Laurel A Calsoni

Wednesday, August 20, 2014

6 Reasons Why People Don’t Use Your DAM

CMS Wire

By Neil Monahan  |  Aug 20, 2014

You’ve invested time and money in creating a new digital asset management (DAM) system — and then you find your people have stopped using it and reverted to their old ways of managing and sourcing digital assets. That’s frustrating, but it happens sometimes. If you know the reasons why this happened, you can get started on fixing it.

Let’s take a look at the six chief reasons why your users might have fallen out of love with your DAM system and the lessons you can learn:

Reason #1: The interface is unintuitive and unfriendly

Many DAMs tend to be conceived and built by technicians rather than by branding and marketing people. The technician’s approach is naturally designed to appeal to technical people, but what’s really required is design by people who understand what non-technical users need. An interface that’s clunky to use, unintuitive to navigate, difficult to manage and confusing to look at will intimidate users. And they will prefer to avoid using it — simple as that.

Lesson: Keep the UI clean, intuitive and appealing

Reason #2: Too many near duplicates

We frequently see DAM systems that hold far too many duplicate assets in a variety of formats and sizes. One client’s existing DAM had more than 20 versions of the same image in every permutation of size and file format. A system like this makes for a confusing and frustrating user experience. To improve the UX and reduce system complexity, store just one high-res version of an asset and give users download options to get the file in whichever format they need.

Lesson: Cull duplicate assets and provide download wizards

Reason #3: Poor quality or irrelevant assets

Poor quality and irrelevant assets will frustrate the end-user, who has to spend unnecessary time hunting down the particular asset he/she needs. The efficient, effective DAM contains only up-to-date, quality assets that are relevant to the current brand values and standards. Fewer quality assets to choose from also reduces risk of error or inconsistency in content the user may be creating.

Lesson: Delete assets that don’t contribute to building the brand or enhance your marketing

Reason #4: Too many out-of-date assets

Never import and store old and out-of-date files into a new system. Review digital assets and cull any that are out of date or irrelevant. A ruthless clean-out will prevent the system from getting bogged down in a swamp of old files and unwieldy file structures. The effective DAM enables a user to tag assets with a review date or lifespan — that ensures all content is up to date and avoids potential legal issues around licensing images.

Lesson: Cull out-of-date assets on a regular basis

Reason #5: Too many metadata fields

The user needs to be able to tag assets with metadata fields, but will probably be less inclined to do so if faced with too many field options. Keep metadata fields to a minimum to encourage people to populate them. It’s also worth pointing out that overreliance on free-text fields can result in human error and personal interpretation during tagging.

To be functional and effective, metadata fields should serve at least one of three purposes:

  1. Enable users to find content using the means most intuitive to them.
  2. Store a value required for reporting.
  3. Control or route the asset through your workflow.

Lesson: Balance the number of metadata fields to avoid over-facing the user with data to update

Reason #6: No assets returned for popular assets

Make popular assets readily available. Unreturned searches will only frustrate users and prompt them to revert to manual requests for digital assets. Common reasons for unreturned assets within a system include: misspellings (especially with global systems); delay in getting assets on to the system after a new campaign or products are released; and permission errors. Run reports for the most popular searches regularly. Coupled with reports on popular searches that didn’t return any results, this will provide a good understanding on how the system is being used.

Lesson: Use data and reports to amend metadata fields so assets can be found easily


posted by Laurel Calsoni at 6:23 pm  

Tuesday, September 24, 2013

DAM Glossary

DAM Glossary is a resource containing definitions relating to Digital Asset Management and related fields. It covers a range of different subjects including metadata, hardware, interoperability, asset manipulation.

The glossary can be searched in several different ways:
Alphabetical index using the first letter of each term
Search with predictive text
Filter by subject area


posted by Laurel Calsoni at 6:22 pm  

Friday, April 26, 2013

Why Modern Musicians Should Care About Metadata
By Bill Wilson, VP Digital Strategy & Business Development
NARM and
April 25, 2013

Metadata. It’s a jargon-y word that probably turns a lot of artists off at the mere mention of it. It’s also one of the main things standing between them and a variety of new opportunities to make money. And those new opportunities are becoming increasingly important for cash-strapped musicians.

As time marches on, today’s artists are finding that sales of their recordings are making up less of their overall revenue picture. Of course, recordings will always be crucial to musicians for a variety of reasons, but as that slice of the revenue pie gets smaller, what are artists to do to make up the loss?

