiency is no longer a business benefit —it’s a survival requirement.

Unlocking the Value of Content Archives

Companies are looking to mine their legacy libraries for untapped value, especially in digital and on-demand markets.

Our tools that support fast discovery, repackaging, and delivery—through automation and easy to access tools.  Blue Lucy is helping customers monetise what they already have, without heavy lifting.

Fast Value, Real Accountability

Today’s buyers are sceptical of long, drawn-out transformation programs with vague promises and PowerPoint workflows. They want to see real value—fast.

At NAB, we heard over and over how important rapid deployment, measurable results, and continuous improvement have become. Our approach is that we are a long-term partner in outcomes and continuous service, not just a provider of products.

Empowering the Creator Economy Securely

With content creation becoming more decentralised—and the creator economy exploding—organisations need to give teams secure, flexible access to content.

Whether it’s internal creatives, freelancers, or partners, our platform ensures content is available wherever it’s needed, without compromising security or governance. That balance of ease of access and control is more critical than ever.

Looking Ahead…

NAB 2025 confirmed what we’ve been hearing in conversations all year: innovation still matters, but it must be grounded in usability, agility, and value.  Blue Lucy is continuously building technology that meets those demands—today and into the future.

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Case study

Cutting the cost of converting broadcast content for OTT delivery: Off the Fence’s unsung automation hero

In 2021 Off the Fence asked Blue Lucy to help them come up with a solution for converting their broadcast catalogue for OTT delivery without adding staff or requiring a significant investment in new technology.  The automated solution that Blue Lucy delivered allows the content company to save hundreds of man-hours and deliver on a scale they were never able to before – with almost no human intervention. And as the demand for VOD assets increases, it continues to prove its worth.

Off the Fence is a longstanding BLAM customer. The content company first worked with Blue Lucy to migrate their media management and fulfilment operation to an in-house model using BLAM in 2019. Since then, the OtF team has been iteratively working with Blue Lucy to automate delivery processes in a way that integrates their existing technology with cloud capabilities. In 2021 director of technical operations, Sukhan Bains faced a new challenge: while their huge cloud-based content library consisted almost entirely of broadcast masters, the demand for VOD and OTT content was growing.  For VOD deliveries the broadcast masters require editing into a specific structure, as Bains explains, “The biggest issue was cost of creation for these VOD / OTT assets. When you archive assets in the cloud every step you take – whether it’s download, upload etc – adds time and money to the equation.” 

A problem of scale

Initially, Bains’ team was able to keep on top of demand by manually creating the VOD and OTT deliverables from the broadcast masters. The source broadcast masters were restored from the library, downloaded and edited on site, before being rendered and uploaded back into AWS for BLAM to pick and manage the delivery.  But, in addition to the costly egress fees that this process involved, Off the Fence’s operations team quickly ran into capacity issues. As well as the time spent downloading, rendering and uploading media in its round trip to the cloud, editing the content was a time-consuming, albeit straightforward, task. Bains’ team had to manually seek within each programme and mark cut points to remove broadcast elements like colour bars, slates and ad breaks as well as select the appropriate audio tracks so that only the active programme would be delivered. They also faced technical constraints, “We’re quite a small organisation and internet bandwidth is valuable – we can’t just brick the network any time we want to upload assets,” says Bains. With few solutions available at the time, and none that met OtF’s cost and efficiency requirements, Bains asked Blue Lucy to collaborate with his team to automate the process in BLAM. 

