Think Social, Be Global: Using Social Media For Charity

By Rebecca Jacoby

As a digital strategist immersed in social media’s penchant to directly connect people with common interests, Toby Daniels dwells among clouds in an earthly way. He has creatively executed entrepreneurial businesses as well as humanitarian vision through Twitter and Twestival (not officially associated with Twitter) in New York City for charity: water. Daniels was a managing director for Online Creative Communications, a digital agency, in teh UK, and then ran business development for Mint Digital’s U.S. operations. He left to pursue ideas such as Social Media Week, a conference designed to encourage social media practices and policies in business.

DMB’s Rebecca Jacoby recently spoke with Daniels about using social media’s reach for philanthropic pursuits.

What type of projects have you been working on since Social Media Week?
ThinkSocial, cofounded with Jamie Daves, has been created in conjunction with with the Paley Center for Media in New York. The aim is to connect people and ideas to advance the use of social media to address society’s most pressing challenges. I have [also] been working on … thebetacup.com, a joint effort with a company called Mutopo. The goal is to eliminate paper cup consumption by engaging mass collaboration in the design of a convenient alternative to the reusable coffee mug.

How did you become involved with Twestival?
I learned about Twestival through Amanda Rose and agreed to run the New York event following a Skype conversation with her in late January. It seemed like a good opportunity to support charity: water [funding clean drinking water for almost 1 million people to date in Ethiopia, Uganda and other countries] and demonstrate how social media could be used to unite people around a single cause. Agreeing to organize Twestival for Sept. 12 was also an easy decision as I was able to nominate a local charity called CampInteractive, which I had been working with for some time.

How does social media make a difference?
First, it enables us to embrace our differences. People can now communicate through these new channels in spite of geographic, economic and ethnic differences. And with this new capability people – particularly those dedicated to development and social innovation — are, in fact, finding tremendous insight and inspiration through their social media interactions because of these differences. Second, it removes the barrier of distance. The distance between a social enterprise investor, a program officer or a policy-maker or citizen in the United States and a person in the slums of Kenya or India has never been smaller. Third, it expands the circle of social concern. We can now discuss, highlight and organize around initiatives that are actually working, while exploring ways that these new capabilities are radically expanding the circle of social concern we all feel, and increasing the possibilities for acting on those concerns.

How did you organize the local Twestival effort?
We established a working framework. I then approached a number of experienced people with complementary functional skills who would lead teams of volunteers. Then we invited the community to join the team, and about 25-30 people joined to organize the event. We formed teams such as AV, communications, production, technology and sponsorship, and leaders were assigned per team. With everyone’s busy work schedules it took persistence, but it was amazing how much we achieved in such a short time.

Weekly meetings were held to mark-off tasks during the planning phase. We tried not to take on any operation costs. The entire meeting space was donated, for example. There were also cash sponsors and in-kind donations, plus 100 percent of the ticket sales went to the charity.

In New York, all kinds of people got involved in both Twestival events: from marketing, public relations, music, film — every walk of life. It was encouraging to see so many young professionals give their time. The volunteers could choose what team they’d like to work with and how much time they’d commit. Some chose one team, some chose more than one and some were generalists. In a short time frame thousands of people made a significant impact.

As a team we’re particularly proud of a sponsorship deal we secured as part of the most recent Twestival event. SeamlessWeb, the nation’s leading online food ordering service, donated the change from every single transaction made on its platform on Sept. 12 to support our chosen charity, CampInteractive. Plus, they had a “Tweet-this” feature to drive interest to the event through Twitter, which was a particularly innovative way of integrating social media into the overall campaign. It was also a great gesture, a great way to support a social enterprise and a great way to integrate a brand with social media.

Rebecca Jacoby is a freelance writer who reports how digital media works with business. She may be reached at rebecca.jacoby09@gmail.com.

Staying Alive in the Aggregate Ad Game

By Rebecca Jacoby

What’s happened, in this economy, to the ad network world since digital media became king? The agencies who specialize in bulk or aggregate media buying have had to adjust to keep up, bearing tighter margins, which set the sharks swimming, acquiring those smaller media aggregators that faltered or need a symbiant, like Adzilla or Jellycloud. But still in the waters are those firms that have a honed vision, some revenue behind them, or have benefited from a surge of venture capital.

According to Warren Lee, whose focus is digital media investment as a partner in the venture capital firm Canaan Partners, advertising networks still have some robust space to grow, particularly in vertical markets. Venture capital and private equity investors, he says, have put $1.5 billion in the past five years into ad networks.

Because online usage continues to increase, does that mean that ad networks can thrive? Though first blush indicates more opportunities for online spending, it also means that appropriately targeting sites for an advertiser’s client becomes increasingly challenging: so many publishers, so little time to perform analytics. Where online visits were once lengthy and loyal per site, viewing time is now scattered or transferred to the most popular sites, such as Facebook or Twitter.

