NURUL ANISA SAHIRA BINTI HAJI

AZMAN
HND Level 5 Intake 9 Creative
Media(L5CM/F/10/20/002)

Unit 26: Film and Video Editing

(T/6161734)
Commercial Advertisement
Film editing is both a creative and a technical part of the post-production process
of filmmaking. The term is derived from the traditional process of working with film which
increasingly involves the use of digital technology.
Film editing is described as skill, the only art that is unique to cinema, separating
filmmaking from other art forms that preceded it. There is a difference, however,
between “the art” of film editing and “the art if editing”; that is, a single film editing
technique is distinct, but editing is an art form. Film editing is often referred to as the
"invisible art" because when it is well-practiced, the viewer can become so engaged that
they are not aware of the editor's work.
The art of cinematography is based on taking stock of the scene and the camera's
movement, applying those details to the final image. With today's technology it's
increasingly difficult for filmmakers to avoid editing mistakes and, therefore, they must
resort to a degree of artistic license. This technique requires a fine-grained
understanding of the subject matter and camera and is necessary to create a satisfying
and visually stunning visual experience.
Cinematography is a medium of storytelling that is driven by storytelling techniques, an
idea of narrative that is essential to a compelling medium. Without story it would be a
story of mere exposition, rather than what can be experienced. The best way to
understand a story is to look at the way people are telling it. There are great stories
where nothing is shown, and these are the movies of the cinema, film, and television
years ago.
In creating a story and narrative, editing involves finding the most fitting means of
carrying and delivering story information to the audience. The editing process takes
several steps:
• Establishing Story
This is the most time consuming, but essential, part of the editing process. By
identifying what you want your audience to feel and see (and believe), you can prepare
them to accept your message at the end of the day.
• Evaluating Story
This is also the most time-consuming part of the process. By deciding on what story to
tell, you create a narrative, or frame for your film, and you create a foundation for your
story.
• Planning
This is the most difficult part of the editing process to say the least. As well as choosing
the frame and camera angle, there is also the consideration of lighting, props, editing
and sound. You need to choose the right materials and techniques to convey the story.
In editing, you have to look at the film in all its aspects to come up with a vision, a
narrative and a story.
In some ways, though, the whole process is simpler than the first step: once you've
prepared your story and your frame, how do you produce the film? As part of editing,
you also have to make the film; this takes longer. In fact, a production that is ready for
release is likely to go viral on social media, which makes the whole process more
stress-free.

History of Film Editing.

As with most other film techniques, editing has evolved over time as the technology and
audience expectations change. Like almost every basic idea about movies, the idea of
editing has its precursors. Flashbacks had existed in novels; scene changes were
already part of live theater; even narrated sequences had been a part of visual culture
from medieval altar triptychs to late nineteenth-century comic strips. But the very
earliest filmmakers were afraid to edit film shots together because they assumed that
splicing together different shots of different things from different positions would simply
confuse audiences.
However, filmmakers quickly discovered that editing shots into a sequence not only
contributed to the audience's sense of tale, but also enabled them to tell more complex
stories as a result. You can see primitive instances of editing in films like  Rescued by
Rover (Great Britain, 1904) and The Great Train Robbery (1903).
Early on the cuts were made in the camera, so that the cameraman would simply stop
cranking at the exact end of a shot, and begin cranking again when it was moved
somewhere else, or when something else was put in front of it. This kind of editing could
allow for some early special effects. In movies he is making at the turn of the century,
Georges Mlis stops the camera after detonating a magic puff of smoke in front of his
actor, then begins the camera again after the actor has left the stage, making it seem as
if the actor has magically vanished.
25 years on since the first camera device was created, films were still in black and
white, although more, unique, editing techniques were starting to be invented within the
film industry. D.W Griffith created a special, diverse film known as "Birth of a Nation".
The film was very effective especially within the film industry as the film was the first film
to use different camera shots that the film industry hadn't seen before. Shots such as
the classic close up and extreme close up were used which still are used at this present
day and are effective in modern day films. American Film Producer, D.W. Griffith was
one of the first to use revolutionary editing an cutting techniques in film, such as the
jump cut or match on action cuts. He also used new types of shots which were never
before featured in film, such as extreme close up's of characters faces in order to show
emotion. This combination of cutting and new shots, allowed him to more strongly
create emotions in audiences than before, it also helped him to draw the attention of
audiences to particular elements or subjects. He implemented these techniques into a
variety of films, but one of his most famous was 'The Birth of a Nation' in 1915.
To this present day, TV and feature films have all been in black and white; however,
history had changed with the use of colour being edited into films. Colour in film was
added to certain parts of films by editor Erich Von Stroheim in 1924. He did this by
colouring each printed shot individually by hand. He had to do this very carefully as one
mistake would have been very destructive to the outcome of the film production.

