domingo, agosto 25, 2013

5 qualidades dos profissionais mais disputados por empresas

 

http://exame.abril.com.br/carreira/noticias/5-qualidades-dos-profissionais-mais-disputados-por-empresas?goback=%2Egde_1925884_member_268401169#%21

 

Perfil empreendedor é o mais buscado, segundo pesquisa do IDCE. Confira as características principais de quem empreende sendo funcionário

 

São Paulo – Há algum tempo que não basta mais só ter conhecimento técnico para deslanchar na carreira. Com a economia dando sinais de desaceleração, o sucesso bate à porta de profissionais que se destacam pelo comportamento.

Pesquisa realizada pelo Instituto de Desenvolvimento de Conteúdo para Executivos (IDCE) mostra que as organizações estão de olho naquelas pessoas com perfil empreendedor, que se sentem parte (importante) do negócio. 

"Os produtos hoje estão muito parecidos, a dificuldade das empresas é garantir um diferencial", diz Fabricio Barbirato, diretor-executivo do IDCE. E é justamente essa diferenciação tão necessária no mercado atual que o empreendedorismo dos funcionários traz às empresas, segundo o especialista. "Mas a organização precisa estar aberta para isso também", lembra Barbirato.

Mas o que o profissional empreendedor faz de diferente dos demais? É isso que EXAME.com foi perguntar ao diretor executivo do ICDE. Confira as 5 características principais:

1 Visão ampla do negócio

Um profundo interesse por todas as áreas de uma empresa é o primeiro aspecto de quem assume a posição de empreendedor sendo funcionário. "A primeira coisa é ter o conhecimento da empresa", diz Barbirato.

 Extravase os limites da sua baia. Procure conhecer resultados financeiros, produtos, o mercado em que atua, os clientes e os concorrentes da empresa em que você trabalha. "O ideal é conhecer globalmente para agir localmente", diz Barbirato.

2 Tempo e vontade de ir além das suas atividades

Pessoas com perfil empreendedor não ficam restritas às atividades de rotina. Proativas, fazem as suas entregas obrigatórias e ainda encontram tempo para ir além. "Ele só pode pensar em fazer algo novo depois de fazer o que pedem para ele", diz Barbirato.

3 Atitude

Pessoas que têm atitude geralmente se antecipam à demanda e por isso são tão disputadas pelas empresas. "É sempre tentar fazer algo diferente, antes do tempo", diz Barbirato. 

Vasculhar novos fornecedores, pensar e sugerir maneiras de melhorar os processos e procedimentos são exemplos de ações nesse sentido, que ajudam a empresa a conseguir diferenciais competitivos. 

4 Espírito de liderança

Não é preciso ser chefe para se imbuir do espírito de liderança. "É mobilizar as pessoas para as atividades", diz Barbirato. Profissionais assim gostam e são bons em inspirar colegas e engajar pessoas em projetos que vão gerar mais negócios para a empresa, de acordo com Barbirato.

5 Criatividade

Ninguém precisa ser genial para ser criativo. "A criatividade não necessariamente precisa ser inovadora também", afirma Barbirato. Ajustes em processos, redução de custo e aumento de produtividade são fatores que, em conjunto, melhoram a performance da empresa. E todos eles surgem a partir de ideias. 

Observação e inspiração contam muito neste processo de exercitar a mente e deixar o terreno fértil para o surgimento de novas maneiras de cumprir tarefas e processos. Além disso, é preciso também saber organizar e estruturas as ideias para colocá-las em prática. "É ter a ideia e pensar na implementação dela", diz Barbirato.

Leia Mais

·         25/08/2013 | Vale (mesmo) a pena ser trainee?

·         22/08/2013 | Para Dilma, Diploma melhora disputa no mercado de trabalho

·         22/08/2013 | Os salários dos presidentes de empresa e diretores no Brasil

·         21/08/2013 | 44 concursos pagam salários de até R$ 24 mil

 

sábado, agosto 24, 2013

6 dicas para ter sucesso no mundo da convergência das mídias

6 dicas para ter sucesso no mundo da convergência das mídias

23 de de 2013 · Atualizado às 16h49
Compartilhe:

Em palestra realizada nesta sexta-feira, 23, no Sinapro-SP, Antonio Rosa Neto, publicitário e criador da primeira empresa especializada em mídia do Brasil, a Dainet Multimídia e Comunicações (em japonês "dai" significa "primeira" e, em inglês, "net" significa "rede"), exemplificou como o cenário atual vem modificando o mundo das comunicações.

O Adnews e divide a apresentação de Toninho Rosa, como é conhecido, em 6 dicas que podem ajudar os interessados na convergência das mídias do mundo contemporâneo e sua aplicação na propaganda.

1 – Não entender o cenário atual é bom

Citando o case da F/Nazca para a Honda – um livro que compila frases históricas de quem não acreditou na tecnologia – Toninho ressalta que entender o cenário atual não é recomendável, nem possível.

"Se você não está confuso com o que está acontecendo, não está entendendo nada", afirma complementando dizendo que é preciso sempre buscar o entendimento, mas nunca permanecer na zona de conforto pensando que sabe tudo.

2 – O rápido irá vencer o grande

Os grandes não irão vencer. Eles serão ultrapassados pelos rápidos. "Se o grandão não for rápido, e tende a não ser rápido, vai se dar mal", diz citando exemplos de grandes veículos brasileiros em dificuldade financeira.

