tag:econsultancy.com,2008:/topics/content Latest Content content from Econsultancy 2017-04-18T14:55:00+01:00 tag:econsultancy.com,2008:BlogPost/69004 2017-04-18T14:55:00+01:00 2017-04-18T14:55:00+01:00 As Facebook cracks down on a major spam operation, USA Today loses millions of Likes Patricio Robles <p>The social network <a href="https://www.facebook.com/notes/facebook-security/disrupting-a-major-spam-operation/10154327278540766/">also announced</a> that it disrupted a major spam operation it had been fighting for half a year. According to Facebook, the operation was "made up of inauthentic likes and comments that appear to come from accounts located in Bangladesh, Indonesia, Saudi Arabia, and a number of other countries. We found that most of this activity was generated not through traditional mass account creation methods, but by more sophisticated means that try to mask the fact that the accounts are part of the same coordinated operation. They used tricks to avoid detection, including redirecting their traffic through 'proxies that disguised their location."</p> <p>Facebook believes that the accounts created by the operation, which were still largely dormant, would later have been used to send mass spam to real users.</p> <p>Shabnam Shaik, a member of Facebook's Protect and Care team, explained that "Our systems were able to identify a large portion of this illegitimate activity – and to remove a substantial number of inauthentic likes." He added, "As we remove the rest of the inauthentic likes, we expect that 99% of impacted Pages with more than 10,000 likes will see a drop of less than 3%. None of these likes were the result of paid ads from the affected Pages."</p> <h4>But there apparently was an exception to that: USA Today.</h4> <p>According to social media monitoring platform CrowdTangle, USA Today had more than 15m Likes on Facebook as of last Thursday. By Friday, that figure had dropped to around 10m, and today, USA Today's Facebook Page has well under 10m Likes.</p> <p>As The Daily Caller's Alex Pfeiffer <a href="http://dailycaller.com/2017/04/14/facebook-discovers-major-spam-operation-usa-today-likes-plummet/">observed</a>, based on CrowdTangle's data, "no other major publisher appears to have experienced the same drop."</p> <p>While one might jump to the conclusion that the drop indicates USA Today was somehow involved in an effort to artificially inflate its Like count, that isn't the case. In fact, USA Today parent Gannett <a href="https://www.usatoday.com/story/tech/news/2017/04/14/facebook-breaks-up-fake-account-ring-targeting-publisher-pages/100451010/">reported</a> suspicious account activity to Facebook, which helped spark the social network's crackdown.</p> <p>According to Maribel Wadsworth, Gannett's chief transformation officer, "USA TODAY NETWORK takes great pride in our journalism and the trust our consumers and advertising partners have in us. Since we first brought this issue to Facebook’s attention, we have been in close communication with them and look forward to a swift solution that prevents this illegitimate activity from happening on our Facebook page in the future."</p> <p>There is irony in this story, however. In January, Jamie Motttram, then USA Today's social chief, bragged on Twitter about the growth of the publisher's Facebook Page, noting that it was the "fastest-growing FB page in news."</p> <blockquote class="twitter-tweet"> <p lang="en" dir="ltr">The <a href="https://twitter.com/USATODAY">@USATODAY</a> Facebook page passed the 10 million-fans mark! Big milestone for the fastest-growing FB page in news. <a href="https://t.co/ceNeCtcqYM">pic.twitter.com/ceNeCtcqYM</a></p> — Jamie Mottram (@JamieMottram) <a href="https://twitter.com/JamieMottram/status/824991639961747456">January 27, 2017</a> </blockquote> <p>The precipitous drop in Likes on the USA Today Facebook Page following Facebook's crackdown suggests that much of that growth was the result of fake account activity, which offers two points publishers active on Facebook might want to mull: </p> <p>1) Clearly, publishers have a limited ability to determine how much of the activity on their Facebook Pages is legitimate, and without Facebook's help, there's little they can do to crack down on bad behavior.</p> <p>2) While Facebook noted that the "illegitimate activity" was in no way related to paid ads, one has to wonder whether investment decisions have been influenced by such activity. After all, publishers are almost certainly influenced by metrics like Likes when determining how much to spend on the social network, directly and indirectly. To the extent that those metrics are inflated, publishers risk increasing spend when it isn't necessarily justified and/or seeing some of their spend go to waste.</p> <p><em><strong>Related reading:</strong></em></p> <ul> <li><a href="https://econsultancy.com/blog/68724-marketers-plan-facebook-audits-following-metrics-faux-pas/">Marketers plan Facebook audits after metrics faux pas</a></li> </ul> tag:econsultancy.com,2008:BlogPost/68957 2017-04-18T11:15:00+01:00 2017-04-18T11:15:00+01:00 The future of content is marketplaces, not AI Ben Davis <h4>AI for content generation is a long way off</h4> <p>Though <a href="https://econsultancy.com/blog/68496-10-examples-of-ai-powered-marketing-software/">AI</a> seems to be a trend that is living up to the hype, content generation is one area where its potential impact is perhaps overblown.</p> <p>Yes, deep learning is proven to craft more effective email subject lines and other short calls to action (such as in display advertising) but natural language processing is nowhere near good enough to craft long form copy.</p> <p>Yes, deep learning can be used to <a href="http://www.theverge.com/2016/12/20/14022958/ai-image-manipulation-creation-fakes-audio-video">manipulate images and even create convincing new ones</a> (see below), as well as create movie trailers <a href="https://thenextweb.com/insider/2016/09/01/watch-ibm-watson-creates-first-entirely-ai-made-movie-trailer-really-eerie/#.tnw_Z5E40XK8">it seems</a>, but the training of these networks and the 'robot hand-holding' necessary means they are also a long way from proving an autonomous solution.</p> <p><img src="https://assets.econsultancy.com/images/0008/5400/generated_images.jpg" alt="ai generated images" width="650" height="706"></p> <p><em>Images created by generative networks, <a href="http://www.evolvingai.org/ppgn">via paper</a> by Nguyen A, Clune J, Bengio Y, Dosovitskiy A, Yosinski J</em> </p> <h4>What are content marketplaces?</h4> <p>Content marketplaces are in vogue. They connect businesses with writers, graphic designers, film makers and the like. Though marketplaces are nothing new, the technology they offer is improving and plays a big part in eliminating inefficiencies during large scale content production.</p> <p>One such marketplace is Quill, which specialises in creating what it calls 'primary content', the content that influences consumers at the point of conversion, be it product descriptions or buying guides.</p> <p>Quill's cloud platform automates network management, quality control, production and delivery processes. Work can be viewed and edited in the platform, and APIs can deliver the content to a client's CMS or ecommerce platform. Access to hundreds of freelancers and the automation of bureaucracy such as allocation of tasks and invoicing is what makes this kind of platform a candidate for increasing scale and speed.</p> <p>For companies with thousands of product SKUs, platforms like Quill are a way to achieve well-crafted content quickly.