Some filmmakers chose to minimize editing, seeing it as the "death of 1,000 cuts" for
realism. For example, though some documentarists saw editing as a way to make their
anthropological visions appear more interesting, others saw minimal intrusion as the
more authentic way to go. Other documentary styles emerged in which editorial
intervention was minimal, if never entirely absent. But even in feature filmmaking some
directors chose to avoid the manipulation of reality that montage and heavy editing
seemed to imply. In the silent era, some American comics such as Buster Keaton and
Charlie Chaplin often relied on long takes in order to demonstrate that no special effects
had been used and the acrobatics of the comedian were not camera tricks but
dangerously real events.
The Tools used for editing over the years.
It started in 1890 with the invention of the ‘Kinetograph’, the first ever device known as a
‘moving image camera’ and first used by Thomas Edison and William Dickson. The way
in which this device worked was by one person at one time looking directly down
through a peephole on top of the device, and in turn the viewer would then see a motion
picture via a series of still images changing at a fast pace under a light source. Years
later after Kinetograph was invented, came the ‘Ampex VTR (Video Tape Recorders)’
that was introduced in 1956, it allowed the film makers to perform and record more
complex shots such as pan shots, and later in 1958, this device became increasingly
popular because film makers were allowed to create more complex shots.

In the late 1920's, An American inventor created the 'Up right Moviola'. This was the first
machine designed to aid movie editing. The Moviola had the ability to allow editors to
make very specific cuts and edits in their films which were previously hard to do. This
style of editing is very different to how modern film makers edit their films.

Then came the CMX System that was introduced in 1970. The CMX Systems were a
huge booth within the editing industry, as it gave the editors more freedom in what and
how editors could now locate a frame within seconds and go back and change
something or create another edit using CMX systems. And in 1975, the ECS-1 was
introduced, and was very much adored by editors as it was a way of making editors
working lives more easier. This device increases the effect of the film as there is less
chances of making mistakes, this is thanks to the device having dual joystick remotes,
resulting in the editing process becoming more accurate and easier to use.

Editing platforms for home uses were then establish in around 1991. Platforms, or
rather software, such as ‘Adobe’ was released in 1991 and was created by Randy
Ubillios – the platforms allowed students and other people to create and edit their own
footage at home and even produce their own short films. Since the release of home
editing software such as Adobe, more high quality software were developed and
introduced into the market, such as Final Cut Pro which was purchased by Apple in
1999.

Linear Vs Non-Linear Editing:

The new developments of digital editing brought a non-linear style of editing into play
among film makers and editors. Non-Linear editing is the process of editing sequences
out of order and going back to make various changes in a film later on in the editing
process. This was a major advantage over Linear editing as it would allow editors to go
back and make changes go a sequence rather than having to re-edit the scene. Non-
Linear editing was mostly done on computers and therefore digital.

The Editing Technique.