3 – Profissional polivalente

O mercado, em mudanças constantes, não admite um profissional que não se renove. "Não adianta querer dar ideias que não são pertinentes ao negócio do cliente. É preciso também saber tudo sobre internet e, é claro, ser persistente".

4 – Estamos só no começo

Durante sua apresentação, Toninho exibiu um infográfico que representava a criação do mundo em 24 horas. A criação do ser humano neste "Gênesis de 24 horas" se daria próximo do fim, às 23h59 minutos e 58 segundos, ou seja, estamos só no começo.

"Como não temos a capacidade de entender que tudo está para ser criado? Estamos no estágio de Toffler, da terceira onda", reflete citando o livro "A Terceira Onda", de Alvin Toffler.

5 – Seja a mídia

Segundo Toninho, toda grande empresa vai se tornar uma empresa de mídia no futuro. Citando exemplos da Coca-Cola com sua rádio, grife de roupa, entre outros, o publicitário ressaltou esta tendência entre as marcas. "Elas não irão necessitar de um veículo para ter contato com seu público".

6 – Nichos

Para o publicitário, está cada vez mais caro alcançar um grande público com os anúncios tradicionais. A solução? "Mude seu conceito". É preciso migrar a comunicação para o segmento de mídia de nicho e, para Toninho, o Big Data é uma das principais tendências para um futuro benéfico dos anunciantes e suas agências. "O AdWords, do Google, já entrega para o consumidor o que ele está querendo. Isso irá crescer para a televisão e outros veículos. É um processo irreversível".

Por Leonardo Araujo




Sent from my iPad

sexta-feira, agosto 23, 2013

The Minimalist’s Guide To Social Media Metrics

 

May 22, 2013 at 9:00am ET by Courtney Seiter

The buzz around startup culture lately is all about “minimum viable product.” It’s the idea of creating a product as quickly as possible — in its most minimum viable form — so you can then make it better by adapting it to what your customers really want.

It makes sense as a way to build things, but I think it has other implications, too. What if “minimally viable” was the way we looked at social media metrics, as well?

After all, one of the biggest challenges we face in social media marketing is that there are hundreds of different elements we could measure. Sometimes it seems like we’re measuring for the sake of measuring, or clinging to meaningless figures just because they’re easy to get. Yet, the only question we really need to answer is: Is social media worth it?

is-social-media-worth-it

What if we could pinpoint the metrics that provide the biggest bang for our buck in terms of telling us whether our efforts are paying off while taking the least amount of time to measure?

Focusing only on what matters (and nothing more) could satisfy the ROI demons, keep bosses and clients happy, and give social media marketers more time to do what we’re supposed to be doing: engaging and connecting with our communities.

So, whether you’re still struggling to measure social media effectiveness or simply want to declutter your measurement efforts, here’s your minimalist guide to social media metrics.

Define Your Goals

The bedrock of minimalist social media metrics is knowing what you are, what you do, and what you want.

In other words, you have to start by working out how social media fits into your brand’s overall business goals and objectives. Is social media the introduction, the deal-closer or something else altogether?

Are you in it for great customer service? New ideas for products and product improvements? Or maybe it’s traffic to a website or a physical location. What outcome of your social media strategy will make all the tweeting, posting and pinning worthwhile?

Know What Makes A Good Metric

To measure just what matters, we have to be able to distinguish a good metric from a bad one. Luckily, it’s pretty simple. A good metric:

  • Is understandable to all parties
  • Can be consistently collected
  • Informs or changes your behavior

Report a good metric in a meeting, and you’ll see a light of recognition in people’s eyes. A conversation about what happens next should naturally follow. (“If X caused Y to happen, then we should do…”)

Report a bad metric in a meeting, and it’ll just kind of sit there, garnering confused looks and/or blank stares.

Choose From The Metrics Menu

No matter what channels you’re working in, most social media campaigns have at least a few major elements in common. In all likelihood, you are doing work that allows people to discover your brand or product, engage with you, visit your site and – eventually – become your customers.

Your minimal metrics are likely going to reside within one of these five places: activity, reach, engagement, acquisition and conversion. Let’s look at all five a little more closely.

 

Activity Metrics

These are the workhorse metrics – the numbers that show exactly what you’re doing, including posting, scheduling and optimizing content, answering questions, and solving problems.

Sample Metrics: Post Rate, Response Rate, Average Response Time, Customer Service Savings

 

Reach Metrics

Reach metrics are all about quantifying who is hearing your message and how your brand is perceived. These metrics determine how large your potential audience is and at what rate it’s increasing. They may also delve into the sentiment surrounding your brand to determine what your audience really thinks of you.

Sample Metrics: Audience Growth Rate, Brand Awareness, Sentiment, Share of Voice, Share of Conversation

 

Engagement Metrics

These metrics focus on the effect your message is having on those who hear it — how engaged you audience is, including how likely they are to talk to you, spread your message and more. By dissecting your engagement metrics, you’ll know what types of content resonate most with your audience.

Sample Metrics: Applause Rate, Conversation Rate, Amplification Rate, Overall Engagement Rate

 

Acquisition Metrics

Acquisition metrics gauge a brand’s ability to turn engagement into action. An engaging social media presence is great for brand awareness, but it should ultimately lead to something more (generally, targeted traffic to your website). Acquisition metrics work to tie your various social campaign activities to specific goals and events on your brand’s website.

