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MIB Agents, a non-profit organization dedicated to supporting patients, families, researchers, and clinicians dealing with osteosarcoma, faced a significant challenge in managing their digital content. The organization heavily relies on imagery and video content to convey their mission and work. However, the content management was centralized with the founder, Ann Graham, being the only person who knew where and how to access the content. This created a bottleneck within the team, as no one else could pinpoint when photos were taken or how to access them. The challenge was exacerbated by the fact that the team, including over 200 volunteers, were all working remotely. The organization needed a Digital Asset Management (DAM) system to eliminate these bottlenecks and streamline their content workflows.

NuVasive, a leading spine technology company, was facing challenges in managing its diverse brand assets effectively. With over 25 locations worldwide and a rapidly expanding portfolio of products, the company's in-house creative marketing team was struggling to keep up with the growing family of brands. The team was using Box for brand management, but found it lacking in visual navigation and search capabilities. The goal was to bring NuVasive's brand management in-house and find a platform that could help the team manage its assets more efficiently, cut down on production bottlenecks, and improve brand consistency.

Passion City Church, a non-profit organization, was struggling with the management of its digital content. Over the years, the organization had used a variety of storage solutions including physical servers, drives, Dropbox, and other cloud-based apps. This haphazard approach led to a disorganized system that was nearing its breaking point. The church's event content management was particularly problematic. Photographers were investing significant effort into capturing events and delivering assets, but these were not being effectively utilized by the communications team due to the inefficient storage system. The system made searching for specific assets difficult, especially under tight deadlines. As a result, many of the assets had a short shelf life as people were unaware of their existence. The church needed a more efficient and effective way to manage its digital content to better engage with its global audience.

POPSUGAR, a leading media company, was facing a significant challenge in managing its vast amount of visual imagery produced for entertainment, fashion, and beauty content. The company was in dire need of a system that could efficiently transform these digital assets into an internal stock photography collection. This was crucial for content producers and post-production editors to quickly and easily access images to meet their tight deadlines. Moreover, the system needed to be highly visual to align with the company's culture and core products.

Portakabin, a world leader in the design, manufacture, and installation of modular buildings, was facing challenges in managing its digital assets. The company needed a centralized library that was easily searchable to better manage these assets and protect the integrity and consistency of the Portakabin brand. The in-house creative studio at Portakabin handles project briefs from marketing managers across the UK and Europe, with content requests ranging from email campaigns and website videos to product brochures and direct mail campaigns. However, the existing digital asset management (DAM) platform did not provide the workflow features needed to complete projects efficiently. Moving assets to and from workflows was complicated, leading to bottlenecks and a disjointed user experience. As a result, the DAM was not being used effectively to manage assets.

Ramsay Pharmacy, a part of the global hospital group Ramsay Health Care, was facing a significant challenge in managing its digital assets. The pharmacy franchise, which includes over 60 community pharmacies and 40 hospital dispensaries, relied heavily on its small marketing team for all its assets. The Senior Graphic Designer, Troy Schindler, was responsible for handling all design work, including promotional catalogs, local area marketing, and images for communications and social media. The challenge was the sprawling nature of their digital assets, which were stored across multiple servers, leading to difficulties in accessibility and version control. The team needed to keep logos, product, and lifestyle images organized and easily accessible to collaborators. The process of searching for the right asset across different servers was time-consuming and slowed down the workflow, creating bottlenecks and pressure on the team.

Skanska, a leading construction and project development company, faced a significant challenge in managing its vast collection of images used for bids, reports, and marketing content. The company's previous system for managing digital content was inefficient and made it difficult for employees to find the images they needed, especially when they required content from other business units. The international team was out of sync, and a lot of time was wasted on inefficient workflows. The company needed a modern, centralized solution to make content accessible to everyone. The goal was to ensure fast and easy access to visual content across different business units in multiple countries.

SmoothSkin, a brand under CyDen, the world’s largest intense pulsed light (IPL) manufacturer, was facing a significant challenge in managing and distributing their digital assets to their growing global distributor network. The company conducts 90% of its business through distributors, making it crucial to provide them with the right product videos, images, and other content at the right time. However, the company's growth had outpaced the growth of its marketing department, leading to difficulties in managing and distributing these assets. Initially, SmoothSkin used Google Drive and then SharePoint for asset distribution, but these platforms proved to be inadequate. The cloud storage approach was messy, unprofessional, and lacked visibility of who was accessing the files. Distributors had access to all files and folders, including those that SmoothSkin did not want them to see. The lack of thumbnails made it hard to identify the content, and the overall process was not supporting SmoothSkin’s ambitions for distributor growth.