Listed below editing techniques and their brief explanation:
1. Standard Cut
 Also known as hard cut, it is the well-used and preferred in the industry. It is the
continuation of the previous clip but just from a different angle – it is a way to
bring two different shots together.
2. Cross Dissolve / Cross Fade
is a post-production video editing technique in which you gently increase the
opacity of one scene over the previous one. In contrast to the jarring transition of
a plain jump cut, one scene fades into the next, and the two images briefly
overlap.
3. J-Cut / L-Cut
 A J-cut is a variation of a split edit where the video from a scene
transitions before the audio that matches it.
 An L-cut is a variation of a split edit where the audio transitions from a
particular scene before the video that matches it.
4. Jump Cut
A jump cut is an editing technique that cuts between two sequential shots. In
these shots, the camera position doesn’t change (or only changes a small
amount), but the subjects move, giving the appearance of jumping around the
frame. Jump cuts give the effect of moving forward through time.
5. Wipes
is a type of transition where one shot replaces another by travelling from one
side of the frame to another or with a special shape. If the wipe proceeds from
two opposite edges of the screen toward the center or vice versa, it is known as
a barn door wipe (named for its similarity to a pair of doors opening or closing).
6. Match Cut
is an editing transition where visual elements at the end of one scene are
matched, either visually or aurally, with elements at the beginning of the next
scene.
7. Cross Cut
Also known as parallel editing, this editing technique cuts between the action
happening in two simultaneous scenes as they progress. Editors use cross-
cutting to establish that multiple scenes are occurring at the same time.
8. Montage (Fast moment)
an editing technique that combines a series of short shots or clips into one
sequence, often set to music. Montage sequences often imply the passage of
time or multiple simultaneous events and are a vehicle to present the audience
with a lot of information at once.

Creative editing technique

a) Cutting on action (Take a close shot of the action)
o refers to film editing and video editing techniques where the editor
cuts from one shot to another view that matches the first shot's
action.
b) Cutting to music or sound effects
 o is a way of editing a video so that each clip changes at the same
time as the beat of the track.
c) Cutaways or Inserts (Avoid the jerking)
o is the interruption of a scene with the insertion of another scene,
generally unrelated or only peripherally related to the original
scene.

The role of editor within a production.

The film editor works with the raw footage, selecting shots and combining them into
sequences which create a finished motion picture. The job of an editor is not simply to
mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A
film editor must creatively work with the layers of images, story, dialogue, music, pacing,
as well as the actors' performances to effectively "re-imagine" and even rewrite the film
to craft a cohesive whole. There's no need for an endless number of edit packages to
balance out the many cuts and edits required to create the right effect on a scene.
Instead, the editor becomes the storyteller, in charge of creating the tone and emotion
of the story, with the actors providing each of their parts in a seamless, seamless way to
create the perfect blend of emotions, the music (which will not be as obvious), and the
physical action.
The relationship of the editor with the Director, Cinematographer, VFX Supervisor,
Music Director and Storyboard Artist.
With the director
In pre-production, editors work closely with the director to decide how to make the most
of the script. Once filming starts, they look at the rushes each day, checking technical
standards and the emerging sense of story and performance and editing it into a series
of scenes. By the time the film wraps editors will have spent hours reworking scenes
and cutting them together to create a rough assembly.
They work closely with both the writers and directors to make sure they're on the same
page on what makes the most sense. But, unlike traditional media, post-production can
be difficult. The relationship between editor and director can be a defining factor on how
the overall film will turn out.
During post-production, the editor and director will work closely to refine the assembly
edit into a director’s cut, which must be approved by producers, until they achieve
picture lock (known as final cut). After that, the music and sound are added to the mix,
a process that editors will oversee.
An editor is nothing without a hard-working director, a talented cinematographer, a
production designer with an eye, a sound mixer with skills, an innovative screenwriter,
etc. Even though there are so many minds involved when it comes to films, the time
spent between an editor and a director is lengthy and vigorous due to the fact that the
editor must establish the vision of the director.
With the Cinematographer
The cinematographer, is responsible for photographing the motion picture and
overseeing the camera crew and lighting team. The cinematographer’s primary
responsibility occurs during the principal photography stage of production, but they must
also spend a great deal of effort during prep and may even oversee the color grading
during post-production.
The editor, on the other hand, mostly works during post-production by taking the shot
footage and making decisions on how to best put the project together. During principal
photography, the editor’s main responsibility is to organize the dailies and sync the
sound. The final product is in the hands of the editor.
It seems that these two critical jobs would not overlap—the D.P. shoots and the editor
takes the footage and turns it into a movie. However, the one phase where they should
collaborate is pre-production, which Alfred Hitchcock considered to be the most
important stage of filmmaking.
With the VFX Supervisor
It is only natural for the editor to work with the VFX Supervisor – the editor works a lot
more in the post production, once all of the footage and scenes has been compile and
that is how they work on the final product. The main reason why the VFX Supervisor
works closely with the editor is to make sure that the footage that has been added VFX
in matches up with the rest of the sequences or scenes, which means, if there is
anything missing or problem that arises during the editing process, the editor can
communicate straight with the VFX Supervisor.
With the Storyboard Artist
Storyboard artists are responsible translating the script into pictures, or producing
scenes through drawing, they work closely with the director especially so they stay on
the same page as the script and storyboard. Since the editor works on the final product,
they would need to work with the storyboard artist so they can make sure to that the
footage the editor has compile is going in the same path as the storyboard written. If
there are any problem, especially missing scenes or sequences, the editor could check
up with the storyboard and director, which they then can take action from that.