Still, JP Morgan states that the 2007 “global graphical ad market” exceeds $2 billion and is expected to grow nearly 25 percent. The report also surmises, logically, that digital media consolidation will result to leverage user information and source advertising needs.

To survive, it makes sense that ad networks automate their media buying and online ad management. Media automation startup firms are responding to the opportunity to provide the needed technology and quickly gaining a foothold. MediaMath, a digital media buying firm begun in 2007, received a boon of millions in venture capital and debt financing from several sources. (Check out the site’s home page for a collection of informative .pdf files under “Industry Knowledge.”)

Joe Zawadzki founded MediaMath and runs the company as its CEO. In addition to a background in investment banking, Zawadzki has a history of running successful startups. Prior to founding MediaMath, he founded and was president and chairman of Poindexter Systems, a firm named one of Inc.’s Top 500 Fastest Growing Companies in 2006.

Another member of MediaMath’s C-team is Roland Cozzolino, CTO, a man who through expressing his intellectual curiosity left the field of marketing research to apply his mathematics degree and exhaust his passion to write code. Cozzolino manages the development of MediaMath’s technology platform. According to his bio, he has knowledge of more than “25 programming languages, 3D modeling, video post production and sound engineering.”

Traffiq recently raised $10 million in a second-round venture capital campaign with CourtSquare Ventures. The firm’s premise states that it is not an ad network but “the only online display media marketplace that directly connects agencies and advertisers to publishers.” Traffiq offers start-to-finish services from trafficking and SEO to creative production and effectiveness reporting, with the help of Havas Digital.

The company recently partnered with Havas Digital to automate its online media buying. Havas is a firm that maintains offices it labels as “centers of excellence” in Hyderabad, India and Sao Paolo, Brazil. It keeps a competitive edge via outsourcing of production services within its vertical market expertise.

MediaMath and Traffiq may be positioned for growth, but not all players can claim that standing. The ad network model is an interesting one for business and for investing but in a mercurial environment where proprietary software and value-added services appear to be required for competing, will any one firm gain critical mass?

The Real World of Virtual Commerce

By Rebecca Jacoby

2009 might be the break-out year for virtual commerce, and it’s not relegated to avatars on Second Life. The global market for virtual goods is projected to be $5.5 billion, says Brian Balfour, founder of the Virtual Goods Market, Inc./Viximo.

It seems that everyone who’s anyone in the “micro-transactions” sector of goods, items and gifts will be at the Virtual Goods Summit this October in San Francisco: Viximo, Mochi Media, Zynga, Globespan, Norwest Venture Partners, Super Rewards, Offerpal Media, Fatfoogoo and BlueRun Ventures, to name a few. The VG Summit agenda will include:

• Why and How Virtual Goods Work
• How to get started with Virtual Goods and Virtual Gifts
• A Case Study on Launching Virtual Currency
• Managing and Marketing a Virtual Goods Offering
• How to Manage a Virtual Economy
• The Payments Landscape and Payment Options

While the bulk of virtual commerce resides in Asia (about $5 billion projected for this year), Americans will be spending $400 million on VG, Balfour says. Launched in 2007, Viximo provides a VG store of gifts and personal accessories that surprisingly does better on dating sites, online social networks and casual game sites where the products are often used as virtual gifts than in virtual worlds such as Second Life. Dana Grayson, a principal at North Bridge Venture Partners, an investor in Viximo, took over as CEO of the firm in April and will be leading the search for a long-term CEO.

When Facebook added VG to its practices, other online social media companies followed suit to supplement a slow-down in ad revenue. Overall, though, most of the “players” in the industry are relative newbies, like Zynga, which has nearly doubled its staff in the last year.

The VG business model is big business and growing rapidly, especially in the teen world of Gaia Online, where approximately 7 million visitors per month click in to play or connect with friends. The entertainment site began selling VG like Elvis’ blue suede shoes and Paris Hilton’s pet Chihuahua. These and other similar items boosted sales by nearly 20 percent within one quarter.

These affordable “luxuries” are items represented by innocent-eyed avatars whose inoffensive appearance adds to the fun and entertainment value of the online experience at Gaia, not to mention the licensing and publicity opportunities afforded to the celebrities fortunate enough to be “virtually cool.”

And should one collect the luxury VG, take note of the cost of limited editions. One such “out-of-production” Gaia golden halo recently sold for $6000 on eBay.

In fact, so lucrative is the VG industry that non profits such as the American Red Cross (ARC) are using virtual worlds in unique ways. The ARC held a fundraising auction in Second Life of donated VG. Further, check out MyYearbook.com’s “Causes” page where teens can spend their lunch money to support their favorite charity: AIDS, ending child abuse, feeding rescued animals, saving the rainforest and more. It’s microfundraising on a scale supportable by teens who really may want to save the world.

The world of virtual commerce will continue to expand beyond its traditional borders of Asia. America is poised to grow exponentially through social networking sites like Facebook. Are you ready?

