The presentation summarized major trends in the digital entertainment industry based on a series of charts. While the overall transition from physical to digital media is evident, there are important regional variations and subtends. Across music, video, and books, digital media will surpass physical media globally by 2019. However, the music industry saw a 25% decline in revenues during this transition due to loss of pricing control to digital aggregators, unlike the book and video industries. The amount of content is growing exponentially due to ease of digital creation and distribution, but consumption is growing arithmetically, resulting in declining average unit revenues. New financial models are needed to support commercial content creation in this environment.
Flexibility agility relevancy will be key ingredients in post lockdown advert...Posterscope
Reflecting and respecting the mood of the country has been a key theme for advertisers during this Pandemic, with the brands that have, seeing their work shared and celebrated. What happen next with lock-down is still unclear, however it does seem certain though is that no one will be going back to what is already becoming the “old” normal for a long time, if ever. It is also clear that this will affect how advertisers communicate with customers moving forward. Flexibility, agility and relevance will be key ingredients in designing communications in the coming months, if not years.
Flexibility agility relevancy will be key ingredients in post lockdown advert...Posterscope
Reflecting and respecting the mood of the country has been a key theme for advertisers during this Pandemic, with the brands that have, seeing their work shared and celebrated. What happen next with lock-down is still unclear, however it does seem certain though is that no one will be going back to what is already becoming the “old” normal for a long time, if ever. It is also clear that this will affect how advertisers communicate with customers moving forward. Flexibility, agility and relevance will be key ingredients in designing communications in the coming months, if not years.
Reinventing B2B Publishing is a white paper looking at the challenges of adapting to a digital environment.
This white paper argues that B2B publishers will have to frequently reinvent their business models in the face of a still evolving digital landscape.
It calls for publishers to collaborate with other disciplines to drive new revenues and to tailor their products to the specific markets they serve. It also has a number of mini-case studies of B2B publishers already succeeding in the digital space.
These are the slides for a workshop on C3 scheduled for Dec. 3 in Barnaul, Siberia. For more on this topic, read my Blueprint for the Complete Community Connection: http://bit.ly/qzsKx
Posterscope's piece Working out the Wold of Work looks into the changing face of work now and in the near future as a result of Covid-19. From regional differences working from home, mobility trends, new behavioral patterns , and what this means for Out of Home.
POTENTIAM.IO - Decentralized Music Platform [WHITEPAPER]Ardian Agung
Join ICO!
Our site: https://www.potentiam.io/
Community: https://t.me/potentiamgroup
Hey everyone! Potentiam was started as a way to bring new and innovative services to independent musicians everywhere. We are true music lovers who are involved in the space internally and we see the struggles that many artists go through to get their work heard. We launched the ICO knowing we wanted to change the music industry but we had some issues bringing that idea to fruition. That, however, is all about to change.
Upload by. niethera
https://bitcointalk.org/index.php?action=profile;u=998203;sa=summary
Media and entertainment companies must embrace egalitarian consumption habits driven by social media and mobility to fulfill desires for a unified experience across all devices and channels.
China vs usa mobile influence moves from west to eastIvan Chen
China is already the largest market for smartphones and mobile telephone subscriptions globally, and by the end of 2014 will also overtake the USA in terms of total mobile revenues.
Digital insanity - Tracking Trends in Media, Digital Marketing, Mobile, Socia...Scott Brandon
Today's marketer has it rough. With so many changes going on around us, technology, media consumption, data capabilities, etc. How do we keep up. here are 10 ways you can better keep track of the latest trends in marketing without going crazy.
Reinventing B2B Publishing is a white paper looking at the challenges of adapting to a digital environment.
This white paper argues that B2B publishers will have to frequently reinvent their business models in the face of a still evolving digital landscape.
It calls for publishers to collaborate with other disciplines to drive new revenues and to tailor their products to the specific markets they serve. It also has a number of mini-case studies of B2B publishers already succeeding in the digital space.
These are the slides for a workshop on C3 scheduled for Dec. 3 in Barnaul, Siberia. For more on this topic, read my Blueprint for the Complete Community Connection: http://bit.ly/qzsKx
Posterscope's piece Working out the Wold of Work looks into the changing face of work now and in the near future as a result of Covid-19. From regional differences working from home, mobility trends, new behavioral patterns , and what this means for Out of Home.