Sample Metrics: Click-Through Rate, Social Visits, Visitor Frequency Rate, Visit Duration

 

Conversion Metrics

These are the metrics that tie social media activity directly to making money. Depending on your business and its goals, a conversion can mean different things. Purchasing a product, signing up for a trial, renewing a membership, subscribing to a newsletter and downloading software are all examples of potential conversions that are – or lead to – sales.

Sample Metrics: Assisted Social Conversions, Last Interaction Social Conversions, Assisted/Last Interaction Conversion Ratio, Social Media as a Percentage of Total Conversions

Choose the metrics from this list that will give you the most value and insight, or treat this as a jumping-off point to find and focus on a different metric altogether.

For example, a social media strategist tasked with building awareness of a new product might measure audience growth rate, sentiment and share of conversation. A strategy focused on sales alone might focus on last interaction social conversions and social media as a percentage of total conversions.

 

Measure, Act, Repeat

Figure out how to measure just the things you’ve chosen, and throw out everything else. No second guessing. There – you’ve officially cleaned up your social media metrics clutter.

The social media metrics that matter most are those that tell you how successful your campaigns are at meeting your specific goals — which could be anything from becoming better known in the marketplace to engaging with influencers to selling more products.

Once you know what you’re looking for, determining the value of social media doesn’t have to be complicated. Minimalist social media measurement is within reach of every social media marketer.

Opinions expressed in the article are those of the guest author and not necessarily Marketing Land.

Original article at: http://marketingland.com/the-minimalists-guide-to-social-media-metrics-43011

quinta-feira, agosto 22, 2013

Regular o Ecad é só o começo

 

http://colunas.revistagalileu.globo.com/colunistas/2013/08/16/regular-o-ecad-e-so-o-comeco/

16 DE AGOSTO DE 2013, 19:45 - CONHECIMENTO LIVRE - TAGS:

Como dois e dois: senador Randolfe Rodrigues (PSOL-AP) beija as mãos da ministra da Cultura, Marta Suplicy, enquanto Roberto Carlos e Caetano Veloso espiam

Nos últimos cinco anos, o mundo da música no Brasil se dividiu em duas frentes. Uma delas defendia o compartilhamento de arquivos pela internet, pedia a atualização da Lei de Direitos Autorais e exigia fiscalização na maneira como se cobrava por execuções musicais. A outra pedia o endurecimento contra a pirataria, era contra mudanças na lei e defendia o fortalecimento dos autores – e a remuneração deles. Se a música tocasse, eles teriam de receber.

Agora essa polarização entra em uma nova fase. É que foi publicada nesta semana a Lei Nº 12.853, que regulamenta o Ecad. Ela é fruto de um longo processo, muitas brigas e um forte jogo de interesses. Mas o que muda a partir de agora?

Para responder a esta pergunta, é necessário retroceder: o que é o Ecad? O Escritório Central de Arrecadação e Distribuição é uma associação que recolhe os direitos autorais de músicas executadas no Brasil. Você tem uma rádio? Precisa pagar o Ecad. Vai dar uma festa? Também. Tem um podcast? Aham. Tem um blog e postou um vídeo de música do YouTube? Hum, há controvérsias.

Segundo a Lei de Direitos Autorais em vigor no Brasil (a 9.610, que é de 1998), o Ecad é a única instituição que pode coletar direitos autorais. O Escritório é formado por várias associações de autores que centralizam a arrecadação. Quando vai pagar os direitos autorais, a rádio não repassa o valor direto ao artista que tocou. Ela tem de pagar ao Ecad – e é o escritório que repassa para o artista.

Aí começa a burocratização. Para receber, o músico tem de ser filiado a uma das associações. E o Ecad não paga o artista exatamente conforme o número de vezes que a sua música tocou – mas, sim, por amostragem. Quem toca mais, recebe mais. Quem toca menos, recebe menos. Os artistas independentes reclamam que não recebem – ou quando recebem, ‘pinga uma moedinha’, como me disse uma vez a cantora Karina Buhr.

Mas o Ecad sabe cobrar. O escritório arrecadou no ano passado R$ 624,6 milhões (e distribuiu R$ 470,2 milhões). Eles têm sistemas avançados que detectam as músicas que tocam nas rádios através de antenas, programas que reconhecem os sons e um sistema de fiscalização que provoca sentimentos que vão de calafrios à revolta entre os produtores culturais. Fiscais já apareceram para cobrar em blocos de carnaval e até em casamentos. E, em 2011, blogueiros receberam um boleto de cobrança por terem embedado um vídeo do YouTube em seus blogs.

(Essa cobrança mais tarde foi declarada ilegal. O Google já tem um contrato com o Ecad e paga direitos autorais pelas execuções no YouTube.)

Enfim: motivos não faltaram para muita, mas muita gente, ficar descontente com o serviço prestado pelo Ecad. Quando o ex-ministro da Cultura Juca Ferreira apresentou a proposta que atualizaria a Lei de Direitos Autorais no País, a ideia era que o Ecad fosse supervisionado com a criação de um órgão governamental. Isso despertou a fúria das entidades que cuidam de direitos autorais. “O papel do estado não é inteferir numa gestão que pertence claramente à sociedade civil”, me disse Roberto Mello, presidente da Abramus, em 2010.

Em 2011, Ana de Hollanda assumiu o ministério da Cultura e deixou de lado a proposta da reforma. Naquele mesmo ano, uma onda de denúncias convenceu o Senado a instalar uma CPI para investigar o Ecad.

