2014 IN-HOUSE CREATIVE SERVICES INDUSTRY REPORT
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SECTION NAME HERE
2014 In-House Creative Services Industry Report
2014 IN-HOUSE CREATIVE SERVICES INDUSTRY REPORT
PRESENTED
PRESENTEDBY
BY
®
®3
2014 In-House Creative Services Industry Report
Table of Contents
INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ������������������������������������ 4
DEPARTMENT ORGANIZATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ������������������������������������ 9
DEPARTMENT FUNDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �����������������������������������12
DEPARTMENT RESOURCING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������20
SERVICE OFFERINGS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ���������������������������������� 27
PERSPECTIVE FROM THE FIELD: Evaluating Service Lines Using Portfolio Analysis������������������������������������29
PARTNERSHIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������34
GLOBAL OPERATIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������36
PERSPECTIVE FROM THE FIELD: A Global Creative Team—Brady Bunch Style. . . . . . ���������������������������������� 37
PROCESSES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������40
TECHNOLOGY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������44
PERSPECTIVE FROM THE FIELD: Built–In Automation Isn’t Always Better. . . . . . . . . ���������������������������������� 47
PERSPECTIVE FROM THE FIELD: Getting What You Want From a PM System. . . . . . . ����������������������������������50
VALUES & CHALLENGES OF IN-HOUSE TEAMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �����������������������������������51
PERSPECTIVE FROM THE FIELD: We Are Great…But We Can Be Better. . . . . . . . . . . . ����������������������������������52
CREATIVE LEADER JOB MARKET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������55
PERSPECTIVE FROM THE FIELD: Perhaps Moving Up Means Moving Out: Create Your Own Path����������������56
APPENDIX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ����������������������������������59
Our goal is to benchmark the operations of in-house creative services groups to gain insights into industry standard best practices that will
support you in driving your business decisions and validate the direction of your department to upper management. We encourage you to
share the findings among your colleagues and industry peers.
We ask that you properly cite the source as:
The BOSS Group, Cella Consulting, LLC and InSource, 2014 In-House Creative Services Industry Report, April 2014.4
2014 In-House Creative Services Industry Report
About the Report
The BOSS Group, an interactive, creative and marketing staffing agency; InSource, the resource
for creative in-house leadership; and Cella, a management consulting company exclusively
serving the needs of in-house creative leaders, have partnered for a fourth year in a row
to benchmark the in-house creative community. This edition of the In-House Creative Services
Industry Report provides new insights in global operations and the challenges in-house
teams and leaders face. In addition, this year’s report includes enhanced Technology and
Agency Partnership benchmarking.
The results of this annual survey continue to provide valuable insights and a source of
validation and direction for in-house creative leaders.
Benchmarking
Creative Services teams are known for getting things done under all circumstances;
regardless of the situation, we figure out a way and get the job done. That said, there are
often opportunities within our processes for improvement that would contribute to a
more effective and efficient operating model.
While this report includes key insights and identifies predominant strategies, leaders need to
develop the best solution for their company based on the unique needs of their organization.
Benchmarking can be used to generate potential paths and solutions, but personal,
innovative thinking and institutional knowledge should not be eliminated from the process.
Survey Respondents
More than 450 leaders from in-house creative departments responded to our survey
conducted in January 2014. These leaders represent Fortune 1000 companies, as well as
middle market and not-for-profit organizations, and span multiple industries including, but not
limited to, retail, healthcare, technology and software, financial services, pharmaceuticals,
higher education, and consumer packaged goods and services.
More information about the demographics of our survey respondents is available in the Appendix.
Perspectives From the Field
We asked in-house creative leaders to share their stories* as they relate to shared challenges
and goals across the industry. Topics cover new service offerings, global operations,
technology, in-house values and career pathing. More stories like these can be found at
http://www.cellaconsulting.com/Content-and-Community/Perspectives-From-the-Field/.
© 2014 The BOSS Group, Cella Consulting, LLC and InSource. All Rights Reserved.
*The opinions expressed in these articles are those of the writers and do not necessarily reflect the views of The BOSS Group, Cella or InSource.5
2014 In-House Creative Services Industry Report
The Times, They Are A-Changin’
We are proud to present you with the results of the 2014 In-House Creative Services Industry
Report, the fourth edition of our annual report on issues and trends affecting our industry based
on the responses of more than 450 creative leaders of in-house creative teams just like you.
As anyone who has been leading an in-house team for the past year or two can tell you, things
are picking up. We know we feel it, and we’re guessing you’re feeling it, too. Maybe your general
workload has increased or your company has bestowed more responsibility for managing
the brand on your shoulders. The fact is that corporations are relying more on their in-house
teams today than they have in the recent past, and the agencies and consultants are noticing.
While we’ve successfully proven to senior management that we can do the same creative
work in-house that was once sent outside, or take on the responsibility for managing the
brand and agency relationships we rely on to support our corporate strategic goals, we still
haven’t found the support needed to grow staff size permanently. That said, we are seeing a
growth in the size of creative teams: There are less small teams (less than 10 people) and
more mid-sized and large teams than ever before (pages 21-22). We’re seeing that in-house
managers and leaders are finding new ways to grow team size and capabilities without adding
permanent full-time employees (FTEs) to the corporate payroll. New models for in-sourcing
staff such as managed contingent teams are joining the traditional on-site freelancers and
outsourcing of work to design studios and agencies.
As your in-house team and workload grow, so, too, does the need to adapt your workflow to be
more efficient and flexible to support client needs. From the adoption of account management
practices to implementing creative-specific project management systems, managers are looking
to provide an enhanced experience in a more efficient and effective manner. In addition to
facilitating the department’s workflow, project management systems are key to providing
creative leaders with tangible metrics they can leverage in their decision-making process
and senior management communications.