Sony Europe's digital imaging division was facing a significant challenge in managing the vast amount of content generated by its Alpha Universe ambassadors. These ambassadors, numbering over 100, were submitting hundreds of images and videos each week, showcasing Sony's range of cameras, lenses, and photography accessories. The content was being received from various sources, including the ambassadors themselves and country managers across Europe. The division was running out of storage space for this incoming content and lacked a system for quickly locating specific assets. The challenge was to consolidate these images and videos into a centralized, easily searchable library.

Swedish Space Corporation (SSC), a leading provider of advanced space services, faced a significant challenge in managing their vast array of digital assets, particularly images from various launches and advanced projects. These assets were scattered across multiple shared drives, making it difficult to locate and distribute them quickly. The problem was exacerbated by the lack of metadata provided by photographers uploading the assets, making it even harder to locate specific images or videos. Furthermore, managing permissions for each shared drive location was a complex task. The situation was causing stress and inefficiency, with significant time spent on searching for the right asset and sharing it using third-party platforms like Dropbox.

The Honest Kitchen, a human-grade pet food manufacturer, was grappling with the challenge of efficiently organizing and sharing their growing collection of product images, lifestyle photography, and brand materials with over 4,000 retail accounts and a large network of outside sales representatives. The task of maintaining updated product images across systems was proving to be cumbersome due to their booming e-commerce operations. Their existing system of hard drives and Dropbox was inadequate to support the expanding product and marketing operations. The company urgently needed a solution to streamline their asset management process.

This Old House, a renowned name in the home renovation industry, was facing a significant challenge with their outdated photography archive. The brand, which has a vast array of media outlets including two TV shows, a print magazine, podcasts, and a plethora of digital content, was struggling with an inefficient and outdated system of photo storage and organization. The photography archive, which was crucial for the brand's various platforms, was stored in file cabinets filled with disks. This made accessing specific photos a time-consuming and labor-intensive task. The Photography Director, Meg Reinhardt, who was responsible for producing every shoot and ensuring visuals stayed on-brand, found it increasingly difficult to fulfill internal and external asset requests. The system also led to a repetitive use of a small number of images instead of fresh content. The challenge was to bring this outdated system into the 21st century and make the vast digital archive easily accessible.

Ultimate Sales, a convenience store food broker, was facing a significant challenge in managing and distributing sales collateral to its sales representatives. Each sales rep was responsible for dozens of brands and hundreds of products, resulting in a massive amount of sales collateral such as product overviews, price lists, and promotional flyers. The Director of Marketing, Jacquelyn Sisson, and her team were tasked with collecting this content, adapting it for a convenience store market, and passing it on to sales reps. However, the sheer volume of documents and the individual organizational preferences of each sales rep made this a daunting task. The existing system of folders was inefficient and often led to lost collateral, causing salespeople to constantly reach out to the marketing team and even executive leadership for assistance.

Victoria, a market leader in direct jewelry sales, operates with a large network of consultants across Benelux, France, Germany, and Austria. These consultants, who are responsible for their own marketing, host jewelry parties and sell online through e-shops and digital parties. However, with such a large network of consultants, most of whom are not marketing experts, the marketing team at Victoria found it challenging to ensure brand consistency. To aid consultants in staying on-brand, Victoria provided them with images and other content known to perform well. However, the file storage tool initially used to deliver these assets was not effective, with poor uptake and lack of adherence from the seller network.

HOCHTIEF, an international construction group, was grappling with the challenge of managing a vast amount of digital content including images, videos, PowerPoint presentations, Word documents, and PDFs. The company was in need of a digital asset management (DAM) solution that could integrate with Adobe Photoshop, Adobe InDesign, and Microsoft Office. The solution was required to support sales, marketing, and communication activities through a centralized, expandable media database with a comfortable search functionality. The DAM solution was expected to be accessible to HOCHTIEF employees from eight different European countries and about 40 external partners. Additionally, HOCHTIEF sought to expand its existing CELUM solution with a press portal and automatic synchronization of website images with the CELUM database to reduce the workload for the marketing staff and minimize sources of error.

