SlideShare verwendet Cookies, um die Funktionalität und Leistungsfähigkeit der Webseite zu verbessern und Ihnen relevante Werbung bereitzustellen. Wenn Sie diese Webseite weiter besuchen, erklären Sie sich mit der Verwendung von Cookies auf dieser Seite einverstanden. Lesen Sie bitte unsere Nutzervereinbarung und die Datenschutzrichtlinie.
SlideShare verwendet Cookies, um die Funktionalität und Leistungsfähigkeit der Webseite zu verbessern und Ihnen relevante Werbung bereitzustellen. Wenn Sie diese Webseite weiter besuchen, erklären Sie sich mit der Verwendung von Cookies auf dieser Seite einverstanden. Lesen Sie bitte unsere unsere Datenschutzrichtlinie und die Nutzervereinbarung.
Scribd wird die Aktivitäten von SlideShare fortführen und den Betrieb von SlideShare ab 24. September 2020 übernehmen.Ab diesem Zeitpunkt liegt die Verwaltung Ihres SlideShare-Kontos sowie jeglicher Ihrer Inhalte auf SlideShare bei Scribd. Von diesem Datum an gelten die allgemeinen Nutzungsbedingungen und die Datenschutzrichtlinie von Scribd. Wenn Sie dies nicht wünschen, schließen Sie bitte Ihr SlideShare-Konto. Mehr erfahren
What this is A grappling
with a changing creative landscape (who isn’t?) A few things we’ve learned about cross- platform ideas. A point of view on what brands can offer and what they want in return. 4
..But our connectivity is here
to stay “The dynamic of our society, and our new economy, will increasingly obey the logic of networks..We are connecting everything to everything.” Kevin Kelly, New Rules for the New Economy Image source: http://www.ibiblio.org/hhalpin/homepage/presentations/de2007/ 11
The impact on marketing: a
ﬁght for attention In Society A move to hyper-sociability Proprietary, paid-for A cross-platform In Entertainment Vs In Marketing explosion Opensource, free 12
“Technology.. is a queer thing.
It brings you great gifts with one hand, and it stabs you in the back with the other.” C.P. Snow, New York Times, March 15, 1971 13
A crisis in marketing, Part
1 “In 1965 80% of 18-49 year olds in the US could be reached with 3 x 60 second spots. In 2002, it required 117 prime- time commercials to do the same” Jim Stengel, former Global Marketing Ofﬁcer, P&G 14
A crisis in marketing, Part
1I “In 1965 80% of 18-49 year olds in the US could be reached with 3 x 60 second “In 1997, the average click through spots. In 2002, it required 117 prime- rate on online ads was 2.1%. In 2001 it time commercials to do the same” was 0.5%. In 2008 it was 0.1%” Jim Stengel, former Global Marketing IABStats, @IAB Ofﬁcer, P&G 15
What we’ve learned along the
way Always on, not bursts of activity Fuelling conversation, not launch and leave Iterative and two-way, not linear and one way Online and ofﬂine are blurred, not virtual vs real 29
More fundamentally It’s not about
tools, it’s about behaviours It’s not about technology, it’s about networks It’s not about social media, it’s about being social It’s not about now, it’s about the trajectory It’s not about having all the answers, leave some room 30
In summary: Challenges Facing Brands
A growing list of challenges & Find and create new ways to engage audiences opportunities facing brands, some new, some Create and sustain conversations with audiences old... all now centre stage. Get better at telling stories coherently across platforms Increase ROI and reduce cost (creativity, production, media) 31
The impact on entertainment: a
ﬁght to monetise In Society A move to hyper-sociability Proprietary, paid-for A cross-platform In Entertainment Vs In Marketing explosion Opensource, free 32
“The need and function of
storytelling is totally universal, because that need to hear stories and to tell each other stories is as fundamental a human structuring essential need as eating, breathing, drinking and making love.” Michel Reilhac, Cinema, Crossmedia and Public Television: Firm Steps into Uncertainty. http://michel-reilhac.blogs.arte.tv/2010/07/04/into-the-future-2/ 40
Case study: a 2008/9 partnership
