Suzanne Smagala discusses Digital Asset Management
Here are the questions asked:
How are you involved with Digital Asset Management?
Why does an organization focused on entertainment use Digital Asset Management?
What advice would you like to share with DAM Professionals and people aspiring to become DAM Professionals?
Transcript:
Henrik de Gyor: [0:01] This is Another DAM Podcast, about Digital Asset
Management. I’m Henrik de Gyor. Today I’m speaking with Suzanne Smagala.
Suzanne, how are you? Suzanne Smagala: [0:11] I’m great, Henrik. How are you? Henrik: [0:12] Good. Suzanne, how are you involved with Digital Asset
Management? Suzanne: [0:16] Well, basically I’m responsible for ingesting and processing
all the company digital assets. We use the Digital Asset Management system
MediaBin. I do a lot with asset retrieval and file delivery. I help write standards
and workflows for preservation and best practices. I also do a lot of work with
digital rights management. Henrik: [0:33] Why does an organization focused on entertainment use Digital
Asset Management? Suzanne: [0:39] I think the better question would be why wouldn’t we? So much
of our product is digital. We have a really huge web presence, with our Ripley’s.
com website. We do a lot with social media, with Facebook and Twitter. We
post videos on Vimeo. We also have a lot of videos that play right in our museums,
in our locations. We have a weekly podcast, a syndicated cartoon. We’re
developing a mobile app, set to launch this summer. We have a huge publishing
arm where we publish, on average, about five books a year. And not just in
print, but also a lot in eBook format. [1:09] We just have to think about all the
digital files that are associated with those endeavors. If you just take the eBook,
for example, we have design files of the page layouts, the graphic and image
files. We’re doing embedded video files for interactive features that correspond
to our apps. License rights to associate all the images that we have. All those
files need to be managed. We just saw a real need that a simple file server
couldn’t satisfy. Henrik: [1:32] What advice would you like to share with DAM professionals and
people aspiring to become DAM professionals? Suzanne: [1:37] I can probably speak more to the people that are aspiring,
because I myself am fairly new in the field. I’m about a year or two in. I think
number one, education is key. It’s really the starting point. I got my degree, my
Master’s in Library and Information Sciences. I was fortunate enough to land a
great graduate assistantship, working for a special library for the Florida State
University School of Theater. [1:57] I spent a lot of my time cataloging special
collections. While I was cataloging using an integrated library system, I was
really able to easily translate those skills into the Digital Asset Management
world. It’s all about taking what you’ve done and being able to use it for something
different. I would say, seek out internships, network. LinkedIn is a great
tool. Join groups and other professional organizations.
[2:17] Stay on top of what’s going on in the field. Get to conferences if you can.
This is really a great time to be getting into this field. It’s just starting to emerge.
The demand is really high for qualified professionals, but opportunities aren’t
going to fall into your lap, so you need to be the one to make it happen. Henrik: [2:31] Thanks, Suzanne. Suzanne: [2:32] Thank you. Henrik: [2:34] For more on Digital Asset Management, log onto AnotherDAMblog.com. Another DAM Podcast is available on Audioboom,
iTunes and the Tech Podcast Network. If you have any comments or questions,
please feel free to email me at anotherdamblog@gmail.com.
Thanks again.
How are you involved with Digital Asset Management?
How does an organization involved with mixed martial arts use Digital Asset Management?
What advice would you like to share with DAM Professionals and people aspiring to become DAM Professionals?
Transcript:
Henrik de Gyor: [0:02] This is Another DAM Podcast about Digital Asset
Management. I’m Henrik de Gyor. Today I’m speaking with Christy King. Christy,
how are you? Christy: [0:10] Very good. Henrik: [0:12] Christy, how are you involved with Digital Asset Management? Christy: [0:14] I am the newly appointed Vice President of technology research
and development for Zuffa, which is the parent company of the Ultimate
Fighting Championships and several other MMA brands, mixed martial arts
brands. We started down the Digital Asset Management path by trying to
organize a method to distribute video to nontraditional resources. We have a
very young audience, tends to be males, 18 to 34. [0:46] Very much closer to the
18 range. These guys all have every gadget, new fancy, cool thing that hits the
market sooner than almost everybody else, so we really tried hard, very early on,
to be able to distribute to all of those devices, and many of those outlets did
not have traditional ways to take in video content, meaning take…
[1:08] In order for us to create a file-based workflow that made any sense, and
deliver the accompanying metadata, which means images, and text descriptions,
and price points, and policy rules about where things could be shown and
what country, we had to come up with a distribution methodology, and a way to
create all those materials, and distribute them, and keep track of them all over
the world and all of these technologies. Henrik: [1:33] Christy, how does an organization involved with mixed martial
arts use Digital Asset Management? Christy: [1:39] What we do, since we started out trying to distribute in all these
places and all these different ways, what you discover very, very quickly, when
you start with a relatively contained, single goal, which is, we wanted to deliver
video, which you find very, very quickly no matter where you start an organization
with asset management, is that it sort of snowballs into a really big
effort. [2:07] All of a sudden, you learn a whole bunch about all these different
technologies and all these different vendors that can solve all sorts of problems,
and gosh, people in the company get a load of the first problem you solve and
their eyes lit up, and they get super creative and excited, and go, “Gosh, if we
can do that, then we can do this, and we can do this other thing, and we can do
this other thing.”
