MEDIA ASSET MANAGEMENT
I led the development of naming conventions and file storage structures for our media asset management systems. I created efficient processes for both inbound and outward-facing assets, which were crucial for managing the massive volume of media files on our local server, now over a petabyte, and our cloud storage system. I collaborated with stakeholders across and beyond the LPGA ecosystem to streamline Creative Group projects and facilitate seamless access to our digital assets.
This media management framework was pivotal in optimizing our operations, supporting the LPGA’s creative needs, and expanding our content provider network from a small group of in-house creators to hundreds within and outside the LPGA family.
Scroll ↓
MAM WORKFLOW
LPGA media
These infographics showcase the MAM system I helped develop at the LPGA, which streamlined digital asset management and access through a dual-layered approach, significantly enhancing efficiency and delivering a better ROI.
Developed during my tenure at the LPGA, these show the flow of digital assets from creation to storage and stakeholder access, whether on-site or off.
The multi-layered system features both physical, high-speed storage and a corresponding cloud component, ensuring robust backup and IP possession. This dual approach improved efficiency at the LPGA and delivered a better ROI across the board by streamlining asset management and access, ultimately enhancing our operational effectiveness.
CLOUD STORAGE
using a service like BOX
At the LPGA Creative Group, I revolutionized asset management by integrating Box cloud and other services for deep archiving, implementing a “forensic chain of evidence” approach that ensured accurate, up-to-date asset sharing, significantly reducing errors and boosting efficiency.
We utilized an online cloud service to streamline efficiency for our worldwide stakeholders. Initially, Box was used solely for storing deliverables. As bandwidth speeds increased and storage costs decreased, it evolved into a cloud-based replica of our physical server, mirroring its folder structure. This setup allowed for quick and efficient access to data stored at our headquarters.
I implemented a “forensic chain of evidence” approach to ensure the accuracy of our shared assets. Previously, copies of the same asset were stored in multiple locations by different people, leading to outdated and incorrect files being reshared. To address this, I established a policy where all assets were stored in a single location, and only links to the assets were shared. This ensured that anyone downloading an asset would always receive the latest version whenever an asset was updated. This approach significantly reduced errors in our brand management and improved overall efficiency.
We are now transitioning to utilizing Amazon’s Glacier cloud storage for deep archiving over a petabyte of data, ensuring our vast amount of content is securely stored for the long term. Amazon’s LIVE system is also being implemented for fast access, providing our stakeholders with quick retrieval of their needed assets. This combination of deep archiving and rapid access further enhances our operational capabilities, ensuring we maintain comprehensive archival solutions and efficient, timely access to our resource.
PROJECT FILE NAMING
media management
By implementing a flexible and comprehensive naming convention for project files and folders, I ensured consistent communication and efficient media management across all stakeholders, significantly enhancing organizational clarity and workflow efficiency over twenty years.
Understanding and implementing project naming conventions was essential, as it ensured everyone spoke the same language when describing project files and folders. My first step was meeting with all stakeholders to determine the critical data points in our workflow for effective media management.
With this information, we defined a flexible naming structure everyone could follow. Depending on the need, the convention could range from as few as three data components (plus a file type) to up to eight.
The cheat sheet illustrates the comprehensive structure we developed under my guidance over 20 years. This robust naming convention remains in use and continues to evolve, proving its lasting impact on our efficiency and organization.
PROJECT CATEGORIES
media management
I developed a robust file naming protocol, integral to our team’s efficiency, by creating a dynamic project category list that ensured clarity and relevance across thousands of projects, which remains a cornerstone of LPGA’s media management strategy today.
This solid file naming protocol laid the foundation for our team’s efficiency gains, regardless of the media management tool used.
The project category list was a cornerstone of our naming convention. Each category name, some of which could be quite long, underwent a meticulous truncation process to ensure relevance and clarity, highlighting the importance of our work.
Developed under my guidance, this naming convention remains crucial to the LPGA’s media management strategy, ensuring continued efficiency and organization.
RAW FILE NAMING
media management
I created a comprehensive raw file naming convention to enhance asset management at the LPGA. This convention ensured unique, trackable names for every asset. It streamlined our workflow and improved the efficiency of our MAM system across global locations.
As the scope of our work at the LPGA grew, the need for a raw file naming convention became increasingly apparent. This protocol became essential to our asset management process regardless of location or creator.
At its simplest, the convention included a department or vendor prefix, date, and sequential number. It could expand to include a camera number, a camera operator code, and a basic description for more complex requirements.
The system I developed proved easy and effective. It ensured that all file names were unique, no matter where they were created worldwide. This streamlined our workflow and enhanced our asset management capabilities, allowing for the rapid ingestion of assets, regardless of their source or file type.