The good news is that most musicians have hosts of revenue-generating assets they don’t even know about, but they require proper metadata to thrive. For example, as we shift from a unit-based (download) music economy to an attention-based (subscription) one, artist revenue will depend more and more on long-term engagement as opposed to a one-time sale. That means photos, videos, and news items will become highly monetizable products and services.

But to take full advantage of alternative revenue streams such as these, it’s extremely important that today’s artists understand how to develop and maintain their long-term digital archive, from what information it must contain to how it should be structured. It’s one of the topics we’ll be covering at’s first Music Industry Metadata Summit on May 6-7 during Music Biz 2013. But for those eager to get started right away, here are a few pointers:

Studio Credits and Liner Notes

Who played on your recorded tracks? What was the engineer’s name? The producer? What are their email addresses? What was the name of the studio you used? Collecting this information may seem like drudgery when you’re in the middle of the creative process, but these credits are the breadcrumbs of discovery. Keep a simple Google spreadsheet of ALL of this information. You’ll regret not having it in the future.

Images and Videos

With massive amounts of posters, logos, and photos being taken of artists by both fans and professionals, it’s important that musicians maintain an archive of these images (and videos) that contains not only the photographer’s name but also the date each picture or video was taken and the usage permissions for each one. Artists should also make sure to fill out the “tags” (metadata) for image location and any other info that future fans may want to search by.

Remember, other people’s images are their property. Although they can’t sell them without the artist’s permission, artists can’t do the reverse either. Therefore, musicians must prepare themselves by downloading the highest-res versions of each image to a hard drive, knowing the photographer and their contact info, and being aware of the usage rights.


Artists can gain a wealth of historical information that can be collected and re-deployed (or even sold) in the future by simply subscribing to RSS feeds for their own social media accounts. It’s a huge return for practically zero investment and something every artist can do right now.

This is just a small sampling of the ways that metadata can help artists prepare for the future and increase their income. However, if they continue to tune out every time the concept comes up, they’ll be missing out on all of these new opportunities. Maintaining a proper digital archive is not difficult to do if you’re willing to make it a priority, and as we move forward, musicians will have more and more reasons to do so.

posted by Laurel Calsoni at 3:59 pm  

Sunday, April 7, 2013

Unforgotten Songs

Historical audio: A specialist record label digs up old recordings and re-releases them in digital form to preserve them for posterity

The Economist
Mar 9, 2013


LANCE LEDBETTER’S interest in obscure music began in the 1990s with a college-radio programme he hosted on Sunday mornings. A lot of his listeners in Atlanta were on the way to or from church. Unable to find a large enough variety of gospel songs to fill the show (and fit his tastes), he started approaching collectors. Some dusted off old 78rpm recordings that he went on to play on the air. Much of the material had been unavailable for years. “I could not believe how much incredible music you couldn’t walk into a record store and buy,” he says.

This stoked an obsession which led to what Mr Ledbetter originally intended to be a one-CD collection of some of the rarer gospel recordings. Instead, in 2003, he ended up releasing a set of six discs—five of music and one of sermons. The collection, “Goodbye, Babylon”, costs $100 and comes in a cedar box packed with raw cotton, along with a 200-page book documenting the selection. It received two Grammy nominations. It sold well, too, and laid the foundation for a record label, Dust-to-Digital, which Mr Ledbetter now runs with his wife, April. Over the past decade they have issued dozens more anthologies and other works.

The Ledbetters focus on material that is unlikely to have been heard widely, or perhaps ever, since its release. They stick mostly to folk and gospel, with a smattering of world music. As its name implies, their firm sells its music in digital form, mostly on CDs, though it presses a little vinyl, too.

Dust-to-Digital’s most ambitious effort since Mr Ledbetter’s original gospel set received a Grammy nomination—the company’s seventh—in the “Best historical album” category in December 2012. “Opika Pende” comprises 100 recordings made on 78rpm records across Africa between 1909 and the 1960s. The collection is the dream project of Jonathan Ward, who blogs at the site Excavated Shellac about old recordings of folk and vernacular music. In November 2012 the firm released “Pictures of Sound”, an album of historical audio that had been encoded in a variety of ways, including drawings, barrel-organ rolls and early 19th-century recording technologies such as the phonautogram.