[2:28] Pretty soon, you have yourself a huge variety of problems you can solve,
and every time you solve one problem, then there are three more, because no
piece of information in the company lives in isolation. One of the things you find
is, you’ll discover that if you start to distribute something and you’re going to
change somebody’s work flow, let’s say, in marketing. Now, instead of emailing
a picture to the advertising agency, you’re now going to upload it somewhere.
[2:56] Right? Seems simple enough. You change that, you’re done. What will
happen is, within a couple days, you’ll have four other people that come out
of the network that say, “Hey, I copy and paste that out of the website.” Or,
“I download that image and send it over here in order to do the poster or
the podcast.” Or whatever it is. All of these people had just figured out a way
to adapt and survive, with the information wherever it lived. Somewhere in
the company.
[3:23] What you discover is, when you start down the Digital Asset Management
path, work flow becomes a really interesting challenge to solve and get communication
and effort out of everybody, so that you don’t create five more problems
by solving the first problem. So mixed martial arts is no different than any
other company, in that you’ve got to figure out a way to make sure everybody
has the resources they need to get their job done. Henrik: [3:47] What advice would you like to share with DAM professionals and
people aspiring to become DAM professionals? Christy: [3:52] We work with several vendors. There isn’t any one particular
vendor that solves all of our problems. One of the interesting changes that I’ve
seen in the way that I use technology is that, it used to be that if you needed to
have somebody edit video, you bought an edit system. If you needed to deliver
something, you used a shipping company. All of these kinds of solutions
were separate, disparate and had nothing to do with each other. [4:22] When
you get into Digital Asset Management, everybody’s stuff lays on top of everybody
else’s stuff. I would like to see an awful lot more vendors do what my
vendors have been really willing to do, which is work with each other. We have
a company called Levels Beyond that deals with our video solution, with their
reach engine. But we’ve asked them to work very closely with the folks at Denim
Group, who have designed and built our CMS backend for our website.
[4:53] I’ve asked them to tie in very tightly with the company that produces much
of our fight statistics. All of these folks need to work together and understand
each of their technologies, not necessarily even at a surface level, but at a pretty
deep level, so that they can understand how to use the best of what each company
has to offer. Really, it’s that interesting ability in people to think in a more
open source and shared kind of way.
[5:22] Not necessarily to give their trade secrets away, but just live in the world of
understanding that whatever they’re doing is going to be needed to be shared
by several other people, besides the company they’re selling their product to.
That’s probably the biggest piece of advice I would give.
[5:43] Be a little bit more willing to be open and work directly with other vendors.
I started my process very much in the production department. It has
blossomed to being an asset management solution that we’re applying, with
lots of people, across our entire organization. Really, I have one big Digital Asset
Management system, but I’m calling each departments little asset management
system a little bit different name, as we implement this stuff. So as not to scare
people to death. [laughs] Henrik: [6:11] Good idea. Christy: [6:13] You’re asking people to do a huge amount of change and work
flow and culture shift, in order to think about, create… Now, everything they do,
they have to at least put a little bit of their mind towards the fact that whatever
they’re doing, they’re communicating that to everyone else in the organization
and other people outside of the organization, at the moment they create it in
a shareable form. [6:39] Communication becomes even more important than it
might have been to an organization before. You just don’t upload an image. You
need to upload an image and call it something that makes sense, in the bigger,
organizational sense, that’s related to search terms, dates and maybe days that
the things that invoice should be issued so that someone gets paid when this
thing gets uploaded. You’re talking about marketing, accounting, financial analysis,
and invoicing process.
