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Another DAM Podcast interview with Joe Bachana on Digital Asset Management

Joe Bachana discusses Digital Asset Management

Here are the questions asked:

  • How are you involved with Digital Asset Management?
  • How do open source Digital Asset Management (DAM) solutions stack up today?
  • 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 Joe Bachana. Joe,
how are you?
Joe Bachana: [0:11] Great. Hi.
Henrik: [0:12] Joe, how are you involved with Digital Asset Management?
Joe: [0:16] Personally, I’ve been implementing Digital Asset Management since
about 1997. My first project with DAM was when I was working with a company
called Image, Inc. I was implementing a product called Phrasea, which was a
French-based solution. I had way back then experienced implementing products
like MediaBank. North Plains TeleScope I had implemented at a number
of locations around that time, as well. [0:42] I founded DPCI, which is a technology
company that implements content solutions. I founded that in ‘99. We’ve
been doing Digital Asset Management projects ever since with a wide variety of
Digital Asset Management products for a whole variety of use cases, as well.
Henrik: [0:58] How do open source Digital Asset Management or DAM solutions
stack up today?
Joe: [1:04] We have to look at them in a few different ways. The first is the
business of open source DAM. The second, you would have to look at the legal
underpinnings of those solutions. The third would be the technology. Some
people say, “Let’s take a look at the technology real quickly first,” but I think
that’s a mistake. [1:22] One of the reasons why we look at the business is that
the open source DAM projects are very different from the open source Web content management solutions out there. The CMSs such as WordPress, Drupal, Joomla, or Plone are principally anywhere between a very large collection of
contributors globally to those projects to maybe a little more modest contributor
base.
[1:48] Generally, it’s anywhere between a few hundred people and thousands
and thousands of people contributing to the innovations of these open source
projects, so they’ve taken firm foothold into the rubric or fabric of not only
our country but globally, the way Web content management innovations are
happening.
[2:06] In the case of Digital Asset Management, not as much. You do have solutions
that have been created out of Europe, out of the UK, and here in the
United States that there are a couple of folks that are working on it that are
friends or colleagues, or you’ll have companies that are behind the products
with their own resources. The solutions themselves haven’t necessarily taken
root as global initiatives.
[2:35] That doesn’t mean it’s not going that way. You’re starting to see more of
what happened 10 to 12 years ago in the CMS world starting to happen in the
DAM world. The reason why it’s not going to happen as rapidly is, to me, Digital
Asset Management is a little bit like the plumbing in your and my walls. It’s nice
when it’s working, but it’s not the sexiest thing in the world.
[2:57] The thing that everybody cares about is how nice does your house look.
It’s like the CMS. The CMS is the presentation of your content as well as the
ways in which you develop your content the workflows and so forth. Obviously,
no CMS is created equal.
Joe: [3:13] With respect to DAM, companies principally use Digital Asset
Management systems for archive and retrieval of their assets. That’s a simplified
notion of what DAM should do. Both you and I both know there’s a
huge number of reasons people implement DAM, ranging from selling content
through storefronts to integrating DAMs with CMSs, CRMs, or ERPs
and so forth.
[3:38] In the case of media companies where they’re selling their content,
whether it’s through rich media like video or live streaming, these things obviously
are the core of their business. It’s not just about archival. It’s about real
work in progress and delivering that content across multiple channels.
[3:57] The pace of innovation in the open source world from a business standpoint
is certainly not as rapid yet. It’s not as sexy.
[4:06] There’s one project that we’re involved with for a media company. They’re
headquartered here in New York City. They had been veterans of a couple of
different proprietary platforms. They had spent millions on a couple of different
solutions. They made a determination that they were going to try an open
source implementation. They are doing a good amount of work to having us do
some cool customizations for them to add on top of the open source solution.
[4:34] The question always is…What we like to do in open source is, we like to
contribute back to the community, however small or big it is. Hence, we oftentimes
will go to that customer and say, “As a precursor to our signing on,
do you have any objections to us contributing these solutions out in an open
source way?”
[4:53] That gets to the business aspect of it. The other part of the business
aspect of it is operationalizing DAM. For companies that have had experience
with proprietary vendors, some of the vendors have 24/7 support. Some of
them, not so much.
The DAM vendors can be smaller companies in some cases, so they don’t necessarily
have the resources. When you have a president of a company answering
the phone at 11: [5:07] 00 at night to support you, that’s generally not a good
sign, although some of the presidents of these DAM companies are absolute
geniuses. It’s always a pleasure to talk to some of them. But it isn’t a scalable
model. Operationalizing maintenance and support, it’s something that some
of the proprietary vendors don’t do that well. But if you look at it in the CMS
world, when you think about the kind of services you can get out of an Acquia
and Drupal, which is commercial support.
[5:44] There are other alternatives on that side, as well. Those types of things
aren’t necessarily fully hammered out yet in the open source world. Because
businesses behind the open source DAM projects are sometimes not matured
yet. They may be smaller groups. So that’s going to change over time. The
second point was this notion of the legalistic implications of open source. Not all
open source is created equal or licensed equally.
[6:11] You’ve got different licensing schemes out there. A very common one is
the GNU GPL. You hear about that one a lot in the web CMS world. In DAM,
quite a number of them take advantage of the lesser GPL, LGPL, which has
some limitations. These things people have to really reflect on, when they’re getting involved.

