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Why so many tech companies are creating shows

Editor’s note: Jay Acunzo is the author of the new book Break the Wheel, which explores how the world’s best creators break from conventional thinking to think for themselves. He’s a former digital media strategist at Google, head of content at HubSpot, and VP of brand at the seed VC, NextView.

The deep tones of synth music begins to play. A crackling sound emerges, as if from static electricity, followed by a single strum from an electric guitar that shatters the silence. A man’s voice booms.

“I really didn’t get fascinated with design until I learned what it was and what it could actually do.”

These are the opening moments of InVision’s “Design Disruptors,” a now-famous film within the design community. This hour-long video features some of the biggest and brightest names in software design today, hailing from companies like Google, Lyft, Netflix, Dropbox, and more. The film launched in the summer of 2016, and although it was never aired online (the company debuted the film in 1,500 offline screenings worldwide), “Design Disruptors” helped InVision generate more than 70,000 leads and double its user base in a single year, according to sources within the firm.

While this may seem like an outlier project, it’s become part of a larger marketing trend we’re seeing proliferate around the tech world today: marketers creating films and shows. Why?

“Optimistically, I’d hope it’s because marketers are realizing that impressions and pageviews are BS metrics, and it’s a lot more valuable to get a smaller group of consumers hooked on a show that they’ll watch for a really long time,” said Joe Lazauskas, executive editor and head of content strategy at the marketing tech firm Contently. A journalist by background, Lazauskas now consults clients like Microsoft, IBM, and Autodesk for Contently, and while he clings to his optimism, he knows there’s a downside to any trend. “Pessimistically, I’d say that it’s because marketers still fall in love with big vanity projects without much thought to the return on investment.”

So what’s causing this trend, anyway?

Ultimately, Lazauskas concludes that the rise in branded shows is a combination of both his optimistic and pessimistic views. On the one hand, films and series are indeed strategic for some companies, enabling them to reap certain rewards that disparate pieces of content can’t provide. On the other hand, plenty of companies continue to glom onto the trend because, well, “it’s a thing.” Those in the former group, however, have identified a fundamental shift currently affecting how companies go to market. Most of us talk about the industry’s reaction to that shift: things like content marketing, influencer marketing, and similar experience-based approaches. The shift itself, though, is far more revealing. You see, the marketing mandate has changed. The goal is no longer to acquire attention. The goal is to hold it.

It used to be sufficient for marketers to describe the value of their products in a few disconnected interruptions. Marketers would leap out in front of the content a consumer actually wanted to consume in order to grab just a few seconds of their attention and deliver the right message, with the right promotion, at the right time. Of course, we all know what happened to that old marketing playbook: (insert mushroom cloud GIF). Along came the internet. Buyers of both B2C and B2B products now face seemingly infinite choice, from content to competing products, all accessible on multiple screens, whenever and wherever they want it. Additionally, technologies whose sole purpose is to block advertising signal a larger trend: As consumers, we don’t want to be interrupted. We control what we consume because we have all the choice, and we only choose experiences that create value in our lives, like content–not advertisements, which are messages that merely describe value. (I’m painting with broad strokes, but we’re all part of the technorati after all.)

If you’re a marketer today, and you’re stuck in acquisition mode, it’s like digging a hole in dry sand. Nothing you do sticks. The very best in our world are winning on customer experience, not brute-forcing their way into customers’ lives. We need to embrace the new marketing mandate: The job isn’t to acquire attention. The job is to hold it.

“If you’re willing to make the investment in some serialized, engaging content, rather than a bunch of disconnected pieces, you can start thinking in terms of hours spent with your company as opposed to ideas like impressions,” said Dan Mills, creative director at video software company Wistia. This fall, the company announced a new documentary series called “One, Ten, One Hundred,” a partnership with video agency Sandwich, which boasts clients like Facebook, Slack, Uber, and Square. The series explores the effects of constraints on creativity when creating videos.