</p> <p>Another notable marketplace is Gigster, this time in engineering. Gigster is a software development service which uses more than 700 freelancers to work on projects for corporate giants such as MasterCard and Airbus. One interesting component of the Gigster service is its use of AI to increase the efficiency of its projects.</p> <p>The company monitors projects to look for patterns that predict bugs or issues with deliverables, assessing activity data across software such as Trello, Slack and GitHub.</p> <p>Gigster ultimately allows its clients to use a blended workforce of inhouse and freelancers, and to develop projects with much greater speed.</p> <h4>Wider workforce trends</h4> <p>Content marketplaces are part of a wider workforce trend for flexible teams that are able to deal with rapid change, as well as create new digital products and services.</p> <p>Though much discussion of digital transformation has focused on the need for companies to create cross-functional internal teams, there are also many benefits of maintaining an external network to assist with task-based work. The <a href="https://econsultancy.com/blog/67263-skills-shortage-the-biggest-barrier-to-digital-progress-overtaking-legacy-systems/">digital skills gap</a> has been much publicised and marketplaces allow companies to compete in a competitive jobs market.</p> <p>In Accenture's recent<a href="https://www.accenture.com/us-en/insight-future-workforce-trends"> research into future workforce trends</a>, 73% of survey respondents said that corporate bureaucracies are stifling productivity and innovation. A large majority (85%) indicated they planned to increase their organization’s use of independent freelance workers over the next year (2017).</p> <p>P&amp;G is one such company that Accenture cites as having recently completed a pilot program using Upwork Enterprise, a freelance management system, with products from the pilot program delivered faster and at lower cost than with conventional methods 60% of the time.</p> <p><img src="https://assets.econsultancy.com/images/0008/5401/marketplaces.jpg" alt="workforce trends" width="615"></p> <p><em>The spectrum of role-based and task-based work, taken from Accenture's Future Workplace Trends.</em></p> <h4>The dispersed workforce model - Automattic</h4> <p>There are some companies that have taken the marketplace model to its logical conclusion and whose core team of full time workers is dispersed, too, thereby allowing the company to pursue the best employees wherever they live.</p> <p>In <a href="https://www.inc.com/glenn-leibowitz/meet-the-ceo-running-a-billion-dollar-company-with-no-offices-or-email.html">an interview on Inc.com,</a> Matt Mullenweg, the creator of WordPress and CEO of its parent company Automattic, describes the dispersed nature of its workforce:</p> <p>"Automattic is a totally distributed company, so everyone works from wherever they are in the world. It could be a coffee shop, it could be their home, it could be a co-working space. We hire people regardless of where they are.</p> <p>"We now have folks in just over 40 countries. This has been amazing for the company in that we can attract and retain the best talent without them having to be in New York or San Francisco or one of the traditional tech enters."</p> <p>Part of making this model work is ensuring effective communication between remote workers. Much like Quill and Gigster using cloud platforms for workflow, Automattic avoids email and uses its own blog theme called P2 for internal comms.</p> <p>Mullenweg says "I think email is definitely on its way out, between things like <a href="https://p2theme.com/">P2</a> and Slack... Email just has so many things wrong with it. I've never heard anyone who've said they love email, they want more of it--have you?"</p> <p>He continues, "Imagine if, in your company, instead of email, everyone could post and comment on a blog. Different groups or teams could have their own space on it, but fundamentally everything was tagged and traceable and transparent. That's kind of what P2 looks like." </p> <h4>In summary</h4> <p>There are a number of factors that make freelance and content marketplaces increasingly attractive.</p> <ul> <li>A skills shortage means companies cannot always find the right talent to take on full time.</li> <li>Inhouse teams need flexibility, the ability for the team and its skills to wax and wane as projects come and go.</li> <li>Inhouse teams want to avoid bureaucracy wherever possible, using cloud platforms to cut down on admin.</li> <li>Content is so pervasive now and is still a differentiator for businesses both online and off. Compromising on content quality is not an option.</li> </ul> <p>Expect to hear more from marketplaces such as Quill, Gigster, Catalant and Upwork, as the gig economy enables traditional big corporations to innovate in content and beyond.</p> tag:econsultancy.com,2008:BlogPost/68980 2017-04-10T15:00:00+01:00 2017-04-10T15:00:00+01:00 Digital advertising is totally out of control Patricio Robles <p>In the past several weeks, major advertisers and ad agenices have pulled ads from Google and YouTube <a href="http://fortune.com/2017/03/27/google-youtube-ad-boycott/">in a boycott</a> that was sparked by a Times investigation which found that ads from prominent brands were being displayed alongside extremist content. By some estimates, the boycott could cost Google hundreds of millions of dollars this year alone.</p> <p>In response, Google has promised change, but the truth of the matter is that the problem appears to be even larger than estimated, as practically everywhere observers look, they are finding examples of offensive content being used to serve ads from major brands.</p> <p>Heat Street, for instance, <a href="https://heatst.com/tech/many-popular-youtube-toy-channels-for-kids-contain-bizarre-graphic-poop-videos/">has detailed</a> how popular toy channels on YouTube targeting parents and children, some with millions of subscribers, are home to bizarre "poop" videos. "The videos feature children, some as old as 10, playing with fake human excrement-sometimes even eating it. Often these videos will wrack up exponentially more views than straight toy videos on the channel," it writes.</p> <p><img src="https://assets.econsultancy.com/images/0008/5338/weirdyoutubevideo.jpg" alt="" width="619" height="379"></p> <p>One disturbing video published on a YouTube channel with 4.5 million subscribers and run by a family that has had a book published by Hachette "shows two young girls who appear to mock defecate in a toilet and smear themselves in fake poop. One of the girls even throws a realistic-looking stool at the other girl, who catches it and then drops it on the floor."</p> <p>Another channel features even more bizarre and disturbing content, such as a video with the title "POOP EXPLOSION Silicone Baby Doll Poops and Pees Diaper Change Poop Drink and Wet Feeding Baby Video." The channel is run by a school teacher who says she's now making so much money from YouTube that she has stopped making toy dolls, ostensibly to focus on her videos.</p> <p><strong>That money frequently comes from brand advertisers whose ads are displayed with this content.