Do they want to do an open source implementation where there may be some restrictions.

Joe: [6:37] I also look at these products… Does the company who is creating
it, are they paying lip service to open source? But then you start to think, “Do
they have all their documentation out there online? Can you readily download
and install that product?” If you’re really open source, you’ve got to behave like
open source, which to me means freely downloadable and installing, and freely
available documentation.
[7:01] Then it’s your prerogative to decide whether you want to purchase services
from a company or whichever individual. The legalistic application of it
is quite important when people are reflecting on open source. Now we get to
the technical. This is the one everybody really concentrates on first. People ask
me, “Don’t even look at the products if you can’t first look and see what the
business and the legal implications are of the solution you’re about to go forward
with.”
[7:29] The open source DAMs are approaching, in general, the work group functionalities
of products out there, in the marketplace. If you look at solutions like
Resource Space or Enter Media, Rezuna as well. There are a couple more, I’m
not trying to plug these products, simply giving it as examples that these solutions
are starting to meet the needs of work group, Digital Asset Management,
which would be considered, for me, the ability to import, either individually or
batch, a whole variety of digital asset types.
[8:08] And on ingestion, to be able to automate the creation of thumbnails and
previews and even evoke certain recipes for conversion of the assets. If you,
upload a PSD or any PS file, then you can set up recipes for conversion to JPEG s
at certain widths and depths. The ability to also capture metadata information.
Things aren’t all created equally, but the ability to capture XMP metadata, for
example, is something that is available in several of these products.
[8:38] In one case, we actually did some customizations where we have some
preprocessing of assets within Adobe Bridge for a customer. Then the assets
are going into their open source DAM. It’s a phenomenal thing, because they’re batch modifying with some extended XMP metadata, with their own panel within their Adobe Creative Suite products. And then that information is getting
ingested into those open source DAMs.
[9:06] These kinds of basic functionalities are available. It’s really exciting, because
they’re there. We’ve actually implemented quite a number of these kinds
of projects. They’re working. For a year or two years, they’re in business, in
use. The other thing that I find really exciting is that the whole promise of open source, to me, is you don’t have to say, “Mother, may I?” The whole idea of innovate and ingenuity in software, the open source software world is the ability to just step up and say, “I want to create something of value that’s available or
that I need for the context I need it.”
Joe: [9:45] Without saying, “Hey, may I please do that?” And then somebody saying, “Yeah sure. But pay $20,000 for an SDK and sign this agreement that you won’t do this or that.” With open source, you can do it. A couple of the
open source products have robust web services and published APIs that, essentially,
allow you to do anything you want, ranging from connecting the DAM
to a produce like Drupal or WordPress, or connecting it to your CRM, if that’s
what you needed, and so on. That, to me, is the most exciting aspect. In one
case, we did a project down in Atlanta for a company where they had this huge
infrastructure. They needed to just automate the production of real estate guide books.
Joe: [10:31] So we have this integration of, in that case it was a product called EnterMedia, with believe it or not, a whole Microsoft infrastructure. Integrated
with Adobe Live Cycle, integrated with Data Plan Journal Designer. And integrated,
I’ll add, with the InDesign server. So the whole infrastructure is automating
the pagination of these real estate books, straight from sales folks just
entering the data on the individual homes that are going to be offered.
[11:02] This content is being used to create both the web listings, as well as the
print catalog books or guide books that are being done in multiple states. It’s saving hundreds of thousands of dollars in their production processes. The DAM is an underlying technology within the architecture. It works flawlessly and it’s