Said Wistia’s cofounder and CEO, Chris Savage, “What’s interesting about a more substantial project like this is that instead of just moving on to the next piece of content to push out the door, we have the time and space to really invest in exploring all of the different angles and nuances of this complex topic.” First, the company asked Sandwich to create three videos to promote the same Wistia product (a Chrome extension called Soapbox): One ad for $1,000, one for $10,000, and one for $100,000 (hence the name “One, Ten, One Hundred”). Those videos launched in mid-September. In October, Wistia will release a four-part documentary series going behind-the-scenes of the entire process to examine exactly how changes in budget alter the quality of the videos. They believe that budget is a major reason why more marketing teams don’t prioritize video (and thus, buy Wistia). More specifically, they believe this is a perception problem and that teams don’t really need more money to create better videos in most cases. But it’s a messy subject.

“A blog post or a two minute video just wasn’t going to cut it,” Savage said. “We wanted to create something that was deeper and lasting. The most valuable thing that we learned through this process, and what we explore in “One, Ten, One Hundred,” is the complex relationship between money and creativity.”

InVision’s CEO and cofounder, Clark Valberg, seems to agree that holding significant audience attention means focusing on depth, not breadth. Like Wistia, InVision used its documentary, “Design Disruptors,” as well as its newer film with IBM called “The Loop,” to illuminate a large problem facing designers in their work and to rally the community around their brand to solve it. For Wistia, their customers struggle with budget. At InVision, they realized that product designers wanted a better sense of identity as a profession, as well as a seat at the proverbial table.

“We went out and talked to our best customers,” he said. “They had a lot more to tell us than just what they were doing with our products. There was a movement [in the field of product design], and they all felt it. They all understood their role within the company and their company’s role in the formation of this new market called digital product design. It was evolving here and now, and they had a lot to say about it.”

Wistia and InVision are not alone in creating shows and trying to spark movements in doing so. Other companies creating video series include Fuze, which will partner with CBS to create a new series about tech later this year, and LinkedIn’s sales and marketing solutions team, which debuted “B2B Dinner for Five” late last year. In audio, dozens of brands are breaking from the conventional wisdom of what a podcast has to sound like (namely, Q&A with experts) to create documentary series instead. These include Zendesk’s “Repeat Customer“ (created with the agency Pacific Content), Adobe’s upcoming “Wireframe” (Gimlet Media’s branded content studio Gimlet Creative), and “Exceptions,” a series exploring why high-growth SaaS companies are betting so heavily on brand marketing (which, full disclosure, I host and produce for my client Drift).

These companies all seek benefits from their shows that the usual marketing campaign or “piece” of content doesn’t offer. By holding attention for hours on end, shows develop a level of intimacy and trust similar to a one-on-one meeting that scales far better. Shows provide endless amounts of marketing efficiencies, too, allowing marketing teams to mine each episode for excerpts, lessons learned, and new ideas, all of which can fuel company blogs, newsletters, and social media profiles. At some point soon, I expect to see a brand-sponsored book with material pulled exclusively from their company’s show, there’s that much source material bottled up in episodes. Lastly, shows create customers through both word-of-mouth and thriving subscriber lists. After all, it’s far more powerful to say to a visitor, “Get the next episode,” than, “Subscribe for alerts” or “more of our content.”

According to the Edelman Trust Barometer, an annual report measuring consumer trust in big institutions like government and business, trust in companies continues to fall. To get any individual, let alone an entire audience, to spend 10, 30, or even 60 minutes with your company each week is more powerful than ever. But that’s the benefit these companies seek.

What would cause this trend to stick?

It’s hard to ignore Lazauskas’s pessimism about brands adopting this approach. After all, most companies barely know how to market a single blog post well, let alone build and promote an entire series. For example, in many B2B niches, competing shows feel like copycat programs. They’re all effectively “Talking Topics With Experts!” (If everyone claims to have the smartest show in a niche, does anyone?) Additionally, many shows lapse after a season or two, even after a public victory lap over their first few episodes. Slack’s “Work in Progress” hasn’t aired an episode since October 2017, despite being widely loved and even syndicated to satellite radio. But while Lazauskas hints at the potential negatives, Wistia’s Savage sees it differently. His company is investing heavily in serialized content, but he believes marketers need to shift how they track results to justify doing so.