The label also publishes more recent material. For instance, it released field recordings from a Florida folklife project of the late 1970s, and an album by a contemporary improvisational (and unconventional) folk artist who went into a recording studio for the first time in his 30-year career in 2010. Dust-to-Digital’s releases are not blockbusters. But the label has built enough of an audience that it can always afford to pursue the next project. The biggest problem, Mr Ledbetter says, is cherry-picking among the many great ideas that come their way.

At the same time, Dust-to-Digital is trying to preserve the past on a larger scale through a non-profit organisation called Music Memory. Its goal is to digitise as much as possible as rapidly as it can, by placing equipment in the homes of record collectors who are methodically processing their own holdings. The group will assemble lyrics, liner notes, discographic data and audio in an online collection.

The challenge with all this cataloguing, digitising and assembling of material for release is the awkward status of audio (or “phonogram”) rights. Whereas musical compositions or spoken words are subject to copyright protection similar to that covering books and other printed materials, audio released in America between the dawn of audio recording in the 1870s and 1972 remains under protection until at least 2067. Some reform efforts currently under way might succeed in putting audio from the 1920s and earlier in the public domain, however, as well as shortening the limits for the rest.

The Ledbetters do not let rights issues deter them. They doggedly track down the current holders of composition, performance and audio rights required for release, wherever they are. And so, bit by bit, byte by byte, Dust-to-Digital will continue to expose modern audiences to forgotten gems from the analogue era.

posted by Laurel Calsoni at 1:59 pm  

Wednesday, February 13, 2013

Library of Congress to Unveil National Recording Preservation Plan

The library on Wednesday is set to release a plan that contains 32 recommendations to enhance preservation and access to millions of recordings in light of deterioration or outright loss.

By Randy Lewis, Los Angeles Times
February 13, 2013


A broad-scale plan to preserve the nation’s cultural heritage captured on sound recordings and to make more than a century’s worth of recorded materials more widely available for educational purposes is being unveiled Wednesday at the Library of Congress in Washington.

James H. Billington, the Librarian of Congress, was scheduled to introduce the library’s comprehensive National Recording Preservation Plan, the library’s response to Congress’ passing of the National Recording Preservation Act of 2000. That legislation chargedthe library with addressing the protection of a vast body of sound recordings that constitute significant cultural and historical documents. The plan contains 32 recommendations, short term and long term, to enhance preservation and access to millions of recordings in light of the deterioration or outright loss of millions more since they were made.

“Our collective energy in creating and consuming sound recordings has not been matched by an equal level of interest in preserving them for posterity,” Billington said in a statement. “Radio broadcasts, music, interviews, historic speeches, field recordings, comedy records, author readings and other recordings have already been forever lost to the American people.”

Among examples of what has been lost: a wire recording made in the cockpit of the Enola Gay aircraft that dropped the first atomic bomb on Japan near the end of World War II; recordings made by American composer and pianist George Gershwin; the entire recorded news and entertainment archive of one of radio’s leading networks; important recordingsby performers including Frank Sinatra and Judy Garland.

“As a composer who has been both informed and influenced by sound recordings, I feel passionately that they are a heritage too easily lost, and one which requires all due diligence to preserve,” composer Stephen Sondheim said in a statement. “It is important to remember that not only do recordings capture individual performances and arrangements but also a great deal of music which was never written down. Once the recordings are lost, the work itself disappears forever.”

Additionally, the library’s statement noted that “experts estimate that more than half of the titles recorded on cylinder records — the dominant format used by the U.S. recording industry during its first 23 years — have not survived.”

“Songs and music are one of the greatest expressions of a nation’s culture,” said singer and songwriter Paul Williams, who also is president of the American Society of Composers, Authors and Publishers, the performance rights organization. “Preserving them through sound recordings, which capture the spirit of a time, is important work. The National Recording Preservation Plan is needed to ensure we have a coordinated plan to preserve our cultural legacy.”

Another massive issue the plan addresses besides physical preservation is opening up access to those materials once they have been preserved.

“Many rights holders have not permitted researchers or the general public to listen to the recordings they legally control outside the limited scope of facilities maintained by legitimate research institutions,” the library’s report states.

Case in point: The Library holds more than 3 million recordings made since the technology to record sounds was developed in the late 19th century, but the vast majority can be accessed only by physically visiting the library’s listening rooms in Washington and Culpeper, Va.