between Josh Klein (hacker/writer), Giraldi Media & BBH Labs The idea! THE WORLD’S FIRST CROWD SOURCED, BRAND-FUNDED,! TRANSMEDIA CONTENT CREATION ENGINE technologies! crowd-powered! expert ﬁltering! a radical new content ! creativity! + that facilitate! x & curation! = creation engine! collaboration! 44
The plan Idea - the
pilot phase! How the pilot will work - the ﬁve stages! ! " # $ % SHORTLIST! CALL FOR! SUBMISSION OF! CROWD! JUDGED BY! PRODUCTION! ENTRIES! TREATMENTS! RATING! The focus for the pilot: stay on neutral EXPERTS! territory, prove the concept ! Josh Klein, author & hacker! The competition is ! Submissions are ! Anyone (participants! In the ﬁnal! Category winners! launched & entries! posted on the site.! & visitors to the site)! stage of the ! are awarded prizes.! across ﬁve categories! both rate the! competition the ! are requested.! Anyone, globally, can! submissions and offer! category judges decide! Winners are open to! “Roo’d”, a future sci-ﬁ novel ! The prizes & judges! submit up to a 10-page! Creative Commons-! commentary,! suggestions, & ! on the top three! in each category.! direct contract by! anyone who wants to! are announced.! licensed script derived! further ideas.! produce a full treatment! from Roo’d.! They are also allowed! based on their entry! Commentary, ! to select one ! Written &! The crowdcreates! site becomes the! Format for submission! suggestions & feedback! ‘wildcard’ not ranked! First refusal goes! hub around which! is bespoke by category.! are also provided by! in the top 10 by the ! to the category judges.! Creative Commons-published ! the competition! judges, & Guest editors.! crowd, if they choose.! is staged & engagement! No legal haggling or ! by Josh Klein ! & interaction occurs.! An algorithm helps! delays; just the ! rank submissions! marriage of talent, ! within categories.! investment & ideas! How the pilot will work - the crowd rating system! How the pilot will work - globally renowned judges! Producer / Director, “American Psycho”, “Bad Lieutenant”, Das Boot”,! FILM! Ed Pressman! “The Crow”, “Badlands”, “Conan the Barbarian’, “Wall Street”! One of the hottest writers in the comic book industry, best known! COMIC! Robert Kirkman! for his work on the Image Comics’ series “Invincible” & ! “The Walking Dead”; now a partner at Image Comics! •! A weight-balanced baysian ﬁltering system ! TV! Jesse Alexander! Emmy-winning Executive Producer on “Heroes” & “Lost”! •! A cutting-edge semantic metanalysis of the contestants' communication corpus! •! Result: a balanced & truly representative vote of both the most popular AND the Award-winning Producer at EA, with credits that include “The Sims ! GAMING! Jade Raymond! highest quality entries! Online” and “Assassin’s Creek”! OTHER! (for example: mobile, live! DJ Spooky! Electronic & experimental Producer, DJ, remixer & artist! events, music, or transmedia)! 45
What did we learn? 1.
Have a highly customisable format OR proof of concept 2. Consider the life cycle (inception to disposal) 3. Who will curate? Single, creative vision 4. Amplify the experience beyond a niche community 5. Brands have their own DNA. Identify, then approach 6. Demonstrate short term ROI 7. “Reality is bureaucratic” Joanne Jacobs 8. Don’t underestimate the sheer force of will required to move lots of early interest to closing a deal (8.5. And yes, the economy didn’t help). 46
Notwithstanding this.. the potential value
is there: Challenges Facing Brands What “3-Party” Offers Engage audiences with messages Find and create new ways to they not only seek out, but they engage audiences help to create and spread Storytelling that only improves and Create and sustain conversations becomes more interactive as with audiences involvement increases Deliberate trialling of an approach Get better at telling stories to cross-platform creativity that coherently across platforms starts in a different place Tap creative power of crowd, Increase ROI and reduce cost shifting media £ into content (creativity, production, media) creation. “Earned” media vs paid 47