[ Veronica Zee ]

Hump day inspiration part 2.

Tue, 08 May 2012 23:26:39 -0400

Hump day inspiration part 2.

Core by owlwise12 Your weekly hump day inspiration.

Tue, 08 May 2012 23:21:00 -0400

Core by owlwise12

Your weekly hump day inspiration.

A little hump day inspiration in the form of some serious...

Wed, 02 May 2012 13:47:00 -0400

A little hump day inspiration in the form of some serious dedication.

free-parking:

An anonymous author’s novel written on the walls of an abandoned house in Chongqing, China

The Fun Road to Branding

Thu, 08 Mar 2012 02:05:00 -0500

Current and aspiring media entrepreneurs have their work cut out for them. David Snyder, a producer, broadcast executive and CEO of Brandissimo, seemed optimistic when he discussed the direction that media innovation is taking in the future. Drawing an example of entrepreneurship from Etsy, David told the class,

“if you want to be on the forefront of anything, you can’t be on stable grounds”.

He explained how the values and brand integrity behind Etsy carries out to the relationship that the company builds with its customer, and highlighted the importance of transparency and relating a sense of trustworthiness. Especially at a time when the same rhetoric is commonly employed throughout all channels, it becomes important to relate authenticity when conveying the motivations and goals of a brand. In David’s words this includes,

“taking care of the planet , don’t be a jerk, value customers, and offer real value”.

One of the most important elements of entrepreneurship highlighted by David included the need to plan and do ahead.

Marketing in this day and age includes a careful examination of new media opportunities. This includes being aware of elements such as SEO practices, staying mindful of keywords that the customers that you are seeking will search for online. Including a social media and digital media strategy into the marketing plan of any organization is a key component in an age when any successful company will automatically have a website, if not also a blog and a multitude of networking accounts. It is essential to not lose sight of the voice and identity of the company while planning big picture strategies. In support, Synder mentioned the importance of speaking in first person and conveying a true personality behind the brand. There is a story behind every company, and every professional team. Conveying that story and keeping to memorable, “googleable” names and branded items is key in a time where digital media marketing reigns.

David’s’s other advice included to be persistent and continue to set achievable goals that can be tackled every day by continuing to be present and doing achieving a part of the team’s goals and values everyday.

Building a community, whether online or in real life, takes a lot of team support and staying a part of the overarching conversations going on in the organization.

David himself started in traditional children’s entertainment as a content developer, and then branched out to cartoons on television. In his time in the industry David notes a big shift, especially with the shift to mobile usage. On yelp, 35% of searchers come from a mobile device, he noted. About one third of facebook users are using mobile devices. The weather channel is more mobile than ever before. It is undeniable that the prevalence of mobile devices has a serious effect on multimedia and the entertainment industry in general.

David’s company, Brandissimo, capitalizes on the prevalence of mobile use by offering connections between brands and customers throgh online (mobile) games. I was truly and completely impressed by the quality of interactivity of the Brandissimo site. By employing a playful, relaxed approach, brands can reach their current customers, and especially future customers in a nonthreatening way that steers away from traditional marketing and public relations strategies. It helps that mobile entertainment, according to David, offers a more minimalist and utilitarian approach than a website. Phone apps such as flipboard.com are examples of the ease of usability and the availability of mobile devices and the content that is found on such devices. The analytics behind these apps are also easy to access on a continual basis, making it easier to constantly modify the use of said devices to fit within the needs and feedback of customers. The main focus, David explains, for projects such as his own Brandissimo, is to take a design experience perspective on multimedia.

I found myself smiling at all the nifty, clever, and funny little details on the Brandissimo site, when I had a chance to properly check it out. It’s fun, pretty darn cute, and simple enough for almost anyone to use - signs of a truly sophisticated product. The Brandissimo way is a really successful method of engaging audiences and customers with brands, all done in a non-intimidating, easy to use, fun and playful way. I think David really understands and appreciates the idea that people want to be entertained and to enjoy their experience when interacting online, and this is something especially useful to keep in mind in a brand promoting platform. I was also impressed by the constant modification of the site due to audience feedback. As I see it, a project such as Brandissimo stands as true evidence that as media producers it is imperative that we keep in mind ways of giving back to the audience, while truly listening to audience feedback and commentary.