</strong></p> <p>It's not that advertisers are intending to be a piggy bank for YouTubers who produce bizarre poop videos. When Heat Street reached out to Dell and Citibank, whose ads were displayed on some of the disturbing videos it identified in its investigation, Dell explained that it "works with our media partners to indicate what types of sites we'd like to be associated with and which sites to block. Unfortunately these sites are proliferating at an accelerated rate and often slip through the cracks." </p> <p>Citibank offered a slightly different spin, telling Heat Street, "We have a number of policies and procedures in place for our vendors designed to help prevent our advertising from appearing in connection with inappropriate content. In the rare event that an ad appears on a site with inappropriate or offensive content, we demand its immediate removal."</p> <p><strong>The problem for advertisers is that incidences of their ads being displayed with questionable content are anything but "rare."</strong> On platforms like YouTube, it doesn't take much time to find ads appearing with videos that are offensive by any reasonable measure. </p> <p>Take, for example, the countless "prank" videos that have proliferated on Google's crown jewel of video. Many contain content that is objectively violent, sexual, degrading, racist, sexist or just downright disgusting. No brand would reasonably consider this content "brand safe," but that doesn't mean their ads aren't being displayed with it.</p> <p>Unfortunately, while there are almost certainly steps Google and advertisers can take to deal with some of the most egregious examples of brand-unsafe content, there is a more fundamental problem: the incentives for advertisers and content creators in the digital ad market are totally perverse.</p> <p>Whether the industry wants to accept it or not, the digital advertising market is currently in a race to the bottom. Content creators are going to extremes, literally and figuratively, to create content that captures eyeballs because...wait for it...advertisers want eyeballs.</p> <p>To its credit, Google has started to take action. For example, YouTube last week <a href="https://youtube-creators.googleblog.com/2017/04/introducing-expanded-youtube-partner.html">announced</a> that it will now require content creators to rack up 10,000 views on their channels before those channels can participate in YouTube's partner program, which allows content creators to monetize their videos. But while that will likely help protect content creators from impersonators who steal their content, it's not clear that it will do much to improve the overall YouTube advertising ecosystem. After all, as Heat Street's investigation demonstrated, there are content creators whose videos have generated far more than 10,000 views publishing content that no brand advertiser would see value in.</p> <p>At the end of the day, unless and until advertisers reign in their unhealthy thirst for reach and efficiency at all costs and start <em>forcing</em> content creators and ad platforms to do better, the digital advertising market will continue to be the source of an unpleasant stench and brands will increasingly find that they are on the receiving end of the complaints about it.</p> <p>Fortunately, <a href="https://econsultancy.com/blog/68259-are-online-advertisers-wising-up-about-content-quality/">advertisers seem to be wising up about content quality</a> and the YouTube boycott suggests that advertisers may have finally reached a breaking point. But if they expect meaningful change, they will need to continue to put pressure on content creators and digital ad giants like Google because the out of control situation will not be fixed in a matter of weeks or even months.</p> <p><em><strong>Related reading:</strong></em></p> <ul> <li><a href="https://econsultancy.com/blog/68650-the-future-of-programmatic-2017-and-beyond/">The future of programmatic: 2017 and beyond</a></li> </ul> tag:econsultancy.com,2008:BlogPost/68972 2017-04-10T13:00:00+01:00 2017-04-10T13:00:00+01:00 Want to do content marketing in FMCG? Here's four things you need to know Nicholas Villani <p>Keeping consumers engaged with your brand ensures that it remains front of mind when those consumers are in a store, about to make an 'impulse' purchase. But how can we do this? It’s no longer good enough to tell people your product is better than the others, instead, you need to demonstrate how it adds value to their lives. One of the best ways to do that is by creating relatable and engaging content.</p> <p>To say <a href="https://econsultancy.com/reports/content-marketing-digital-marketing-template-files/">content marketing</a> is important for <strong>all</strong> brands right now is a massive understatement. To put this into perspective, in a single day there are 3.5 billion searches on Google and 5 billion videos streamed on YouTube. It is estimated that more than 380 million people using adblockers worldwide, so reaching consumers with engaging content is more important than ever before.</p> <p>The obvious leader in this space is Red Bull, but to compare yourself to a brand who has spent more than a decade positioning themselves as a media provider more than a producer of energy drinks is to ignore the opportunity. What I’m suggesting here is careful consideration about how to use social listening, meticulous planning and clever curation opportunities to engage with your consumers in new, trustworthy and relevant ways.</p> <p>Here are four fundamental principles for an FMCG brands wanting to move to a content-led strategy</p> <p><strong>1. Give them what they want</strong></p> <p>Let’s not create content for the sake of creating content. Consider the 300+ hours of video being uploaded to YouTube every minute. How do you ensure your content is well thought-out and based on what your consumers care about? The answer to his question is Data!</p> <p>A brilliant FMCG example is Unilever with All Things Hair. By tracking, in real-time, what consumers are searching for in regards to haircare, Unilever have immediate insights to the types of content they know will resonate with their audience. With the average video receiving upwards of a quarter of a million views, it’s a great example of developing content that is tailored to the audience, and it’s far less complicated than you might imagine.</p> <p><img src="https://assets.econsultancy.com/images/0008/5346/all_things_hair.jpg" alt="all things hair" width="615"></p> <p><em>All Things Hair YouTube channel </em></p> <p>Free tools such as Google Trends, Facebook Audience Insights and Social Mention are super useful and let you explore what consumers are saying about your brand or your category. </p> <p>If it’s your first time using tools like this for insights, then a good place to start is by asking the following questions:</p> <ul> <li>What are my consumers searching for?</li> <li>What platform are they searching on?</li> <li>What are they talking about?</li> <li>Is the sentiment positive or negative?</li> <li>Which platform is the conversation happening on?</li> <li>Are there clear spikes in search volume around specific times of the year?</li> </ul> <p>Another brilliant example is Nestle Toll House, who specialise in baking products. Realising that bakers were slowly being aged out of the category, they needed to find a new way to engage them whilst retaining their core values. By partnering with Ashley Adams, an established food blogger, they created the ‘<a href="https://www.youtube.com/playlist?list=PLag5-QrcetjoHvTfLo9oi29B_FZ5q6bm2">Bake My Day</a>’ series, sharing tips and tricks for the modern cook.</p> <p>By carefully using paid media to promote the channel, they amassed over 17 million views in less than a year. Pretty sweet results!