Going from a manual workflow to managing by exception

Analysis of the material highlighted one crucial factor working to their advantage: all of OtF’s content has black and silent frames between the slate and the active programme, in the ad breaks and at the end of the programme – at all the points where cuts are needed to select only the active programme. So, the teams began by exploring ways to automatically detect and create cut points where black frames and silence happen at the same time. The solution they devised relied on refining the tuning parameters of BLAM’s existing technology integrations to create a black and silence detection microservice that works in combination with (and enriches) the existing QC data. When a new order for VOD content comes in through Off the Fence’s rights management system, BLAM triggers the relevant automated workorder.  First, the black and silence detection microservice detects where the cuts should be and creates an EDL for the proposed edits, then the EDL is automatically sent to Bains’ team for verification using a timeline view in the platform.  Once approved, the EDL is rendered using AWS MediaConvert before delivery. The BLAM platform manages the automatic scaling of the microservice instances to avoid bottlenecks during peak demand periods.  Bains describes it as a crazy improvement saying, “At the end of year Christmas rush we did around 1500 hours of deliveries through BLAM and a huge percentage of those were to VOD platforms.  We just shoved them through the workflow, with a few hands-on-deck to do the approvals, and all of a sudden, this single-transcode and single-thread workflow was now autoscaling so there was pretty much no limit to how many files we could handle at the same time.  I don’t think we’d have been able to deliver half as many assets without it.”

Ongoing benefits

The obvious (and possibly most important) benefit of automating the conversion of broadcast content for OTT and VOD delivery is scalability. Bains estimates that their throughput increased by five times from one month to the next – with almost no human intervention. But, almost four years later, their decision to continue to use a trusted automated workflow, rather than exploring newer AI-enabled options, is driven by multiple factors: as it’s entirely cloud-based, the workflow doesn’t result in any additional egress costs and uses standard off-the-shelf Blue Lucy microservices. Off the Fence convert their catalogue based on customer demand and can choose to save already edited assets or to delete the edited files to reduce storage costs, retaining the EDL for re-rendering should new orders come in.    

 “The implementation of this workflow has been a huge help for us in a struggling industry where we’re trying to pivot to benefit from new areas. Leveraging BLAM to do the heavy lifting has removed some of the biggest hurdles for our OTT workflow,’ says Bains.

Get in touch to find out how Blue Lucy can help you save time and money across your content supply chain.

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Press releases

Blue Lucy to focus on data-driven value at NAB

The Blue Lucy team will demonstrate how BLAM’s new report dashboard provides unparalleled insights into content supply chain operations at the 2025 NAB Show, April 5-9, in Las Vegas. Visitors to booth SL6106 will also be introduced to the tiered commercial model for Blue Lucy’s media portal, BOLT.

“Reducing operational costs is the biggest theme in content operations right now. While cost savings can be achieved through workflow optimisation, this needs to be informed by detailed and accurate data about the assets, their source location, the processes they’re undergoing and the cost of each step in the workflow,” says Blue Lucy CEO, Julian Wright.  “BLAM’s new modular dashboard displays operational information in an accessible and repeatable format so that our customers can make data-driven business decisions and quickly measure the impact of any changes.”  

Because BLAM integrates and directly orchestrates systems and services along the entire content supply chain, the report dashboard can be used to track utilisation and cost of every step in a workflow. Reports can be customised to a customer’s specific business interest with the scope being any process the platform manages. Examples of the insights that these reports can surface, and some of the decisions that this data can help inform, include:

  • The total cost to deliver an asset – to ensure pricing is appropriate.
  • Asset revenue – to inform decisions about appropriate workflows and technologies used for premium vs lower value content.
  • The time assets are actively being accessed for delivery – to manage storage tiering timing and reduce restore costs.
  • How frequently different versions of an asset are required – to aid decisions about saving derivatives or creating new versions based on demand.
  • The amount of time assets spend in queues at different points of an end-to-end process – to identify technology bottlenecks, human resource shortages or training requirements.
  • The time spent and cost of any manual handling – to inform future decisions on the value of automation.

The Blue Lucy team will also demonstrate the latest enhancements to their media portal, BOLT. Launched at IBC Show 2024, BOLT is designed to provide effortless access to content, allowing everyone from media executives to data wranglers to receive, review and share content without navigating complex UIs or waiting for tech ops teams to deliver material. BOLT is now available in three commercial versions so customers can select a toolset that is appropriate to their business need and budget.

  • BOLT Essential: the entry level media portal providing easy content ingest, search and share.
  • BOLT Advanced: with enhanced media management and access control including asset relations, versioning, and advanced permissions for user groups.
  • BOLT Pro: featuring advanced production tools to support collaborative workflows for larger teams.

Visit our NAB event page to book a meeting on booth SL6106.

