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Content Marketing - alla conquista dei pubblici della Digital Age

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Background, i principali trend e gli attori della Digital Age
Social Media Revolution, capire i linguaggi, oltre la tecnologia
Content Marketing performance, fedeltà a patto di credibilità: il caso Samsung Instagram storytelling by LUZ

Published in: Marketing
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Content Marketing - alla conquista dei pubblici della Digital Age

  1. 1. Presenta: Content Marketing alla conquista dei pubblici della Digital Age
  2. 2. 1. Background I principali trend e gli attori della Digital Age
  3. 3. Much research and writing is done about Millennials: their technology ownership is different from older adults, they are changing media consumption. Glenn Enoch Svp Audience Insights Nielsen.
  4. 4. 1.  Content On Demand: da GAFA a OTT* 2.  Adblocker: This generation doesn’t dislike brands. What they don’t like is advertising 3.  Facebook boost: In the first quarter of 2016, 85 cents of every new dollar spent in online advertising will go to Google or Facebook. *Google Amazon Facebook e Apple - Over The Top content (i.e. Netflix, Sky On Demand) - Sources: Erin McPherson, Chief Content Officer di Maker Studios, il più grande distributore di short- form video content al mondo, Brian Nowak a Morgan Stanley analyst. il 17% degli utenti Italiani ha installato un software adblocker su desktop ed è cresciuta di 4 punti percentuali in sei mesi.
  5. 5. 4.  Snapchat, e la nuova moneta di scambio: la privacy 5.  Chatbot, il mondo dopo whatsapp: le applicazioni del futuro sono in chat 6.  Apple e la “mela che cade”, la necessità di virare sui servizi il modello di business e di ripensare le modalità di advertising.
  6. 6. Il pubblico italiano non è altrettanto evoluto: il consumo (tradizionale) del TV è ancora largamente diffuso; ma ci sono alcuni segnali deboli importanti: il 17% ha installato un adblocker e il calo di audience durante i passaggi pubblicitari è del 30-35%, anche per il sovraffollamento incontrollato: più di 1.000 campagne pubblicitarie diverse ogni mese in TV. Sources: Adobe, The Cost of Ad Blocking” 2015 - Auditel 2015 – OBE 2015 – Google Consumer - Barometer 2015 - Istat - Banca Mondiale - Rapporto annuale sulla situazione sociale del Paese - CENSIS (Istituto di Ricerca Socioeconomica Italiana) - YouTube, LLC - Italy Facebook Statistics Anche come fruizione dei Social Network, gli italiani si dimostrano abitudinari: affezionati a FB, mentre esperimenti come Snapchat stentano a decollare (600k utenti in Italia). A livello mondiale, però, nel 2017 la spesa per adv digital ha superato per la prima volta quella TV.
  7. 7. Large powerhouse agencies are struggling to cover all the various ways ads can be served: they are facing competition from smaller, tech-focused players offering pre-packaged approaches at a fraction of the cost. Traditional agencies can provide creative direction and strategy guidance but may come short in technological capabilities. Specialty agencies are nimble but too much focused. Furthr, April 29, 2016
  8. 8. In Italia, la situazione è similare: è un tutti contro tutti, senza che nessuno, neppure all’interno di singole nicchie, abbia individuato una modalità innovativa per operare. Advertisers Publishers
  9. 9. I publisher italiani, detentori delle informazioni veicolo di pubblicità, soffrono similmente. Mentre i mezzi classici subiscono cali di ricavo sempre più consistenti dal 2010 a oggi, con punte fino al 30% nel caso dei quotidiani (cartacei), l’effervescenza del mondo digitale non si traduce ancora in una valida e sostenibile alternativa a sostegno dell’informazione. Source: Indagine conoscitiva su informazione e internet in Italia. Modelli di business, consumi, professioni agcom allegato a alla delibera n. 146/15/cons In Italia nonostante vi sia una propensione a pagare da parte dei consumatori… … non viene alimentata da opportuni investimenti da parte degli editori
  10. 10. Anche a causa delle pesanti strutture di costi da sostenere: Source: Indagine conoscitiva su informazione e internet in Italia. Modelli di business, consumi, professioni agcom allegato a alla delibera n. 146/15/cons
  11. 11. Eppure c’è un buco di offerta, e il livello di specializzazione dell’informazione (e dei giornalisti) per contenuti che riguardano, ad esempio, economia, finanza, scienze e tecnologia, appare insoddisfacente. Inoltre, la preferenza dei consumatori è verso una informazione imparziale, che rispetta i canoni tradizionali di verifica, piuttosto che “schierata”. Source: Indagine conoscitiva su informazione e internet in Italia. Modelli di business, consumi, professioni agcom allegato a alla delibera n. 146/15/cons
  12. 12. Chi ha cavalcato questa esigenza vede i primi risultati, nell’ultimo anno il NYT ha visto aumentare del 32% gli abbonamenti online, un incremento superiore alla somma degli incrementi degli ultimi 2 anni. Source: Reuters 2017, New York Times 2017, YouTube Si tratta del risultato di una forte investimento (opportunamente comunicato) sulla formazione dei giornalisti e l’ingaggio di reporter specializzati, ciascuno in nicchie di tematiche.