</p> <p><strong>2. Get the role of the platform right</strong></p> <p>It goes without saying but understanding how each platform works is fundamental to success. Remember that advertising on social is considered much more of an intrusion than other digital channels. The first step here is to understand whether your primary reason for using social is for content distribution, CRM, PR or something else altogether.</p> <p>Furthermore, if you are using more than one platform, adapt your creative appropriately. Don’t repurpose content needlessly from Pinterest to Facebook without any consideration of whether it matches the environment. Remember why people are visiting the platform in the first place, then ensure your content is complementary to the experience. </p> <p>Every day in this digital age seems to bring about a new suite of innovative, yet arguably risky channels for marketers to experiment with. For example, Cadbury has recently been a trailblazer by commissioning Snapchat filters. This has allowed them to achieve an otherwise unimaginable 30+ second engagement with their consumers, and in an age where we have a shorter attention span than a goldfish, that must be worth something, right?</p> <blockquote class="twitter-tweet"> <p lang="und" dir="ltr"><a href="https://twitter.com/CadburyUK">@CadburyUK</a> <a href="https://twitter.com/hashtag/snapchat?src=hash">#snapchat</a> <a href="https://t.co/0jasPMxlIm">pic.twitter.com/0jasPMxlIm</a></p> — Daniel Clayton (@8omb3r) <a href="https://twitter.com/8omb3r/status/774489637133877248">September 10, 2016</a> </blockquote> <p>These new platforms are brilliant fun for creatives, but demonstrable ROI is difficult to ascertain. At the end of the day, it’s like having a high-risk product portfolio. If you have the budget and creative capability, then experiment away. Otherwise, I’d strongly advise keeping to the path well-travelled.</p> <p>(Related read: <a href="https://econsultancy.com/blog/68955-marriott-uses-snapchat-influencer-campaign-to-target-millennials/">Marriott uses Snapchat influencer campaign to target millennials</a>)</p> <p><strong>3. Order, not chaos</strong></p> <p>Once you have gathered these insights, and you know the type of content that you should produce, it’s important to employ a framework to underpin your publishing plan. Content should only be created with a clear roadmap and measurable KPI’s. Whilst there are several highly valid approaches to this, the 'Hero, Help and Hub' framework developed by YouTube is my preference, even for content that is not specifically video. </p> <ul> <li>Hero – This is the content that should inspire and catch people’s attention. </li> <li>Help – This is content that helps provide answers. It could be cooking tips, life hacks or advice on how to get the most out of the product</li> <li>Hub – This is often the most overlooked, but this is the content you want your customers to subscribe to. This encourages repeat engagement with your brand</li> </ul> <p>Let’s look at an FMCG brand, Ben &amp; Jerry’s. Recently launching their new ‘Cherry Chocolate Garcia’ flavour, this approach is evident. </p> <p>Firstly, they did what any self-respecting FMCG brand would do, they created a 20-second advert, with drool-worthy creative. Designed for digital, it does little more than to introduce the product and make you want it now. This is their Hero content.</p> <p>Secondly, they set out to create several food-porn video recipes that involve the new product. One of which even suggests you need three tubs of the ice cream to achieve! They call it Ice Cream Hacks. I call it Help content.</p> <p><iframe src="https://www.youtube.com/embed/4RRhRaTdYIo?ecver=2&amp;wmode=transparent" width="640" height="360"></iframe></p> <p>Lastly, and what is effectively a content play for the 'long tail', their Climate Justice series is an episodic, well produced, socially responsible series of videos that correlates climate change with melting ice cream. It’s a stretch creatively, but effective none the less. This is their Hub content that keeps their audience coming back.</p> <p>There are plenty of other examples of FMCG brands using the Hero, Help, Hub framework, as it is a simple yet highly effective way to segment and organise your content strategy.  </p> <p><strong>4. Always-on isn’t always on</strong></p> <p>Let’s get some hard facts straight, always-on marketing is not necessarily going to be the miracle solution for every brand. As much as I champion digital, content marketing, with the odd viral exception, is rarely useful in the awareness phase. By its very nature, content is about creating meaningful moments with your customers when they are the most receptive to your message.</p> <p>Let’s look at the confectionary sector, or more specifically, luxury chocolates. The product cycle is largely seasonal and there are clear seasonal peaks e.g. Christmas, Easter and Valentine’s day. It makes sense for marketers to capitalise on these events, and invest heavily in big, glorious, top of the funnel campaigns that saturate every consumer touchpoint, from TV to shopfront. The desire is to capitalise on the trend and saturate the market with your message.</p> <p>But, this is not about re-allocating your entire TV budget to start a YouTube channel. It’s more important to consider where your consumers are, what they are doing, and fundamentally, your metrics for success.</p> <p>It’s true to say that traditional mediums can be more effective than digital if your KPIs are purely reach-oriented. Arguably, digital is about moving your consumers down the funnel and engaging them in the moments that matter. Let the two work hand-in-hand. Allocate your budget appropriately and understand the role of each channel. It’s also highly unlikely your content is going to go viral, so make sure you are investing properly to promote it through paid media.</p> <p>Most importantly, in the world of social, likes, shares and comments may attribute to positive brand sentiment, but they are not necessarily a proxy for sales.</p> <p>To quote Tamara Schenk <em>"content may be king, but context is queen".</em> </p> tag:econsultancy.com,2008:RoundtableEvent/865 2017-04-04T11:40:00+01:00 2017-04-04T11:40:00+01:00 Creating Compelling Content <p>Brands recognise that content is a vital way to reach and engage with consumers, whether they’re selling biscuits or bank accounts. But it’s becoming increasingly difficult to gain any cut through among all the low quality content cluttering up the internet.</p> <p>This roundtable discussion will give attendees the chance to share their key challenges, headaches, and success stories around content creation. It provides an opportunity to learn from industry peers, with the aim of providing inspiration for your own content marketing efforts.</p> <p>Talking points will largely be decided by attendees on the day, but could include:</p> <ul> <li>Effective techniques for creating content ideas.</li> <li>Quick wins to take the pressure off the ideation process.</li> <li>Making the most of existing content assets.</li> <li>How to optimise your content distribution strategy.</li> </ul> tag:econsultancy.com,2008:BlogPost/68941 2017-03-31T15:00:00+01:00 2017-03-31T15:00:00+01:00 Hollywood's response to digital disruption looks like a flop Patricio Robles <p>Take the major Hollywood movie studios. <a href="http://variety.com/2017/film/news/studios-premium-vod-early-1202013205/">They are reportedly planning</a> to create premium video-on-demand offerings that would allow consumers to watch major motion pictures at home within 45 days of their theatrical releases. In some cases, films would be available to watch at home within weeks of appearing in theaters.