Posts filed under ‘content’
“If you can help it, don’t be a creator. Be the exploiter. They get rich.” That’s the advice of Keith Giffen as told to the New York Times. He’s an artist and author who co-created with Bill Mantlo the Marvel comic character Rocket Raccoon now featured in “Guardians of the Galaxy,” a film that grossed $172 million in its first four days of release. Neither creator was notified that the movie was in production, let alone given a piece of the revenue pie. (And only due to the efforts of fans, his brother and his attorney has Mantlo now received any financial benefit.)
Like comic book artists and writers and a vast majority of my fellow content creators—artists, writers, filmmakers, graphic designers—I often work under contract in work-for-hire arrangements that don’t include residuals for the use of our creations in the future. In the 1970’s, when Giffen and Mantlo created Rocket Raccoon, the only downstream uses for those characters might have been TV or movies. Today, content can appear on dozens of platforms in social media, apps, e-Books, and online videos, to name just a few distribution outlets. And “television” itself has diversified beyond the networks to include Netflix and Hulu to Amazon Prime, alongside myriad cable channels. If you can exploit these distribution channels for content, then yes, there’s a big up-side financially. (And as any investor in a film or book property can tell you, there’s also risk.)
Where I disagree with Giffen is his implicit suggestion that content creators can’t also be the same people who exploit their works. Sure, it’s hard to make such a deal when you’re just getting started. But I know many experienced content creators who’ve developed what I’d call hybrid deals. For example, I work with a composer who is often in a work-for-hire arrangement. For a reduction in fee, we can agree that he may re-work any melodic themes created for my project for one of his future compositions. Depending on the distribution of my show, we might create a “waiting period” before he can do this. So he can exploit his composition more than once, in effect. Another hybrid example is my own content. I develop workshops, then sometimes get paid a fee to teach a customized version of them at conferences or retreats. I then might rework that content again for publication with a royalty arrangement, such as in my recent course on The Art of the Video Interview for Lynda.com. I am essentially exploiting my own original content for multiple distribution platforms and audiences.
In a multi-platform, multi-media world, we content producers have to become more saavy about exploiting the value of our own creations, talking Raccoons and beyond.
Some of Amy’s work-for-hire and original content can be seen on Vimeo.
Getting applause for your content isn’t enough. So while Facebook and YouTube likes are nice, it’s more important to know if you are engaging the right community, and causing them to change knowledge, beliefs and attitudes—the precursors to behavior change. You can use embedded polling, an online survey, a focus group or a full-blown pre/post study—anything that will give you some data to make decisions about what kind of content to create, and how to deliver it more effectively.
There are plenty of great tools out there to help you discover what motivates your audience.
www.batchgeo.com also helps you map your data–literally, on a map! (although it wouldn’t let me put US and international locations on the same map, hmm.)
Don’t forget you can also survey in person. For example, here are the results of a quick in-class survey from my workshop on Researching Your Audience for Better Content Impact this morning at #NABShow in Las Vegas. Thanks to my terrific—and, as you’ll see, geographically diverse—participants, we had a great session.
Sample size: 37
Average age: 36
US Geographic Diversity http://bit.ly/PN2gJU
Top reasons for coming to #NAB: Checking out post production technology, trans media, gear: camera, lighting and audio; digital publishing ; how to develop engaging material for internal audience; how to get more views on content; discover what production is like outside our country.
Amy DeLouise is a content producer who cares about research and speaks at major conferences and events. She tweets @brandbuzz.
When Coca Cola’s Executive VP Joe Tripodi spoke at Georgetown University’s alumni center recently, he focused on how to engage millennials (Gen Y), who make up 62% of employees in American organizations. Let’s break down some of his key points in terms of how a content development strategy can help an organization engage this generation of future leaders.
• A relevant brand must consistently earn trust.
Content should show what you have achieved on your mission. Results, not Plans. That’s not to say that you can’t show—through interviews and images—how your most vested community members want the world to be.
• Instead of being the best in category, a great brand needs to also be best for the community.
Corporate brands also need content that shows how they are being community partners and leaders in positive social change.
• Consumers are looking for more than a product that satisfies their needs. They are looking for human connections and powerful stories. So if your content isn’t telling stories (i.e. you’re using too many corporate talking heads), you’re failing to connect. And if you can’t connect, you can’t engage.
• Innovation builds brands.
Your content can certainly show your own innovations in action (before and after’s are great fun on video). But you can also engage your audience by having a conversation about what innovations will impact their lives. Challenge your customer/donor/audience to bring innovations to you–from themselves or other communities to which they are connected. Now, you’re talking engagement and action.
Amy DeLouise is a video producer and brand consultant who creates content that engages different audiences to change attitudes and lead to action.
When SilverDocs became AFI Docs, the once highly successful documentary festival did more than change its name. It changed its brand. And not in a good way.
For over a decade, SilverDocs was a roaring success. The public-private partnership between AFI and Discovery Channel brought groundbreaking–and often future Oscar-winning–nonfiction films to the silver screen in a well-regarded documentary festival that supported the active local DC area film community, while drawing thousands to a newly renovated Silver Spring, Maryland cultural district. As a member of that local DC production community, I have been proud to see colleagues’ films screened, and see them debate with nationally known mediamakers on panels and in hallways. Our local chapter of Women in Film and Video, with 900 members, played an integral role in many of the events surrounding SilverDocs. Sky Sitney, the passionate and gifted director of the festival, took it to new heights of nonfiction program content and relationship-building.
Flash forward to the creation of “AFI Docs presented by Audi”—which already sounds like so many other corporate sponsorships such as FedEx Field and PNC Bank Arts Center. The festival turned away from its warm hug of the film community and became a more “industry-driven” project, according to a Washington Post interview of Nina Gilden-Seavey, Silverdocs founding director. The result was not just a damaged brand in the eyes of the local community. It was a bad employment brand, because the new mission was one its visionary leader couldn’t support. So Sitney has quit to pursue other ventures.
Rebranding can be a tricky endeavor. It’s a balancing act between where you’ve been and where you want to go. The trick of any rebrand is to avoid New Coke syndrome. You want to be sure that your community, and especially your leadership, can come along for the ride. (Hint: If you’re still being called “Formerly known as…” a year after your rebrand, it’s time to rethink the plan.) That’s not to say that change and progress aren’t a good idea for institutions. But an organization without its people won’t succeed in today’s interconnected brand landscape. And it takes more than sponsors to make a good nonprofit run well. Let’s hope AFI Docs will find its way to rebranding its rebrand, before it isn’t any brand at all.
Amy DeLouise is a multimedia producer who consults on branding and marketing for businesses and nonprofits. You can reach her at amy [at] amydelouise [dot] com.