POTENTIAM.IO - Decentralized Music Platform [WHITEPAPER]Ardian Agung
Join ICO!
Our site: https://www.potentiam.io/
Community: https://t.me/potentiamgroup
Hey everyone! Potentiam was started as a way to bring new and innovative services to independent musicians everywhere. We are true music lovers who are involved in the space internally and we see the struggles that many artists go through to get their work heard. We launched the ICO knowing we wanted to change the music industry but we had some issues bringing that idea to fruition. That, however, is all about to change.
Upload by. niethera
https://bitcointalk.org/index.php?action=profile;u=998203;sa=summary
Media and entertainment companies must embrace egalitarian consumption habits driven by social media and mobility to fulfill desires for a unified experience across all devices and channels.
China vs usa mobile influence moves from west to eastIvan Chen
China is already the largest market for smartphones and mobile telephone subscriptions globally, and by the end of 2014 will also overtake the USA in terms of total mobile revenues.
Digital insanity - Tracking Trends in Media, Digital Marketing, Mobile, Socia...Scott Brandon
Today's marketer has it rough. With so many changes going on around us, technology, media consumption, data capabilities, etc. How do we keep up. here are 10 ways you can better keep track of the latest trends in marketing without going crazy.
15 Things to Know - Digital Media TrendsJeremy Caplan
New technologies, tools and techniques continue to challenge conventions by enabling imaginative new media. These slides accompany a session focused on 15 trends, highlighting how these new ideas and approaches are creating exciting opportunities for media innovation.
Frye Properties - 2016: Social Media & Digital Trends in MultifamilyErica Campbell Byrum
With the ever-changing climate of social media, it’s hard to know what’s “in” and what will help grow your business. Social media, digital marketing and new technology holds tremendous opportunities for companies looking to drive new business, retain customers, create engagement and increase revenue. So many changes have come through social media in the past few years, and no doubt that more are on their way in 2016. Interested in where it is all going? What should be in store for you for the next year? Join Erica Campbell Byrum, Director of Social Media for For Rent Media Solutions as she shares insight into social media trends to help you develop a social program that is proactive versus reactive.
Erica Campbell Byrum, Director of Social Media for For Rent Media Solutions presented this at the FRYE Properties Managers' Meeting event on 9/22/16.
If newspapers don’t just want to age (and ultimately die) with their traditional readership, how do they render themselves relevant for future readers, that is, the generation of digital natives, and their vastly different media consumption habits? This presentation looks at some key digital trends that will shape the future of newspapers.
Social Media & Digital Marketing: What You Need to Know to Stay Ahead of You...Erica Campbell Byrum
With the ever-changing climate of social media, it’s hard to know what’s “in” and what will help grow your business. Social media, digital marketing and new technology holds tremendous opportunities for companies looking to drive new business, retain customers, create engagement and increase revenue. So many changes have come through social media in the past few years, and no doubt that more are on their way in 2016. Interested in where it is all going? What should be in store for you for the next year? Join Erica Campbell Byrum, Director of Social Media for For Rent Media Solutions as she shares insight into social media trends to help you develop a social program that is proactive versus reactive.
Google makes more than 500 algorithm updates a year. LinkedIn now offers more ways to connect with sales prospects than ever before. Keeping track of the changes in digital marketing can make your head spin.
Review this presentation to learn what works today and what you should be thinking about as we head into 2017.
Sheila Kloefkorn, of KEO Marketing Inc, named a top 25 Interactive, Social Media, SEO and Advertising Agency by the Phoenix Business Journal, will walk you through the most important trends you should be thinking about heading into 2017.
A closer look at the trends that will shape Digital Marketing in 2017 – and how you can leverage them to outperform your peers. Read more in this blogpost series: https://webrepublic.com/en/blog/2016/11/18/digital-marketing-trends-2017-en/.
8 Ways a Digital Media Platform is More Powerful than “Marketing”New Rainmaker
You may have heard that “media not marketing” is the future of online business … but what does that actually mean, what can it look like?
As you’ll see in this SlideShare, examples of a media-first approach done very well are all around us, it only takes a simple shift in thinking to see them.
Can this "media not marketing" approach to building an audience have an actual effect on the bottom line revenue of your business, or is it just more philosophical wordplay?
