Facebook Brand Safey

Piracy is on the rise again

Global piracy rate is a useful indicator for the health of the streaming market because it highlights a key value of streaming providers: convenience

Since 2011, Netflix has become one of the most powerful companies in the world, boasting a worldwide user base of nearly 150 million. Between 2011 and 2015, Netflix and other streaming services penetrated the global market so effectively that piracy plummeted roughly 50%.

However, for the first time in years, that trend line is changing. In 2018, global piracy went up.

Global piracy rate is a useful indicator for the health of the streaming market because it highlights a key value of streaming providers: convenience. Netflix proved that even in a world where piracy is accessible and relatively low-risk, users are willing to pay for convenience. No one wants to search dodgy corners of the internet to stream The Office if they don't have to.

The migration of users from streaming services back to piracy indicates that streaming services are no longer offering the same level of convenience they used to. There are two major reasons for this.

The first is market segmentation. If you want to watch Westworld, Atlanta, and The Marvelous Mrs. Maisel, you'll need to subscribe to some combination of HBO, Hulu, and Amazon Prime. As major streaming services invest in exclusive content (Netflix budgeted $13 billion for original content in 2018), users are forced to sign up for multiple services or miss out. As producers like Disney launch their own exclusive streaming services, the problem only grows.

The second is international licensing. International licensing for media is a nightmare, and for streaming services, it presents a massive bottleneck. While Netflix users in the U.S. enjoy thousands of streamable movies, users in Portugal get by with a couple hundred. In countries with strict censorship laws like Saudi Arabia, numbers become even smaller.

These forces converge to make individual streaming services less convenient—and therefore less valuable—to users, making the trade-offs of piracy more worthwhile. And while that may not spell the end for streaming services, it does signal that we may be seeing the end of streaming's golden age.

Social Media Confusion

Confusion Is the Point

As long as we continue to rely on social platforms for clarity, we’ll never find it
Colin Horgan

By now, you know a version of the story. In one telling, a large group of MAGA-hat wearing teenage boys from a Kentucky Catholic school are aggressors; in another, they’re not. As Julie Irwin Zimmerman wrote at the Atlantic, what you see in the video of the boys from Covington Catholic surrounding Nathan Phillip this past weekend in Washington, D.C., probably depends on a number of things that are already decided. “The story is a Rorschach test — tell me how you reacted, and I can probably tell where you live, who you voted for in 2016, and your general take on a list of other issues,” Zimmerman wrote.

But something beyond the biases we carry is at work here. Namely, how we became aware of the incident: on social media. A Rorschach test assumes the paper it’s printed on has no effect on the image we’re trying to interpret. But social media — Twitter, Facebook, Instagram — is not a blank sheet of paper. It has its own agenda. It wants to keep us guessing.

On Monday, CNN reported Twitter suspended one of the accounts that helped the original, cropped, video (which was lifted from the Instagram account of someone who was there) go viral. That account was supposedly run by a high-school teacher in California — a woman named Talia with the handle @2020fight, who’d garnered 40,000 followers. The clip “she” posted was shared thousands of times and had views in the millions. But CNN discovered the account’s user photo was actually that of a blogger in Brazil, raising questions about its veracity and purpose.

Molly McKew, an information warfare researcher, told CNN: “This is the new landscape: where bad actors monitor us and appropriate content that fits their needs. They know how to get it where they need to go so it amplifies naturally. And at this point, we are all conditioned to react and engage or deny in specific ways. And we all did.” She later tweeted: “I think there’s even more to this story. But we’ll see as time goes on.”

This search for further context used to be a sign of an open and enquiring mind. In some cases, such as McKew’s, this is likely still what it means. But for many others engaged in the unending daily information war, seeking more context has come to mean finding further ammunition for one side of the argument. And there’s already too much to work with.

For starters, there are more videos. Videos that show, from different angles, and at different times, the mob of boys surrounding Nathan Phillips as he sang. There are videos that show the Covington students being taunted prior to the encounter with Phillips by members of the Black Hebrew Israelites. There is also video purportedly showing the Covington boys shouting at young women. That eight-second clip is shaky. In it, we see a group of young men, probably some of the same boys, in their MAGA hats and then a young woman, exasperated: “I’m so tired already.”

There are prior incidents that suggest a record of risible behavior from the school, including when some students from the school donned blackface-like makeup at a basketball game. There is also the matter of a high-powered PR firm stepping in to represent the Covington students, and of Nick Sandmann — the young man at the center of the frame, and thus the controversy — landing an interview on the Today Show.