“It starts with qualitative results: Are people talking about it, are they engaging and spending time with the content? Over a longer period of time, we expect to see that content like [“One, Ten, One Hundred”] brought in totally new and different audience that helps expand our customer base.” If most marketing focuses on reach with a broad group of people, then shows are all about resonance with the right people.

Additionally, as Clark Valberg of InVision told me, it has to be a “portfolio approach.” Brands shouldn’t aim to be purely Netflix any more than they should act exclusively like Don Draper in “Mad Men.” Some things are directly measurable, some things are not. Some marketing looks like a piece of content, some like a series. Finding the right mix for your business is what matters most.

Shows have long been a vehicle for holding attention, and marketers are finally catching up to what media companies realized long ago. Call it the Curse of Conventional Wisdom. As tech companies invent the future, marketers at those very same companies need to constantly question older norms and even the most tried-and-true best practice in order to keep up. After all, we may be at the start of something positive for companies and consumers alike—that is, if you’re optimistic.

“We definitely think this is the beginning of a trend,” said Savage. “It’s clear that companies are making investments in engaging their audiences with things like podcasts. We see video series content and storytelling as the next logical step for companies to connect at a deeper level.”

I’ve been a content marketer for a decade now, which makes me a grizzled vet in a relatively new career path. (In marketing, “grizzled vet” is code for “jaded as hell.”) But for once, I’m bullish on a trend. It’s not because the hype won’t fade. It will. But, refreshingly, this is an approach to marketing that can’t be gamed. When the goal is to hold attention, not merely acquire it, there’s no faking it. You have to earn that level of attention. Trust, influence, and hours of someone’s time aren’t things you can purchase or hack. Eventually, this wave will go out, and all who will be left will be companies like InVision and Wistia who truly dug into the ground, with real foundations of creativity and customer-focus. Those merely riding the wave will be washed away. When it comes to holding long periods of our attention, the hucksters and system-gamers have no power. Because fool me once, shame on you. Fool me twice—can’t get fooled again.


Source: TechCrunch

NCT 127 Answers All of the Internet's Questions About K-Pop

WIRED asked the group to answer a series of questions from Twitter.
Source: Wired

Apple’s holding another big event October 30

And here you thought hardware season was over. A month and a half after its last major event, Apple’s throwing a big party in Brooklyn on October 30. The event will likely suss out some of the technology that slipped through the cracks back in September, including, most likely a new iPad and possible some updates to the Mac line.

The tag line, “There’s more in the making” appears to be a nod to both the “one more thing” aspect of this late in the season event, along with the company’s new found refocus on creative professionals. Likely we’ll see a new version of the iPad Pro and, if we’re lucky, perhaps even a peek at the upcoming refresh of the Mac Pro, which is set to arrive early next year.

Along with professional devices, the timing is also right to unveil some last minute devices just in time for the holidays. Whatever the case, we’ll certainly be there with bells on.


Source: TechCrunch

Square unveils the Square Terminal, designed to replace old keypad credit card machines

Square is launching a new piece of hardware today — the Square Terminal.

As explained to me by the company’s Head of Hardware Jesse Dorogusker, the Terminal fills a gap the company’s product lineup — unlike the basic card reader, it provides an all-in-one hardware experience (no phone or tablet required), but more affordable than the Square Register.

Dorogusker suggested that it’s really designed to replace the “outdated” credit card terminals that you’ll encounter in all kinds of stores (like the gray block that sits on the counter of my local bodega). He argued that these terminals often come with onerous contracts for the business owner, and they’re not a great experience for consumers, either.