Genre of films.
What are genres?
Genre is the organization and classification of writing. Genre is any form or type of
communication in any mode with socially-agreed-upon conventions developed over
time. In popular usage, it normally describes a category of literature, music, or other
forms of art or entertainment, whether written or spoken, audio or visual, based on
some set of stylistic criteria, yet genres can be aesthetic, rhetorical, communicative, or
functional. Genres form by conventions that change over time as cultures invent new
genres and discontinue the use of old ones. It’s important to understand, though, that
what we consider film genres today are, more often than not, hardly pure film genres, as
they were in the early days of film. The majority of content produced in the last several
decades are often genre hybrids, using the rules of genre theory to produce new,
unique, and different stories.
What are the elements of a story?
Different people have different opinions on what the elements of a story are, but the
most import are these 5 components: the characters the setting, the plot, the conflict,
and the resolution. These essential elements keep the story running smoothly and allow
the action to develop in a logical way that the reader can follow. The other additional
elements can be point of view, tone and style. But in general, to establish a solid story,
the writer and producer needs the basic 5 elements.
The types of genre and examples:
o Action

One of the earliest film genres in existence, the action genre has close ties to classic
strife and struggle narratives that can find across all manner of art and literature. With
some of the earliest examples dating back to everything from historical war epics to
some basic portrayals of dastardly train robberies, action films have been popular with
cinema audiences since the very beginning. It is also one of the best examples of the
evolution of the cinematic hero’s journey and the classic hero vs. villain narratives,
which you’ll find across cinema and genres.
 Suicide Squad
Assemble a team of the world's most dangerous, incarcerated Super Villains,
provide them with the most powerful arsenal at the government's disposal, and
send them off on a mission to defeat an enigmatic, insuperable entity. U.S.
intelligence officer Amanda Waller has determined only a secretly convened
group of disparate, despicable individuals with next to nothing to lose will do.
However, once they realize they weren't picked to succeed but chosen for their
patent culpability when they inevitably fail, will the Suicide Squad resolve to die
trying, or decide it's every man for himself?
Produced by DC Films, Atlas Entertainment, and The Safran Company, and set
for distribution by Warner Bros. Pictures. The Suicide Squad is an upcoming
American superhero film based on the DC Comics team Suicide Squad.
 o Comedy

A favorite genre of film audiences young and old, from the very beginning – the comedy
genre has been a fun-loving, quite sophisticated, and innovative genre that’s delighted
viewers for decades. Some of the biggest names in the history of filmmaking include
comedy genre pioneers — like Buster Keaton, Charlie Chaplin, and Lucille Ball — who
made successful careers out of finding new and unique ways to make audiences laugh.
The comedy genre has also been one of the most flexible, as its roots have made their
way into the very fabric of cinema and the many other genres contained within. The art
of warming a heart and bringing a smile to a viewer’s face will never be lost, nor should
it be considered anything but truly powerful.
 Shrek
When a green ogre named Shrek discovers his swamp has been 'swamped' with
all sorts of fairytale creatures by the scheming Lord Farquaad, Shrek sets out
with a very loud donkey by his side to 'persuade' Farquaad to give Shrek his
swamp back. Instead, a deal is made. Farquaad, who wants to become the King,
sends Shrek to rescue Princess Fiona, who is awaiting her true love in a tower
guarded by a fire-breathing dragon. But once they head back with Fiona, it starts
to become apparent that not only does Shrek, an ugly ogre, begin to fall in love
with the lovely princess, but Fiona is also hiding a huge secret.
Directed by Andrew Adamson and Vicky Jenson. Shrek is a 2001 American
computer-animated comedy film loosely based on the 1990 fairy tale picture book
of the same name by William Steig.
 o Horror