open source. They save themselves… If you think about the amount of money
they spent on the other infrastructure. [laughs]
[11:28] They spent a fraction of their budget on the actual DAM implementation.
There’s a lot you can do with open source DAM solutions as underlying architectural
decisions for larger projects. And for very modest use cases around
archival and retrieval of assets you absolutely can use those types of solutions in
your business.
Henrik: [11:54] What advice would you like to share with DAM professionals and
people aspiring to become DAM professionals?
Joe: [11:59] That’s a great question and I appreciate it, Henrik. A lot of folks
come into this industry… I should add, I’ve been doing this type of thing for
26 years now. I’m not going to count my tech jobs while I was in college,
which principally were around content technologies. But 26 years ago, content
technologies were a whole different animal. To me, there’s a lot of folks that
enter the market and they want to be DAM professionals and they want to get
jobs doing this. [12:28] My concern has been folks coming out there and never
having laid their hands on a single product, without having done a single implementation.
There’s a lot of information that goes on and a lot of folks that are…
There’s no certification for becoming a DAM professional or a DAM analyst or
consultant. Yet people go out there and help folks with RPs and so forth, and
they’ve never done a DAM project.
[12:54] To me, if you’re right out of college, first of all, there’s some colleges which actually have some programs, like RIT, the print management school.
They have a course in Digital Asset Management. It is modest. But they give
people a chance to understand how to configure. What are the important use
cases trying to be solved in DAM? Getting hands-on experience with DAM is
really important. Even if you never will touch the technology in your career and
you want to be a pundit or someone who’s just a thought leader, you’ve got to
be
able to touch them and understand what these types of products, this class
of products, do.
[13:33] What problems do they solve? That’s just me. Other people would probably
emphatically disagree. But I don’t think, going back to the plumber motif
that I said earlier or concept, you can speak with authority about plumbing
if you’ve never laid in the pipes an understand what the heck goes on there.
I certainly don’t understand what’s happening behind the walls. That’s one
thing. The second is, the best, to me, really exciting folks out there are the folks
who’ve gone to library science school.
[14:05] They really fundamentally understand what information science or information
architecture is. How do you define a taxonomy? What is an ontology?
How do you create controlled vocabularies? What’s that process? Sometimes
folks that were in data modeling are very good at that, as well. They’re very
thoughtful. A lot of times we go in as professionals and over engineer the
model, the information architecture of a platform.
[14:35] That becomes onerous for the folks who are trying to capture that metadata
and track it. There has to be a reasonableness that goes on, which again,
goes back to point number one. Which is, try to become a practitioner. But,
understanding that these are human systems, that’s the third thing. Again, we
talk about first laying your hands on these types of things, second is understand
how taxonomy is laid out. If you have money to go to library science school or, if
not, pick up some books on it.

[15:04] There’s some great resources out there for that. The third thing is understanding the use cases or the workflows. Because the DAM systems don’t necessary do workflow really well. But every single person or any company that’s
creating, managing, enriching and delivering assets has implicit workflows.
Some that are simple. Some that are very complex. Until you really understand
what those are, you’re going to be hampered.
Joe: [15:34] I’m talking about not just people starting out in their career, but folks
that are 10, 15, 20 years in, that are delivering Digital Asset Management implementations.
A lot of times they don’t pay attention to the ways people interact
with assets through the life cycle. Different asset or content types have different workflows.