For the first time we surveyed creative leaders on their job satisfaction and confidence in their
job market. The good news is that two-thirds of you are mostly or extremely satisfied in your
current role. The not-so-good news is that almost half of the creative leaders who indicated
their job satisfaction as neutral or lower are not confident in the job market opportunities,
and many indicated they would be looking at options outside of in-house creative departments
for their next role.
As always, we hope you find the information in this report useful as a tool to guide and inform
how you manage your business. If there is something you’re looking for that we haven’t
reported, let us know.
ENJOY!
Andy, Jackie, and Conor
ANDY BRENITS JACKIE SCHAFFER CONOR SMITH
President, InSource VP & General Manager, Cella President, The BOSS GroupSurvey Results
DSIZE
MI
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33
AR
L
10 %
L
AL
58 % SMDepartment Organization
10
DEPARTMENT ORGANIZATION
2014 In-House Creative Services Industry Report
More than two-thirds of responding creative leaders indicated their RELATED RESOURCES
department reported through a strategic, value-adding department such Where Should the Creative
as Marketing, Communications, Advertising, Brand or some combination Department Reside?
of those divisions. When the creative team is positioned within one of http://bit.ly/ZwAaFR
these divisions, the organization is more likely to be considered strategic What Drives Similarities in
and value-adding. In contrast, when a creative team reports through Creative Groups?
a shared services division, the department is often viewed as a commodity, http://bit.ly/14eDQib
which makes it more difficult to succeed in becoming a strategic The In-House Employment
partner. It is possible to overcome the disadvantage of not being Advantage
aligned with the Marketing (or the like) department; it just requires http://bit.ly/Y7pcqA
the creative team to create a brand for itself outside of its “home.”
Leaders of in-house groups regularly face ongoing competing
priorities, leaving them without adequate time to develop their
leadership teams. It is important that leaders prioritize professional
development for themselves and their direct reports to ensure the
ongoing growth and success of the team members and group.
QUESTION What division does your creative services department report into?
¬24% nonstrategic,
shared-services
5%
divisions other3
4%
1% sales
print/
production services
10%
operations
2%
IT
2%
human 42%
resources marketing
¬ 77% strategic, 6%
value-adding other2
departments
15%
hybrid 1
1 Hybrid Marketing Divisions represent divisions
that include multiple functions, one of which 14%
is marketing communications
2 Other includes public affairs, advertising,
publications, brand, institutional
advancement, e-business, print production n=442
and production development
3 O
ther includes, but is not limited to, legal, product
development, finance, misc. executives
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.11
DEPARTMENT ORGANIZATION
2014 In-House Creative Services Industry Report
QUESTION Are internal clients required to use your group?
¬40% of creative leaders yes 32%
responded that other creative
services groups exist within no, but most come through us anyway 32%
their company. When multiple
groups exist, other variables 13% for some projects/certain types of work
need to be considered and
12% no, and it causes us challenges
sorted out such as clarity on
the groups’ services, who to 6% no
initiate a project with and
how the groups collectively 3% no, but they must go through us to use an agency
function, to name a few. n=401
QUESTION H
ow many direct reports does the QUESTION O
n average how many direct
seniormost creative leader have? reports do first/front-line
managers have?
¬While there is not
an overwhelming
12%
1 majority response 13%
2 20%
31% to the number of 1
14% >6
direct reports per
2
19%
role, there is a 3
strong correlation 20%
14%
3
between seniority >6
16% 15%
5 and number of
14% 4 14%
4 direct reports. 5
n=410 n=398
QUESTION Is your role scoped such that you have adequate time to develop your team properly
to help them reach their potential?
65% 24% 11%
not enough time adequate time no time at all
n=416
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Department Funding
13
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
Instituting a chargeback funding model is a natural evolution for an RELATED RESOURCES
internal creative services organization and an important step in Building a Chargeback Model
eliminating a number of challenges common to “free” creative http://bit.ly/12KmQxp
services. Typically, this shift is due to several factors including
Determining Your
department size, project volume/workload, resourcing and Chargeback Rate
competition with outside agencies. This evolution requires many http://bit.ly/10DrrDy
organizational changes that include standardization of processes
Chargebacks: A
and procedures, internal marketing activities, realignment of Double-Edged Sword
resources and improved project management. Moving to a chargeback http://bit.ly/17Zf4C2
model signals the team will operate more like a creative agency in
The Appeal of a Hybrid
both business operations and creative direction. Funding Model
http://bit.ly/15JDtfy
QUESTION I s your department a chargeback organization?
yes, for specific clients
and/or services
¬The larger a creative
services team, the more
12%
likely they are to
chargeback. Case in point:
20% 80% of departments with
yes, we charge back 68% more than 50 team
no, we are not a
chargeback organization
members charge back.
n=442
QUESTION W
hich most accurately
describes your
subsidized chargeback 76%
chargeback model?
2% profit requirement
22% full-cost recovery
n=138
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.14
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
QUESTION W
hat costs are you required to recover through
your chargebacks?
¬Almost half of creative
there is no specific recovery goal 39%
leaders are working without
10%
a flat number provided by finance/other a goal or substantiated
that is not substantiated to us
goal; if you fall in this
10%
a flat number or % of operating costs category, make it a
provided by finance/other
priority to change this in
1% personnel salaries only
the beginning of your
next fiscal year.
4% total personnel costs (salary, benefits, taxes, etc.)
total personnel costs + a portion of
7% direct operating expenses
total personnel costs + total direct
3% operating expenses
total personnel costs + total direct operating expenses
4% + a portion of overhead (rent, utilities)
ALL COSTS:
17% total personnel costs + total direct operating
expenses + total overhead
5% all costs plus profit
n=138
QUESTION W
hat is the most common method
used to charge clients?
12%
flat project rates other
9%
42%
blended hourly rate
37%
service-specific
hourly rate
n=134
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.15
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
QUESTION W
hat is your blended hourly rate for creative services?