Boden, a UK-based fashion retailer, was undergoing a digital transformation. The company aimed to provide the right product at the right time, relevant and timely communication, and personalized and localized experiences. To achieve this, their creative teams needed to produce more content in a shorter amount of time. Photography, being a key part of any content they produce, added to the complexity of the task. The company could no longer rely on traditional methods like folder structures and spreadsheets to find what is available to them. The challenge was to produce more content in less time to support their digital transformation.

Carey Color Inc., a full-service, technology-driven communications company, faced the challenge of utilizing both existing and new technologies to deliver optimal results for their customers. The company needed to manage complex workflows, ranging from small to large, and integrate with other software such as Adobe InDesign. Some of Carey’s larger customers use DALIM ES for photography workflows, where files are imported for quality control and marked up for corrections and color accuracy. The company needed a system that offered more than just digital asset management (DAM), as various stakeholders including eCommerce, legal, artists, marketing, buyers and others are involved in the process. The system also needed to accommodate a high volume of users, with as many as 40-50 users on the system at any given time.

ISDIN, an international cosmetics and dermatology retail brand, was facing a challenge in streamlining their packaging artwork review and lifecycle management. With a wide product range extending throughout many countries around the world, ISDIN needed an integrated platform to streamline its text and artwork management review. The review process involved many areas in its company, such as marketing, QA, its technical office and regulatory department. Reviews also involved their external partners, such as printers, packaging suppliers and third-party manufacturers. The increasing workload due to market success necessitated a solution that could provide real-time updates on the status of each project, including details such as pending approvals.

Splashlight, a visual content and technology provider, was faced with the challenge of working transparently with clients to plan and improve their creative production processes. The company needed a 'central nervous system' that would align all parties involved, including merchandise teams, photographers, post-production teams, and the client, on the production schedule. This was necessary to support faster delivery of assets and allow for real-time adjustments to marketing strategies. Furthermore, Splashlight wanted a service that would enable brands managing enormous amounts of merchandise to not only track their assets in incredible detail but also create their own personalized system of accountability.

Focus Brands, a leading developer of global, multi-channel food service brands, faced a significant challenge in bringing together and streamlining the operations of its seven distinct brands. Each brand, acquired over a period of years, had its own processes, needs, and standards. The company needed to centralize its assets in a single Digital Asset Management (DAM) system to better serve franchisees and customers worldwide. The goal was to eliminate bottlenecks in the creative department and establish a feedback loop to understand which assets resonated with customers. The challenge also involved seamlessly integrating assets into all relevant channels while continuously improving customer experiences.

Volvo Trucks North America, a division of Volvo Group Trucks, faced significant marketing challenges despite its established reputation. The company struggled with internal collaboration gaps and communication issues with its dealer network, which hindered its sales potential. The IT department was also burdened with the time-consuming task of preparing images for their eCommerce platform, which facilitates aftermarket parts sales. These communication and information gaps, along with other logistical challenges, prevented Volvo Trucks teams across the North American organization from reaching their full sales and profit potential.

Agence Surf, a creative marketing communications agency based in Paris, France, faced a significant challenge when the COVID-19 pandemic forced a shift to remote work. The agency, known for its expertise in branding, packaging, and digital marketing, relied heavily on Extensis’s font manager Universal Type Server (UTS) for their creative projects. However, the work-from-home requirements disrupted their workflow as managing updates to UTS on their server hardware became a productivity hurdle. The team needed continuous access to their fonts in UTS, which meant they had to stay connected to their VPN all the time. This led to a slower workflow, especially when working in memory-intensive design apps through their VPN. The agency recognized this situation as unsustainable and sought a solution that could provide flexible font management, eliminate font-related errors, and remove chaos from their creative process.

Anheuser-Busch, a leading beverage company, had set ambitious sustainability goals for 2025, including a 25% reduction in carbon emissions across its entire value chain. However, the company faced a significant challenge in achieving these goals due to the 20 million annual empty miles in its supply chain. These empty miles represented a significant source of carbon emissions and inefficiency. Anheuser-Busch operates more than 100 facilities in North America, moving approximately 800,000 shipments per year across 12,000 unique lanes. The company uses a large private fleet and aims for a 50-50 balance between its own assets and purchased transportation. However, filling the backhauls of Anheuser-Busch's private fleet posed a significant challenge, representing a massive opportunity for efficiency gains and reduced environmental impact.