Um ano depois saiu o resultado da CPI: citando crimes como formação de cartel, falsidade ideológica, apropriação indébita, agiotagem e crime contra a ordem econômica, os senadores pediram o indiciamento de oito diretores do Ecad, incluindo a superintendente, Glória Braga, e Roberto Mello, da Abramus. “Dirigir o ECAD se tornou um negócio rentoso”, escreveram os senadores. “Voltado para seu próprio umbigo – e para os interesses de seus controladores e dirigentes – o Ecad transmudou-se em cartel, pernicioso para a ordem econômica brasileira, e muito distante do que reivindica a classe artística, protagonizando toda sorte de desvios e ilícitos”.

O Ecad respondeu falando em ‘exploração política’ e disse que o que processo de arrecadação segue ‘padrões internacionais’.

No relatório, os membros da CPI defenderam que a fixação de preços deveria ser feita por cada entidade e sugeriram que o Ecad e propuseram um projeto de lei para regular a atuação do escritório.

Em março deste ano, o Escritório e seis entidades ainda foram condenadadas pelo Cade a pagar uma multa milionária por formação de cartel. Além de pagar, elas não poderiam mais tabelar os valores cobrados, como era feito. E o Cade recomendou que o Ministério da Cultura supervisionasse a atuação do Ecad.

Tudo isso acelerou o processo. O projeto de lei foi aprovado pelo Senado em julho, em uma sessão que juntou figurões como Caetano Veloso e Roberto Carlos.

A proposta começa a valer oficialmente em 120 dias. Mas o que muda?

  • A partir de agora, o Ecad será fiscalizado por um órgão do governo. E terá de ser transparente em relação à distribuição da verba. A prestação de contas será feita ao Ministério da Cultura.
  • Novas associações poderão representar os artistas – mas elas terão de ser cadastradas e também fiscalizadas pelo governo.
  • As associações poderão estabelecer seus próprios preços.
  • A taxa administrativa diminuiu de 25% para 15%.
  • Se o Ecad não conseguir identificar os detentores de direitos, a verba terá de ser distribuída entre outros autores. O dinheiro não poderá ser usado, por exemplo, para cobrir rombos ou pagar prêmios.
  • E, por fim, os preços das obras terão de estar acessíveis na internet. Os autores também terão acesso ao valor total arrecadado por seu trabalho.

Procurado pela coluna, o Ecad avisa que ainda está analisando as mudanças e que não irá se pronunciar.

As mudanças resolverão os problemas? Provavelmente. Mas não garantirão que os autores recebam por seu trabalho e, ao mesmo tempo, a população tenha acesso à música de forma justa. Para atualizar o problema de remuneração e acesso a cultura no País, é preciso de uma reforma maior – a reforma da lei de direitos autorais, que está sendo revista dentro do MinC. É essa reforma que poderá garantir, por exemplo, que bens culturais podem ser usados para fins educacionais, ou que cópias e reproduções privadas não devem ser cobradas. Regulamentar o Ecad é só o começo.

App helps tell difference between smirks, smiles

 

http://www.bostonglobe.com/business/2013/08/18/affective-scores-with-facial-coding-system-for-advertisers/eEj16i5Zvix291g1NgPMGI/story.html#%21

For advertisers, telling the difference is crucial, and a Mass. company aims to help

 

By Karen Weintraub

GLOBE CORRESPONDENT 

August 19, 2013

 

 

<br />

Watching people in conversation, you can usually tell when they lose interest or get confused or excited. But computers have a hard time telling a smile from a smirk, confusion from anger.

After examining thousands of faces from around the world, a Waltham start-up has figured out how to interpret these subtle shifts in expressions in real time. By reading tiny movements in the corners of the mouth, nose, and eyes and the shifting angles of the eyebrows, Affectiva Inc. can digitally decode facial messages — more effectively, it says, than others have done before.

The company’s facial-coding product, Affdex, has been used by advertisers, including Coca-Cola and Unilever, to gauge consumers’ reactions to commercials — one-fourteenth-of-a-second at a time.

On Friday, Affectiva released a beta version of Affdex for mobile devices, so companies will be able to get the same kind of feedback from cameras on consumer’s smartphones and tablets — with their permission, of course.

Related

Affectiva hopes the new platform will help broaden its customer base to include companies in the mobile gaming, online education, and health-tracking businesses, virtually any field where an app developer wants feedback.

Split-second reactions to an ad can mean the difference between a new customer and lost opportunity. 

Quote Icon

“We understand that emotion is important in a whole bunch of applications,” said Rana el Kaliouby, who helped develop the basis for the Affdex technology while she was a research scientist at the Media Lab at the Massachusetts Institute of Technology.

Although most people do not have trouble interpreting facial expressions, computers struggle to distinguish between an individual’s features and his or her expressions, Kaliouby said.

At MIT and in early work at Affectiva, she developed an algorithm for identifying expressions. With a genuine smile, the mouth is curved equally on both sides, while it is uneven in a smirk, for example. Disgust differs from confusion — though both have a furrowed brow — with a wrinkled nose.

By digitally distinguishing between expressions, Affectiva’s customers — so far, they are mainly marketing firms — can analyze test subjects’ reactions as they watch ads. Understanding when these subjects lose interest, get confused, or are truly engaged allows companies to make more effective advertisements and sell more products.

Marketers have historically gotten this kind of data by hand-coding viewers’ responses, but digital analysis is cheaper, faster, and now viable on a large scale, Kaliouby said.

Advertising was a logical first step for using the technology, Kaliouby and others said, because split-second reactions to an ad can mean the difference between a new customer and lost opportunity.