This entry is part of a series based on a seminar class that I’m taking as part of the M.A. program that I am enrolled in. The class is taught by Charles Falzon, a professor and media entrepreneur. The class consists of a talk, a discussion, and an answer and question period involving distinguished media entrepreneurs and executives.

Mobile Killed the Television Star?

Thu, 09 Feb 2012 13:49:00 -0500

“It’s clear that television is mostly watched online” – these were the opening words of Doug Barrett, president and CEO of PS Productions Services, former partner at McMillan, and Director of the Canadian Media Production Association.

There’s no question that we’re moving to a different way of watching television, and while online viewership typically consisted of younger audiences, today there is a wide mix of age groups that watch most of their tv favourites online.

What does all of this mean for the industry? There is currently a surplus of new media companies, but not enough business to keep them all sustained, Barrett said, and conventional tv is not growing. In the heavily government-funded television industry, producers start investing in web-based products to qualify for funding, even though products aren’t always useful or successful. In regards to financing and media production, Barrett brought these questions to mind:

1) Why do figures matter?

2) What is television?

3) Where is the growth?

Barrett credited the digital media revolution as partly happening due to venture capitalist and their desire for a little bit of risk. A high risk, high return investment is understandably appealing. Barrett’s use of number and statistics reminded me that there is a lot of use for analysis and research in the television industry. In a time of specialty channels and online avenues that allow a viewer to be incredibly selective in the content that they observe , it is especially important to understand one’s audience and to cater to the needs of that demographic.

I think when it comes to Canadian content, we still have some ways to go in terms of figuring out what audiences want, and this is specifically in reference to younger audiences who are tech-savvy and are interested in a rewarding interactive experience. I would be curious to see if the popular practice of watching tv on mobile devices will thrive as more and more television content becomes available online, and how that might translate for producers who are looking to find new means of funding their content.

Terry O'Reilly and Why Advertising is Immortal

Mon, 06 Feb 2012 21:54:00 -0500

Author of “The Age of Persuasion”, Terry O’Reilly spoke at an event last Tuesday (January 31st) at Ryerson University. O’Reilly is known as an advertising guru, with popular radio shows on the CBC One Radio series O’Reilly on Advertising, The Age of Persuasion, and recently Under the Influence. The excitement in the room was palpable. The auditorium was filled with academics, students, industry experts and interested members of the community. I was definitely looking forward to hear what a man who has been observing and commenting on the great sweep of advertising that hit and affected our culture and society so greatly over the last one hundred years would have to say about the status quo of the advertising industry.

O’Reilly began his talk with a discussion of case studies of infamously brilliant advertising campaigns by the likes of DBB, Volkswagen, Avis, Russian Standard Vodka, and others. It was interesting to listen O’Reilly describe the approach that made some of these campaigns so successful. Particularly the Volkswagen and Avis campaigns were a hit due to three main factors: they played on the public’s sympathy with the underdog, they embraced a self-deprecating humour, and they stood out by embracing the public’s perceived identity of the brand.

Avis’s campaign was particularly brilliant. Accepting that they were certainly not the top advertising agency in the industry at the time (nor the second best, third, or perhaps even fourth), the company released a campaign that was centered around the tag line of “we’re #2, but we try harder”. The campaign soared. And once the top advertising agency recognized that Avis was “#2”, O’Reilly explained, they indeed became the #2 advertising agency. They sold an image of hard work ethic and a climbing-to-the-top identity that had many people identify with the brand. My understanding of O’Reilly’s moral to this story was that a strong advertising campaign is not based in gross exaggerations or claims, but plays on people’s sensibilities, is created by advertising creatives who can think outside the lines of advertising standards, and appeals to people’s intelligence/instincts. Reflecting on these campaigns, and the imminence of marketing to any successful company/campaign, it seems to me that it is simply undeniable that in our age of mass consumption and globalization, advertising is only growing and evolving. Advertising is here to stay - it is easily one of the few industries that has an infinite staying power, as long as we continue to function in the the economical systems as we understand them today.

O’Reilly addressed some hard questions regarding the nature of advertising in this day and age. With so many advertising that misinform, mislead, or create harmful perceptions in our society, how can we maintain a positive perspective or an interest at all in the advertising industry? O’Reilly maintained that while there are many poor examples of advertising, the best campaigns play to people’s intelligence.