The new Terminal, on the other hand, provides a more Square -like experience. For one thing, it works with WiFi and is powered by an all-day battery, so it can be carried around the store and handed over to customers.

“One of the really fun things we realized about this product is that in addition to having Square Payments built-in, it unlocks people to use it in new ways,” Dorogusker said.

For example, he said the beta testers included a restaurant that can now process payments at the customer’s table, a salon that allows customers to pay while they’re still in their chair and a plastic surgeon whose patients can go through the bill while in the privacy of the treatment room.

Dorogusker acknowledged that restaurants in some countries are already bringing wireless card terminals to customers’ tables, but he said that they don’t have the other advantages of a Square Terminal, like a display that allows you to see the price of every item you’re buying. Plus, there’s the ability to accept payments from smartphones and other devices through Apple Pay and Google Pay, and there’s Square’s two-second processing time for chip cards.

Square Terminal costs $399. Businesses that are new to Square and that order now will also receive a $300 processing credit. With or without the credit, Square will process those payments on the same simple terms it offers to everyone else — 2.6 percent, plus 10 cents for each transaction.


Source: TechCrunch

Embracing multimodality, Uber pioneers ride recommendations

For the first time, Uber will make contextual, personalized suggestions about the best way to get from point A to point B. The startup offers more than just cars now, and it’s starting to understand the tradeoffs between price, speed, convenience, and comfort amidst its multi-modal fleet. Most noticeably, you’ll now see JUMP bikes get premier billing right alongside Uber’s other vehicles. Going a short distance and there’s a charged up bike nearby? Uber will suggest you pedal. Might need extra room for luggage on your way to the airport? UberXL and SUV will appear. Always take cheap Pools? It won’t show you a pricier Black car.

Uber is finally getting smart. It has to if it’s going to make sense of its growing patchwork of ride types without overwhelming passengers with too many options. Uber’s algorithm can help them choose. “We think there’s a lot to be gained by being a one-stop shop to get somewhere” says Uber director of product Nundu Janakiram.

Uber now dynamically recommends different ride types

In particular, Uber could block disruption by scooter-specific startups like Spin, Bird, or Skip. If those apps have no vehicles nearby or you’re going to far, they’ve got nothing to offer. But Uber can provide a competitively priced Express Pool when there’s no open-air ride available, while convincing its existing UberX riders to try a bike or scooter for quick trips when congestion is thick thanks to its new in-house traffic estimates.

Uber Director Of Product Nundu Janakiram

Previously, you’d get a static set of three ride options from the price class you booked from last, regardless of your destination. Meanwhile, bikes and scooters were buried in Uber’s hamburger menu sidebar or an awkward toggle at the top of the screen. The company hans’t done a good job of communicating the definition of Select (nicer normal-sized cars) or Express Pool (walk and wait for a discount) either.

Now Uber’s homescreen can cherry pick the most relevant ride suggestions from across all price classes and vehicle types based on your trip length, destination type, and your personal ride history. Along with better explanations of the different options, this could get users experimenting with modes they’d never tried before.

To make room for more recommendations, the Uber Pool option will unfold to offer both Pools and Express Pools. Uber will even point you to nicer vehicles like Black cars or XLs if UberX is surging to the point that their prices are similar. If you want to compare all the options manually, you can tap to see a list with all the specs and prices lined up.

Beyond ride recommendations, Uber is moving the address bar to the bottom of the screen so its closer to your thumbs (which is great as phones keep getting bigger). Finally, in the coming weeks Uber will add a dynamic message bar to the center of the homescreen. Here depending on your pickup and drop off, it could show instructions for hailing from an airport, a discount offer, a birthday message, or just a friendly “Good Morning”. 

Eventually, Uber hopes to integrate public transportation ticketing like through its partner Masabi, car rentals, and even multi-leg trips into its recommendations. Maybe a JUMP bike to the train, then an UberPool that’s waiting to take you to your final destination is quicker and cheaper than any one mode alone. If you’re looking at an hour-plus Uber, it might cost less to just rent a car through its partner GetAround and drive yourself. And if a scooter is by far the best ride for you but all of Ubers are rented out, it could recommend one from its partner Lime.