“Facial coding will pick up quite fleeting responses that people aren’t able to recall later on, or they might not see as that important,” said Sarah Walker, research and development director for the consumer neuroscience practice at Millward Brown, a global market research firm that has used Affdex to gauge consumers’ responses to some 2,000 different ads in the past two years.

Sometimes people will report liking an ad, but when the firm asks them to watch it again, a slight frown, picked up only by digital facial coding, reveals their true feelings, Walker said. “Very fleeting responses like that can be incredibly predictive” of an ad’s overall success.

It is probably fair to say that Kaliouby has the only technology company in Boston where some of the formative work is performed by female school-bus monitors in Cairo.

As part of her efforts to make the facial coding as accurate as possible, Kaliouby set up shop in her native Egypt, and then hired some two dozen women who rode the buses for the private school her children attended. The women used to sit bored in the school basement while the children were in class.

Now they work for her part time, scanning facial expressions to determine each fleeting emotion. Every expression is coded several times to ensure accuracy. So far, the women have individually coded 100,000 expressions, captured as people watch media. The women’s coding is then used to train the software to accurately recognize a vast array of expressions from around the world.

As a young company, Affectiva recently underwent a painful transition. The four-year-old company started with twin technologies, both begun in the lab of MIT professor Rosalind Picard: the facial coding, and medical sensors that detect excitation, used for example to identify when nonverbal people with autism are getting overstimulated.

In the spring, Affectiva elected to focus solely on the facial coding business, and Picard said it was time for the two technologies to be split apart.

“A small company can’t build a medical research business and a market research business” at the same time, said Picard, who is trying to start another company with the sensor technology.

But the decision has created problems for the researchers using the sensors.

“You create a technology out of necessity, you do good science with it, you make it widely available, and when the company decides to cease manufacturing, it stalls the science,” said Matthew Goodwin, an assistant professor at Northeastern University and founding member of Affectiva’s scientific advisory board.

He has hoarded 30 sensors to use in his ongoing studies of children with severe developmental disabilities, including autism. “We’re now all dependent on the technology and there is not a good alternative in the marketplace, which was the very reason we commercialized it in the first place.”

Affdex, meanwhile, says it has built up the world’s largest database of coded expressions, and its analytics have been shown to be effective in 53 countries, according to Kaliouby and Walker of Millward Brown.

“The fact that we can deploy at scale is really the key thing,” Walker said. “Our clients like the fact that they’re able to use it worldwide and have consistent messages on all their advertising.”

sexta-feira, agosto 16, 2013

Audiam


I'm Jeff Price. And This Is My New Company, Audiam...
Wednesday, June 12, 2013
by  Paul Resnikoff
The following comes from Jeff Price and Peter Wells, both co-founders of TuneCore and now... Audiam.      

 
The music industry has changed since we launched TuneCore in 2006. Last decade, the rise of iTunes let us overturn the old music distribution model. This decade, YouTube has created an unprecedented opportunity for artists to generate new revenue from a second income stream and engage with fans in a way never seen before.

Everything is in place for another revolution (evolution?)

Imagine a world where music fans can legally — and for free —create videos containing music they love, upload these videos to YouTube, have YouTube license the music the videos were made and then have advertisers pay the artists and copyright holders for the use.
Even a single song by one artist can be used by hundreds, thousands or tens of thousands of fans. Each video is its own creation with its own potential to become a "hit," from lyric videos to "unofficial" music videos to music in the background as the wedding party dances. Each work of art has the potential to become popular, and with each view, money can be generated and the artist can be promoted
This world already exists.

It's time to democratize and change the music industry again, this time with YouTube. 

For the old music industry, the world used to be a simple place. The label decided which artists to let in, signed them to contracts, took their copyrights, made 12" pieces of vinyl or 5" pieces of plastic and shipped them on trucks to stores.  Music was promoted on MTV, commercial radio and print magazines. Consumer choice was limited to what the labels thought was good. If the consumers liked the song, they went to a physical store to buy the vinyl or plastic, take it home and stick it on a turntable or in a CD player and listen to it.
And that was the end of it.  
Boy did technology screw that system up.
Artists no longer need labels to record, market and distribute, and consumers began to not just listen to music and use it in ways they never had before. They reviewed it on their own blogs and offered free downloads or streams of songs. They created their own mashups. They shared it with the world via BitTorrent and Napster, and then made videos and uploaded them to YouTube.
This pissed off the old industry. Consumers were not supposed to use the music, they were only supposed to listen to it. Instead or understanding that they had a team of hundreds of millions of people willing to market, promote and generate more money for the labels for free, they started suing them. Brilliant strategy.
If harnessed, they could have marketed artists and created a new SECOND income stream when fans USED the music. But the majors, instead of finding a way for everyone to win, tried to shove the genie back in the bottle.

The number one place on the planet where music is used is YouTube.

It currently has over 25 billion views each month of videos with music in them – and this number is rising.  Over 95 percent of these videos were made from scratch and uploaded by the music fan.  YouTube has over a billion unique visitors a month and generated an estimated $3.6 billion in ad revenue in 2012. Current estimates project YouTube earning over $20 billion in ad revenue over the next 7 years.

Shut it down?  Are you nuts?  You could not shut it down if you wanted to. Monetize it. 

YouTube can be a friction-free environment that can make money, promote artists and let hundreds of millions of consumers willingly and joyfully build the eco-system without being sued, and it's the very system the labels have been trying to shut down. 

Wrong move. Embrace it.