Let's find out ...
In the ever changing world, marketing strategies are changing fast. A new domain of marketing, digital marketing emerged with the rise of the internet and social media. New trends in digital marketing in the upcoming year can modify the face of marketing.
Introduction to Digital Marketing | #IntroToDigital +22 Free Tools insideNicolas J. Chevalier
INTRO TO DIGITAL - In this presentation, you will find an introduction to digital marketing / online marketing. Through SEM, Display, Content Marketing, E-CRM, Digital communication, discover 22 free tools to do your own analysis.
London School of Economics: Copyright & Creation A Case for Promoting Inclusi...Stéphane M. Grueso
London School of Economics: Copyright & Creation A Case for Promoting Inclusive Online Sharing
Bart Cammaerts
Robin Mansell
Bingchun Meng
The London School of Economics and Political Science
Department of Media and Communications
The Future of Music: What Every Business Can Learn From The State of The Musi...Brian Solis
Brian Solis takes a look at how disruption changed the face of the music industry, and the lessons all businesses can learn from this period of massive change. This paper examines the effects of "digital Darwinism" on how we create, distribute and consume music, as well as the effects of disruptive technology on our everyday lives.
www.briansolis.com
Brian Solis takes a look at how disruption changed the face of the music industry, and the lessons all businesses can learn from this period of massive change. This paper examines the effects of "digital Darwinism" on how we create, distribute and consume music, as well as the effects of disruptive technology on our everyday lives.
The slide show contains notes that I took while attending the 2016 Digital Media at the Crossroads conference.
Please note that I do not own any of the ideas and facts presented in this slide show.
I hope everyone interested in the latest trends of digital media will find this slide show and the links presented useful!
This year, the team at Activate has defined the 11 most important insights for tech and media in 2018. Key points:
*$300 Billion in Internet and Media Growth Dollars
*Consumer Attention: There are 31 Hours in a Day, and Growing
*Smart Cameras: The Next Terrifyingly Smart Device That People Will Use Everywhere
*eCommerce: New Categories, New Brands, and $3 Trillion to Grow
*Sports Betting: Massive Growth Ahead for Tech and Media Companies
*Messaging: The Battle Will Continue for the World’s Dominant Digital Behavior
*Video Gaming: Unleashed and Ubiquitous for Billions of Consumers
*Music: More Services, More Venues — While Consumers Become Creators
*Podcasting: The Fastest Growing Media Behavior in an Exploding Ecosystem
*Video: The Old Winners Will be the New Winners
*Consumer Financial Services: The Long Awaited Tech Revolution is Finally Arriving
This year, the team at Activate has defined the 11 most important insights for tech and media in 2017. Key points:
*$300 Billion in Tech and Media Growth Dollars
*There are 31 Hours in a Day
*Super Users: A Lot More Time, a Lot More Money
*Smart Speaker Battles are about the Great Digital Assistant Wars
*Reality Computing: VR/AR Move from Entertainment to the Next Big Computing Platform
*Big Influencers and Media Brands will Rule Web Video
*Premium Video: The Chase for Television Viewers and Television Dollars
*Sports is the Ultimate Moat
*News Brands will Beat Fake News (Spread by Fake Friends)
*eCommerce: More than Two Trillion Dollars To Go
*In an Era of Voice Control, Look to Podcasting to Engage Users
Abnormal psychology Assignment1. Which disorder do you think s.docxdaniahendric
Abnormal psychology Assignment
1. Which disorder do you think should not be listed in the DSM 5? Why not?
2. Currently more people in the U.S, are diagnosed with mental disorders than at any other time in history? What are your thoughts about this issue?
3. Some people believe we are over diagnosing and over medicating ADHD clients. Do you agree/disagree? What's the solution?
4. Which disorder(s) do you find utterly boring to spend time studying?
5. Thus far, what disorder intrigues you the most? Why
6. If you were diagnosed with a disorder, which one would you find most disturbing to have?
7. Which disorder have you been able to diagnose with friends or family (do not give revealing information to identify the person)? Tell us about why you think they have this disorder.