4%
$141–$160/hour
11% 18%
18%
$121–$140/hour <16
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
QUESTION W
hat are the key BENEFITS your department experiences as a result of charging
your clients for services?
provides metrics needed to make sound
operations and staffing related decisions 61%
encourages efficient use of time and
resources by the creative department 58%
promotes accountability and transparency into
the financial management of the department 54%
allows departments to provide fair and
balanced support to a variety of clients 51%
encourages efficient use of time
and resources by the clients 51%
clear value recognition as compared to
using similar services on the outside 48%
allows for resource flexibility 41%
clients recognize the value
of creative services 38%
allows for adjustment to corporate
27% and economic changes
allows for the funding of
17% innovation-based activities
5% I see no benefits in our charge system
n=130
QUESTION W
hat are the key DRAWBACKS that your department is experiencing as a result of
charging your clients for services?
positions team as a vendor instead of
a partner and colleague 53%
clients find cheap or free alternatives for creative
communication to avoid the charge for services 45%
too much time and money spent on administrative
requirements of the charge system 44%
clients feel rates are too expensive 34%
funding for the department
is not secure 27%
increased and unnecessary scrutiny into the
27% operation by management and/or finance
21% stifles the quality of creative
the associated polices and procedures are difficult
17% to mandate in the creative department
15% I see no drawbacks in our charge system
n=128
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.17
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
Non-Chargeback Department
Being a cost center (non-chargeback department) can be a great thing—the creative leader can focus on the value
of the creative his or her team is creating and is not burdened by financial pressures. However, the most significant
challenges for non-chargeback departments still remain: adding new headcount and affecting client behaviors.
QUESTION W
hat are the key BENEFITS your department experiences as a result of NOT
charging your clients for services?
no financial pressures 55%
plentiful business due to lack of direct costs 53%
minimal reporting requirements 49%
technology is upgraded within
reasonable periods of time 30%
relatively easy to add freelance/temps
25% to team when demand dictates
15% I see no benefits in not charging clients
7% budget is increased annually to support growth for non-personnel costs
6% relatively easy to add new headcount to team (throughout and/or in new budget year)
n=283
QUESTION W
hat are the key client behaviors are difficult to manage because there is no
74%
CHALLENGES that implication to misuse/abuse
your department projects with questionable impact/value 60%
experiences as a result
of NOT charging your difficulty justifying value in a quantitative manner 59%
clients for services?
clients don’t highly value our services because
“free” is “inferior”/lower perceived value 48%
adding new headcount 48%
too high of demand 48%
projects that don’t reach completion
regardless of effort exerted 35%
bringing on temporary/freelance
27% staff to support peak periods
limited or no increases to funding
27% for non-personnel costs
2% I see no challenges in not charging clients
n=288
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.18
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
Non-Personnel Budget
Outside of labor, creative leaders’ budget items typically fall into several main categories: technology,
professional development and supplies. Almost half of all creative leaders find budgets for these items to be
inadequate. Most tellingly, 31% of creative leaders have very limited funding for training—the most critical
component of a creative department’s non-personnel budget, as our team members must continue to develop
their skills in order to meet expectations in the changing communications environment.
QUESTION How do you use your Non-Personnel/Direct Operating budget?
¬46% of creative leaders
on-line training (e.g., lynda.com) 64%
find their non-personnel
software & related upgrades 64% budgets to be inadequate.
stock art 64%
industry events and conferences 63%
hardware & related updates 55%
team outings for morale and bonding purposes 45%
travel/transportation 41%
soft skills training/coaching 31%
21% software training led by live instructor
20% team outings for creative enrichment purposes
14% consulting services
5% other
n=411
2%
yes, but I am
not privy to other
QUESTION D
oes your team have an established the amount
training budget each year?
RELATED RESOURCES
12%
Avoid Extinction: Keep Your Skills
and Your Team’s Skills Sharp 34%
21%
http://bit.ly/Y7pMoj yes
no, but most
requests
are approved
The Cella Slant: On
Professional Development
http://bit.ly/10DrKy0 31%
no, funding for
training is limited and
Get Serious About approved individually
Professional Development
http://bit.ly/1kdgXRO n=418
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.
32%19
DEPARTMENT FUNDING
2014 In-House Creative Services Industry Report
QUESTION What is your training budget per individual?
¬Teams with between 10 and 30
team members have the
highest per team member 20%
training budget. The largest > $1,000 30%
teams have the smallest per < $200
person budget.
16%
$750–$1,000
22%
$200–$500
13%
$500–$750
n=372
Printing
Print spend continues to trend downward with 90% of creative teams indicating that print spend has
either remained relatively flat or has decreased in the past year.
QUESTION H
ow has your total spend on printing changed ¬44% of respondents
in the past year? indicated that their
in-house print options
were restricted to standard
printers and copiers alone.
44% have access to color
6% decreased by more than 50%
digital printers, and 29%
have access to large format
31% decreased by 10%–50%
printers. 30 organizations
reported having an offset
pretty much the same, plus or minus 10% 54%
press in house.
9% increased by 10%–50%
¬In line with the reduction
of printing, 33% of creative
1% increased by more than 50%
leaders indicated their
n=342 staffing mix has shifted
such that the team increased
its interactive/digital staff
across the past year.
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Department Resourcing
21
DEPARTMENT RESOURCING
2014 In-House Creative Services Industry Report
Team Size RELATED RESOURCES
The size of in-house teams is growing! The number of small teams Don’t Let Growth Become
(< 10 people) has decreased by 10 percentage points (from 69% to 58%). Your Kryptonite
Consequently, there has been growth in teams of 11 to 20 and 21 to http://bit.ly/QdmCw6
30 team members. Headcount growth has come in the form of contract The Practical Tactical
labor, as the percentage of teams composed of 100% full-time employees Side of Growth
has decreased by six percentage points (from 55% to 49%). http://bit.ly/1hGtjwG
Creative leaders must be careful in demonstrating a desire to grow
their team. Too often a desire to grow a team can be viewed as “empire
building”; leaders must be prepared to substantiate headcount
requests based on business need. In addition, leaders need to be
prepared to promote the adoption of new processes and tools to
support the growth in order to grow in a mature, scalable manner.