Here how it works:
1) Let's say you take a video of your three fingers wiggling. You would own the copyright to that video, and no other entity on the planet could use it without your permission.
2) When you upload the video to YouTube, you are giving them permission to let others watch it on their system. If you want, you can become a YouTube "Partner," which allows YouTube to place ads in or on your video. When advertisers pay YouTube for the ad, YouTube takes about 45 percent of the money and pays you the other 55 percent. That's the basics of YouTube and how it generates money on ads.
3) Things get a bit more complicated when music is involved.
4) Take the same video of the three fingers wiggling and now add the song "I Will Always Love You" to it.  Instead of just one copyright (for the video of the fingers), there are now three copyrights in the video: one for the video of the fingers wiggling, one for Arista Records (as they hired Whitney Houston to sing the song and own the recording of it) and one for Dolly Parton (as she wrote the lyrics and melody to the song). 
To keep things simple, lets just say Dolly owns all her own copyrights.  In order for YouTube to make ad money off this video, it needs the OK from:
1) The person that made the video
2) Arista Records
3) Dolly Parton

If even one of these three refuses to give YouTube a license, then no one (including YouTube) can make any ad money off of the views.  YouTube can even be notified by any one of these three copyright holders to have YouTube take the video down.
However, if all three of them agree to give YouTube the appropriate license to use their copyright, then ads can appear around the video and all three of them get to share in YouTube ad money.
Arista Records has a choice: it can notify YouTube to take down videos that have their recording in it (only to have them pop back up again tomorrow), or it can enter into a direct licensing agreement with YouTube.  When it enters into this deal, it can then tell YouTube what recordings it controls, find videos on YouTube that have the recordings in them and authorize YouTube to sell ads into those fan-made videos.  Further, the label can send YouTube a copy of its recording of the song, and YouTube will digitally "fingerprint" the song and begin an automated search through all of its billions of videos (past, present and future) looking for digital matches.
When Arista enters this deal with YouTube, they're given a user name and password to a special YouTube website called "Content Management System" (CMS).  Once logged in, Arista can see a list of all the videos YouTube found that has Artista music in them. 
Arista now has three choices. It can:
1) Track the videos (this lets the videos continue to exist on YouTube, so long as Arista can see the data YouTube's analytics provide);
2) Take down the videos;
3) Authorize YouTube to sell ads on or in the videos.
In other words, Arista can click a button and make money off all the existing videos the fans made. Or not click the button and make no money.

Click the button.

Until recently, the major labels resisted YouTube. But the tide has finally turned, and they have reluctantly, begrudgingly started to click the right button. The problem is, most artists do not have access to a system that allows them to make money off the use of their music in YouTube.

Enter Audiam.

We've got the contracts with YouTube, we've got the access to CMS, we've got the infrastructure to deliver "fingerprints" and retrieve the money artists earn. And we're putting that power into the hands of independent artists.


As of today, YouTube is no longer the realm of the major labels—any artist almost anywhere in the world (coming to the US very soon) can use YouTube to make money and promote themselves.
At Audiam.com they can create a free account, enter basic information about the music (title, artist), upload the .mp3, .mp4 or .wav file (also free) and click the button and we'll take it from there.
Audiam will "fingerprint" it, deliver the fingerprint to YouTube, get them to start searching their vast hoard of content for any matches and identify those videos that use the music. When we find a match, we tell YouTube to "monetize" it (put ads on it).
Maybe the video already has ads on it? No problem, Audiam stakes the claim for the artist and starts collecting the revenue they deserve. We charge a 25 percent administration fee and the rest goes to the artist.

When YouTube gets paid, the artist gets paid.

The music business has come to YouTube, and Audiam is going to democratize it. It's sort of a habit we've fallen into."

Jeff Price, Peter Wells
Founders Audiam
audiam.com

segunda-feira, agosto 12, 2013

Online Is Leading Source of New Product Info in Latin America

 

Aug 8, 2013

http://www.emarketer.com/Articles/Print.aspx?R=1010115

Social networks also rank high

In Latin America, where web use is still well below levels in more developed markets, those who go online see the internet as an important source of information, including for finding out about new products and brands. A March 2013 survey conducted by Ipsos OTX and Ipsos Global @dvisor found that the web ranked as the No. 1 place where Brazil’s internet users found out about new products and brands, at 80% of respondents—12 percentage points ahead of TV advertising.

In Mexico and Argentina, the web came in second by this measure, still cited by a significant 72% and 68%, respectively.

Factoring in social network sites only boosts the power of the internet for introducing web users to new brands and products. In Brazil, this was the No. 3 source of new product info. Consumers in the country reported a higher likelihood of finding out about new products from social sites than directly from friends and family.

In Mexico and Argentina, countries with a slightly lower percentage of social users among the online population, social networks were cited as a source of new product info by 43% and 45%, respectively.

While there are a variety of online sources where consumers might find out about new products, digital ads, in particular, see a high level of engagement in the major markets in Latin America.

When it came to online ad-related activities, approximately half or more respondents in Mexico, Brazil and Argentina said they had watched a commercial for a brand or product online in the previous month. And more than one in five web users in both Mexico and Brazil clicked on a banner or pop-up ad—an activity that consumers are generally fairly resistant toward. In Brazil, one-third of web users had performed this activity in the month prior to the survey.

eMarketer expects digital ad spending to rise 31.5% in Latin America this year, reaching above $4 billion. Based on consumer engagement with online ads and info, this seems like money well spent.