“Despite the development of the Internet,” the library’s report states, “few historical recordings can be made available online legally because of aspects of U.S. copyright law.”

Among the recommendations developed by the National Recording Preservation Board, which consists of musicians, composers, musicologists, librarians, archivists and members of the recording industry, is the application of current federal copyright law to all sound recordings made before Feb. 15, 1972, when the first federal law was enacted to protect sound recordings.

Without a federal umbrella, rights are mired in a web of myriad state and local copyright protections.

“While it might appear to be permanent on the surface, our national recorded heritage is one of the most endangered mediums,” said singer Michael Feinstein, one of the musicians on the National Recording Preservation Board. “Even though people love their music, they assume that because something exists in multiple copies that it is safe from the ravages of time, but we are now keenly aware of the rush to save so much popular music, historical events and singular sound documents, that the mind boggles.”

The Library of Congress National Recording Preservation Plan can be downloaded in its entirety at, and eventually will also be on the library’s website,

posted by Laurel Calsoni at 10:24 am  

Monday, February 4, 2013

5 Ways Marketing Pros Can Manage Their Digital Assets

From iMediaConnection
Posted By Matthew Gonnering
February 4, 2013


Your brand has a story, and it’s nearly impossible to tell that story without some form of digital media. As your brand, your product and service offerings, and your organization grow, so too will your library of digital assets. Images, audio, video, documents and more are all vital tools to marketers.That means that managing those assets effectively is as important a skill as any other. Here are five ways you can step up your digital asset management game and keep the focus on telling your story, no matter how big you are or what kinds of systems you’re using to store and distribute media.

Centralize your media library

Except in rare situations, there’s just too little benefit and too much risk involved to justify having your digital assets spread out across more than one location. Doing so invites redundancy and confusion, especially if there aren’t strict protocols in place that help people figure out what media is housed where. At the very best, disparate storage adds to the time it takes any one person to retrieve the assets they need for a given task.

What “centralization” requires varies from organization to organization. It usually makes the most sense to put all your stuff in some cloud storage location. Whether that’s a digital asset management solution or some consumer option like Google Drive or DropBox, centralization beats letting your assets live on multiple people’s hard drives or various in-house servers any day of the week.

Get a handle on your repurposing processes

Any given asset might end up destined for a wide variety of media. Whether it’s print, web or video, you’ll need to deliver your digital assets according to certain size, color and other specifications to ensure you’re represented correctly and consistently.

Certain systems will enable you to save one master asset and convert it into various formats as needed. Any digital asset management software worth referring to that way will perform these sorts of conversions, for instance. If you don’t have that kind of system in place, you should at least make sure that anybody in a position to use or distribute your media has a thorough understanding of the file conversion options and why they matter in different channels.

Collaborate around your library

These days, it’s hard to imagine any kind of business communication that doesn’t involve digital assets. Doesn’t it make sense, then, that you should keep much of the creative process close to the place those assets live? Having collaboration tools built into or integrated with your system of managing assets will help ensure that your users don’t have to struggle with new learning curves and that you don’t end up with conflicting versions of your assets floating around out there.

Know the numbers

Like Web traffic, ad conversions and view counts, there are numbers you should be following to better understand your digital assets and the effectiveness of your DAM system.

Having a way of tracking those numbers, therefore, is pretty important. If you know how frequently a product image is downloaded by users or staff, for instance, you might make different decisions when it comes time to shoot an updated set or photograph a new line (or when it comes time to request imagery from your suppliers).

Get people excited

You need to make sure you get your teams to buy into the use of your software, systems and protocols. Otherwise, your efforts will have been for naught.

Depending on what kind of system you’re promoting, the size of your organization and who the users are supposed to be, the methods you use to get stakeholders on board will vary. Sometimes it’s as simple as a clear, concise email. Other times, it’s a full-blown media campaign. Whatever it takes, though, is worth it. It’ll all pay off when you see your marketing operation running like a well oiled machine.

posted by Laurel Calsoni at 8:33 pm  

Saturday, February 2, 2013

Five Ways to Better Manage Digital Assets

From EContent
By Eric Fulmer
Jan 29, 2013

Despite over two decades of awareness that digital assets present a unique and critical challenge for organizations of every size and shape, effective Digital Asset Management (DAM) remains more fantasy than reality. Some organizations have invested significant resources with mediocre results, while many others limp along with folders on a server and the never-ending problem of too many versions in too many places.