QUESTION How large is your creative services team? (combined FTEs and contingent workers)
2013 2014
Solo Designer 8% SMALL TEAMS
Solo Designer 4%
2013: 68%
2–5 31% 2014: 58% 2–5 26%
6–10 29% 6–10 28%
11–20 15% MID-SIZED TEAMS 11–20 17%
2013: 25%
21–30 5% 2014: 33% 21–30 8%
31–50 5% 31–50 8%
51–75 3% LARGE TEAMS 51–75 4%
2013: 6%
76–100 1% 2014: 10% 76–100 2%
101+ 2% 101+ 4%
n=411 n=418
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.22
DEPARTMENT RESOURCING
2014 In-House Creative Services Industry Report
QUESTION W
hat percentage of your full-time team members are FTEs of your company?
(versus sourced staff)
¬ Creative teams
are decreasing
their reliance on
full-time employees.
1% 0% 3% 4% 2% 3% 5% 8% 14% 12% 20% 23% 55% 49%
0% 1–24% 25–49% 50–74% 75–89% 90–99% 100%
2013 2014
n=410, 418
QUESTION H
ow did your full-time team size change between
2012 and 2013?
18%
decreased
¬ While overall team sizes have increased,
39%
it has not been due to the growth in 44%
$81–$100/hour
full-time employees. Team size growth remained flat
has been accomplished by hiring 38%
increased
contract/temporary staff members.
n=417
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.23
DEPARTMENT RESOURCING
2014 In-House Creative Services Industry Report
QUESTION What was your 2013 attrition rate?
2%
25%–30%
3%
2% > 30%
¬ Non-regretted attrition is 20%–25%
healthy and should be
encouraged—if a job is not
a fit for the individual, 5%
both parties should be 15%–20%
invested in making a change. 5%
In addition, attrition allows 11%–15%
creative leaders the
opportunity to bring in
fresh thinking and increase 13%
6%–10%
the team’s capabilities by
hiring staff with strengths 69%
that complement the less than 5%
attrition last year
in-place team.
n=403
QUESTION W
hat are your full-time hiring
plans for 2014?
increase current
FTE headcount 37%
maintain current FTE
headcount 61%
decrease current
3% FTE headcount
n=417
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.24
DEPARTMENT RESOURCING
2014 In-House Creative Services Industry Report
QUESTION What is your perspective of the available talent in the marketplace right now?
¬ Interactive and mobile designers, project
managers and traffic coordinators are the most
difficult roles for creative leaders to source.
There’s an abundance There’s enough qualified There’s limited Having trouble identifying Response
ANSWER OPTIONS of highly qualified talent talent to choose from qualified talent qualified talent Count
Graphic Design 26% 50% 20% 4% 362
Web Design 19% 51% 25% 4% 348
Interactive/Mobile Design 10% 40% 40% 11% 346
Account Management 18% 51% 23% 8% 335
Copywriting 11% 45% 36% 8% 346
Editing/Proofreading 13% 53% 30% 5% 349
Project Management 13% 53% 28% 6% 344
Traffic Coordination 12% 52% 28% 8% 341
WHEN RESPONSES WITHIN MULTIPLE CATEGORIES WERE CLOSE, MULTIPLE RESPONSES WERE IDENTIFIED AS A MAJORITY RESPONSE.
n=363
Surge Support RELATED RESOURCES
Effectively Managing
Ensuring you’re appropriately staffed is a constant balancing act creative Just-In-Time
leaders face on a day-to-day basis. Flexible staffing models and principal Creative Resources
partnership agencies continue to provide creative services teams support http://bit.ly/10Aiivy
during peak periods without increasing staff size. Creating Positive
Permalancer Experiences
Including a budget that allows for flexibility is critical—in fact, your budget
http://bit.ly/17ZT6yF
may be better spent in not hiring an FTE and instead using the same
funds to pay several temporary workers during peak periods. The “New Normal” in Staffing
Strategies: Contingent Workers
http://bit.ly/ZPct69
Don’t Let MSP or VMS
Programs Obstruct Your
Access to Great Talent
http://bit.ly/ZNrwOu
Increasing Your Quality Hires
http://bit.ly/17iPFBR
Attracting Top-Tier Talent
http://bit.ly/17iRkYg
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.25
DEPARTMENT RESOURCING
2014 In-House Creative Services Industry Report
QUESTION H
ow many hours per week does your staff
work on average?
2%
56–60
1%
> 60
¬ While 72% of creative 51–55
leaders estimated their team
members work less than
45 hours per week, only 4%
55% of creative leaders
indicated their team was
appropriately staffed 24%
less than equal to 40 hours
when considering full-time 21%
46–50 hours
and contingent staff.
48%
41–45 hours
n=418
QUESTION W
hat is the majority of overtime attributed to?
deadlines 42%
temporary spikes in volume 31%
insufficient staffing 19%
limited quantity of
5% specific skill sets
3% other
n=318
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.26
DEPARTMENT RESOURCING
2014 In-House Creative Services Industry Report
QUESTION A
re any full-time employees paid QUESTION A
re any full-time team members
an overtime rate for any hours paid an overtime rate for more
above 40? than 8 hours in a single day?
67%
no
18%
yes
yes, and
they are
company
employees
yes,
30% though 82%
they are
third no
party
sourced
staff
6%
n=317
n=318
QUESTION A
re you able to use flexible QUESTION W
hat are the freelancer/temp
staffing options such as freelancers hiring plans for 2014?
and temporary/contract workers
during periods of peak demand?
33%
increase
total spend
¬9 out of 10 creative leaders
are able to use freelancers.