ONLINE CONTENT
No other sector of the American economy has been so challenged by the Internet and the Web than the content industries. The online content industries are organized into two major categories: the print industries (newspapers, magazines, and books), and the entertainment industries, which includes television, movies, music (including radio), and games. Together, the online content industries in the United States are expected to generate revenues of over $50 billion in 2017. In this chapter, we will look closely at publishing (newspapers, magazines, and books)
and entertainment (television and movies, music and radio, and games) as they attempt to transform their traditional media into digitally deliverable forms and experiences for consumers, while at the same time earning profits. These industries make up the largest share of the commercial content marketplace, both offline and online. In each of these industries, there are powerful offline brands, significant new pure-play online providers and distributors, consumer constraints and opportunities, a variety of legal issues, and new mobile technology platforms that offer an entirely new content distribution system in the form of smartphones and tablet computers. Table 10.1 describes the most recent trends in online content and media for 2017–2018.
CONTENT AUDIENCE AND MARKET: WHERE ARE THE EYEBALLS AND THE MONEY? In 2017, the average American adult spends around 4,400 hours each year consuming various media, more than twice the amount of time spent at work (2,000 hours/year) (see Figure 10.1 on page 661). U.S. entertainment and media revenues (both online and offline) in 2016 were estimated to be $251 billion. Sales of tablets and smartphones have.
• Explosive growth of the mobile platform of smartphones and tablets accelerates the transition to digital content.
• Amazon, Google (YouTube), Hulu, and Netflix (owners of the distribution channel) become significant players in the content production business.
• The cable industry continues to be challenged by growth of Internet content producers and distributors.
• The number of Americans who watch digital video continues to increase, to around 223 million peop ...
Worth £2.34bn in 2018, this diverse multichannel category covers the distribution of film, TV, sport, fitness, music video, children’s and special interest programming which UK audiences can watch in the format of their choice be that to own, rent or access via subscription.
O'Reilly eBook: Creating a Data-Driven Enterprise in Media | eubolrVasu S
An O'Reilly eBook about Creating a Data-Driven Enterprise in Media DataOps Insights from Comcast, Sling TV, and Turner Broadcasting.
https://www.qubole.com/resources/ebooks/ebook-creating-a-data-driven-enterprise-in-media
2. The following is a summary of a presentation
given at the World Future Society 2016 Annual
Conference. It consists of a series of charts
illustrating the major trends in the digital
entertainment space. Although the aggregate
trends are self-evident and already well known,
there are important regional variations and sub
trends that are worth pointing out.
2
4. No real surprises here. Digital media overtook
physical media in the music business on a global
basis in 2014, the crossover point for video in the
United States will occur in 2016 and for books in
2017. On a combined, global, basis for all media,
digital media will surpass physical media in 2019.
4
5. There is no consistent definition of what constitutes
an industry’s “sales.” Sync revenue, for example, is
not always included as part of the music industry’s
revenue base. Ditto for revenue from college book
rentals. These kinds of discrepancies may affect the
timing of the cross over point but they do not
change the overall trend toward digital media.
5
12. Digital penetration for the top four music markets in
the world is as follows: US (72%), Japan (17%),
Germany (22%) and UK (45%). The US market
represents $4.9 billion in total revenues, the other
three markets represent a combined revenue of
$5.33 billion. The overall digital share in those
markets is 21%. If these markets approach the
same level of digital penetration as the US it will
represent an increase in digital revenues of over
$2.6 billion.
12
13. It’s unclear to what extent cultural factors may
affect the overall level of digital penetration.
Secondly, it’s not clear whether those markets that
have lagged behind in digital penetration will make
the same transition to downloads and then
streaming or whether they will transition directly to
a streaming model and skip the download phase.
13
14. Secondly, for the first time in the history of the music
business there has been a sharp reversal in the
market share of new release titles versus catalog.
Historically, new release sales, anything less than 12
months from release date, represented 60% of new
release sales and catalog, those titles more than 12
months from release date represented 40%. New
releases had higher unit sales per title but offered
less margin. In 2015, for the first time catalog sales,
122.8 million units, exceeded new release sales,
118.5 million units.
14
15. These numbers are based on data supplied by
commercial record companies. They show both a
decline in the average unit sales of new releases as
well as a decline in the aggregate number of new
titles. If one factors in “amateur” or “non-commercial”
titles, it’s possible that the number of new release
sales may still exceed catalog sales.