  13. 13. Anche gli advertiser, detentori dei budget di comunicazione, faticano a guadagnare l’attenzione dei consumatori, enormemente diluita e costantemente “parziale”. La cura, già conclamata in USA, è il content marketing: dà l'opportunità di attirare, coinvolgere, convertire e fidelizzare nuovi clienti, fornendo informazioni pertinenti e preziose, perché rispondono a loro esigenze/approfondiscono loro interessi. Source: NZBusiness Magazine 2016, Contri 2017
  14. 14. Cosa è il content marketing: è un contenuto che reca la “firma” del Brand che lo ha commissionato attraverso una coerenza interna di significati che il pubblico deve poter cogliere e riferire alla marca. È possibile che la marca/il prodotto non risultino visibili “fisicamente”, ma che la loro presenza sia evocata dalle sue dimensioni valoriali. Allo stesso tempo, la fonte e la natura commerciale del messaggio non vengono occultate: l’utente dev’essere consapevole di fruire di un contenuto proposto da un Brand, per una ragione di natura commerciale (efficacia del messaggio), e di natura legale (rispetto delle normative pubblicitarie). Il contenuto è così percepito dal consumatore come un plusvalore da cui trarre vantaggio - anche solo di intrattenimento - e non come un’interruzione di un’attività: si crea uno scambio di reciproco beneficio. Source: OSSERVATORIO BRAND ENTERTAINMENT del 14/12/2015
  15. 15. All’estero i (più grandi) Brand si “attrezzano” acquisendo realtà media/ editoriali. Altri “diventano” essi stessi un media: RedBull dal 2007 ha creato al suo interno una divisione dedicata alla produzione, distribuzione e management di contenuti fortemente legati al Brand, incentrati sulla “youth-culture” con focus sugli sport estremi, diffusi in ottica multimediale.
  16. 16. In Italia, non vi è una simile emancipazione, ma la creazione di: 1.  Contenuti, legati al prodotto, che vivono su canali (digitali) proprietari, finalizzati a creare un’audience ex-novo che, se mai si riuscisse a costruire, dovrà competere con le già esistenti e molteplici platee di audience 2. contenuti realizzati in partnership con divisioni “produttrici di contenuto per advertiser”, all’interno di editori, spesso non specializzati in comunicazione digitale.
  17. 17. Necessità di stimolare l’interesse concreto del pubblico Advertisers Publishers
  18. 18. 3. Social Media Revolution Capire i linguaggi, oltre la tecnologia
  19. 19. Non possiamo scegliere se stare o meno sui social media. Dobbiamo solo scegliere come farlo. 