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Events

NAB 2025

Join us at NAB this April and take the fast route to value. Discover how new functionality in BLAM, our end-to-end content supply chain platform, gives you vital insights across your operation and facilitates data-driven decisions for your business. We’ll also be introducing the BOLT media portal for the first time in the US, with 3 new tiers of functionality to make access to your content even more effortless.

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Blog

Saving money in the media supply chain

6 RULES TO LIVE BY

Arguably the top priority for media businesses in 2025 is to reduce operational costs. But that’s easier said than done when you’re faced with increasing content delivery demands for an ever-evolving consumer landscape. Based on our real-world experience working with international media organisations, we’ve put together six principles to help you save money across the content supply chain.

1. You can’t monetise what you can’t see.

There are vast libraries of unmanaged content running into the 10s of petabytes at a number of the big production labels – much of which isn’t even available as a browsable version. This media may as well not exist as you can’t monetise what you can’t see.  This is a common situation that’s increasing due to the significant M&A activity in the industry where multiple media catalogues have been combined from once separate production and distribution companies. But large volume content management is not an insurmountable problem. The first priority for any content owner or rights holder should be to bring everything under management so that you understand what content is in the library. Connect the MAM to the media, wherever it is, and have it register the material, generate a visible browse version, and hoover up as much metadata as you can find.  If there really is no data, a simple microservice program can automatically generate metadata based on the information contained in your filenames. You might be surprised by how far this will take you.

2. Nobody move anything, until you know what it is.

An end-to-end media supply chain is not synonymous with the cloud. Your media and the workflows involved in creating, managing and delivering content across various platforms and tools can be controlled and observable whether it’s in the cloud, on the ground (on-prem’) or any combination of the two. Bringing media under management doesn’t mean moving it to the cloud or anywhere else. Once you’ve registered the assets and made them visible  (see point 1 above) you can make an informed, value based, business decision as to where the most appropriate place is for them to be stored.  Too often we hear media execs talking about their cloud strategy rather than the business strategy and ‘the cloud’ as an outcome whereas it should be viewed as a component – albeit an extremely powerful component – of a business objective. 

3. Clean as you go.

Cloud services can deliver significant flexibility and efficiency. Equally, storing material in cloud storage has accessibility and security benefits.  But cloud storage is definitely not the least expensive option.  So, if you choose to migrate your content into the cloud, it’s worth getting your housekeeping done before you make the move.  First understand what you have, what condition it’s in, what the likely value is, and what rights you hold.  Other simple housekeeping tasks such as material deduplication or identifying minutes of colour black run out from a digitised tape, or camera pointing at ground rushes can also be carried out with the material in situ.  The 90’s broadcast engineers’ joke of operators inadvertently archiving hundreds of hours of colour bars isn’t quite so funny when you move from a $10/TB LTO to incrementally priced cloud storage.

For this reason, we tend to support a controlled migration of content and workflows to the cloud rather than the ‘forklift content and sort it out when it gets there’ approach.

4. You don’t need to shut down existing systems to modernise your operation.

Your ‘legacy’ systems can, and probably do, still deliver value. There’s no need to change your entire technology ecosystem just because you want to introduce new tools, streamline your workflows or take advantage of cloud scale. In a constantly developing technology landscape, the best approach is to integrate, not deprecate. Your MAM orchestration platform should integrate with both legacy and new technologies so that existing systems can continue to deliver value while new tools – such as AI applications – can be readily incorporated into workflows to support ever changing business needs.  At Blue Lucy we achieve this by using our BLAM microservice architecture to connect disparate systems and enable a controlled migration to modern workflows.

5. It doesn’t matter where the content is. No, really.

The actual location of your content should have no bearing on your ability to monetize it. Your MAM should provide easy and uniform access to all your assets, no matter where the ops’ team or the media is physically located.  On-prem and cloud storage should be viewed interchangeably rather than one being for operations, such as fulfilment, and the other for the “safety copy” because your MAM ‘knows’ where the material is and can be configured to use the most appropriate repository. And, if your operation is all cloud, then the need for a “safety copy” is moot as the cloud vendor can provide multi-copy resilient storage through simple configuration.  80% of Blue Lucy BLAM deployments are hybrid and use both cloud and ground storage.