While perhaps considered one of the more recent film genres to come into existence,
elements of horror have long been a bedrock of classic cinema, going back to some of
the earliest — and eeriest — days of filmmaking. Examples like 1898’s Shinin No Sosei
(Resurrection of a Corpse) come to mind, as well as several early horror iterations
across the globe that captured the imagination of an audience hungry for creepy, occult
fun. Taking inspiration from classic horror literature, big name horror franchises like
Dracula and Frankenstein have existed within cinema for decades. However, in the rise
of newer horror genres including zombies, slashers, found footage, and haunted dolls
that horror has really found its hold, from the 1970s into modern times.
 The Conjuring
In 1971, Carolyn and Roger Perron move their family into a dilapidated Rhode
Island farm house and soon strange things start happening around it with
escalating nightmarish terror. In desperation, Carolyn contacts the noted
paranormal investigators, Ed and Lorraine Warren, to examine the house. What
the Warrens discover is a whole area steeped in a satanic haunting that is now
targeting the Perron family wherever they go. To stop this evil, the Warrens will
have to call upon all their skills and spiritual strength to defeat this spectral
menace at its source that threatens to destroy everyone involved.
The Conjuring is a 2013 American supernatural horror film directed by James
Wan and written by Chad Hayes and Carey W. Hayes.
 o Romance

Cinema has been favored pastime for couples looking to escape into a world of
romance. Similar to the action and comedy genres, the romance genre has become a
central force in pretty much every other film genre under the sun. Even as early cinema
was filled with classic romance examples and many hybridizations like the “rom-com,”
the genre has certainly shifted over the years. Nonetheless, it remains a significant
genre for filmmakers and film fans, alike.
 Titanic
84 years later, a 100 year-old woman named Rose DeWitt Bukater tells the story
to her granddaughter Lizzy Calvert, Brock Lovett, Lewis Bodine, Bobby Buell and
Anatoly Mikailavich on the Keldysh about her life set in April 10th 1912, on a ship
called Titanic when young Rose boards the departing ship with the upper-class
passengers and her mother, Ruth DeWitt Bukater, and her fiancé, Caledon
Hockley. Meanwhile, a drifter and artist named Jack Dawson and his best friend
Fabrizio De Rossi win third-class tickets to the ship in a game. And she explains
the whole story from departure until the death of Titanic on its first and last
voyage April 15th, 1912 at 2:20 in the morning.
Titanic is a 1997 American epic romance and disaster film directed, written, co-
produced, and co-edited by James Cameron.
 o Thriller

The thriller film has been so mainstream that it might be time to change the genre’s
name to Summer Blockbuster Event. The thriller’s rise coincides with the rise of the spy
and detective pulp novels of the 1960s and 1970s. It has been one of the best cinematic
vehicles for exploring the sometimes upsetting and underrepresented truths about our
governments and society at large. Owing some of its biggest successes to famous
filmmakers like Alfred Hitchcock
 The Curse of La Llorona
In 1970s Los Angeles, the legendary ghost La Llorona is stalking the night -- and
the children. Ignoring the eerie warning of a troubled mother, a social worker and
her own kids are drawn into a frightening supernatural realm. Their only hope of
surviving La Llorona's deadly wrath is a disillusioned priest who practices
mysticism to keep evil at bay.
The Curse of La Llorona is a 2019 American supernatural horror film directed by
Michael Chaves, in his feature directorial debut, and written by Mikki Daughtry
and Tobias Iaconis.
Organizing digital asset files.
What is digital assets?
A digital asset is anything that exists in a digital format and comes with the right to use.
Data that do not possess that right are not considered assets. Digital asset is content
that’s stored digitally – that could mean images, photos, videos, files containing text,
spreadsheets, or slide decks.
What are the formats for the files?
Here are 8 common types of digital assets.
1. PDFs
A PDF (Portable Document Format) is a file format that captures every element of a
printed document as a digital image. You can then use this document to view, navigate
and print that image. PDFs are widely accessible through programs like Adobe Acrobat
and preview.
PDFs are best used for text-heavy documents like brochures or printing that you are
finished editing.