</p> <p>There is a catch, however: the studios are reportedly planning to charge $30 to $50 a pop for the privilege.</p> <p>To be sure, there are consumers who are not attached to the Big Screen experience. Going to the movies can be an expensive proposition, especially when you throw in a couple of kids and food. Thanks to growing ownership of large, flat-screen televisions and high-end audio systems, watching a movie at home isn't so bad.</p> <p>But will consumers shell out $30 to $50 to watch a new movie at home when, for as little as $8 a month, they have access to thousands of movies on a service like Netflix? </p> <p>Lest movie studios fall into the trap of believing that comparing Netflix's catalog to new releases is an apples-to-oranges comparison, consider that Netflix <a href="https://www.wsj.com/articles/netflix-the-monster-thats-eating-hollywood-1490370059">is said to be investing $6bn this year alone</a> on more than 70 original shows. And its original content push isn't just targeting content that would traditionally be distributed on television and cable networks. </p> <p>The company recently struck a deal for a $100m Martin Scorsese-directed gangster flick starring Robert De Niro. The film was originally slated to be produced by Paramount Pictures, but <a href="http://www.indiewire.com/2017/02/martin-scorsese-the-irishman-robert-deniro-netflix-paramount-1201785658/">according to</a> a source that spoke to IndieWire, "Scorsese’s movie is a risky deal, and Paramount is not in the position to take risks."</p> <p>Netflix <a href="https://www.fool.com/investing/general/2017/03/27/100-million-reasons-netflix-is-doubling-down-on-ad.aspx">has also extended its deal</a> with Adam Sandler's Happy Madison Productions that will see the funny man produce four additional comedy films that will debut exclusively on Netflix. While Sandler's first Netflix movies have not received rave reviews, the company says that his last two were the most-watched Netflix originals ever.</p> <p><img src="https://assets.econsultancy.com/images/0008/5168/netflix.jpg" alt="netflix adam sandler" width="600" height="200"></p> <p>Given the plethora of original content of all kinds that Netflix is adding and making available to subscribers for a monthly fee that is a fraction of the cost of the Hollywood studio's price point for a single video-on-demand purchase, there's a real question as to just how sensible it is for Hollywood studios to risk upending the theater-first model that it has employed for so long.</p> <p>While that model might not be built to last, the seemingly expensive video-on-demand model it's contemplating would appear to be anything but a sure bet and <a href="https://www.wsj.com/articles/premium-video-on-demand-the-fallout-1490532073">there are substantial risks</a>.</p> <p>Interestingly but perhaps not surprisingly, movie studios aren't the only Hollywood players reportedly considering head-scratching plans. Take for example cable network AMC, which is evaluating the possibility of offering a new subscription service that will allow consumers the ability to stream its content.</p> <p>Other cable networks such as HBO are pursuing direct-to-consumer offerings in response to the phenomenon of cord-cutting, but there's a huge caveat with AMC's: to purchase a subscription, consumers would reportedly need to have access to AMC through an existing cable plan and shell out an extra $5 to $7 a month to stream.</p> <p>As one observer <a href="http://www.avclub.com/article/amc-might-be-developing-very-bizarre-streaming-ser-252735">put it</a>, "this could be the dumbest idea the network has had since it canceled Rubicon back in 2010."</p> <h3>Disruption isn't just about distribution</h3> <p>It's hard to blame Hollywood for taking action to deal with the ongoing disruption wrought by the rise of the internet. But the ways that Hollywood seems to be responding to disruption suggests that it's still in denial about an inconvenient truth: the disruption it faces isn't just about distribution.</p> <p>Yes, consumers are demanding the ability to consume content whenever, wherever and however they like, and video-on-demand and streaming services address this demand. But $30 to $50 video-on-demand offerings and streaming services that require subscribers to pay extra on top of an existing paid cable package ignore the fact that consumer expectations around what and how they pay for content have also changed.</p> <p>In other words, Hollywood can't expect to effectively deal with disruption by addressing distribution but ignoring economics. However, that seems to be precisely what it is doing.</p> <p>Not only is this crazy, it's doomed to disappoint.</p> tag:econsultancy.com,2008:BlogPost/68946 2017-03-29T13:56:43+01:00 2017-03-29T13:56:43+01:00 What the commodification of (Snapchat) Stories means for marketers Bola Awoniyi <p>Life can come at you fast though, especially when you're in the consumer tech space.</p> <p>In less than 12 months, the Stories format is now prevalent on the Instagram, Messenger, WhatsApp and Facebook apps, thus making the intentions of the largest aggregator of human attention abundantly obvious.</p> <p>However, Facebook is not the only entity to have taken inspiration. Medium’s version of the format, <a href="https://medium.com/the-mission/wtf-is-mediums-new-series-feature-and-what-does-it-mean-for-us-7a267fc5bebb">“Series”</a>, is less than a month old. <a href="http://www.apple.com/uk/clips/">Clips</a>, announced just last week, is Apple’s attempt to also get involved in the space.</p> <p>And although misguided, Twitter’s implementations of <a href="https://thenextweb.com/apps/2016/08/09/twitter-moments-stories/#.tnw_X98BwX7l">Moments</a> and <a href="https://www.recode.net/2016/6/27/12037034/twitter-stickers-feature-like-snapchat-facebook">Stickers</a> were both attempts at competing with the Stories phenomena.</p> <p>With the proliferation of mobile storytelling heading fast towards visual content overlaid with filters and emojis, it begs the question, how should brands respond?</p> <h3>From Feature to Format</h3> <p>There is no doubt that what was once an exclusive part of Snapchat is now a part of a growing numbers of apps and platforms where consumers spend the bulk of their time. </p> <p>Whether or not Facebook / Instagram were underhand in imitating the feature is now irrelevant; it's now a format that hundreds of millions are going to be exposed to in the coming months. With that change should follow a change of tack for marketers and others interested in getting the attention of consumers.</p> <p>It no longer makes sense to avoid Stories because your customer is not on Snapchat. Stories is going to be a commonplace feature, with consumers likely trying it out on multiple platforms and, more importantly, seeing how others use the format too.</p> <p><img src="https://assets.econsultancy.com/images/0008/5113/facebook_stories.jpg" alt="" width="750" height="441"></p> <p>It is already <a href="https://techcrunch.com/2017/03/26/camera-is-the-new-keyboard/">being described as the new news feed</a>, which may not be far from the truth if users flock to the format on Facebook in the same way users have done on Instagram (There are now as many people using Stories on Instagram as there are using the entire Snapchat app).</p> <p>If this is truly the case, marketers that are not experienced in the format, should start building the expertise, lest they get left behind.