6. Start small and work incrementally.                   

Big bang “Transformation” projects are dead, and good riddance.  Big projects cost big money, carry big risk and often end up in big disappointment (when they’re not quietly killed).  Even the successful ones take a long time to deliver value, and the true RoI rarely moves the needle on the CFO’s dashboard, certainly after the long-departed big consultancy company fees are included.

Instead, big projects can be delivered in small steps using modern service-based technology and open APIs.  That’s why we recommend focussing projects on end-to-end solutions for a thin, horizontal operational slice.  This approach proves the technology and the business case with minimal risk and delivers measurable value incrementally, building confidence with each slice and allowing a rapid change of direction if necessary. If your service provider or vendor can’t demonstrate value within 6 weeks of any project starting, you may want to reconsider working with them.

Interested in learning how Blue Lucy’s BLAM and BOLT platforms can help you save money in 2025?  Get in touch!

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Events

MIP LONDON

Heading to MIP LONDON this February? So are we! We’d love to meet you at London’s biggest content week. Get in touch to discover how Blue Lucy’s solutions help you manage your expanding content inventory, and deliver more content, faster. We look forward to catching up with you there!

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Press releases

New BLAM Release Set to Transform End-to-End Workflow Management

Blue Lucy’s recent software update for orchestration, integration and media management platform, BLAM, includes a major upgrade to the tasks application that is set to transform customers’ worklow management.

The new release combines automated processes with human task management in BLAM and integrates with other project management applications, providing end-to-end workflow management capabilities.      

In the new version of BLAM, the task application has been expanded across the platform so task information is always available and visible to users – like a to-do list that sits alongside the tools and resources needed to complete the work. Opening a task in BLAM automatically makes all the required media, metadata and any other assets required to complete the task available to the user. This saves time, reduces user errors and allows teams to focus on more creative work. Once a manual task has been completed, it automatically triggers the next step in the workflow – whether that’s an automated action like transcoding or another task to be completed by a user.

The task functions have also been upgraded to maximise configurability and administrators can set priorities and deadlines, assign users and filter tasks according to range of criteria. Tasks can be assigned to groups, specific team members or even guests and only the specific assets and applications needed to complete the assigned work will be made available based on the user’s permissions. The application integrates with other project management tools like Trello and Monday.com and can automatically share updates and notifications in Slack, via email and in Teams – making it easy to manage BLAM tasks as part of broader organisational workflows.

“Blue Lucy originally led the way in integrating task and asset management, and now we’re taking this to the next level,” said Joshua Martin, head of product at Blue Lucy. “While automation has become increasingly important in creating efficient workflows, we still need human intervention at critical stages of the process. With this new release, tasks and automation are truly integrated and central to all our customers’ workflows.”

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Press releases

Blue Lucy takes on The Americas

CALIFORNIA, UNITED STATES – London-based media technology business, Blue Lucy, has set up a US division of the company and appointed Dina Behar Hevert as VP Americas. The company’s entry into the US market follows significant growth in the UK and the launch of new solutions targeting the broader media market. 

Blue Lucy creates products that close the expensive technology gaps in media operating models across the world. Global media companies including BBC Studios, Banijay Rights and Blue Ant Media rely on Blue Lucy’s flagship product, BLAM, for integration, workflow orchestration and media management at scale. The company launched their new product, BOLT, at the International Broadcasting Convention (IBC Show) in September this year. BOLT is an asset portal that provides effortless access to content, allowing executives to receive, review and share content without needing any technical expertise – making it faster and easier to monetize media.

Dina Behar Hevert has worked in media and entertainment for almost twenty years and brings extensive industry knowledge and a vast contact base to Blue Lucy’s newly-created position of VP Americas. Her career started in broadcast transmission roles at Globecast, FOX Sports and The Switch before she moved into business development for localization companies including SDI Media, SPG Studios and Deluxe. Most recently she’s worked as VP of business development for Emmy-winning language customization company, The Kitchen.

“What attracted me to Blue Lucy is that their products answer a very real need in both the traditional media and entertainment world and in the broader media market,” said Behar Hevert. “In particular, the flexibility they provide for integrating multiple tools into existing technology stacks is really impressive and I am genuinely excited to introduce Blue Lucy’s solutions to the US market.”