  20. 20. LOSCENARIOITALIANO Source: We Are Social 2017
  21. 21. LOSCENARIOITALIANO/2 Source: We Are Social 2017
  22. 22. LOSCENARIOITALIANO/3 Social Media Italia – Utenti Attivi Source: We Are Social 2017
  23. 23. Come molti di voi sanno i giovani hanno giocato un ruolo centrale nella crescita di alcuni social media. Adesso molti adulti sono saltati a bordo ma ciò che essi fanno in questi spazi è spesso molto diverso da ciò che fanno i giovani. Source: I social media sono qui per restare… e ora? Danah Boyd
  24. 24. Source: Il Secolo XIX 2016
  25. 25. Source: Audiweb powered by Nielsen 2017
  26. 26. Probabilmente, oggi non si può più essere generalisti. E se da un lato i generalisti dovrebbero pensarci, dall’altro chi ha idee nuove dovrebbe iniziare da subito a puntare su un tema preciso e un altrettanto preciso pubblico di nicchia di riferimento. Source: Wolf 2016
  27. 27. I social media hanno i loro linguaggi specifici, le loro sintassi, i loro riferimenti culturali. A differenza dei media mainstream in cui il linguaggio è trasversale, i social media sono i luoghi in cui nascono i linguaggi propri delle sottoculture.
  28. 28. L’algoritmo di Facebook premia l’engagement: più un contenuto è considerato rilevante da un utente più Facebook proporrà all’utente stesso contenuti simili. Per farsi “sentire” bisogna massimizzare l’engagement parlando di temi specifici. Come? Competenza, Credibilità e Autenticità, Originalità, NO comunicazione top-down.
  29. 29. Cosa vuol dire storytelling? Il Case “Casey”. Source: Casey Neistat YouTube.
  30. 30. L’approccio Sapiens.  Source: Sapiens Facebook.
  31. 31. 4. Content Marketing performance Fedeltà a patto di credibilità: il caso Samsung Instagram Storytelling
  32. 32. Essere vicino agli utenti, significa conoscere i temi che stanno loro a cuore, perché raccontano di valori su cui basano la loro esistenza e dunque anche le loro scelte di consumo. Significa conoscere le loro abitudini media – online e offline – che raccontano come, di cosa e tramite chi si informano Diventa dunque fondamentale: 1.  Individuare le loro abitudini di consumo di contenuto (editoriale prima ancora che pubblicitario) 2. Individuare e coinvolgere interlocutori credibili per loro. In questo senso, in ottica Inbound, si dovrebbe realizzare una “editorial competitive review”, l’analisi dei diversi contenuti di informazione che competono nella mente dello stesso consumatore, per apprendere e realizzare una comunicazione credibile sui suoi valori.
  33. 33. Individuare le loro abitudini di consumo media consente di passare da Target a Pubblico, e aggiungere alle informazioni socio-demo profili di interessi verticali (considerando che spesso l’informazione passa dai social) su cui poi incentrare una comunicazione. Individuare gli interlocutori autorevoli per loro significa lavorare con i cosiddetti microinfluencer "Emerging creators", not someone with five million followers, are more important than ever for brands. All too often influencers are talked about in terms of their media footprint, not the impact they have. Source: The Future Laboratory 2017, Campaign 2017.
  34. 34. Un recente articolo di Campaign mette in evidenza l’attuale necessità per i Brand di comunicare attraverso una nuova tipologia di influencer, dotata di: •  Autorevolezza – perché conosce la materia •  Realismo – perché racconta cose/situazioni vere •  Estetica – perché ha una formazione artistica/d’autore E per questo aventi un target molto verticale e dunque dalla platea di fan/ follower inferiore rispetto ai mass influencer ma molto coinvolta. I tre elementi risultano infatti in una comunicazione fino a 6 volte più efficace in termini di engagement. Source: The Future Laboratory 2017, Campaign 2017, LUZ (Samsung case) e Adv Week 2017.
  35. 35. Regole di ingaggio per micro influencer: •  Essere chiari riguardo cosa vi aspettate da loro •  Affidare il loro coordinamento a esperti autorevoli di curatela di contenuti, per permettervi di passare senza pericoli all’importante punto 3 •  Dargli libertà di interpretazione – mediata dai curatori – dei vostri valori •  Sfruttare i loro spazi media (i loro canali YT) prima dei vostri •  Coinvolgere più microinfluencer, su differenti nicchie di tematiche, per allargare la reach mantenendo la qualità di ingaggio. Source: 72 & Sunny, LUZ 2017
  36. 36. https://vimeo.com/223270829
  37. 37. The ideas, concepts, information, and materials included in this document are and shall remain confidential

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