</p> <h3>Stories is now a language marketers need to learn</h3> <p>The nuts and bolts of a Story are mostly the same, regardless of which app you are using:</p> <ul> <li>Video and picture content presented (mostly) vertically, completely natural in a smartphone-driven world.</li> <li>Stories are told in chronological order, rather than the reverse chronology of the old Twitter timeline / Instagram feed, or the algorithmic feed made popular by Facebook.</li> <li>Images are normally overlaid with text, music, filters, emojis and other things. The assortment of options is unique to each platform for the time being, but whether that changes or not remains to be seen.</li> </ul> <p>This combination of elements, in particular the camera function, is uniquely enabled by smartphones, which the creators and imitators of the formats have more than embraced. </p> <p>Snap CEO Evan Spiegel:</p> <blockquote> <p>In the way that the flashing cursor became the starting point for most products on desktop computers, we believe that the camera screen will be the starting point for most products on smartphones.</p> </blockquote> <p>Messenger Day product manager, Tony Leach:</p> <blockquote> <p>We like to think of the camera as the new keyboard.</p> </blockquote> <p>This marks a significant change from the content currently being posted on social feeds. Most of this content is strictly one format: Links, text, pictures, videos, that stand side by side in contained units.</p> <p>What the format of Stories has created is a mobile-friendly canvas for users to create experiences where pictures, videos, sounds, words and more can come together. This will require even more creativity from marketers on a more frequent basis, if they are going to use Stories as a format effectively.</p> <h3>Yet another format to add to the mix</h3> <p>However, just because Stories is “the new news feed”, that doesn’t mean the feed format is obsolete.</p> <p>While Stories is currently being used to tie together the in-between moments that make up a user’s daily narrative, the feed / timeline is just as important in its role of showing off the best moments a user has to offer; hero content, if you will.</p> <p>On top of this, despite Zuckerberg’s clear eye for products and features that garner consumer attention, to date his company has only created significant revenue from feed-based products.</p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fmessenger%2Fvideos%2F1227636360689375%2F&amp;show_text=0&amp;width=560" width="560" height="315"></iframe></p> <p>As social platforms continuously seek to find the optimal balance between showing users content from friends and family vs. brands vs. professional content producers, it is probably safe to assume that marketers will still need to continue creating engaging content for the feed, as well as content for their Stories.</p> <p>Consequently, as the Stories format gains adoption, brands will have to make real decisions about how to distribute resources among the different formats and platforms they use for social media.</p> <h3>Don’t forget to think about ads too</h3> <p>It goes without saying that at some point, marketers will need to take the ad formats that go in between each story seriously, probably sooner rather than later.</p> <p>Thus far, <a href="https://www.snapchat.com/ads/snap-ads">such ads on Snapchat</a> can only be executed through <a href="https://www.snapchat.com/ads/partners">the use of a Snapchat partner</a>, while <a href="https://business.instagram.com/blog/instagram-stories-available-globally/">Instagram only made global advertising for Stories available</a> at the beginning of March. As the format increases in popularity, you can guarantee Facebook will switch on ads for its other properties too.</p> <p>Advertising creative in this format will be markably different to ads for other formats, which only adds to the learning curve marketers will need to go through.</p> <p>Marketers will be best served to start experimenting on this in small pockets on Instagram as soon as possible (and Snapchat if you have the budget), to ensure that their brand will be in the best position to capitalise when the time is right.</p> <h3>In conclusion...</h3> <p>While Stories being copied may be problematic for Snapchat, it also puts the onus on marketers to get to grips with yet another format.</p> <p>It may take some time for the format to take off, but every second that your brand is not making these stories, it’s another second your competitor could be gaining valuable experience and marketshare at your expense.</p> <p>That said, as Facebook has clearly shown, sometimes there is nothing wrong with waiting to see how things go, before having the audacity to copy well.</p> tag:econsultancy.com,2008:ConferenceEvent/863 2017-03-26T15:24:36+01:00 2017-03-26T15:24:36+01:00 Digital Outlook 2017 Part 2 - The Sequel <p>We hear you, and we understand that there are still many digital marketing topics that were not covered at <a href="https://www.facebook.com/pg/Econsultancy/photos/?tab=album&amp;album_id=10154296603034327" target="_blank">Digital Outlook 2017</a>.</p> <p>We have selected the next six trending digital marketing topics to be presented at this event. Join us in this half day session to find out the trends and digital marketing best practices for the year.</p> <p>There will be 6 keynotes - all aiming to provide the audience with a outlook for the year.</p> <p>&gt;&gt;&gt; <strong>Overview of the 2017's trending digital marketing topics</strong></p> <p>&gt;&gt;&gt; <strong>Trends, best practices and c</strong><strong>ase studies</strong></p> <p>Hear from leading practitioners and network with industry players to learn what digital marketers should focus today to plan for tomorrow and succeed later.</p> <h4>Special Announcement</h4> <p>In partnership with NTUC, e2i and WSG, Econsultancy is carring out a research on <strong>digital marketing training and development needs in Singapore for 2017</strong>. Please help us improve our training courses by completing the short survey <a href="http://www.surveygizmo.com/s3/3421857/b9062f550750" target="_blank">here</a>. In return for your time, you can redeem a discount on Econsultancy training courses in Singapore. </p> tag:econsultancy.com,2008:BlogPost/68937 2017-03-24T15:05:08+00:00 2017-03-24T15:05:08+00:00 Stories from SXSW 2017: ad blocking, content distribution, and Joe Biden Nick Hammond <p>These looked at the areas of <a href="https://econsultancy.com/blog/67076-the-rise-and-rise-of-ad-blockers-stats/">ad blocking</a>, <a href="https://econsultancy.com/reports/the-rise-of-influencers/">influencer marketing</a>, social video, <a href="https://econsultancy.com/blog/66752-10-steps-to-better-content-distribution/">content distribution</a>, and the thoughts of Joe Biden, former Vice-President of the USA.</p> <p><strong><a href="http://schedule.sxsw.com/2017/events/PP67501">Ending The Ad Blocking Wars</a></strong></p> <p>The panel for this session included representatives from Brave Software, The New York Times, Digital Context Next and The Christian Science Monitor. They considered whether publishers can improve the ad experience to persuade readers to turn off blockers? Or will add blockers bring about the end of the free web?