A new communication box is coming to the center of Uber’s homescreen

Uber’s data shows users are rapidly embracing the multi-modal future. A study found the introduction of JUMP bikes to one city led to a 15 percent increase in total Uber + JUMP trips, even though Uber use dropped 10 to 15 percent.

Even if Uber sometimes cannibalizes itself by recommending cheaper options, it’s a smart long-term strategy. Janakiram laughs that “If we wanted to optimize for revenue, we wouldn’t have shown UberX, Pool, and Express Pool first for every user for the last few years.” The lifetime value of ridesharing users is so high that’s worth losing a couple of bucks here or there to keep users from straying to multi-modal competitors like Lyft. Retention will be a key metric under scrutiny as it eyes a 2019 IPO at a potential $120 billion valuation.

“The big picture is that we want your phone to replace your personal car” Janakiram concludes. “If we want to be a true transportation platform, we need to be everywhere our riders need to be as well. The right ride for the right context, and what’s the right ride for you.”

[Disclosure: Uber’s Janakiram and I briefly lived in the same three-bedroom apartment 5 years ago, though I’d already agreed to write about the redesign when I found out he was involved.]


Source: TechCrunch

Google launches compose actions to streamline access to SaaS apps in GMail

Lately, Google has been all about shaving time off your everyday activities when sending emails. First they came out with smart responses that let you choose among several (sometimes) logical responses to the email. Next was type ahead, which guesses what you might want to type with remarkable accuracy. Today the company announced the general availability of compose actions, another way to save you a little time.

These connectors, which are part of the company’s G Suite business offering, link to your favorite SaaS applications like Box, Dropbox, Egnyte and Atlassian Jira and let you work on these service in the context of the email. Software companies have been stressing ways to keep you in the flow of your work without switching focus and that’s precisely what compose actions have been designed to do.

“Compose actions make it easy for you to add attachments, reference records, or liven up your messages with content from your favorite third-party apps right as you draft your message in Gmail,” Aakash Sahney, Google’s product manager for GMail and Chat wrote in a blog post announcing the new feature.

You start by connecting your service of choice in G Suite using the GMail Add-on tool. Google created GMail Add-ons to make it simpler to integrate these third-party tools into the GMail workflow. Once you authorize the tool, it will now appear as an option in your compose window, giving you direct access to the content without leaving GMail. G Suite admins can create a list of authorized apps if they wish to limit the integrations to sanctioned services.

If you want to incorporate a file or folder from Box, Dropbox or Egnyte, authorize the app and then you can click the compose action that appears in the email compose window to access the service and pull in a file.

Gif: Google

With the Atlassian integration, you can insert a project file directly in the email.

Gif: Google

This may not seem like much, but it’s all in the service of reducing keystrokes and actions that tend to add up in terms of time spent over the course of a day. Instead of opening your content provider’s service, navigating or searching to the content, copying it and then pasting into the email, you can simply click the compose action and access the service directly from GMail.

Compose actions were first announced at the Google Cloud Next conference in July. They are available for G Suite subscribers starting today.


Source: TechCrunch

Tesla's EV credit may be going away, but one senator wants to bring it back – Roadshow

Sen. Dean Heller’s proposal would replace the incentive’s cap with a firm end date.
Source: CNET

Huawei tussles with US startup over theft of technology – CNET

The startup was co-founded by a former Huawei employee.
Source: CNET

Red Dead Redemption 2 launch trailer builds hype for return to Wild West – CNET

Rockstar is gearing up gamers for the PS4 and Xbox One game’s release next week.
Source: CNET

The Walking Dead: The Final Season episode 3 should be out this year – CNET

Skybound Games’ CEO said he’d “be very disappointed” if it isn’t.
Source: CNET

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