[7:14] Maybe rights are communicated that’s related to your legal department.
[laughs] This is a pretty demanding, big kind of concept to introduce to a company.
Vendors and people thinking about doing Digital Asset Management, in
general, really need to make sure they take it slow and explain to people a lot,
all along the way, the purpose of doing each of these extra tasks, in order to
make the overall company run more efficiently.
[7:47] Especially if you’re a worldwide company or you have organizations spread
across several states or across the world. Really getting taxonomy right and
communication paths tight in a Digital Asset Management system can make a
huge difference in a company that’s spread out like that, geographically. Henrik: [8:07] Thanks, Christy. For more on Digital Asset Management, log
onto AnotherDAMblog.com. Another DAM Podcast is available on Audioboom, iTunes and the Tech Podcast Network. If you have any comments or questions,
please feel free to send me an email at anotherdamblog@gmail.com.
Thanks again.
How are you involved with Digital Asset Management?
How does your organization wrestle with Digital Asset Management?
What advice would you like to share with DAM professionals and people aspiring to become DAM professionals?
Transcript:
Henrik de Gyor: [0:01] This is Another DAM Podcast about Digital Asset
Management. I’m Henrik de Gyor. Today I’m speaking with Tom Barnouw.
Tom [0:09], how are you? Tom Barnouw: [0:10] Good, thanks. How you doing? Henrik: [0:11] Good. Tom, how are you involved with Digital Asset
Management? Tom: [0:14] Well, I work for WWE, been here about six years, and I retired as a
systems engineer. I’m involved with Digital Asset Management. [0:24] We have
many live shows a year, thousands and thousands of photographs are taken
at each live event, and those assets make their way back to our company for
processing. They are used for a variety of things from websites to publications
to any type of creative services project. As these photos come in, they’re processed
by our photo department and uploaded to servers, at which time our
asset management system catalogs all those. There is metadata written to each
asset so that everything is searchable easily.
[1:03] There are many layers we have on top of our assets that can satisfy different
work flows. We’ve got certain catalogs that are web enabled. Other things
can be sent out via email, with voting and approval processes that can take
place and things. We’re web enabled data where end-users can vote and actually
have metadata written back to the assets.
[1:30] A significant process is in place for easily sharing assets around the company,
without the need to duplicate the files or copy them to other storage
medium. My involvement is in managing that workflow and trying to find efficiencies
throughout the company and ways that we can leverage the asset
management system. Henrik: [1:51] How does your organization wrestle with DAM? Tom: [1:54] It’s been an interesting evolution over the last six years or so.
Working with Cumulus has grown tremendously over those six years, aside from
just doing the system administration of the backend infrastructure. I think one of
the most important and impactful things that’s occurred over that time is really
studying the workflow of our users, and I would say the lifecycle management
of the data that our asset management system tracks. [2:24] We’ve evolved into
a very nice system now. We have several million assets in our system and, as an
asset ages, we need to move it, not just from the asset management side, but
from the storage side, from disk to tape, how does that process?
[2:42] The first thing we wrestled with was how do we manage the lifecycle of
this data? As an asset becomes older it’s used much, much less frequently. Do
we need to keep it on disk? If we do move it to tape, how do we easily access
that asset on tape? We struggled on solving some of those problems.
[3:01] We’ve come to a very nice place with it now where it all works very, very
nicely, including giving the end-user the ability to manage those assets, to some
degree, to a much more limited degree than I can, but still, they have access to
things, even when they’re on tape, which is nice.
[3:18] Other challenges I’d say, we continue to work with is the various workflows.
It’s one thing to have an asset management in place, cataloging assets, but
there are so many different this is going to be different in every company but,
there are so many different workflows.
[3:35] One department or one person may have very different needs for those
assets than another, understanding those various workflows, and customizing
the asset management system to blend in well with those required workflows.
In most cases, improve on those workflows. We’ve been able to leverage our
system to create significant efficiencies in workflows for different people in different
departments.
[4:04] In terms of how we wrestled with that, I think, that process hasn’t stopped,
in fact, I feel like I’m just now at the beginning. Now that we’ve got a very solid
foundation for our system in place managing lifecycle, I can turn my attention
much more to tackling various workflows and creating efficiencies within
the company. Henrik: [4:23] What advice would you like to share with DAM professionals and
people aspiring to become DAM professionals? Tom: [4:28] I think it would probably have to segue way from what I just talked
about, which is there are so many different things. Obviously, each company is
going to have different needs, various storage needs, depending on how much
data you’re actually dealing with. That can significantly impact what lifecycle
management you may or may not need to have in place. [4:53] I think, again, just
what I talked about. Try to think into the future, 1, 5, 10 years from now where
do you think these assets are going to live, what access do you think people will
need to them you can start with that foundation, then, trying to understand the
various workflows that may exist within a company.