</p> <p>As you may imagine there was no simple solution to this conundrum. The two biggest players in the digital space (you know who they are) are not affected by ad blocking and therefore are not bothered by its effects. </p> <p>Although ad blocking is plateauing (<a href="http://www.campaignlive.co.uk/article/uk-ad-blocking-levels-stabilise-22/1425085?bulletin=campaign_breakfast_briefing&amp;utm_medium=EMAIL&amp;utm_campaign=eNews%20Bulletin&amp;utm_source=20170223&amp;utm_content=www_campaignlive_co_uk_ar_6">at least in the UK</a>), the real squeeze is on smaller publishers, the little guys getting caught in the middle. These organisations are caught in an imperfect storm, made up of greater reliance on ad revenues and lacking the engineering investment levels and knowledge to respond to the threat.</p> <p><img src="https://assets.econsultancy.com/images/resized/0008/5034/adblock-blog-flyer.png" alt="" width="470" height="163"></p> <p>As a result of this, there is a real possibility of local, smaller publishers, starting to disappear. This could create a regional ‘news desert’ as even more people seek their news from social media. Currently 44% of Americans use Facebook as a news source and the number is rising. </p> <p>There was also a discussion around different types of ad blockers. Much of the debate tends to be around the big players, such as AdBlock which has 200m downloads; but there are other providers with different business models. <a href="https://brave.com">Brave Software</a> (represented on the panel) doesn’t just remove ads – it replaces them with new ads and splits the revenue between publishers, users, network partners and the company itself.</p> <p>Brendan Eich from Brave suggested that this software is the first ‘post-bad’ ad blocking solution. Still early days for this, 'softer' ad blocking model and it will be interesting to see how it plays out.</p> <p>Predictably, content was identified as a way to get around this challenge. The NYT emphasized the importance of engaging content – ‘pull instead of push’ – and advised strongly against using technology to push advertising onto consumers.</p> <p>Sponsored ‘native’ content is not necessarily the panacea to solve this problem, as publishers often tag creative to acquire more data; these are then identified as ads and therefore blocked. </p> <p>Ad fraud was a serious related issue discussed, with an estimated 23% of global video traffic being served to robots. </p> <p><strong><a href="http://schedule.sxsw.com/2017/events/PP65228">The Hundred Thousand Dollar Snap(chat)</a></strong></p> <p>The panel for this one was ShopStyle and Neiman Marcus, who considered the opportunities and challenges arising from social commerce, as well as the <a href="https://econsultancy.com/reports/the-rise-of-influencers/">growing importance of influencers</a>, particularly within retail.</p> <p>The background to this is the change in consumers’ consumption of media and the importance of the mobile channel. 30% of all time online is spent on social and 60% of that is on mobile.  </p> <p><img src="https://assets.econsultancy.com/images/0008/5033/snapchat_logo.jpg" alt="" width="470" height="243"></p> <p>As is often not the case, influencer activity should be approached in the same manner as any other communications campaign. It is not safe to assume that a single endorsement – ‘one and done’ – will do the trick. An effective frequency of ‘seven’, was mentioned as appropriate to the fashion retail sector. As with other channels, planning should be considered over an extended activity period, not as a series of one-offs. </p> <p>In addition, activity should not undermine influencers connections with their followers, and these retail influencers can be initially incentivised through special deals to offer to their followers. </p> <p>An interesting analogy compared the purchasing process for expensive items, such as for a Chanel bag, to the dating process; where buyers return to the store to view and interact with the product over time. In instances like these, iterative influencer messages can be effective in moving an individual closer to purchase.</p> <p>Strategies need to be different across separate social channels. Facebook is all about advertising, whilst Instagram benefits from a more organic approach. Snapchat is the new kid on the block and the hardest to measure. </p> <p>Above all, brands need to work out when to act as themselves, or through influencers in the social space. What are the key KPIs, how to measure these and how to ensure valuable content lives effectively beyond social channels? </p> <p><strong><a href="http://schedule.sxsw.com/2017/events/PP97038">Social Video and The Future of Consumption</a></strong></p> <p>Representatives from Vox Media, Vice Media and the New York Times joined this panel to discuss how social media is impacting video journalism. This session made very clear that Facebook is now the platform for video consumption. </p> <p>The NYT identified Facebook as ‘the stage’, and the essential channel for engagement and getting time with its audience. A major focus for NYT is around <a href="https://econsultancy.com/blog/67808-10-pioneering-examples-of-brands-using-facebook-live/">Facebook Live</a>, which is being used to provide real-time coverage of news events. They are even looking at using this channel to create crowd-sourced investigations, a kind of mass citizen journalism.</p> <p>The upside of the live video phenomenon is that brands have an opportunity to powerfully engage with a massive audience, using current, exciting and rapidly changing content. </p> <p><iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fnytimes%2Fvideos%2F10151119750979999%2F&amp;show_text=1&amp;width=560" width="560" height="476"></iframe></p> <p>The downside of live unedited content, is a concern around quality and the loss of editorial perspective. As a result, insightful user comments can be important to create context; but recognising this may not always be the case, Vice has indicated that all user comments are monitored in real-time.</p> <p>More controversially, the <a href="https://tytnetwork.com">The Young Turks</a> news channel is allowing users to pay to have their comments listed. Although the rise in importance of user comments can be seen as a democratic trend, allowing a financial bias on inputs would seem rather less altruistic. </p> <p>Another concern is that a publisher brand cannot easily prevent incorrect stories or unsuitable content being viewed. They can provide a retraction or an alternative perspective later on; but this may be seen by many fewer people. A good example of this would be the <a href="http://money.cnn.com/2016/06/10/technology/hillary-clinton-google-search-results/">SourceFed Hilary Clinton conspiracy theory</a>. </p> <p>For me, this progression towards an ‘always-on’ society is worryingly redolent of Dave Eggers' book, and now film, <a href="https://www.youtube.com/watch?v=QCOXARv6J9k">The Circle.</a></p> <p>In any event, the benchmark for how quality video is defined is changing rapidly as we transition from a ‘TV-centric’ to ‘mobile video-centric’ world. In the digital space, where everyone with a phone is a director, quality is now less about production values and more about the story, speed and authenticity. </p> <p>Separate approaches to video content are needed across different channels. For example on Facebook a ‘raw’ approach is more appropriate and authentic. <a href="https://econsultancy.com/blog/67977-four-examples-of-brands-using-an-episodic-content-marketing-strategy/">Episodic content</a> on Snapchat is popular, with bitesize ‘episodes’ being used to tell a story in a manner entirely fitting to the medium. </p> <p>With live video, there is also a greater ethical onus on brands to decide what they will show and what they will not. A good example of content that could be considered to be on this demarcation line is <a href="http://mashable.com/2016/10/21/snapchat-breaking-news/#i0SLEFuJPsql">Snapchat’s coverage of the conflict in Mosul</a>.