And there is, of course, the @2020fight account — perhaps a bad actor, a deliberate misinformation channel or bot, or perhaps not fake at all.

All of it one more attempt at figuring out what’s really going on. All of it, to some extent, context.

We’ve learned a lot since 2016 about the social platforms we use, and about the context we find on them. We know, for instance, about the possibility that a foreign power may use these networks to spread lies and half-truths. We know, too, about the artificial metrics and the spuriousness of a viral event. We know how issues are amplified to a level they might never have enjoyed — for better and worse. We know how easily we can be manipulated and tricked, or forced to immediately question what we see, even if we’re pretty sure we know what we saw.

Yet here we are again. Angry, divided, and — above all — confused. How does this keep happening?

Here’s the thing. No matter how much we hear about manipulation and misinformation, we will never stop using the platforms that are subject to it. In fact, the opposite is true. We will use them more. Our thirst for information can now only be quenched by a steady stream — of posts, tweets, and recycled content. We are desperate to go back to the well for more because, we all agree, there must indeed be more — more angles, more opinions, more perspectives, more reasons. We thirst for context.

The lessons of 2016, of misinformation and manipulation, have not been learned because, on the platforms, all information is still treated the same way. We will absorb whatever is there — whether it’s been deceptively edited or not. As long as it’s information, it will flow. Gluttons, we will guzzle. And this is entirely by design.

Information networks like Twitter and Facebook were created to feed us endless supplies of information. They sold us the promise of grasping, at any moment, all the world’s information from all possible perspectives. We accepted these platforms happily, assuming we would know what to do with all the thoughts and ideas they provide.

We were wrong. Rather than bringing us a clearer picture of our world, platforms have left us utterly and completely bewildered. Yet, instead of questioning social media’s original promise, we carry on, mistakenly believing the solution to this problem will come with even more information. We are caught in a contextual death spiral — a bottomless gyre in which we tumble forever disoriented, helplessly drinking water to save ourselves from drowning.

As long as we continue to rely on these platforms for clarity, we’ll never find it. They are not designed to deliver anything but pure information, which fuels our desire for more. There are no answers in the depths, no matter how far down we go. We are trapped — and that’s the point.

Back in October, amidst the furor over Brett Kavanaugh’s Supreme Court nomination proceedings and the brutal way in which Christine Blasey Ford was treated, Atlantic writer Adam Serwer suggested that cruelty is what fundamentally binds Trump to his supporters — in other words, “the cruelty is the point.”

In a similar fashion, we are bound to our information networks, our social platforms, by something equally basic: not cruelty, but confusion. Confusion is what keeps us coming back, what keeps us addicted, and what keeps us asking for more.

The confusion is the point.

Source article: Medium

Move Fast

The Era of “Move Fast and Break Things” Is Over

Many of today’s entrepreneurs live by Facebook founder Mark Zuckerberg’s now-famous motto: “Move fast and break things.” Zuckerberg intended for this to inform internal design and management processes, but it aptly captures how entrepreneurs regard disruption: more is always better.

We raced to put our products into consumers’ hands as fast as possible, without regard for the merit of—and rationale for—offline systems of governance. This is increasingly untenable.

Larry Fink’s 2018 letter to CEOs articulated the need for a new paradigm of stakeholder accountability for businesses across the spectrum. In the technology sector, venture capitalists must play a role in driving this change. The technologies of tomorrow—genomics, blockchain, drones, AR/VR, 3D printing—will impact lives to an extent that will dwarf that of the technologies of the past ten years. At the same time, the public will continue to grow weary of perceived abuses by tech companies, and will favor businesses that address economic, social, and environmental problems.

In short, the “move fast and break things” era is over. “Minimum viable products” must be replaced by “minimum virtuous products”—new offerings that test for the effect on stakeholders and build in guards against potential harms.

For VCs, questions are the tool of our trade. If innovation is to survive into the 21st century, we need to change how companies are built by changing the questions we ask of them.

To better assess the social impact of startups’ technology, there are eight questions every company must be able to answer—and every venture capitalist should be asking.

See the questions and full article at HBR

Attribution

What Is Attribution Modelling

Everything you need to know about attribution, including its benefits and limitations.

Understanding the steps a customer takes before converting can be just as valuable to marketers as the sale itself. Attribution models are used to assign credit to touchpoints in the customer journey.

For example, if a consumer bought an item after clicking on an display ad, it’s easy enough to credit that entire sale to that one display ad. But what if a consumer took a more complicated route to purchase? She might have initially clicked on the company’s display, then clicked on a social ad a week later, downloaded the company app, then visited the website from an organic search listing and and converted in-store using a coupon in the mobile app. These days, that’s a relatively simple path to conversion.