2. Video
Video has become a mainstream digital asset used in many different formats. Common
formats include .mp4, avi, .mov, which also have their own substandard formats, like
MPEG-1, MPEG-2, etc.
MP4s are commonly used for sharing video files on the web, while .avi files are also
used widely on the web as a file that retains more quality than an MP4. .mov files are
usually larger in size and have a higher quality than both .mp4 and avi files.

3. Presentations
Presentations used for sales and marketing purposes are also considered digital assets.
These may be in the form of Word Documents, Slide Decks, Powerpoint Presentations
or even Google Docs. Like PDFs, these file formats can be converted into images that
retain their quality which make them perfect for presenting to business partners or
clients in a formal setting.

4. Audio Files
An audio asset is anything you can use to further your company’s story—from
interviews to product explainers to podcasts.
There are several common types of uncompressed audio files you can use such as
MP3, WAV, AU, AIFF, PCM or BWF, depending on your needs and industry. For
example, BWF files are often used by industries who want more metadata storage,
while MP3s are widely accepted for their compressed size.

5. Images
An image is one of the most common types of digital assets, and there’s no one-size-
fits-all format.
JPEG (or JPG) files is a smaller file type that is typically used for web page images or
on email campaigns. PNG files are slightly larger in size and support transparent
backgrounds, making them perfect for custom graphics or social media posts. GIFs are
graphics that have been reduced to 256 colors, mimicking a short video that can load
quickly.
6. Spreadsheets
Spreadsheets are assets.
They now come in file types beyond .xls files. You can now save spreadsheets as .csv
files which can be used with any spreadsheet program including MS Excel, Google
Spreadsheet and Open Office Calc. Other common spreadsheet types include .123 and
.ods files, depending on your operating platform.

7. Graphics
Graphics are essential assets that include anything from logos to branding materials. If
you have designers working on your team, they will be working with several different
types of graphic files, from proofing files to WIP to archived work.

8. Design Files
Finally, design files are assets that are still considered to be in the production phase.
Typically, these will either be PSD files (which stands for a Photoshop Document), or a
TIFF file, which is a file that can’t be compressed to ensure the quality of the image is
retained. For that reason, the size limit of a PSD file is 2GB while a TIFF file can handle
more than 2GB. TIFF files also allow tags, layers, and transparency, and are compatible
with photo software like Photoshop.

How to organize folder assets?

Step 1. You must first create new folder for all of the assets under the project name. As
for naming of the folder, you must follow the ‘Standard Naming Convention’: Name
under your project, and without any spaces, add the date of when you start planning for
the project.
Step 2. Next, you will be putting new folders to store specific types of assets, that may
include, images, audio, stock footage, etc. This will help you or anyone working under
this project to look for specific thing and will not be confusing if anything happens.