[5:16] If you can do a lot of groundwork ahead of time, before deploying something,
even if you have deployed something, start at that 30,000foot view to try
to get a good understanding from the needs of the company as a whole, and
then you can begin to zero in on different topics and processes that you can
help with. Henrik: [5:36] Thanks, Tom. Tom: [5:37] No problem. My pleasure. Henrik: [5:39] For more on Digital Asset Management, log on to AnotherDAMblog.com. Another DAM Podcast is available on Audioboom, iTunesand the Tech Podcast Network. Thanks again.
How are you involved with Digital Asset Management?
How does the largest broadcasting organization in the world use Digital Asset Management?
How does the organization deal with the long history of analog formats to be converted to digital form for future re-use?
What advice would you like to share with DAM Professionals and people aspiring to become DAM Professionals?
Transcript:
Henrik de Gyor: [0:01] This is Another DAM Podcast about Digital Asset
Management. I’m Henrik de Gyor. Today, I’m speaking with Ben Bloomfield.
Ben, how are you? Ben Bloomfield: [0:09] Very well, thank you. Henrik: [0:10] Ben, how were you involved with Digital Asset Management? Ben: [0:13] My own experience in Digital Asset Management is within the world
of video. I’ve worked for a number of broadcasters around the UK and the use
of Digital Asset Management is something which is becoming increasingly
important. [0:26] Where I really started to get involved was when I was head of
content management at ITV. We were looking at what was regarded as the lensto-
lens process. That’s about the point of capturing a program, capture it digitally,
capture it straight onto disk. It would then be edited on disk. It would then
be pushed through the transmission process through to the point of actually
being transmitted as a file.
[0:50] I’ve then moved onto BBC Worldwide where I’m Director of Global
Operations and where I have a team of 40 staff based in the UK, but also have
people dotted around in other parts of the globe who facilitate the distribution
of BBC Worldwide’s content for the sales and distribution division.
[1:09] Now, we manage the distribution of around 74,000 hours of content. We
have about 1,000 customers in over 100 countries around the world. As you
can imagine, you start doing the math, it’s ensuring that the right programs we
manage some very large kind of international brands like Dr. Who, Top Gear
ensuring that those versions are the correct version for that particular area.
[1:33] They may have a foreign language version associated to them. They may
have other additional attributes. There may be photographs, metadata, as in
editorial metadata. It’s to ensure that the deals that our sales and distribution
business make…Last year, we did in the region of 260 million pounds worth of business. We’re turning a profit around 52 million. It’s a responsible job ensuring that once those deals are done, the customers can then receive their content in the given format. Henrik: [2:07] How does the largest broadcasting organization in the world use
Digital Asset Management? Ben: [2:12] We are wholly owned by the BBC. Our job is to distribute the BBC’s
content on a worldwide scale. We invest in the content along with BBC or
we work with our co-producers and produce the content and we bring those
assets in and we digitize them into a large sound system, which is run by Deluxe
Media. [2:36] Deluxe is a global distal asset management fulfillment organization,
and we store the store the assets within a master file format. We have a master
mezzanine format, which is at the highest quality for the standard definition or
high-definition files. We will then forward it on, given the deal.
[2:58] If we’re sending it to a broadcaster or if we’re sending it to a VOD platform,
we will then use the Digital Asset Management platform in line with a
transcode platform to then deliver the end program onto a partner.
[3:12] Those partners could be Netflix, Hulu or any number of…we have over
1,000 customers globally, of which about 160 of those customers receive files in
a digital format. Those digital formats are varying in their complexity.
[3:31] We have the DAM, which really feeds the transcoding system, which then
gives us the ability to deliver to our customers in the given file format that
they require.
[3:39] We also have a separate area where we have an internal editing facility,
where we have a storage of around 300 terabytes. We will take those programs
in from our master DAM. We may take those assets in and this is where we may
cut promos or cut promotional material or additional sales packages, which we
then use to help sell our programs internationally.
[4:06] The final piece is we have an online platform called the OLC, which is the
online catalogue for BBC Worldwide. There we have in the reason of about
5,500 to 6,000 of hours, long form programs, but they’ve been condensed
down into viewable assets over the Internet. They’re streamable assets of any
low bit rate.