10%
no
55%
maintain total spend
33% 57%
sometimes
yes
13%
decrease
total spend
n=415
n=352
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Service Offerings
28
SERVICE OFFERINGS
2014 In-House Creative Services Industry Report
The number of projects creative services teams produce annually is RELATED RESOURCES
loosely linked to their size. While it’s interesting to discuss volume in
What Does Social Media
terms of number of projects, it’s not an apples-to-apples comparison Mean for Marketing
across organizations. Service offerings continue to evolve and expand, Infrastructure?
providing growth for in-house creative teams. However, the new http://bit.ly/1mdfWgc
complexities require specific expertise and skill sets. Volume in its truest
Launch That New Service…
form should be discussed in terms of the number of “billable” or “utilized” Under the Radar
hours per year. In addition, the various complexities in the work itself http://bit.ly/ZnJif0
are not captured under project count and are better evaluated with
Evolving Your Department’s
hours in assessing the level of effort put into the project. Service Offerings—The
Talent Question
Taking on digital work without investing in team members with digital http://bit.ly/11FZgRb
experience limits your team’s potential. It’s possible for print designers
to support some digital requests, and even for some print designers Don’t Undervalue
Digital Expertise
to fully transition to digital designers, but the most success occurs
http://bit.ly/1kBboiO
when you invest in external talent to mentor those team members
and to guide the department’s foray into digital services. Don’t Undervalue Digital
Expertise—Part II
http://bit.ly/1gS9cvb
QUESTION How many projects did your team work on in 2013?
SMALL TEAMS MID–SIZED TEAMS LARGE TEAMS MEGA TEAMS
_< 10 11–30 31–50 > 50
< 500
28% 12% 6% 0%
500–999
31% 23% 10% 6%
1000–1999
20% 31% 13% 14%
2000–2999
12% 18% 23% 11%
3000–3999
5% 8% 26% 6%
4000–4999
2% 5% 3% 9%
5000–5999
0% 0% 3% 14%
6000–6999
0% 1% 10% 3%
7000–7999
1% 0% 0% 8%
8000+
0% 2% 6% 29%
n=411 n=100 n=31 n=35
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.29
SERVICE OFFERINGS
2014 In-House Creative Services Industry Report
PERSPECTIVE FROM THE FIELD:
Evaluating Service Lines Using Portfolio Analysis
In managing a creative services divest. With enterprise value as about eBooks. As a service
team, identifying appropriate the primary focus, decision line eBooks are within our skill
new trends and services to criteria must consider what set and have a good “wow”
pursue is an evergreen process. moves the company’s core factor for clientele. But are they
While creating service lines may business ahead. worth pursuing?
open new opportunities, these
Each driver is assigned a relative
offerings must not distract from Key drivers vary depending
weight and a score from 1 to 10.
the core business of the creative upon your company’s core
The score permits quantitative
team. In-house teams need to business. Some are obvious:
comparisons of the overall
bear in mind service lines should supply/demand, cost to supply,
value/risk of a proposed service
provide benefit to the enterprise value to enterprise, competition
against previously measured
as a whole rather than favor a and capability. Others are less
portfolio analyses of existing
particular group. tangible: safety and risk
service lines.
management, marketing
Establishing decision criteria is
concerns, public relations issues At Chevron, our in-house team
the first step in conducting an
and external drivers. analyzes both current and new
ongoing portfolio analysis that
service lines annually using the
determines services to Recently, clients using tablets
portfolio analysis technique. Is
emphasize, to maintain or to and smartphones are inquiring
the value of a service line
KEY DRIVERS QUALITATIVE ANALYSIS BENEFIT RATING (1–10)
(10 BEING MOST BENEFICIAL TO THE ENTERPRISE)
Yes, we’ve received requests. How many? Some.
Is there a business need?
We expect more once the product launches. 5
Relatively minor, using mostly our current
What is the cost to supply?
Web tools. Some template cost development. 8
Yes, but only at our typical hourly rates. This
Can we recover our costs?
would not be a premium service. 5
Fairly small. Mobility is still in its infancy at the
How big is the target market? corporate level, and adoption might be slow, 3
this year at least.
How much value does it have to Some. This could promote our team’s mobile
the in-house team? capabilities, but overall sales may be low. 7
How much competition is there? Some, mostly external. 4
More or less. It could be classified as an
Is it within our scope? application, which could split the domain with 4
our information technology group.
Risk level for safety and information protection
What is the risk level?
is low. 10
Do we have the capability to do it? Yes, with some additional training. 630
SERVICE OFFERINGS
2014 In-House Creative Services Industry Report
declining? Should it be divested or TRACY PEARSON
minimized? Should a minor service Tracy is the Manager of Chevron Information Design and Communications.
Her team of 100+ creative personnel develop a wide range of communications
line be emphasized if there is an deliverables for Chevron’s global enterprise. During her tenure, she launched
increased opportunity for growth? the team’s Training division, improved operating metrics and cost recovery,
built an offshore resource pool in India and instituted the team’s first project
Portfolio analysis is an ongoing, management information system. She holds an M.B.A. from Tulane University
evergreen process that shapes and in International Finance.
drives our business forward, enabling
the carefully planned adoption of
PAUL NAQUIN
new technologies and innovations.
As Team Lead for Chevron Utility IT Assets Communications, Paul developed
and managed a broad array of processes for both the communications
team and various information technology projects. Paul is also member of
Mensa International.31
SERVICE OFFERINGS
2014 In-House Creative Services Industry Report
QUESTION W
hich of the following TRADITIONAL services does your department provide?
