We’ve been a proud part of the adidas family since 2015 and follow the same vision: through sport, we have the power to change lives. What makes adidas Runtastic special compared to other apps in terms of content production and distribution? One of my first steps was researching and procuring an Asset Management system that would cover our needs. That’s what led me stepping into my new role one year ago as Workflow Manager for Media. However, as our marketing demands and team grew, I was more and more engaged in streamlining/-automating processes and workflows. I’ve been working as a Digital Media Designer at Runtastic for over 6 years, which is basically an all-round role including video editing, motion graphics, and even some 3D work here and there. What’s your particular role in adidas Runtastic, Andrzej? And although we’ve been working remotely for almost a year now, our amazing company culture hasn’t suffered under these circumstances. We can proudly say that our products are available in 10 languages. Together we work on creating the best products, content, and experiences. What started as a small start-up in 2009 is now an international company in the digital health and fitness space with more than 280 employees from over 41 different nations. How many people work creating content for the app + related services? We found out more details about how the company manages its media section thanks to Andrzej Kozlowski, Workflow Manager for Media at Adidas Runtastic.Īdidas Runtastic is a really popular app with millions of followers around the world. With more than 323 million downloads and 172 million registered users, it generates a significant volume of pieces produced entirely in-house every week. On occasions like the ones we are dealing with, these are specially created for a given event.Īdidas Runtastic, although it started as a small startup, is now a giant in the world of mobile applications. This trend has also pervaded the applications that we can find on our mobile devices, which serve as windows to thousands of audiovisual items. Both the explosion of new channels and the structuring of different target audiences have led to ever increasing efforts by corporations to generate customized, adapted pieces.
The traditional broadcast world, the one that includes television, has been forced to manage a growing volume of audiovisual assets.
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