 


©2013 eMarketer Inc. All rights reserved. www.emarketer.com

 

sábado, agosto 10, 2013

Executivos inteligentes são procurados

Aumento da demanda dos consumidores e crescimento de vagas de trabalho não andam de mãos dadas com qualidade quando o assunto é o setor de serviços. Os números mostram que essa é a área da economia brasileira que mais cresce hoje, principalmente na criação de empregos.

Contudo, a liderança se mantém também nos rankings de reclamações.  Segundo o Procon, das cinco empresas que mais receberam reclamações em 2011, quatro prestam serviços – bancos e telefonia.

Para as empresas, só há uma saída para resolver o problema: um líder com inteligência emocional. Para os executivos que buscam uma posição de destaque, é hora de resgatar o conhecimento humanista.

"A formação técnica continua importante, mas a interação com as pessoas e a forma de lidar com a sociedade ganha relevância", explica Maurizio Mauro, mestre em Estratégia de Negócios pela Kelley School of Business, da Universidade de Indiana. É a chamada Inteligência Emocional, um conceito que vem sendo pesquisado por psicólogos há vários anos e que ganha cada vez mais importância no mundo dos negócios.

Marcos Thiele, diretor do iPL – Institute of Performance and Leadership -, explica que, no setor de serviço, o atendente que representa a empresa – seja pelo call center ou pelo atendimento pessoal – precisa estar feliz e integrado às diretrizes de qualidade da companhia. Nesse caso, ele é a ponta de uma cadeia de prestação de serviço, que começa com a liderança e orientação do executivo.

Nesse sentido, Thiele acredita que a Inteligência Emocional precisa estar na formação de um executivo que pretende inspirar sua equipe. "Ele precisa ter os mesmos princípios e valores da empresa para poder transmiti-los de forma verdadeira aos seus funcionários. É a hora da verdade. Aqui não dá para enganar."

E mais: o aprimoramento da Inteligência Emocional de um executivo do setor de serviço passa ainda pelo conhecimento e estudo das redes sociais. A exposição da marca é potencializada nesse ambiente e o líder, para conseguir associar definitivamente a marca de sua empresa à excelência na qualidade, terá que saber usar essa ferramenta para reforçar os valores que pretende transmitir.

"Mas, para isso, não há receita pronta. Cada empresa terá que construir sua estratégia e só um executivo preparado nesse tipo de conhecimento humano conseguirá obter sucesso", diz Thiele.

Para saber mais sobre Inteligência Emocional, veja o vídeo abaixo. É uma entrevista com o psicólogo e professor da Harvard, Daniel Goleman, um dos maiores estudiosos do assunto. Ele aponta ainda a importância da Inteligência Social para um executivo. O vídeo está em inglês, mas a legenda pode ser ativada no botão "cc", localizado na base do vídeo.

sexta-feira, agosto 09, 2013

Asking the fundamental questions

Asking the fundamental questions

Jul 30, 2013No Commentsby 

Simon Wood

I wouldn't say I have the healthiest diet in the world – way too much chocolate, pizza, alcohol and other unhealthy but delightfully tasty stuff – but I do like my fruit. Apples, oranges, bananas, pears, grapes, I eat them all, and like to get my 5 A Day from fruit alone!

However, my fruit eating has recently hit a bit of a snag, and I fear market research might be partially to blame. Before you assume I just spend too much time doing research to eat fruit, that's not the case (well it is, but I've learnt to snack and type simultaneously)! The biggest problem is that I seem unable to buy bananas that I can actually eat. My local supermarket sells bananas, in fact it has a huge shelf covered in them, but they're green and inedible for at least a week! I've tried to plan ahead and buy next week's bananas a week in advance, but too often they jump straight to brown and bruised!

Now I'm sure a huge part of this is a result of the supermarket's approach to stock management – trying to reduce wastage from fruit going off before it's sold. However, I suspect customer research has played a part as well. Typically, customers dislike buying food with a short shelf life – they like to know they will get chance to eat it before it wraps itself in the kind of furry coat that made Alexander Fleming famous. Customers are more than happy to tell researchers this in retailer satisfaction surveys, and how they want fruit, veg and meat to be fresh. So how do supermarkets respond? Well, they sell you fruit that is indeed so fresh it's not yet ripe, and that lasts at least a week in your fruit bowl before you can eat it. And I'm stuck having to buy green bananas.

Now I'm sure many of you are wondering whether the remainder of this blog will be me ranting about green bananas and how that's ruined my satisfaction with my local supermarket. Never fear, that's not this month's topic! Instead, the whole green bananas saga got me wondering about how this supermarket is using its customer research and what questions it is asking of it. Following that line of thought led me to this month's topic – the fundamental questions behind customer satisfaction/experience research.

The key questions we ask and answer
Organisations grow through their customers in a number of ways. Some expand their customer base – they aim to increase revenue and profit by ensuring more customers buy their products and services. Some try to increase the amount of money that they get from each customer – either through growing their share of wallet, or growing the customers' spend (e.g. upselling). Others grow by simply reducing the costs of servicing customers – making more profit per customer as a result. Regardless of which of these approaches an organisation intends to use, or even if it is trying to do more than one, underpinning this will be its business/customer strategy.

That exact strategy will differ from organisation to organisation, but will (usually) aim to give the organisation a distinct position in the market. That position may vary from budget to premium and anywhere in between, but will (should) balance the brand image and strength, cost of product/ service delivery, and the customer's general habits and behaviours in that market. In formulating and executing that strategy, they will at times need customer research – this is where we come in!

