As audio and video assets become more commonplace in business and everyday life (YouTube, voicemail, company videos, news media interviews) we recognized a need to make them useful in a digital asset management system. How do you make a video/audio file searchable without paying someone to sit down and type out a transcript
Last time we discussed security – how can you be sure that your digital assets aren’t available for unauthorized eyes to see. This week we’ll discuss how the technology ensures that, even during a hardware failure, you never lose access to the files in your digital asset management system.
How are my digital assets protected from any outsiders? If my digital assets become public it would be a huge problem, why should I believe a system is safe? First, let’s talk about “firewalls”. Basically firewalls are boxes thru which network traffic passes, and they look at each packet and decide (based on rules) whether to pass a
So far in this series, we’ve discussed the basics of databases, how to achieve increased speed, and how to maximize efficiency with relational databases. In this week’s installment we will discuss the architecture of a well-designed digital asset management system. OK, so someplace out there my database lives with all of my digital assets. I sit here with my laptop.
In the past we’ve discussed some of the basics of database technology, today we’ll talk about increasing the efficiency of a digital asset management system by using a relational database at its core. So what exactly is a “relational database”? Remember back when we introduced the concept of a database, and mentioned there
Ever wonder how it is possible to take a photo with your 8 megapixel camera, see the file referred to as a 24 megaByte file, and then send it to someone by email and the attachment is only around 1 megaByte? How can you squeeze down 24 megapixels to 1 megaByte and not mess up the image?
Most organizations have traditionally had a very serial workflow for analog assets, and unfortunately some continue with the same workflow with digital objects, instead of taking advantage of the transition. We’ll use a photo as an example, although the scenarios apply to pretty much any data object.
Ever wonder how those crisp still photos of the Space Shuttle rising off the pad are made? It is harder than it looks. No media person is allowed closer than 3 miles to the pad, and in Florida haze that makes a crisp photo impossible. In the early days of the Shuttle program (1982) media people were
Years ago I was a highly competitive photographer for the Associated Press, and many times that meant I was standing shoulder-to-shoulder at Presidential trips, visits by the Pope, Super Bowls, with my equally eager competitors from UPI, Time Magazine, Newsweek, Reuters, the New York Times, and others. All of us were determined to get the one great