[4:27] The buyers are able to watch the videos online. If they like them, they will
go forward in their sale.
[4:33] Our businesses, we have around 23,000 hours digitized in a number of
different areas. We then sell in the region of 74,000 hours of content a year
that’s licensed. Of that 74,000 hours of material, around half of it comes from a
digital source.
[4:52] We may take a digital file, turn it into another digital file, send it to our
customer. We may take a digital file and put it onto a tape and send it to the
customer. That makes about 54-55% of our business.
[5:05] The Digital Asset Management plays a huge part of how we do business
and how we keep our costs down and help drive our revenues. Henrik: [5:13] How does the organization deal with the long history of analog
formats to be converted to digital form for future reuse? Ben: [5:20] It’s a very interesting question. It’s certainly one that is a hot topic
for us, because we’re going through an interesting stage at the moment where
we’re transitioning away from the certain tape formats. We either choose to
digitize those assets or we lose them. That’s the bottom line. [5:37] There’s a D3
tape format, there’s a 1 inch tape format, and in some instances, 2 inch tape
formats which we’re currently going through the process of evaluating, and to
say, what are the one, there are some instances where we have to digitize them,
because if we don’t we will lose them and we will lose that content forever.
[6:00] There are some instances where there are programs which are looked on
which are saying, actually we see no commercial value in keeping this program.
There’s no historical value in keeping this, so there will be a decision to not
encode those.
[6:13] It’s really a case of, one, if it’s going on a historical figure or an historical
value to it. We are now viewing budgets so we can actually then put forward
and preserve those assets. The other side is there are programs we’re going
through and we know that we can get a commercial sale against.
[6:32] So it’s working with our internal partners to say, if we work with…there’s 2E,
which is another part of the business. If they are willing to work with us, we can
cofund restoration and preservation projects where we could then do a joint
release, or we could remaster assets which would be then used for Blu-ray, DVD
sales as well as international TV sales.
[6:55] It’s a long process, as we’ve got about 120,000 assets, tape physical
assets, in our library at the moment, and as I said those are made up of 1 inch,
2 inch, Beta SP, DigiBeta, D3, and HD. It’s a very slow turning wheel. I’m sure
in 15, 20 years’ time we’ll be thinking about how we’re going to get rid of our
HDCAM SR tapes.
[7:21] At the moment, the idea is we digitize the asset. If it needs restoration,
there is some digital restoration work that can be carried out to remove some of
the older artifacts within the material. We then store an uncompressed version
of that. It takes up a huge amount of space. For an hour program, could take
anything up to 200 gigs worth of disk space.
[7:43] We’re then looking to store those assets on a non-spinning disk. We’ll put
them on an LTO5 type system. At that point, we will also create a working mezzanine
file, a file that is regarded as broadcast quality, either standard definition
or high-definition mezzanine file format, which we could then work with. We can
then take that mezzanine file and then transcode it onto a lower bit rate or to a
specific platform’s requirements.
[8:16] The other problem we have is that within BBC Worldwide, amazing as
it may sound, we don’t actually have a single vision of the truth. We have a
vast number of assets spread across a multitude of libraries. We’ve got library
storage in LA, New York, Germany, France, the UK, Australia, Japan, and
Hong Kong.
[8:37] We have multiple foreign language versions, so that could be a program
which has an English language track on it. It could also have a foreign language
audio dub on it. It may have subtitles associated to it. It may have a slight different
variation or a different edit compared to the main master that was originally
produced in the UK.
[8:57] We’re going through, at the moment, a huge piece of work which is about
looking at our assets across the globe and evaluating those lists and producing
a single vision of the truth.
[9:09] That’s to say, this is what our product catalog looks like. Let’s say we own
a 120,000 assets. Each asset may have a number of different versions relating to
that given title. We’re having to trawl through Excel spreadsheets, Word documents,
Access databases, and really do a huge data mining exercise to evaluate
and organize all that material together.
[9:34] There’s no easy way of doing it apart from drawing in all that information
and then finding common fields within that data to then help us evaluate
whether or not we should be keeping those assets, or whether or not we’ve got
duplications.
[9:49] The first exercise is to delete the duplication, but ensure that in deleting
the duplication, it really is a duplication. There’s quite a lot of manual thumbing.
Then it’s a case of evaluating the content in a world of sales. That’s what we’re
all about.