The way you’re creating an interactive object is going to be different
from some sort of an image file or video file and so forth.
[16:02] Those have different ways of being manipulated through a whole class of
employee types or user types. So understanding those is really important. Once
you get those you’re going to be more sensitive to the way people work. The
fourth thing is, understand how to listen and understand how people currently
work, meeting them halfway. Just coming in and implementing a DAM and
saying, “This is the way it works,” isn’t good enough.
[16:32] To be able to understand how an organization needs to work is important.
To hopefully deliver a DAM solution that supports that work and bolsters
and improves it, as opposed to makes people change the way they work, which
invariably, as you and I both know, doesn’t work. People rebel. You get into all
kinds of change management issues where folks just fight the DAM implementation.
I want to just end on this note, that a good way to inform your career
in DAM is that everybody high fives themselves when the DAM installation is
completed.
[17:09] But the way you test the success of a DAM solution is two to three years
out. How many people are using it? How many assets are there? Is it supporting
the business? Has duplication of assets been minimized or eliminated? Are there
issues with finding assets that were thrown in two years before, that are important?
That’s the way you test. You always have to think forward in this business.
Think about the results you’re going to be creating, two to three years in.
Henrik: [17:38] Thanks, Joe.
Joe: [17:40] Cool.
Henrik: [17:41] For more on this and other Digital Asset Management topics,
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.


Listen to Another DAM Podcast on Apple PodcastsAudioBoomCastBoxGoogle Podcasts, RadioPublic, Spotify, TuneIn, and wherever you find podcasts.


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Another DAM Podcast interview with Rob Le Quesne on Digital Asset Management

Rob Le Quesne discusses Digital Asset Management

Here are the questions asked:

  • How are you involved with Digital Asset Management?
  • Can you tell us about the Seamless End-to-End Experience you designed using Digital Asset Management (DAM) and Radio Frequency Identification (RFID) to connect the physical and digital world together?
  • What advice would you like to share with DAM Professionals and people aspiring to become DAM Professionals?

Transcript:

Henrik de Gyor: This is Another DAM Podcast about Digital Asset
Management. I’m Henrik de Gyor. Today I’m speaking with Rob Le Quesne. Rob,
how are you involved with Digital Asset Management?
Rob Le Quesne: [0:10] I have been working in digital media over the last 15
years. From 2000 to 2010, I had my own company in Milan, Italy called The Big
Space with my business partner, Dick Lockhart. We specialized in designing digital
installations and smart fixtures for predominately retail clients. That involved
working with Levi Strauss in Mexico City, Polo Ralph Lauren in New York, and a
number of other key European fashion retail brands. [0:47] That happened, I’d
say, quite organically. We didn’t have a plan to really be focusing on this area
when we started the company, but we ended up gravitating more and more
toward solutions that involved the use of radio frequency identification, RFID
technology.
[1:05] One of the key projects that we produced was for Polo Ralph Lauren in
Manhattan, New York. This was thanks to an introduction that we had to InfoSys,
the IT and consulting firm based out of India, who we met at the National Retail
Fair in New York in January 2007.
[1:31] They already had a working relationship with Polo Ralph Lauren, providing
them with a lot of their backend logistics. They were in initial conversations with
Polo Ralph Lauren to create a new digital archive system, in order to provide
Polo’s internal designers with a means of accessing the whole back catalogue of
Polo Ralph Lauren fashion designs to use as inspiration when designing a new
season collection.
Henrik: [2:02] Can you tell us about the seamless end-to-end experience you
designed using Digital Asset Management, or DAM, and Radio Frequency
Identification, or RFID, to connect the physical and digital world together?
Rob: [2:14] We were brought in to design the user experience for this new
digital archive. I guess from our point of view, the particularly interesting opportunity
we had with this project was to not only consider the user experience
that Polo’s designers would be having on a screen to access this digital archive
system, but they were also interested in creating a corresponding physical
archive of all their back catalogue of products that could then link to the digital
archive. [2:53] In other words, designers at Polo Ralph Lauren, the idea was that
they would be able to view the whole digital archive from their computer at their
desk, and then book products that they could then walk over to the other side
of the world in Manhattan and actually pick up the product they’ve seen on their
screen, and check it out from the physical archive space at Polo.
[3:17] It was a really great example of the online experience and the offline, the
physical experience, coming together. Thanks to the radio frequency identification
technology that we were going to be using to physically tag their whole
back catalogue of products. Then connect that tagging system into the virtual,
the Digital Asset Management System that the designers would be accessing
from their desks.
Rob: [3:44] How were we going to do this? There were some key players involved.
There was The Big Space, which was my company, that was really responsible
for the user experience, the front end design. Both of the Digital
Asset Management system, but also designing the physical experience of how
designers, once they were in the physical archive space, how they would then
actually check out a physical product, and check it in. Just like at a library, when
you check out a book, and then return it.
[4:19] We also came up with some other ideas of how they could best utilize
this RFID technology in the physical archive space to find out more information
about each product in the archive space. We came up with a smart surface
and a smart hanger, so you could just hang up a product in the space.
Then on a plasma screen you would access information from the Digital Asset
Management System based on that particular product.
[4:49] Coming up with these seamless experiences to marry all the metadata that
had been tagged to every product, and being able to access all that data when
you actually had the physical product in your hands, that was what it was about.
That was what The Big Space, my company, was responsible for.
[5:09] Alongside us we had Infosys, the IT consulting company, who were responsible
for delivering the whole backend, the database system that the
front end would be connecting to. They had picked a particular Digital Asset
Management software called Artesia, that they were using as the UI for holding
all the content that was being accessed from the backend system. There was
a lot of conversation whether we would build the front end user experience in
either AJAX, in dynamic HTML, or in a Flex based environment.
[5:58] In the end, we opted for Flex. We felt it would give us more freedom in
creating a more dynamic user experience. Being able to play more with faster
transitions and a richer user experience. We decided, with InfoSys and Polo
Ralph Lauren, to design the front end experience in Flex that would then bolt
onto the Artesia Digital Asset Management software. The whole backend
system and the integration of our Flex based front end with Artesia was then
handled by InfoSys, offshore in India.
Rob: [6:40] In the meantime, in Manhattan, New York, we found local suppliers
to build the smart fixtures. What I mean by that are these custom pieces of furniture
that would house the RFID technology that was provided by a company
owned by Motorola, called Symbol Technologies. The smart fixtures housed,
essentially, RFID, Radio Frequency Identification, readers and antennas. Which
would then enable the people in the physical space to just lay down a piece of
clothing on a smart surface.
[7:24] Each piece of clothing had an RFID tag sewn into each product that enabled
the clothing to be washed, with no detrimental effect to the RFID tags.
These tags enable these products to just be thrown onto the smart surface.
Automatically, it’s read by the antenna that’s housed within the smart piece of
furniture. Obviously, massive benefits over the traditional bar code. Because no
longer are people actually having to line up the bar code with an optical scanner
device.
[8:06] Instead, we’re using radio waves to communicate the unique product
number of each product to a database. Thanks to the antenna that’s housed
within the piece of MDF furniture. So you could then throw onto this surface 20
or more products, all in a heap, and they would all be individually read. Thanks