I could go on a full tirade of the harm that is created every year by the advertising industry, but that’s for another post, another time. For the purposes of this post, I can say that I truly appreciate certain aspects of the advertising industry. This is still a field where true creativity can flourish and is encouraged by top management. The Cannes Lions International Advertising Festival is a testament to this. Each year some of the most moving, beautiful, inspiring, creative, hilarious, and at times terrifying advertising shorts are presented around the world. The work speaks for itself. It is a true remarkable collection of the incredible talent that exists in each country.

Towards the end of the discussion one specific point was brought again and again between O’Reilly, the panel, and the audience around advertising and non-profits/charities. The conversation steered to PSA’s and the challenge of relating an organization’s vision and goals by engaging the audience as opposed to repelling said audience. As someone who is keenly interested in the development of non-profits organizations, business models tailored specifically per organization, and the role that marketing and social media have in drawing support for these organizations, I was left with questions as to how we can utilize the web tools and advertising standards to the advantage of organizations seeking to bring social change. Community-powered tools such as Tumblr, LinkedIn can also prove to be incredibly useful for a social entrepreneurship startup or established non-profit. Without a doubt tools such as those mentioned above as well as Twitter and Google AdWords should be embraced, not rejected, especially for organizations who seek to do a lot with very little.

Weekend adventures.

Sun, 05 Feb 2012 16:24:54 -0500

Weekend adventures.

Digitization of Art and the Last Refuge of a Canvas

Sat, 04 Feb 2012 16:20:00 -0500

For the last month and a half, my Saturday morning tradition became waking up, grabbing a coffee, and spending half an hour just exploring the downtown Toronto area. It’s one of my favourite things to do on the weekend. I can reconnect with the city I live in, and remember why I decided to move here in the first place: the energy, the people, the fantastic photo opps. Today was no exception. Walking down Young Street I was sort of lost in my own thoughts, trying to keep warm like everyone else making their way up and down this major vein of Toronto. Just as I was about to head in a different direction, I saw a sign that read, “Gallery Closing, 75%”. I was drawn in, and decided to check this place out.

There were all kinds of different art works around, some very very good (like the piece above), and some that were sort of mediocre. All were created on a fairly large canvas and typically cost from $50 to $200. I was kind of appalled. I know that more often than not, the canvass and supplies to create those art works cost as much or even more than the actual art work. Is no one buying art anymore? Have things really gotten this bad?

Today, it takes about a few seconds to search for your favourite art images online, and it doesn’t cost that much to print them, save them, or buy the prints in a store. This is cheap or free redistribution of art. This exposure to art is so easy, so at the tip of our fingers that sometimes I think it can be easy to take the artistry, time, sweat and tears that can go into a piece of work for granted. There is a process to creating art that is an art in itself. The digitization of art often makes me wonder how the art market will fair in the next couple of decades. Will everything move online from now? Will digital art take over? Will art made by an artist in a studio be considered archaic? Will art made with a paintbrush be considered akin to people who choose to take photographs with film today - a simple aesthetic nostalgia, but not at all representative of current methodology?

In these small galleries such as the one I visited today, art made by people who live around us is sometimes stacked alongside other pieces, collecting dust. It’s a temporary refuge for art creations that may soon become only spaces of nostalgia. I know that (especially in hard economic times) it has always been difficult to sell art. I’m interested in finding out if the digital culture around sharing, transferring, and collecting art online is slowly replacing the fan culture, market value, and appreciation of artists and the art world as we know it.

Transmedia and Monetizing the Story

Fri, 03 Feb 2012 09:22:00 -0500

Yesterday I sat in on a class talk by a top media executive. The conversation centred around the monetization of transmedia narratives, as well as seeking funding for new media initiatives. In the case of media initiatives in Canada, it seems to be assumed that innovation can only generally be propelled by funding. To me, this appears to be common sense. As a content producer and media entrepreneur, you need external funding to support your endeavours to the fullest extent. Yet, a few people were not so sure. “What kind of freedom do you really have with external funders and obligation to sponsors?”, they asked, and I could practically see their fists shaking. For true innovation and originality to take place, there can’t be any interference in the creative process, they argued. They have a good point, but the media world is a business ultimately, and as such can only exist on the basis of a solid business plan and that five-letter word. Money.