(select all that apply)
graphic design 98%
¬ Top 5 services provided by production design 87%
other departments (not brand management 80%
within creative services) print procurement 78%
include Social Media Support,
infographics 76%
Web Design, Copywriting,
Video Production and PowerPoint 72%
Proposal Development. photography 71%
marketing/communication strategy 65%
account management
/project management 64%
copywriting 63%
video production 61%
proofreading 61%
copyediting 60%
fulfillment service 42%
audio production 38%
30% proposal production
25% proposal development
7% other
n=402
QUESTION W
hich of the following web design 70%
DIGITAL specific
services does your
social media support 63%
department provide? copywriting 62%
(select all that apply)
interactive/multimedia design 58%
web content management 51%
on-line video 51%
mobile design 48%
user experience 39%
seo 25%
app development 19%
15% e-learning design/services
5% other
n=382
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.32
SERVICE OFFERINGS
2014 In-House Creative Services Industry Report
QUESTION W
hich of the following service offerings do you see greatly INCREASING in the future
for your group?
interactive/multimedia design 43%
mobile design 41%
video production 41%
web design 40%
social media support 37%
marketing/communication strategy 37%
infographics 33%
brand management 33%
graphic design 30%
user experience 29%
n=396
QUESTION W
hat is your group’s PRIMARY QUESTION F
or which audience does your team
scope of work? create the MAJORITY of their work?
Tier 3: Pure Production
(edits/revisions/templeted work)
5%
16%
internal
29% audience
equal to internal and
external audiences
47%
Tier 1: Creative
48% Development
Tier 2: (conceptual work)
Design Production
(execution of
previous work across 56%
deliverables)
external
audience
n=400 n=400
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.33
SERVICE OFFERINGS
2014 In-House Creative Services Industry Report
QUESTION D
oes your team provide DEDICATED account
management services to your clients?
Yes, we have both
project and
account managers
Yes, we have
account managers
8%
¬Only 18% of creative teams
have dedicated digital/ 9%
interactive project manager
roles such as “Web Producer.” 16% 49%
Yes, we have No
project managers
18%
Yes, though our
Account Managers
are hybrid Account
Managers-Project
Managers
n=401
QUESTION W
hat type of advertising does QUESTION H
ow often does your company
your group support? commission custom photography?
3%
never do not know
43%
national advertising 61%
6%
rarely
regional advertising 56%
local advertising 53% 21%
49%
20% we don’t support advertising 3 or more
times a year
n=400
5%
every few years 7%
9%
1x annually
2x a year
n=399
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Partnerships
35
PARTNERSHIPS
2014 In-House Creative Services Industry Report
Partnering with agencies is often in the best interest of the business RELATED RESOURCES
or organization and your internal team. So as a leader you must work
Partner With Agencies to
to take away the fear of bringing in outside expertise and embrace Provide Increased Value
the possibilities. It is difficult to do everything on your own. Beyond http://bit.ly/XXrTJ4
simply sharing the workload, there are other key reasons to further
Cracking the Offshoring Nut
agency relationships: keeping up with a dynamic business
http://bit.ly/1hGtsjG
environment, “integrated” creative excellence, career development
for your team and efficient delivery.
(Authored by Jenni Heerink, former Creative Director, Newell Rubbermaid—DYMO
brand. Read the full article at in-source.org/3037)
QUESTION D
oes your in-house creative team
partner with external agencies?
26%
¬The five most common no
services agencies provide
include: Campaign Strategy
& Design, Creative Strategy,
75%
Design Execution, Video and yes
Interactive/App Development.
n=400
QUESTION D
oes your group partner with
offshore/offsite creative and
production services providers?
¬These creative teams are
34%
leveraging offshore/offsite yes
creative and production
services providers for
both digital and traditional
67%
services across the no
spectrum of production
through conceptual work.
n=295
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Global Operations
37
GLOBAL OPERATIONS
2014 In-House Creative Services Industry Report
PERSPECTIVE FROM THE FIELD:
A Global Creative Team—Brady Bunch Style
It isn’t quite the story of a lovely lady together on a regular basis One of the early successes of our
who met a man named Brady. global team transpired in the
• estructured to align roles
R
aftermath of Hurricane Sandy.
Yet, not unlike that 1970s blended and responsibilities
The Princeton team’s ability to
TV family The Brady Brunch
• eveloped a creative review
D work was hindered due to the
brought together in holy matrimony,
structure that encouraged storm; however, their critical
our Global Creative Services team
regional creative directors to deadlines were still met due to
came together as the result of the
work toward consensus the support of the London and
corporate equivalent of marriage—–
San Francisco teams. Leveraging
mergers and acquisitions—that
• laced the global head in an
P global connectivity and business
resulted in transformational changes
executive creative director role continuity, the other teams in
to our firm in just a few short years.
London and San Francisco took
• ncouraged senior leaders to
E
As the result of those deals, we had on additional tasks and
travel to other locations
creative teams located in Princeton, responsibilities, working extra
NJ; San Francisco and London—– • reated an internal social
C hours until the Princeton team
each one operating autonomously media site for idea sharing was up and running again. Not
serving clients in three of our because they had to due to a
largest offices. • ooked for training opportunities
L
corporate mandate—–but
to bring individuals from each
It wasn’t long before our management because they genuinely felt
team together
team knew “that this group must compelled to do whatever they
somehow form a family,” and the • ssigned team members from
A could to help their friends.
three teams became one in late each location to task forces
CAROL CARTER
2011. taking on special projects
The Head of the Global Creative
At the onset our overall objectives Very quickly, one hour each day Services team at BlackRock, the world’s
were clear: produce consistently —–9 a.m. in San Francisco, noon in largest asset manager. She leads a
48-person in-house creative team,
exceptional creative output (especially Princeton and 5 p.m. in London—– within the firm’s Global Marketing and
important since we were launching became booked with standing Communications group, responsible for
the development of an array of
a new visual identity for the firm) meetings to accommodate the marketing materials and corporate
and increase collaboration. three different time zones. communications including brochures,
direct mail, sales support tools, event
To that end we quickly formalized materials, promotional items and
To be honest, at first there was a booth-ware. Carol has more than
meetings and processes that would tendency to identify more with 30 years of experience in marketing
require that the three teams work and communications, of which the
each individual team’s past than last 17 years have been in the
together to get things done. And our collective future. But soon, the financial services industry.
what exactly did we do? teams started to see themselves as
• stablished weekly meetings to
E one global group and the mutual
share and discuss work respect and genuine affection
increased. And much like a real
• et up monthly video conferences
S family, when times got tough, they
for the entire team to come pulled through for each other.38
GLOBAL OPERATIONS
2014 In-House Creative Services Industry Report
There are two approaches firms are taking with global operations. RELATED RESOURCES
Some teams are choosing to utilize a global approach in low-cost
Outsourcing Approaches
markets to take advantage of cost savings and offer a more “24/5” http://bit.ly/1n11PKc
approach, while others are serving global creative needs by positioning
their teams in global offices close to their customer base.