15
16. In media, the business model revolves around the
rate of recoupment. What the data suggests is that in
a digital media world, rates of recoupment are falling
to the point that many new projects are being
shelved. The digital space is an excellent arena for
recycling older titles, but it is less economic for titles
that are not blockbuster hits or are produced for very
little cost.
16
17. Ultimately, the digital music industry will have to
move to a split pricing system, as it was in the days
of physical media, where new titles sell for higher
prices than catalog titles. Otherwise the industry’s
offerings will increasingly be limited to a combination
of blockbuster titles, “non-professional” content and
historic recordings.
Since streaming is less profitable then download
sales, its likely that “availability windows” (as in the
days of video rental versus pay-per-view) will
become standard practice, especially for
“hits/bestsellers”
17
18. Finally, the composition of digital revenue varies
widely by market. In South Korea and Scandinavia,
for example, streaming represents over 90% of
digital revenue. In Australia and Canada, on the
other hand, digital downloads still represent 80%+ of
digital revenues. Not surprisingly, the demographic
of streaming users skews heavily young. Digital
video also shows dramatic differences in utilization
by country. These differences, however, may simply
be a reflection of the prevalence of online piracy in
certain markets and the degree to which commercial
video streaming options are available.
18
26. The most significant variation in each industry’s
aggregate revenues is that in the case of books and
film/video, the overall revenue has grown
notwithstanding the transition from physical to digital
media. In the case of the music industry, however,
aggregate revenues declined by about 25%. The
difference is that the book and film industry retained
control of pricing in the digital space, whereas the
music industry lost control of its pricing to the digital
aggregators.
26
31. Not surprisingly, it is easier to create and
disseminate content in a digital environment than it
is in a physical one. The result is that the amount
of new content is growing at a geometric rate. Two
graphs, the number of music tracks on iTunes and
content creation on YouTube, illustrate this trend.
Apple no longer publishes the number of tracks on
iTunes. Its estimated that the number now exceeds
35 million tracks.
31
32. Of those, about six to eight million were tracks that
were commercially released. There is a lot of
duplication of material so that number could be as
high as 10 million. The rest are tracks that were
generated from what the industry euphemistically
refers to as “non-commercial” sources, i.e.
amateurs. Ditto for YouTube, where every second
more than 120 hours of new video content is
uploaded.
When availability grows faster than consumption
average unit revenues must decline.
32
36. By the end of this decade most forms of
entertainment content will be distributed and
consumed digitally. The typical financial models for
new content creation in the physical world
breakdown in the digital space except for “hit/best
seller” product and for low production cost “non-
professional/amateur” content. This is particularly
true of music content. I believe it will increasingly be
true for film and book content as well. New financial
models will need to emerge to justify new content
creation in a digital world.
36
37. The music industry was the first content industry
impacted by digitization and many of its
experiences, mostly bad, have been avoided by the
film and book industry. The larger trends, however,
mushrooming content creation and overall declining
prices on a unit basis, are impacting all three
industries.
37
38. Historically, the music industry has had two primary
channels of commercialization – physical media
sales and concert touring. Digitization has not really
affected concert touring, and the two channels, once
heavily codependent, are increasingly divergent.
The film and book/print industries have historically
had multiple, somewhat parallel channels of
distribution. These are increasingly merging. In a
digital, online world, for example, the distinction
between newspapers, magazines and books is
increasingly blurred. Likewise, the distinction
between pay-per view, streaming and rental are now
obsolete.
38
39. Coping with ever increasing amounts of content,
balancing the need for curation against the danger
of censorship by dominant market players, and
developing financial models that justify new content
creation are the three principal challenges faced by
the media industries in the brave new digital world.
39
40. Most entertainment content will be obtained and consumed
digitally
◦ What happens to portability?
◦ The Orwellian Ministry of Truth factor
First Mover Advantages are huge and self-sustaining
◦ Market dominance versus censorship?
Content owners have to control the pricing model or
industry revenues will decline
◦ Who should decide the value of content?
◦ Who should decide the business model?
40
41. Content will grow at a geometric rate while
consumption will grow arithmetically
◦ unit revenues will decline
◦ one price fits all models are unsustainable
◦ the problem of curation
The future of content as a service versus a
product
41