Attribution aims to help marketers get a better picture of when and how various marketing channels play contribute to conversion events. That information can then be used to inform future budget allocations.

Attribution models:

  • Last-click attribution. With this model, all the credit goes to the customer’s last touchpoint before converting. This one-touch model doesn’t take into consideration any other engagements the user may with the company’s marketing efforts leading up to that last engagement.
  • First-click attribution. The other one-touch model, first-click attribution, gives 100 percent of the credit to the first action the customer took on their conversion journey. It ignores any subsequent engagements the customer may have had with other marketing efforts before converting.
  • Linear attribution. This multi-touch attribution model gives equal credit to each touchpoint along the user’s path.
  • Time decay attribution. This model gives the touchpoints that occured closer to the time of the conversion more credit than touchpoints further back in time. The closer in time to the event, the more credit a touchpoint receives.
  • U-shaped attribution. The first and last engagement get the most credit and the rest is assigned equally to the touchpoints that occurred in between. In Google Analytics, the first and last engagements are each given 40 percent of the credit and the other 20 percent is distributed equally across the middle interactions.

Full article here 

Spotify Car View

Spotify launches Car View on Android

Idea is to make using its app less dangerous behind the wheel - automatically activates when paired to a vehicle

Spotify is making it easier to use its streaming app in the car, when the phone is connected to the vehicle over Bluetooth.

The company today confirmed the launch of a new feature called “Car View,” which is a simplified version of the service’s Now Playing screen that includes larger fonts, bigger buttons, and no distractions from album art. In Car View, you’re only shown the track title and artist, so you can read the screen with just a glance.

The site 9to5Google was the first to spot the feature’s appearance in Spotify’s settings. However, some users have had the option for weeks in what had appeared to be a slow rollout or possibly a test, pre-launch.

Spotify this morning formally announced the launch of Car View in a post to its Community Forums.

Full article at: Tech Crunch

The Metric Every Publisher Should Use in 2019: “Revenue at Risk”

For many publishers, the problem isn’t in the goals themselves, but how they are measured.

While sellers work for topline revenue gains, operations teams focus on CPM, or fill rates, while billing is looking at bookings vs. earnings. With so many metrics at play, it’s nearly impossible to align teams. “Revenue at risk” (RAR) is one metric that is rarely used, but that can successfully unite publishers around a strategy or goal.

What is Revenue at Risk?
Revenue at risk identifies and projects how much revenue is at risk if an advertising campaign doesn’t deliver. This ensures that operations teams are keeping sales expectations in mind and are aware of any shortfalls that would cause a delta between those expectations and reality.

Revenue at risk is not just “what is left in the campaign” — it’s a data point illustrating the critical value at risk that will not be earned if a change to a campaign or larger relationship is not made. It’s the signal of lost revenue if no action is taken. This can be measured at the campaign level, or the totality of the business, aligning teams in an understanding of how much of the total business is at risk on a given day.

Communicate Around the Universal Language of Dollars
I have a lot of sympathy for the team in the back room. While the sellers are out wining and dining the media buyers, operations is crunching numbers, sweating broken creative issues, and setting up tags at 10pm on a Saturday night. Sellers bring in deals, and then operations teams analyze them and try to make them work.

It can be hard for an operations manager to communicate effectively with their sales (and business development and finance) counterparts without being skeptical or talking right past each other. Without a measurement metric to unite teams, sellers could easily bring in a deal that has terrible fill rates, or operations teams could miss chances to improve campaign performance mid-stream.

As an example, if a publisher has a strategic client that planned to spend $100k on a targeting campaign, but the company is having trouble finding the right audience at scale, a “revenue at risk” calculation would be able to flag, in dollars, how much of the original campaign was not likely to deliver. Rather than sending alarmist emails using technical audience segment details, the operations team is suddenly speaking the sales team’s language.

What’s more, using a revenue at risk metric helps operations teams escalate issues to management and to product and technical teams, as it can help reconcile the value of a particular request against everything else going on. Say fill rates are down 5%. That number might be meaningless to a senior tech executive, but the corresponding revenue at risk amount of, say $2 million, for the rest of the year helps put it in perspective.

RAR Is a Global Metric
Magna Global predicts that more than half of global ad spending will be digital in 2019, a major tipping point for premium and global publishers that were still favoring offline revenue across broader markets outside the US.

Many publishers are staffing up their analytics and data teams in order to keep up with the complexities of digital advertising. Creating a universal language for these growing teams will help integrate them into the fabric of current sales and operations, and foster the collaboration that is needed to capture revenue and grow.