For in-house groups with multiple locations, tactically evaluating the
benefits and drawbacks of each location’s operations is critical. Most
commonly you will find trends demonstrating a need for increased
cost savings, which leads to shifting more capabilities and roles to a
lower-cost labor market either domestically or internationally.
Challenges to be made aware of and prepare for with global
operations are:
• Technology: Remote teams often experience slowness in the shared
network, which is something that may not be able to
be improved.
• P rocess:
There is a critical need for effective and efficient
project hand-offs across locations. Communication of
project details and creative direction is a consistent
challenge.
• The clock: Depending on the global locations, short or
nonexistent time zone overlaps create hurdles in
connecting and clarifying, which, in turn, can
negatively impact turnaround time.
QUESTION A
t how many locations do your team members reside?
¬89% of creative services
teams represented in this one central domestic location 70%
report have a team based in
the United States; the 10% 2 domestic locations
United Kingdom, China and
India were the next most 11% 3 or more domestic locations
prevalent with at least 20%
of teams with multiple global 9%
multiple locations both domestic
and international
locations indicating teams in
these countries. No other one n=425
location had more than six
creative teams represented.
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.39
GLOBAL OPERATIONS
2014 In-House Creative Services Industry Report
hat are the primary reasons for international
QUESTION W
creative services groups? (select all that apply)
to support local business partners 64%
to take advantage of
low-cost labor market 44%
to provide more hours of business
support “follow the sun approach” 44%
6% other
n=36
ow do you manage language support? (select all that apply)
QUESTION H
¬Outside of English, the most commonly supported languages include Spanish
(60%), French (49%), Canadian French (34%), Italian (31%), Portuguese
(31%) and Mandarin (29%).
native speakers 69%
aid of translation agency 69%
9% layout/text characters only
6% other
n=35
ow do you share files between locations? (select all that apply)
QUESTION H
email 75%
external servers
such as Dropbox 64%
mirrored servers 47%
28% other ¬“ Other” responses include
company intranet (e.g.,
6% file replications
SharePoint), project
management and DAM
n=36 tools, and FTP sites.
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Processes
41
PROCESSES
2014 In-House Creative Services Industry Report
Standard operating procedures, workflows and systems are usually RELATED RESOURCES
an afterthought and come into play when a creative services group’s Process Documentation—
volume of work is significantly increasing, and so is its size. But if More Than Just Pretty Pictures
implemented early, these tools provide transparency, clarity of roles http://bit.ly/1i8zwpJ
and responsibilities, automated support and efficiencies resulting in
Getting Started With
increased productivity—and a stronger foundation to support growth. Process Documentation
http://bit.ly/1gi2VNA
Big Deal About Tiering?
http://bit.ly/1kQDJNO
QUESTION D
oes your team use Creative Briefs?
¬All “Tier 1” projects (highly
16%
creative, conceptual projects) yes, for all
projects
should include a creative brief. 24%
Requiring a creative brief for no
non-Tier 1 projects may require
too much effort on the part
of your team and/or your clients.
An abbreviated brief for your
Tier 2 projects and simply an
intake form for your Tier 3 60%
projects are best practices. yes, for Tier 1 projects
(non-standard, non-iterative,
highly conceptual projects)
n=391
ho meets with the
QUESTION W creative director 61%
client to scope a
new project? lead designer 56%
(select all that apply)
project manager 44%
account manager 30%
other 16%
editor 14%
n=392
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.42
PROCESSES
2014 In-House Creative Services Industry Report
ho meets with the client to review iterations? (select all that apply)
QUESTION W
lead designer 64%
project manager 38%
creative director 34%
account manager 26%
editor 12%
other 12%
n=390
ow many concepts do you
QUESTION H
generally propose?
1%
3% >5 3%
5 concepts not applicable
2%
4 concepts
10%
1 concept
¬Most often one (44%) or two 26%
(27%) designers create comps 2 concepts
for new projects.
55%
3 concepts
n=393
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.43
PROCESSES
2014 In-House Creative Services Industry Report
Approach to Workflow
QUESTION A
re your workflow processes QUESTION W
hat are the most important
documented? criteria considered to prioritize
your group’s assignments?
(average score on a 0–5 scale, in which 0 is
not important, and 5 is extremely important)
18%
few, if any, are
documented Deadline
4.17
43%
some of our major ones
Strategic Importance
4.07
Project Visibility
3.32
39%
yes, everything
is documented Client Status/Hierarchy
3.24
Project Budget
1.77
n=399 n=388
QUESTION D
o you have a fast-track process QUESTION How
often do you survey
in place to accommodate your clients?
quick-turn projects?
yes, with
dedicated
team/resources
never 52%
10%
annually 20%
semi-annually 11%
52%
38% yes 5% quarterly
no
8% after most projects
4% after every project
n=399 n=399
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.Technology
45
TECHNOLOGY
2014 In-House Creative Services Industry Report
Creatives, more than most of their corporate colleagues, crave to work RELATED RESOURCES
on the newest technology and software packages. In fact, organizations
The Cella Slant: A Love–Hate
that lag behind in these areas have found themselves with recruiting
Relationship With Time Tracking
challenges at times. http://bit.ly/Y7pyxp
While creative leaders do not have the same business need for the Tips for Evaluating
Workflow Tools
latest and greatest technology items, they do have a need for
http://bit.ly/11ldG7B
creative–specific project management systems. In addition to facilitating
the department’s workflow, these systems are key to providing Digital Asset Management
creative leaders with tangible metrics they can leverage in their in 2013
http://bit.ly/11HNILO
decision-making process and senior management communications.