In the media industry of the Canadian context, it seems that there is little push for content that is competitive in popularity to the U.S. entertainment market. Although some popular shows have come out in the last few years (Being Erica is just one such example), it seems that the great Canadian talents, both new and old, are STILL moving to our Southern neighbours for competitive jobs and opportunities in the media and entertainment world.

That brings me back to my original point - money. How do you monetize and fund creative content? And how do you this in a viable way during a recession? Answers from my colleagues and guest speaker included selling the story to advertisers and marketers, engaging technology to create multiple platforms for engagement, getting the right funding, and making the most of that funding. This last point is crucial, and reminds me of the same words that I’ve heard over the last five months. “Don’t outspend the competition, outsmart them”, I heard from all sorts of avenues. Without a doubt, this is incredibly legitimate advice, but as with all advice that seems to offer an elegantly simple answer to a complex problem, there is a mastery to achieving “outsmarting instead of outspending”.

In the media industry, in order to outsmart but not outspend the competition, it seems to me that one must ultimately craft (and market) a successful story. It is the story, the creative pulse of a project, that will determine the audience, longevity, and ultimately success of a transmedia project. But the definition of a successful stories vary much more than one might think from place to place. There is such a thing as a story being too “American” or “not enough Canadian” when trying to sell a pitch to Canadian broadcasters. For example, It’s not enough to just be funny. The writer/content creators need to understand the specific sense of humour that is considered “Canadian”, or perhaps more accurately, the supposed sense of humour that is being marketed as being Canadian by current media moguls. Once you have a story that is place and time appropriate, you must ask yourself whether it has universal themes that anyone can relate to? You are already thinking about this, because you know that the next sell will be on the international market. Presumably, if you have all of your basics in place, you can successfully market and sell you product - the creative package. And that is ultimately what you are doing in this business: being creative and finding a means to fund that creativity. Without the latter there will not be an opportunity for the former to exist at all.

Media folk have began to seek ways to use and monetize creative content and stories through digital media. This is just one element of transmedia narration, one that offers new and exciting crowd-sourced potentials, and interconnectivity for global audiences. Past transmedia narratives have included video games, theme parks, television series, and music (think of the Harry Potter franchise). Today, all of these paths to retelling the experience of the original story still exist, with the exception that now we can merge and offer some of these experiences online through one platform. There is a lot of room to explore innovation and creativity through aspects of transmedia online, which include: social media tools, film, music, gaming and smart phone applications. My interest as a content producer and media analyst lies in understanding how this ongoing innovation can create stronger avenues for funding for media projects, and looking to the future to understand the future evolution of the story in this supposedly globally connected, technological world.

"All good books have one thing in common - they are truer than if they had really happened."

Fri, 03 Feb 2012 00:07:00 -0500

““All good books have one thing in common - they are truer than if they had really happened.””

- Earnest Hemingway

Summer nostalgia #10.

Thu, 02 Feb 2012 23:24:58 -0500

Summer nostalgia #10.

Summer nostalgia #9.

Thu, 02 Feb 2012 23:23:00 -0500

Summer nostalgia #9.

Summer nostalgia #8.

Thu, 02 Feb 2012 23:22:11 -0500

Summer nostalgia #8.

Summer nostalgia #7.

Thu, 02 Feb 2012 23:20:16 -0500

Summer nostalgia #7.

Hollerado. Summer nostalgia #6.

Thu, 02 Feb 2012 23:07:00 -0500

Hollerado. Summer nostalgia #6.

The last lemonade. Summer nostalgia #5.

Thu, 02 Feb 2012 22:38:00 -0500

The last lemonade. Summer nostalgia #5.

Hillside sched. Summer nostalgia #4.

Thu, 02 Feb 2012 22:28:30 -0500

Hillside sched. Summer nostalgia #4.

Mother mother. Summer nostalgia #3.

Thu, 02 Feb 2012 22:27:14 -0500

Mother mother. Summer nostalgia #3.

Just a ton of awesome on one stage. Summer nostalgia #2

Thu, 02 Feb 2012 22:21:49 -0500

Just a ton of awesome on one stage. Summer nostalgia #2

Hillside, aka summer nostalgia

Thu, 02 Feb 2012 22:18:51 -0500

Hillside, aka summer nostalgia