[10:05] BBC Worldwide is about selling content internationally, but at the same
time we have a role to play in terms of maintaining the historical assets to insure
that nothing is lost.
[10:16] I mean, it’s very interesting. We’ve just been looking at some David
Attenborough material which was shot on 16mm film that was shot. I think it was
about 30 years ago, on film. But when they transferred it onto videotape, they
did it in quite a crude manner. The action, what was broadcast at the time, and
what you look at now doesn’t look great.
[10:37] But we’ve gone back to the film, and we’ve gone back and we’ve cleaned
the film up, we’ve dusted it, they call it dust busting. But it’s the removal of any
foreign artifacts, and re-transcode it, re-telecine that, or scanned it into a far
system. The quality is phenomenal.
[10:53] By going through and actually trawling these assets, we really are finding
that we’ve got some gems hidden away. We’ve known they were gems, but it’s
only when you go back to the actual master source, do you realize that it really
is fantastic quality.
[11:05] In answer to your question, I guess, the organization, to how do we actually
deal with the long issue of it, we have to understand it first. That’s something
which we’re only just starting to do. At that point, we can then prioritize
what we absolutely must keep in terms of historical, what we can lose, because
it’s duplicated, or it doesn’t have a perceived value within the business.
[11:27] It’s a case of picking the content that is of the least quality first, really,
so we know that our 2 inch and 1 inch material, it really is falling apart. It’s old
magnetic tape that we need to capture and turn into a digital file as soon as
possible, or we do run the risk of losing it. Then working through the D3 and
then the B2SP, then, eventually, we’ll be moving on to our DigiBeta, as well. But
it’s a lengthy process. Henrik: [11:53] That’s an excellent example of how do you determine value
and what are valuable digital assets. [11:59] Lastly, what advice would you
like to share with DAM professionals and people aspiring to become DAM
professionals? Ben: [12:03] People wanting to become DAM professionals, certainly within
a broadcast environment, the details around the previous questions say a lot
about what it takes to become a DAM professional. That is, attention to detail,
and the process of reviewing data from multiple sources to come up with, as I
said, this idea of a single vision of the truth. It’s the accuracy needs to be applied
when reviewing content. [12:31] It’s the methodical, patient view, analytical,
as well, to insure that where trends are taking place, where irregularities are
taking place, where mistakes are being made, they’re being picked up.
[12:46] Having a great deal of patience with Excel at the moment is a good
place to start. Henrik: [12:51] Yes. Ben: [12:52] It’s amazing how many broadcasts, from my previous job, working
at ITV, where I was head of content management and now moving to the BBC
here. It’s amazing. ITV is the largest commercial broadcaster in the UK. BBC
Worldwide is renowned for being the Europe’s largest distributor of broadcast
material. [13:17] I’ve come from fairly weighty backgrounds, but those businesses
are driven by Excel at the moment. They are going into a world where we’re
building systems, building new platforms. We’ve just announced at IBC this year
that we are now partnering with Sony DADC, who are Sony Pictures’ chosen
partner for distribution of content globally.
[13:40] The relationships that are being forged are based on the fact that we’re
trying to get away from an Excel business. Which is laughable, to one degree,
but brilliant for Microsoft, certainly. [laughter]
[13:50] If they knew just how, the strength of those pieces of software for us.
[13:54] But for the professional who is, certainly, there is an understanding, as I
said, about the patience and accuracy. There’s also having a peripheral technical
view on the industry that they choose. I can’t talk for any other industry, really,
other than broadcast.
[14:12] There is a base level of understanding within digital and technology that
needs to be taken on board. Then, there’s the broadcast element, can talk
about digital broadcast, talk about editing, you could talk about transcoding.
You could also get very lost in the jargon.
[14:28] Some people, that’s suits them well, in terms of, they take a given career
within their industry. But being able to cut through the jargon and explain it
on a simple level, insure that what they’re saying is understood is, I mean, I
think it speaks for a lot of industries, I’m sure. But it’s amazing how complicated
it can get.
[14:49] But actually, it doesn’t need to be that complicated. Because you’re
crossing in so many different disciplines, it does become complicated. It’s how
to see the complication, but find the simplistic way of putting that information
across to insure that your point is being made. Henrik: [15:05] Well, thank you, Ben. [15:06] For more on Digital Asset
Management, log onto AnotherDAMblog.com. Another DAM Podcast
is available on Audioboom, Blubrry,iTunes and the Tech Podcast network.
Thanks again.
Another DAM Podcast 