Rather than throwing in the towel, here are five tips that bring a new perspective to battling the “asset proliferation” monster.

Take a project-centric approach

Digital assets have little intrinsic value except in the context of how they serve as components of a marketing campaign, product launch, catalog, or other project. But traditional DAM takes an “asset-centric approach,” placing the asset at the center of the user experience.

Approaching asset management in a project-centric context keeps the focus on the bigger picture. How do all the components (including digital assets) meet the overall project goal? How can my organization make sure the key elements of each project are easily located, reducing wasted time chasing content? Is there a process to speed up approval to meet deadlines without eleventh hour Hail Mary passes of creative flurry? I think we can agree that those late nights are only fun once.

Project management software tuned to the creative workflow and integrating work-in-progress DAM is the right toolset for the in-house creative team. Creatives need management, but often resent processes with perceived bureaucratic burden. By making the project management component as transparent as possible and focusing on the creative tools that drive it, the team can become more efficient without feeling smothered. The project is the central metaphor of the creative process, and it remains missing in action from most creative production and asset management tools.

Make metadata work by making time to manage it

Metadata is the key to successful asset management, yet it’s the bane of asset managers and the whole creative team. There is an inverse relationship between an individual’s personal knowledge of the metadata associated with an asset and their need to document that metadata. Consequently, metadata management is one of the least developed disciplines in the organization.

Often the largest repository of relevant metadata lies in the brains of the creative team, who may have the least use for it and are legitimately overburdened with more urgent work. Making metadata management a priority means dedicating time for the process within the creative team, which will not be possible with a staff already struggling to meet deadlines due to thin organizational structures and a lack of project management tools.

This initiative is critically dependent on the first tip. Get organized enough to actually have time available for strategic imperatives – like metadata management – that are most susceptible to landing on the back-burner.

Differentiate strategic assets from tactical assets

Not all assets are created equal in terms of long-term value to the organization. A “one size fits all” approach to managing digital assets using an Enterprise DAM is like dumping every piece of printed paper in the company vault with the assumption it will be needed someday. Sorting through hundreds of images of the same can of soup trying to decipher what’s different about each one is not for the faint of heart.

Implementing a simple review and approval process within the marketing team can quickly weed out the large percentage of assets than can continue to live in a “work in progress” DAM, only accessible by the creative team, and push the handful of approved assets to the Enterprise DAM for wider availability. Again, we see the critical importance of a true workflow process within the creative team that will serve as a filter to avoid “asset glut.”

Keep creatives focused on creativity

Turning your most creative resources into file managers and “process cops,” tasked with policing how the rest of the organization uses assets, is not only poor resource allocation, it also reduces the quality of creative output by interrupting creative focus. Keep the creative team focused on what they do best by minimizing their administrative burden. Here are two methods: hire a dedicated ‘trafficker’ for review and approval of projects originating outside of the creative team, or invest in an automated approval workflow that reduces the demand on the creative team by eliminating meetings, endless email exchanges and “version mania.”

Data-driven insight via usage tracking

There is a fine line between brand consistency and snooze-inducing redundancy. A favorite image asset, for example, can easily become overused by the organization, resulting in reduced impact and a stale market perception. It’s critical to keep track of how often an asset is utilized and in what context. No one wants to see the same picture of Snuggies in the Sunday newspaper ad every week.

Many DAMs provide historical data on the number of times each digital asset in the repository was downloaded and by whom. But that information is only a clue to the mystery of where the asset actually ended up (if anywhere). The ultimate fate of the asset remains unknown unless manually tracked by some other process.

This speaks again to the value of a project-centric system. If a user can instantly see that a particular asset is linked to six separate projects, including the last four quarterly catalogs, it’s likely time to freshen the look of this particular element.

Asset proliferation has consistently outstripped the pace of adopting new management tools. But many DAM offerings remain pricey and anchored in legacy architecture. The arrival of new development environments enabling rapid deployment of web-centric, platform independent applications brings a new opportunity to address asset management as an integrated element of creative business processes, not as a static vault set apart from them. Here’s a simple litmus test: If your organization’s digital asset management system doesn’t work on an iPad, it’s time to consider what modern digital asset workflow tools can offer.


posted by Laurel Calsoni at 2:22 pm  

Friday, January 18, 2013

If file formats were people: Who’s allowed in your digital asset management nightclub?