As Blue Lucy’s VP Americas, Behar Hevert is responsible for growing the company’s US customer base and recruiting local staff. She reports to CEO Julian Wright and joins Blue Lucy’s senior management team which has already seen significant growth this year with the addition of Alison Pavitt as chief marketing officer, Joshua Martin as head of product and Joe Hegarty as director of IT.      

Julian Wright, CEO of Blue Lucy said, “Expanding our team into the US is a natural next step for Blue Lucy and part of our strategic plan for growth. It was critical that we find the right person to help establish our first international division – someone who is enthusiastic about the value our products and who has a deep understanding of the local market. We’ve found that in Dina and we’re thrilled to have her on board.”

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Blog

BLAM vs BOLT: what’s in a name?

Since its launch in 2020, Blue Lucy’s flagship product, BLAM, has also been the company’s only product. BLAM is a sophisticated workflow orchestration, system integration and media management platform, and both its core capability and the microservices which comprise its orchestration functionality have constantly evolved in that time. It has, however, remained Blue Lucy’s sole solution.  Until now.  At IBC 2024, Blue Lucy launched BOLT, a new product that’s described as a global gateway to content libraries for non-technical users. We asked Blue Lucy founder, Julian Wright, what prompted the decision to develop a new product and what distinguishes BOLT from BLAM.

Q: Can you give us an elevator pitch overview of Blue Lucy, BLAM and BOLT?

A : Blue Lucy’s ethos is to take an orthodoxy-challenging approach to solving media business problems.  Our core product, BLAM, is a sophisticated integration and orchestration platform designed to meet the complex and evolving business needs in production, localisation, and distribution. BLAM is an “enterprise” platform that serves the operational needs of multiple aspects of a media business.  Our new product, BOLT, is an operationally-simple offering designed to meet a fundamental, but most important, business need for any operation handling media assets – accessibility.

Q: What was the initial motivation for developing BOLT?

A : In BLAM deployments our implementation engineers and analysts tend to work with the media operations team within the ‘engine room’ of the operation.  In conversation with senior management teams, we were often surprised by statements along the lines of “your platform is great, the automation is really driving time to market and cost efficiency but at the executive level we would just like a really simple way to view our current inventory.” 

Q : So, is BOLT simply a media portal for viewing content?

That’s how it started, but it’s developed into more than that. On further examination, we uncovered a number of apparently simple requirements within the commercial business (i.e., outside of the technical content supply operation) that could be addressed by a toolset similar to BLAM.  Alongside the basic requirement to search and discover content is the ability to create showcases and viewing rooms and distribute these to sales prospects or internal marketing teams via secure links. Some customers want to create one or more branded ‘storefront’ portals to directly support sales or similar customer self-service functions.  On the subject of “portals” we saw a clear a common requirement within distributors to provide easy-to-use media upload portals to their production partners to allow them to push finished content and production metadata to the central content management and processing function.  This is particularly important to the aggregator distributors or production companies that hold a number of separate brands or labels under a broader umbrella.  BOLT satisfies all of these needs – it gives you effortless access to your content, provides an intuitive upload function and allows content owners to showcase and monetise content catalogues.

Q: Many of these capabilities are available in BLAM – what makes BOLT different?

A : All of these functions can be supported by BLAM as standard but as a collection of capabilities there was clearly a need for a commercially-focused product in its own right.  This is particularly the case in the overarching requirement that the tools needed to be easy to use – we took this one step further and defined the vision for the new product that it should have a zero-training requirement and be as intuitive to use as an on-line banking app – well the good ones at least.

Q: Are BLAM and BOLT totally independent products?

BOLT is built on the BLAM core technology and existing BLAM users may add the BOLT capabilities to extend the operational reach of their BLAM platform to support commercial and external business activities.  In this context, if BLAM is the engine room, BOLT is the viewing platform.  But BOLT is of course also available stand alone as a separate product.

Your content inventory represents the most significant proportion of the value of your media business. To maximise that value, make it accessible with BOLT from Blue Lucy.

Find out more about BOLT here or get in touch with the team to arrange a demo.

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