CHEP, an Australian pallet, crate, and container pooling company, faced a significant challenge in managing the relocation of its pallets from surplus markets to deficit markets. This process resulted in a considerable amount of carbon waste in the form of empty miles. The company, which operates in more than 500 supply chain points in North America and supplies pallets to approximately 14,000 manufacturing locations in the United States, found the management of these pallets to be an incredibly complex task. The pallets are taken in by customers, loaded with freight, shipped to distribution centers and warehouses, deconsolidated, reconsolidated, and then sent further downstream to more than 19,000 retail locations. CHEP collects pallets from these locations and refurbishes them to be used again. The imbalance in freight flows in the United States, due to uneven distribution of production and consumption, necessitated the relocation of pallets, resulting in longer lengths of haul between CHEP's own supply chain points.

Dropps, a company known for its innovative detergent pods, was facing a significant challenge in aligning its supply chain with its sustainability goals. The company had a complex network of distributors and a third-party fulfillment center that shipped inventory to big-box stores. This model was neither efficient nor cost-effective. Moreover, Dropps was competing for shopper attention and shelf space with other brands in brick-and-mortar retail stores. The company wanted to reduce its carbon footprint and make its supply chain as light and efficient as its detergent pods. To achieve this, Dropps needed a new freight partner that could help optimize routes and control carbon emissions.

Encore Glass, a company that transitioned from recycling bottles to importing new glass and creating custom packaging for customers, faced a significant challenge in managing its transportation operations. The company had identified experienced carriers to work with, but lacked the means to efficiently manage the relationships with these carriers. The sales and customer service teams were responsible for finding their own transportation solutions, including booking trucks, which was a time-consuming process. Furthermore, they often purchased transportation at a significant premium to market prices. The lack of a dedicated transportation team stood in stark contrast to Encore's commitment to customer service, which included fulfilling even the smallest customers' needs with exactly the right bottles, delivered just in time to be filled. The challenge was particularly acute when serving small winemakers in remote areas, who often lacked sufficient storage space.

Faurecia, a French tier-one auto parts supplier, was grappling with the complexity of its North American transportation network. The company was seeking to simplify its network, reduce costs, and improve service. The challenge was to find reliable carriers who could deliver their high-value automotive freight on time. The truckload carriers that run automotive freight tend to specialize in it and offer dedicated capacity solutions that can become embedded on very regular, repetitive lanes. This made it difficult for non-asset transportation providers to break into those verticals. Furthermore, the specific requirements of the commodities might make them unsuited for digital freight brokerage.

In 2021, a global bottler experienced a significant surge in consumer demand for beverages. However, they faced a major challenge in finding reliable capacity to keep up with the increased volume. Their transportation teams were left scrambling to secure capacity through the spot market, which proved to be more costly and unpredictable. The bottler, being among the top three bottlers for one of the world's largest beverage producers, had to ensure product availability, trucking capacity, and transportation budgets to fulfill the demand. The situation was further complicated as food and beverage producers across the U.S. struggled to find carriers able and willing to transport additional volume. Carriers they did secure often reneged on their contracts, leaving transportation teams scrambling to find often last-minute, unpredictable, and expensive capacity on the spot market.

Joyin, a North American third-party toy seller to major retailers, faced a significant challenge in managing its rapid growth and shifting inventory. The company's revenue had been doubling year over year, and by 2020, it had more than doubled its 2019 revenue of $60 million to reach $140 million. This growth was accompanied by an expansion of its product catalog, with 1,000 items added since April, bringing the total inventory to 3,000 items. However, Joyin's existing shipping platform was unable to keep pace with this growth, leading to inefficiencies and a lack of visibility and control over operations. The situation was further complicated in 2020 when Amazon temporarily prohibited third-party sellers from shipping and storing nonessential goods at its warehouses, posing a significant operational challenge for Joyin.

A leading premium bottled water brand was grappling with supply chain resilience issues, particularly during seasonal surges. The brand's production processes were agile, adjusting bottling and shipping locations on a weekly basis to meet customer demand and drive operational efficiencies. However, this made it challenging to accurately forecast shipment volumes, define pickup facilities, and designate drop-off destinations. The brand also experienced seasonal surges during summer months, which further complicated their logistics. High customer expectations added to the pressure, making it crucial for the brand to find a solution that could ensure reliable and efficient delivery of their products.