Step 3. If needed, add new folders in the asset folder and separate the assets even
further – this may be tedious, but this will help you even more when searching for
specific thing and will not be confusing.
Why organizing folders are important?
To help you save time and work more effectively, it is well worth putting a file
management system in place to help your business run more smoothly. Although not
everyone is naturally well organised, being able to keep track of and find computer files
when you need them can make a big difference to your productivity and stress levels.
You may have heard advice about file management and how it should be organised,
such as ‘save everything in one place’ or ‘develop a system for naming files’. There are
no hard and fast rules governing as to how everyone should manage their files. Much
like the paper filing systems of old it doesn’t really matter how you decide to organise
your files as long as it makes sense to you and anyone else who may need to access
your files.
It is important to remember that if you have employees, or share files with clients, your
system needs to be easy for everyone to understand. There is no point having an
obscure file naming system that only makes perfect sense to you. If your Personal
Assistant and other team members can’t find the files need effienctly, whether to update
spreadsheets or to send to clients, there’s going to be a big productivity problem.
Benefits of organizing folders.
Eliminate the cost of lost or misplaced work.
The perpetual need for marketing content means new assets are always being created.
But having more files can mean it’s easier to misplace them. DAM solutions virtually
eliminate the costs associated with recreating lost materials — once they are stored in
the system, they are secure and easy to retrieve.
Accelerate creativity and production cycles.
A variety of DAM tools bring efficiency and agility to content creation. Version control,
on-the-fly conversions, and workflow approval functionality reduce time spent on
manual tasks — to expedite and enhance creative production.
Streamlined distribution.
DAM platforms give stakeholders the information they need, faster. Internal content
collaborators, sales teams, and external partners can all have instant access to
materials in a self-serve environment. And integrations with other marketing technology
(martech) platforms can further automate and enhance distribution processes, across
channels and other systems.
Reduce workflow redundancies.
By providing a complete picture of available content, DAM systems can extend the
value of assets through reuse and repurposing. Further, DAM facilitates cross-team
collaboration and reduces the possibility of costly miscommunications.
Maintain brand consistency and brand integrity.
DAM solutions help ensure all team members are using the same, on-brand files. By
directing everyone to a single content repository with simple search tools, marketers
can curtail the use of outdated or low-quality file versions. This consistent use of the
right content helps ensure cohesive brand messaging at every customer touchpoint.
Permissioned access.
Governance tools allow DAM administrators to control how different user groups can
interact with assets. This allows organizations to restrict access to sensitive content or
limit download privileges on certain files.
Improve measurement of return on investment (ROI).
DAM systems often include analytics tools that track who is using which assets —
when, where, and how. This data can be used to inform system optimization and
influence important content strategy decisions.

Standard Naming Convention.

What is ‘Naming Convention’?
A file naming convention is a framework for naming your files in a way that describes
what they contain and how they relate to other files. 
File naming conventions help you stay organized and makes it easier to identify your
files. By consistently organizing your files, you will be able to quickly find what you need.
And in a shared or collaborative group file-sharing setting, it will help others more easily
navigate your work. 
It is essential to establish a convention before you begin collecting files or data in order
to prevent a backlog of unorganized content that will lead to misplaced or lost data.
Why it is important?
Naming conventions make sure users know how to name digital assets so that
filenames or titles are consistent and contain all the right information. They help you
store and organise your files. Without them, your asset library can become chaotic and
make it much harder to find images when you need them.
It's essential for anyone uploading content to your digital asset management (DAM)
system to know how to name those assets as well as what to do with the metadata. This
will help other users find the right assets later on.
How it works?
Your best organization strategy is going to depend largely on what your business does
and what your existing processes are. A good place to start is by determining which
pieces of information about content are most important to your organization. Here are
some of the elements that your naming convention might include:
1. Content title
2. Content medium
3. Date of creation or modification
4. Modification
5. Project name
6. Client name
After you’ve identified which elements are important to communicate in the names of
your project and campaigns, you’ll want to determine how best to group your content,
and what the hierarchy of those groupings should be.
For example, if you’re at an agency the highest level of organization will likely be by
client – so for each client you’ll create a folder with the client’s name. Within those
folders you may have groupings by content medium (web, print, email, etc.), within
those folders you may have additional folders organized by project title (for web you
may have website, blog, landing pages), and within those folders you might have files or
folders listed by date (April blog posts, May blog posts). So if you’re looking for an April
blog post for to send the client, it’s in Client Name/Web/Blog/May.
When you’ve completed work on a project, consider keeping all of the final files in a
single, zipped file at the top of the project hierarchy. You may already be doing that to
send to the client, and it’s helpful to be able to look back and find the final versions of
content without digging through multiple sub folders.