Hardware
QUESTION A
re most team members on
laptops or desktops?
19%
all laptops
¬Assignment of a laptop or desktop is
48%
typically dependent on role, preference,
mix of both
telecommuting status, corporate policy
32%
and role travel requirements. all desktops
n=395
QUESTION D
oes your staff work on Macs QUESTION H
ow often are your team’s
or PCs? computers upgraded?
2%
varies: depends
on their location
13%
every 2 yrs.
17%
varies: depends
30%
on thier role no specific
schedule
52%
15%
Macs
they have both
36%
every 3 yrs.
6%
14%
PCs 14%
every 5 yrs. every 4 yrs.
n=394 n=394
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.46
TECHNOLOGY
2014 In-House Creative Services Industry Report
QUESTION Is technology available such that your team can work remotely?
¬Instituting remote yes, we have VPN using company assets 64%
working environments is
not just for disaster 26% yes, we have VPN using their own computers
recovery precautions
anymore. Employees who 23%
yes, taking files home and
using their own computers
are able to work remotely
yes, through loaner laptops
are said to have higher 13% (requiring work to be uploaded ahead of time)
levels of productivity and
job satisfaction. 9% no
6% other
n=391
QUESTION W
ho provides technical 2%
combination IT &
support for your Macs? third party
3% 1%
other combination IT &
ourselves
13%
no one/we do
it ourselves
13%
Mac specialist
51%
IT Department
20%
third party vendor
n=336
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.47
TECHNOLOGY
2014 In-House Creative Services Industry Report
PERSPECTIVE FROM THE FIELD:
Built–In Automation Isn’t Always Better
The evolution of automation in the world of modern jobs, time and billing. This development is being
communications is well documented. Many of us met with much less acceptance—at least in my
who have been in the creative communications industry group. Automation always begins with the promise
for more than 20 years can still remember early of enhanced efficiency. Our system is laden with
software applications that promised to make us automated alternatives for job assignments and
faster, better and more creative. Often, those communicating. In both of these examples, our
promises left us feeling more frustrated than fulfilled. team has questioned how the automation actually
And the speed at which improvements were made makes us better. We assign jobs based on specific
on these early applications was less than urgent. experience and skill set. The application offers this
task based on availability, which is a logical way to
Recently, two major technological events were
accomplish this if everyone had the same skill set.
thrust onto our in-house creative group’s consciousness.
We have had to modify how we use the app to make
The first, a move to cloud-based updates to our
it work for us. Likewise, the application has a few
creative suite of communication applications,
tools that provide ways to communicate to each other.
promises to keep us ever up-to-date on the entire
So we all dutifully use these tools to do what we
spectrum of design tools. The second promises to
used to do face to face. The resulting need for continual
make us more efficient via process automation in
follow-up and input makes us much less efficient.
the form of a traffic management application. These
The fix is easy. Get up and have a conversation—being
two events represent different stages of automation
that we are all in one location, this is easy for us.
evolution. How your team successfully adapts to
them depends on how well your team’s leaders In the end, we in the industry need to provide the
balance technology and process. developers of these traffic and project management
systems with feedback to let them know what works
Adobe Creative Cloud is the latest in a long continuum
and what doesn’t, just as we’ve done for decades
of advancements in the tools used to create nearly
with design applications. Only then will they work
every aspect of modern communication. We really
with the same efficiency.
have no choice other than to accept how this suite
of tools is accessed, that is, if you want to have the
TONY FERNANDEZ, JR.
latest tools. For most of us who are managing designers
and content creators, this poses an issue if our IT Tony has enjoyed a distinguished 20+ year career in creative
development and marketing with a focus on brand strategy
infrastructure is not ready for cloud-based applications. and customer experience. Throughout his award-winning
You can expect a lot of hand-wringing by IT teams career, he has worked on some of the world’s most
recognized brands including Disney and Universal. He has
worried about security. Nevertheless, there is a extensive experience in branding and the unique ability to
sense that this latest advancement will receive less produce creative that “tells a compelling story” and “moves
the consumer to action.” Tony is currently the Senior Director
scrutiny by those of us who use the tools. Why? of Creative for Marriott Vacations Worldwide.
Because there is a history of feedback that has produced
a successful blending of technology and process. After
decades of improvements, these tools are highly
evolved for the end user.
The recent adoption of traffic management
applications is forcing many early adopters to
consider replacing traditional methods for tracking48
TECHNOLOGY
2014 In-House Creative Services Industry Report
Software & Systems
QUESTION How often is your software upgraded?
¬ InDesign is the primary no specific schedule 46%
desktop publishing software
for 94% of creative teams. every time new
releases are available 25%
12% every 24 months
14% every 12 months
3% every 6 months
n=337
QUESTION D
oes your team use soft proofing
no 44%
software to collaborate with clients
and collect/track feedback? sort of, we use Adobe Acrobat’s
built-in functionality 41%
yes, it is part of our
12% project management software
yes, we have standalone
4% software/system
n=389
QUESTION D
oes your team use a digital
asset management system?
23%
yes, we use a system
for our team/division
¬The most commonly used
DAM systems include Canto 49%
no
Cumulus, Extensis Portfolio,
28%
MediaBeacon and MediaBin. yes, we use an
enterprise-wide system
n=389
*NOTE: PERCENTAGES MAY NOT EQUAL 100% DUE TO ROUNDING.You can also read