</p> <p><strong><a href="http://schedule.sxsw.com/2017/events/PP65066">Content Distribution Platforms – Friends or Foes?</a></strong></p> <p>The panel for this session included The Economist, Conde Nast International, The Young Turks and ABC News. They looked at how<em> </em>publishers are becoming more reliant than ever on content distribution platforms such as Facebook and Snapchat to reach new audiences. </p> <p>A good starting point for this session was mention of Emily Bell’s 2016 article <a href="http://www.cjr.org/analysis/facebook_and_media.php">Facebook Is Eating The World</a>.</p> <p>Facebook is the key platform under consideration here, as it increasingly becomes the place where online content is consumed. It’s importance and control over brand content has increased with the rise of <a href="https://econsultancy.com/blog/67544-facebook-to-open-up-instant-articles-what-publishers-need-to-know/">Instant Articles</a>, as opposed to publisher feeds, keeping traffic within the Facebook ecosystem. As an aside, Snapchat was seen to be on the rise but not currently a viable global option. </p> <p>With this is in mind, the panel considered that Facebook was both a friend and a foe. It was seen to be a friend in terms of providing a broad distribution platform and a foe with regards to its control over advertising revenues. </p> <p>According to Steve Oh of The Young Turks, the key to content success with Facebook is threefold:</p> <ul> <li>Creating regular, relevant content</li> <li>Swift use of new product features released</li> <li>Focus on building an audience </li> </ul> <p>The Economist’s approach is to focus on bite size content that lures customers towards subscription, with news topics including ‘on this day’ and ‘famous quotes’. A specific approach is with ‘Vimages’, using Facebook <a href="http://www.niemanlab.org/2016/09/with-vimages-the-economist-is-using-facebook-to-make-low-budget-video-versions-of-its-stories/">to re-package magazine stories into video form</a>.</p> <p>One of the questions in the session, was how to keep up with the rapid changes at Facebook and the best ways to share content. There was no clear answer, but suggestions included looking for Newsroom tips, and Google Alerts pertaining to Facebook algorithms. </p> <p><a href="http://schedule.sxsw.com/2017/events/PP61899"><strong>Art + Science: Videos That Inform, Inspire &amp; Scale</strong></a></p> <p>Finally, PopSugar's David Grant discussed what brand marketers need to know about creating video that engages their target audience at scale while delivering on brand KPIs. The session sought to explain the success of PopSugar in targeting millennial women.</p> <p>The starting point for the brand's success is to understand, as does Snapchat, the increasing cultural relevance of the camera (<a href="https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html?_r=0">as identified in this NYT article</a>) and that humans naturally gravitate towards content that is made up of <a href="http://www.kvibe.com/2015/03/17/why-we-as-humans-gravitate-towards-video/">sight, sound and motion.</a></p> <p>PopSugar creates videos that inform, and are created from a combined perspective drawn from its brand, brand partners and their data. PopSugar has created its own tool, <a href="http://www.adweek.com/digital/how-popsugars-new-tool-will-help-you-stay-ahead-social-media-trends-174640/">Trend Rank</a>, to help it identify areas of content focus, supply ‘velocity data predicting’ and find trends ahead of time.</p> <p>Grant observed that, with video, companies typically have only one second to make an impact, so selected content has only that time to have an effect. </p> <p>Some examples of PopSugar's recent successful native content campaigns are: </p> <ul> <li>Doubletree by Hilton: ‘Find Your Happy’ campaign. Building on the fact that Hilton always leaves a cookie for its guests, PopSugar a campaign focusing on wider acts <a href="https://www.popsugar.com/smart-living/Random-Acts-Kindness-You-Can-Do-Every-Day-40742607">of kindness and generosity</a>.</li> <li>Garner Shampoo: ‘Photo Ready Mums’. Based on the insight that mums often take pictures of the family, <a href="https://www.youtube.com/watch?v=UzaKYqPYKyo">but regret that they are not in the pictures themselves;</a> this campaign shows how mums can be in the photos, and look great, with the help of Garner. </li> </ul> <p><strong>Joe Biden</strong></p> <p>And finally, some lessons from the keynote speech of SXSW 2017 (and a totally inspiring moment) from Joe Biden, former Vice-President of The United States. </p> <p>Perhaps more recently famous for his (unwitting) appearance in <a href="http://www.boredpanda.com/funny-barack-obama-joe-biden-tweets/">a sequence of memes with Barack Obama</a>, Joe Biden appeared on stage in Austin to raise awareness and seek support for his <a href="http://www.cnbc.com/2017/01/09/biden-outlines-steps-to-pursue-post-obama-cancer-moonshot.html">cancer Moon-shot agenda</a>.</p> <p>He discussed the progress made during Obama's presidency by the call for innovative solutions to tackle the barriers that prevent faster gains in ending cancer; and described how he plans to remain in the fight. </p> <p>This talk has a wider relevance for business because, as Joe Biden put it, organisations involved in the cancer treatment process had become ‘siloed by design’ and their ability to face the growing threat of this disease was limited by this lack of co-operation.</p> <p>One of these silo-related issues was the low number of patients involved in clinical trials (only 4/100) as there was no system for companies to match the correct trial drugs to the correct patients and vice versa. In addition a database of patient learnings was not being effectively shared between hospitals.</p> <p>Biden’s efforts to break down the barriers in the cancer treatment process are a lesson to organisations who may have similar silo problems. </p> <p>Organisations in this process have started to collaborate and other bodies have become involved in the fight. NASA is adding information regarding the impact of radiation on astronauts, and Amazon has provided free cloud data storage for the project.  </p> <p>There is also focus on clear KPIs and where the biggest return on investment can be derived. As Biden said, of any process "where everything is treated as equally important, then nothing is considered important."</p> <p>The key to the project’s increasing success (apart from the obvious profile of the promoter) is the open sharing of information, offering clear encouragement and, of course, giving hope.</p> <p>Inspiring stuff and a lesson to all businesses interested in breaking down silos and identifying priorities.</p> tag:econsultancy.com,2008:TrainingDate/3221 2017-03-21T12:40:29+00:00 2017-03-21T12:40:29+00:00 Video Marketing Strategy <p>Every day, new eye watering stats are released telling us all how much video content is being watched around the world, and how much more effective video is than other forms of media. So how do you make sure that it’s your content that people are watching and that it’s effective?</p> <p>Creating maximum return on investment with online video is a finely tuned blend of strategy, content and technology. This course takes you through all of the steps required to put together a video strategy and implement it. </p>