This article first appeared on Publishing Executive

Breaking news: Dropbox to acquire Hello Sign for $230M USD

HelloSign is a company that offers various tools for signing documents digitally, including an Android app, online faxing services, and integration with Google Drive and Dropbox. Dropbox announced today that it plants to acquire HelloSign, saying in a blog post, “We both care deeply about our craft and about our people […] and we’re excited about what we’ll be able to accomplish together!”

TechCrunch reports that Dropbox paid $230 million for HelloSign, and the company will continue to operate as an independent entity. Dropbox SVP of Engineering, Quentin Clark, told TechCrunch, “What is unique about HelloSign is that the investment they’ve made in APIs and the workflow products is really so aligned with our long term direction. It’s not just a thing to do one more activity with Dropbox, it’s really going to help us pursue that broader vision.”

Facebook Brand Safey

Facebook adds brands safety certification for partners

DoubleVerify and OpenSlate are the first two companies to be certified under the new capability.

In an ongoing effort to improve security measures for its advertisers, Facebook has announced a new brand safety certification platform for its marketing partners. The capability allows Facebook to certify companies that are offering proprietary solutions that will help its advertisers review their content and better manage brand safety controls for campaigns. DoubleVerify and OpenSlate are the first two companies to be certified in the Facebook Marketing Partners (FMP) program. "Our brand safety capability for Facebook Marketing Partners will help advertisers connect with trusted third parties like DoubleVerify and OpenSlate to apply their preferred controls to campaigns," said Gene Alston, VP of partnerships at Facebook, in a statement. "We know there's more we can do to address the varied brand safety preferences of our advertisers, and will continue enabling partners to build new solutions and meet those needs."

Full article at: Campaign Asia

Golden Age

Is The Second Golden Age of MarTech On Its Way?

There are three trends that are changing the nature of martech. They will catalyze the end of the “first golden age of martech” and lay the foundation for a second golden age that will be much larger, but likely look quite different.
Jonathan Gill
  1. Ecosystems — instead of marketing cloud suites vs. best-of-breed point solutions, we will have the best of both: open platforms that serve as stable foundations, augmented by large ecosystems of specialized third-party apps that are more deeply integrated.
  2. Experts — the lines between software vendors and professional services firms will blur: software companies will offer more expert services; services firms will automate and bottle their expertise in code.
  3. (Citizen) Engineers — in a digital world where every company asymptotically becomes a “software business,” organizations will extend commercial platforms with customized customer experience apps and business process logic, many via “citizen developers.”

Yes, there’s been a large number of martech acquisitions this past year, and I expect that trend will accelerate.

Nearly half of the previous martech landscape was venture-funded, launching in the 2013-2017 martech funding heyday. Those companies are on a VC investment cadence that will force them into one of five moves this year or next:

  • Go public
  • Get acquired
  • Raise more money
  • Become sustainably profitable
  • Scrap it.

Unless they’re on an up-and-to-the-right trajectory at scale, #1 and #3 are going to be tough. Many will seek #2 as the “easy” way out, making 2019 a buyer’s market in martech M&A.

The volume of those selling will exceed the capacity of buyers to absorb them all. However, the diversity of buyers will expand — an interesting trend that we’ll discuss in more detail.

Some will reconfigure to reach profitability. As the saying goes, SaaS never dies — it simply auto-scales to a smaller AWS instance. But sadly, more than a few will end up on the scrap heap.

Our three martech trends — ecosystems, experts, and (citizen) engineers — will define and enable a new wave of growth across the sector. They’re already coalescing today:

  1. Platform ecosystems and networks as the center of gravity
  2. Experts blending software and services to deliver outcomes
  3. Developers and citizen developers shape the firm.

For a very detailed look at each of these points, please visit this link.

CES 2019

The Most Interesting (and Bizarre) Startups at CES 2019

CES is a show that tends to embody the zeitgeist of whatever buzzy technologies are capturing our imaginations. This year, some of the biggest trends were wearables and smart everything, high-profile laptop rollouts, 8K TV, and futuristic autonomous vehicles.

This year, PC Mag found companies building cutting-edge AI, biotech, and high-tech drones (in both air and undersea varieties) —and even making old tech new again with recreated arcade machines for your home.

Abridged examples below. The full article link can be found at the bottom of the page.

Arcade 1UP
Arcade 1UP brings original licensed arcade games including Pac-Man, Space Invaders, and Galaga back to life in pre-assembled machines ($299 each) that weigh only 60 pounds despite authentical-size joystick and button controls. Built by recently launched startup Tastemakers LLC, Arcade 1 UP can be played on a desk, mounted on walls, or even on a door.