However, the customer research that we do will differ wildly according to their specific strategy, how they are implementing it, and the questions that come up as part of the process. In turn, this will lead to vastly different goals at the heart of the research project.

We already acknowledge this in much of what we do. There are huge differences between research briefs looking for relationship research versus those looking for transactional/real-time research, with customer journey research being a whole different ballgame altogether. And if you look at these three broad types of customer research, you can see that in reality they have three different aims – and the questions behind them therefore differ:

Relationship research – looks at the strength of the customer relationship, at what drives the relationship, and prioritises actions to improve that relationship. Major questions for this type of research are around how satisfied customers are, and what should be done to increase their satisfaction.

Transactional/real-time research – enables organisations to manage individual customers by managing their experiences; intervening when customers are unhappy, detecting common reasons for dissatisfaction, and ensuring there are no stores/teams/call centres that are underperforming. Key questions in this type of research tend to be around how well customers are being serviced, who the unhappy ones are, where the organisation is not performing, and what needs to be done better.

Customer journey research – in many ways, this is quite different. It looks at how people navigate their way through markets and find themselves as customers; or having become customers, how they interact with organisations on a day to day basis. Having established the different paths customers follow, it often then includes measurement of how well the organisation services them at each stage.

The fact that these areas have become separate types of customer research with favoured approaches is testament to our ability to see that not all research is the same.

The relationship research conundrum
Before we pat ourselves on the back for spotting these differences and handling them appropriately, I want to point out that we aren't quite as good as we think. Within the area of relationship research, we seem to have something of a blind spot. In fact it appears to be a double layered blind spot.

Firstly, many customer satisfaction research briefs look the same at first glance – 'we have customers, we want to know how satisfied they are with us, and we want to know what we need to do to ensure they become more satisfied.' The truth though, is that if you dig beneath the surface you quickly find some very different contexts – which have a major impact on the way the research is designed, executed and analysed.

Different organisations will prioritise different customer behaviours according to the needs of their strategy – these behaviours could be purchase, but could also be advocacy, or simple inertia. Similarly, the idea of a 'good' customer experience will differ according to the competitive context and the level of service the organisation intends to deliver. What this means is that differing clients need the research to serve different purposes and to answer different questions. Even if two projects appear the same at the overall level they may differ wildly at the more granular one.

Secondly, too much of the industry has become obsessed with continual improvement. What do I mean? Well, do a quick bit of Googling (in another tab of course) and you will find armies of 'customer experience' experts talking about how they help organisations deliver better customer experiences. Books have been written, published and devoured by a hungry mass, case studies abound talk about how customers have been made happier, and whole conferences are devoted to the topic. 'Experts' pride themselves on how much they have shifted scores up and wear their 'successes' as badges of honour.

To be brutally honest, I'm not sure I'd give many of these 'experts' the time of day. They have missed the point. Not all organisations want to deliver better service. Some want to just deliver better profit. Before we start identifying weaknesses in service and prioritising actions that cost millions to drive customer satisfaction upwards, we need to remember to go back to the organisation's strategy, see what they are trying to achieve with their customers, and ask whether improving customer satisfaction fits that aim.

I hope by now you're mostly accepting I have a point rather than shaking your heads and snorting in derision – especially if you work in an open plan office and are now getting funny looks from colleagues – and aren't using words like 'preposterous', 'ridiculous' and maybe even 'nincompoop'. If you are, please read the previous paragraphs again and then think about it.

So what?

I hope some of you are feeling a little smug right now – safe in the knowledge that you are aware of these issues and aren't culpable of either. For those of you who aren't feeling smug, this is why it matters (and let's be honest, it's not rocket science). Depending on the question you are answering…

…you do different analyses

…you need different data

As an example, if a client wants to know how good its service is and how to optimise its processes, you need to measure how satisfied its customers are, identify which elements are (and aren't) important, and assess how well the processes supporting these elements work.

Alternatively, if a client's key aim is to build loyalty, you need to know what drives loyalty, how loyal customers are, and how potentially disloyal they are. Answering that latter point will require some idea of competitor threats and an understanding of the factors that underpin customer choice such as category interest, brand reputation or attitudes to risk.

Or in another example, if the purpose of the research is to identify how to win market share, measuring the loyalty of competitors' customers could be far more important – identifying which can be targeted for acquisition activities, and what will motivate them to change.

At the end of the day, this goes back to a single issue at the heart of everything we do in customer experience – the need to understand the fundamental question we are answering for our clients. Before we start getting excited about what method, what metrics, and what funky dashboard/reporting solution we'll be wheeling out, we need to make sure we know exactly how the research is going to be used and how it fits our client's strategy and approach. Once we have that, then we can start to think about what information we need and how we'll measure it.

If as researchers we cannot identify that fundamental question, we need to stop and start again. If not we will simply fail to deliver, wasting our time and our client's money, and damaging not only our personal reputations but those of those of whole industry.

In reality there is no 'one-size fits all' approach. Not on metrics, not on approach, and not on analysis. The first stage of any project has to be to sit down with clients and explore exactly what the research is supposed to help the client to do.

With that information we can be invaluable partners. Without it, we're about as much use as a green banana.

Simon Wood2Simon Wood is Head of Stakeholder Management Research at TNS UK.

The views expressed in this blog posting are the author's own, and do not necessarily reflect the views of TNS, nor of its associated companies.



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Paul Smith
Sent from my iPhone