Here’s profiles on five multimedia personalities to consider letting into Club DAM.

By Edward Smith
January 18, 2013

Most DAM managers I’ve spoken with are very protective about what goes into their collection of digital assets. Managing a rich media hoard is like being a bouncer at a popular nightclub and deciding who gets in and who gets told to take a hike. Just like a doorman at a hip ultralounge only letting in the ultra-hip, users following best practices only ingest the highest resolution file format available and don’t bother letting in a low-res JPEG (that grubby guy in line wearing jeans and a tank top).

For bouncers the reasoning is a little different, but for digital asset managers the idea is simple: save the best version of the file available now and download derivative formats from the DAM later when they’re needed. This strategy avoids wasting time and precious dance floor space (disk storage) on formats that may never be used.

Another advantage of storing high quality master files is providing a digital asset management system that adapts to users needs by quickly and easily providing files in the exact format required. If and when someone needs some media files in a particular format, the DAM can automatically convert the assets to provide the desired format. Your DAM has a reputation you need to build and protect. Providing users with a system that quickly gives them what they need to get their job done encourages user adoption and trust which is essential for a successful DAM project.

Five File Formats to Let In

When you’re lifting the red rope and using that “Save As” command, which file formats are best for uploading to your DAM? Check out the following profiles on five multimedia personalities to consider letting into Club DAM:

Click Here to continue reading and for illustrations

posted by Laurel Calsoni at 7:20 pm  

Wednesday, January 9, 2013

The Digital Asset Management Value Chain: The Future Direction of DAM In 2013 and Beyond

January 9, 2013

This article was collaboratively written by both Ralph Windsor and Naresh Sarwan of DAM News

The ‘Digital Asset Management problem’ is getting bigger and will become harder to solve via a single software application – whether you access it via the Cloud or installed internally on your organisation’s own servers. In our view, what is required is a more modular and process oriented approach, i.e. a Digital Asset Management Value Chain where end users can mix and match all the elements that contribute value to their Digital Asset Management strategy.

In 2011 and 2012, we assessed the prospects for the DAM sector with reference to the technology and business aspects of the industry. This year, we have elected to handle things slightly differently.

DAM gives the impression of a fast-moving sector, but many of the trends take place over a longer period that lasts many years and the pace of change in the industry is not quite as rapid as many of the participants would like to think. A number of the problems have been present for not just years but decades now – still without plausible solutions in many cases.

Although it might make good copy to write some pithy one-liners about what will happen over the forthcoming year, in reality it is rarely that straightforward and many of the predictions for 2013 look like re-statements of trends that are already taking place. The question with most is whether they will be more or less significant at the end of the year than the start, often they are not really very new developments.

With all that in mind, this year we have decided to drop the 2013 predictions and examine how the wider trends might develop over a longer period. Some of this might manifest itself in 2013 (and has even started already in some cases) but you might be waiting a number of years for them to become more obvious – and the other distinct possibility is that we just got it plain wrong!

The Digital Asset Management Value Chain Defined

If there is one big idea in this article, it’s what we are calling: “The Digital Asset Management Value Chain”. This sounds like a phrase we borrowed from a management consulting textbook and the sort of meaningless business jargon which we regularly take people to task with on these pages. However, after reading through our explanation, we hope you might agree that is an accurate description that does describe what DAM users are increasingly looking for and how the industry may develop as a result.

So what is the Digital Asset Management Value Chain? To understand this concept, you need to agree with two important principles:

  1. Digital assets means more than just digital files. While files are the core essence of an asset, it is the other DAM related activities, for example, cataloguing them with metadata, which transform a binary object (file) and add value so it can become an asset.
  2. The second principle is that DAM doesn’t describe a single unit of activity but groups together a variety of related tasks. Some of these need to be performed in close proximity to each other (both in time and physical space) but others may be carried out entirely independently by different individuals.

Click Here to continue reading


posted by Laurel Calsoni at 7:28 pm  

Thursday, January 3, 2013

Why Do I Need a Digital Asset Manager?

Podcast Based on the blog post on Another DAM blog

Listen to “Why Do I Need a Digital Asset Manager?”


posted by Laurel Calsoni at 11:14 am  
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