Mycroft AI
Companies are releasing more smart speakers than ever at a time when we’re all growing more conscious of how our apps and devices infringe on our privacy. That’s what makes Mycroft AI a refreshing change of pace. This open-source, privacy-focused voice assistant, which does not gather any personal data and keeps all communications private and encrypted, was first successfully crowdfunded in 2015 and shipped its Mark 1 version in 2017.

Aeronext
This Japanese startup, which launched in 2018, built a self-stabilizing drone capable of deliveries, industrial use, and most interesting, shooting 360-degree virtual reality footage. Using what Aeronext calls 4D Gravity core technology, the drone is always able to keep its center axis vertical in order to shoot uninterrupted high-res drone footage that can be incorporated into VR content while giving the drone more range when it flies against the wind.

BrainTap
An interesting moment on CES’s show floor was walking past a few attendees laying in deep relaxation, with headsets covering their eyes and ears. It turns out the startup was offering a service called “Braintapping,” which uses what BrainTap Technologies calls a “neuro algorithm” to sync a user’s brainwaves to a specialized sound.

Robomodix
The award for most eerily human-looking AI tech at CES goes to Robomodix, which was showing off its two prototypes, Alan and Alena. Robomodix is a robotics platform designed to experiment with, test, and refine open-source AI technologies in a robot intended to reduce the stigma of robots with a humanoid form.

Yape
Yape, which was launched in 2018 out of a research group from the Milan Technical Institute, is a compact, self-driving, zero-emissions robot for last-mile delivery. An acronym for Your Autonomous Pony Express, Yape is a two-wheeled electric-motor robot with a range of around 50 miles. It’s designed to avoid traffic in the narrow streets of European cities, traveling at a max speed of around 4mph on pavements and more than 12mph on roads.

Flux Planet
This Seoul-based startup, the brainchild of former Samsung employees, has built a 4D scanner and 3D projector for mapping and rendering AR/VR content. The company is releasing what it calls the first-ever consumer 4D scanner this spring for a hefty $50,000. It uses 250 cameras for full-body movement and cloud-based software to reconstruct complex models.

Amo Lab
Another South Korean startup, Amo Lab is using bioelectric medicine in a wearable sleep device called the Amo+ that looks like an amulet or necklace. Electromagnetic signals from the device stimulate nerves in the chest to reduce stress and stabilize your heart rate.

Notilo Plus iBubble
The autonomous subsea iBubble drone from Notilo Plus can dive to a depth of up to 200 feet and use AI to follow a diver around from up to 60 feet away with no cable attached. The diver can control the drone with quick gestures from a smart waterproof wristband, or the drone can be controlled from a remote on the surface.

Plott
This New Jersey startup, which won a CES Innovation Award this year, built a combined hardware and augmented/virtual reality platform to automate home improvement projects. Plott has a mobile app with which you take a photo or use AR capture mode to map a background and 3D objects. You then use Cubit — its electronic level, launching in March — to measure exactly where the object should be placed or mounted in a room. Plott also has a measuring wheel product called Carta launching this summer that maps a space’s distance as you walk it to get exact measurements.

Pocketalk
SourceNext, a Japanese startup with a US home base in Palo Alto, began selling its simple electronic translator device in the US this past October. The $299 Pocketalk, which includes a global SIM card, has a simple interface to translate two-way conversations quickly into 74 languages and counting. Two-way speakers and dual microphones with noise cancellation can keep accurate conversations going in loud settings—like, say, on the CES show floor, where the device quickly translated a conversation from English to Japanese.

Bell.AI
A 2019 CES Innovation Award winner, Bell.AI and its Bell robot products for kids ages 3 to 13 are STEM education tools intended to help kids learn coding skills via DIY robotic kits. The modular Mabot robot kit lets kids build, customize, and program a robot they then control via an app. The robots are compatible with Lego and programmed in a drag-and-drop environment designed on Scratch. Another kit, Rebot, uses aluminum parts to make even more advanced robots.

Vault Logic
Last but not least were, of course, some blockchain and crypto startups hawking their wares at CES. One of the more interesting was Vault Logic, which is building intelligent blockchain-powered ATMs where users can buy and sell cryptocurrencies with dynamically adjusting cash-to-crypto prices. The startup is also pushing “cash-as-a-service” applications such as the addition of third-party cash apps, bill pay services, and shopping, to turn its physical ATM into a crypto services machine.

The full article can be found at Medium.