to the RFID tags sewn into each garment. At the beginning of this project, from
my point of view as a designer, the most important thing was to actually understand
how the design process at Polo Ralph Lauren currently worked. How a
Polo Ralph Lauren designer proceeded to work in the real world.
Rob: [8:57] How we could optimize and improve their experience through
technology and through this Digital Asset Management System. It was interesting
getting inside Polo and understanding the reality of the design process
there. Because they were relying on a very non-technological process at that
point. The design process they currently had was that they would initially look
for inspiration. How they would do that would be looking at their back catalog
of products, looking in magazines, going to old thrift stores, looking for vintage
garments.
[9:33] Initially, they would just be looking for a theme to tie their inspiration together.
Let’s say it was Wimbledon tennis in the 1930s. They would then create
a physical wall, a physical collage of inspiration imagery, involving old photos,
magazine articles, old garments. They’d create this physical wall of inspiration,
which would then be used to brief the product designers to go away and come
up with designs that reflected this particular inspirational theme. What we
wanted to do, using technology, was to replicate that physical wall of inspiration
and to help the designers in their quest for both inspiration, and being able to
look at the whole back catalog of products. To do that, we created a virtual wall
of inspiration.
Rob: [10:36] Through the interface that we designed for the Artesia Digital
Asset Management System, we enabled designers to pick particular items that
interested them. They could do this through a number of entry points into
the database. One would be by categories. You had, for instance, a different
season, summer, winter or through male, female. But also through inspirational
themes. Then you could create your own virtual pin board, a cross between
a pin board and a mood board, of content you found in the Digital Asset
Management System.
[11:23] Our idea was to play with the space and the spatial confines of the interface.
The idea was that, in the same way that previously they would have that
initial, key inspirational theme like Wimbledon in the 1930s. Our idea was that
you’d be able to have your key inspirational image in the center of the screen.
Then you could position your different images that you’d found in the database
around that central image.
[12:01] The further from the image you dragged the images, the smaller they’d
become. So the idea was to create this visual mood board on the screen that
you could then take with you to the physical space, and start finding the real
garments that corresponded to that mood board. That mood board really represented
your wish list of garments, which you can then book. You could send
a message to the archive manager in the physical archive, walk over the road to
the physical archive, and collect those garments.
[12:39] Check them out of the physical space. To do that, we created a check-in,
checkout table which, essentially, was a custom piece of furniture that housed
an RFID antenna and reader and screen, embedded within the surface of the
table. You would lay down on the table your pile of garments that you wanted
to check out. They would then automatically be displayed as a list view on
the table. Then you’d have your own ID card that you would swipe on the
side of the table, where there would be a reader for your ID card, identifying
who you are.
Rob: [13:26] Confirm that you want to check out those garments, and then off
you go. As I said before, there was an additional smart fixture in the physical
space that enabled you to just find out more, if you just browsed in the physical
space. Being able to put any garment on this smart hanger that had a plasma
screen next to it, to find out more about the details of that garment. When it
was designed. What the inspiration for that garment was and so on.
[13:54] That, in a nutshell, was the work that we did for Polo Ralph Lauren. Just
looking at it in hindsight, the key success factor for the project was having an
archive manager at Polo Ralph Lauren who really owned the project. It was her
baby. It was thanks to her that we managed to create that end-to-end solution.
It’s very interesting, RFID. It’s been around now for a fair amount of time.
People have been talking about it within the customer facing retail space for the
last 10 years.
[14:36] What we’re seeing now, obviously, is the telephone companies really
starting to embrace RFID as a means to communicate between your phone and
the real world. We’re seeing this a lot now, in terms of digital wallets, and the
ability to use your phone as a way to pay for stuff in shops, using NFC technology
in the phone. My personal interest now is just looking at ways of exploring
new solutions using NFC and RFID technology, for people within both retail
space and day-to-day lifestyle services.
Henrik: [15:22] That’s so fascinating. There will be a link to the article in the
podcast notes, on AnotherDAMpodcast.com. Lastly, what advice would you
like to share with DAM professionals and people aspiring to become DAM
professionals?
Rob: [15:32] What it really taught me was the need to be able to always check
your solution, compared to people’s familiar working methods in the real
world. [15:44] Finding ways to always ensure that the solutions you’re providing,
through Digital Asset Management, is actually complementing and improving
the methods that people already are familiar with in the real world. To ensure
that they don’t only use it once, but continue using it, so it’s sticky.
[16:05] Instead of just, “Wow, that’s great.” But then they only use it once, and
don’t use it anymore. It’s about maintaining people’s loyalty to these services.
Henrik: [16:14] I couldn’t say that better if I tried. Thank you so much, Rob.
For more on this and other Digital Asset Management topics, 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.


Listen to Another DAM Podcast on Apple PodcastsAudioBoomCastBoxGoogle Podcasts, RadioPublic, Spotify, TuneIn, and wherever you find podcasts.


Need Digital Asset Management advice and assistance?

Another DAM Consultancy can help. Schedule a call today


Another DAM Podcast interview with Suzanne Smagala on Digital Asset Management

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.


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