Fool Your Peers: How to Produce Video Like a Pro

By Rebecca Jacoby

No doubt, video is hot and it’s on everybody’s “to do” list. So, you’ve got a video camera, a really cool idea, and you’re dreaming of a 4-star rating or of being a viral sensation. Worried how to avoid the lame “talking head” syndrome? And once you’ve completed filming, how do you shape the elements into a final format to upload it to YouTube or another video share site? If your project is broader in scope, how do you capture and keep interest?

Better start at the beginning if you’re not shooting an impromptu piece.

The Storyboard
Take your video concept and expand it into a storyboard. Why create a storyboard? A storyboard is a planning tool that turns your concept into a complete, coherent story. Holes in your story translate to questions, confusion or, worse, disinterest in your video. The point of a story is to get your viewers emotionally involved with what they are watching; so, a storyboard assists that effort.

Think of a comic book as an example of a storyboard. Notice how each frame moves the elements forward and is essential to building a complete story. Comic book artists are just that, artists who professionally illustrate. Even if you wanted to or could create that level for your storyboard, it would not be your best use of time.

Essentially, a storyboard is a quick rough sketch used as a guide. It’s not meant to be an art masterpiece but it does need to include enough detail to help anyone using it understand story elements and how they will flow cohesively. In fact, most storyboards evolve as decisions occur to add a character or change a scene. A storyboard also helps associate images with captions or a script, thus helping allocate resources that can cost money or time.

Don’t feel comfortable drawing? One robust software program that can help is StoryBoard Quick by PowerProduction.com. This tool offers an easy interface and a large database of characters, backgrounds and props. You can also import your own backgrounds from photographs and layer characters over them. Scripts in a variety of formats can be imported and captions can be shown with a thumbnail of the scene, so you easily find the frames you need to edit. Watch the demo on their site and see its versatility. Using this software makes the finalizing of your storyboard simple as rearranging frames.

If you need photos or images, don’t rip them from the web (unless you ask and are given permission). A number of stock photography companies sell images, illustrations and backgrounds (even video clips) at affordable prices. At bigstockphoto.com, the price is based on image size and resolution and can be as low as $1 each. Most stock houses offer a gallery search and a storage feature, handy if you find an interesting shot you want to save for another time. As you may expect, if you choose to use a stock photo source, you’ll need to sign up for an account.

Assemblage
Once your storyboard is final and all elements are complete, you’ll need to put together your video for editing. First, upload the video clips to your computer. Next, import them into your video editing (or composition) software. There are a variety of software packages from which to choose, depending on the features you seek. It’s a good idea to read reviews about the software prior to purchasing it, and the top 10 video editing products are compared here.

Suppose your movie idea only contains photos and text to set to music, or that you have a Microsoft PowerPoint presentation to turn into a video. Computer screen recording software such as Camtasia Studio can turn your idea into a polished video. Visit the site and take a product tour or view some tutorials.

Animoto operates as a video producing subscription service. Upload your images and choose a music selection from their library or your own, and when ready, Animoto returns the completed video to you via email. You can even create 30-second videos for free. Videos are generally returned to you within three minutes.

Whatever format you choose, a rule of thumb is to keep your video to four minutes or less, especially if your goal is to upload it to a share site. Keeping an eye on the file size will be key. If working on a feature video project, different rules apply. Either way, though, it’s about storytelling.

Training
If you find that the video craze has gone directly to your bloodstream and you want to make digital journalism your career, consider the Knight Digital Media Center. The Center offers a week-long boot camp in multimedia skills for journalists. The Knight Digital Media Center, funded by a grant from the John S. and James L. Knight Foundation, is associated with the Annenberg School for Communication at the University of Southern California in Los Angeles and the University of California at Berkeley Graduate School of Journalism.

The Center also provides fellowships to journalists who desire new media training. Learn more about the Knight Foundation and how to apply at http://www.knightdigitalmediacenter.org/about/

Glow Shines Spotlight on Digital Media in the UK

By Rebecca Jacoby

Glow Digital Media Limited helps businesses buzz through digital media, answering critical questions that drive success and cut errant spending in the areas of advertising, publishing and agencies. Responding to needs arising from speaking regularly with C-level executives who proffer the same question: “How do I make more money from my digital channels?” the founders of Glow have set up a Glow Digital Leaders’ Conference to be held Sept. 24 in London.

Damian Routley and John Helstrip co-founded the consultancy Glow Digital Media Limited. Routley has worked in digital advertising for nearly 10 years with PriceWaterhouseCoopers, auditing; Net-a-porter, fashion accessories; agencies such as Omnicom and publishers such as News International. The broad mix of experience ensures clients receive assistance from an expert’s scope and reference.

Helstrip, possessing a background of high-profile marketing, balances the partnership equation with specialized product development and marketing knowledge. He was part of the team that launched the Scoot brand in ’97, and he developed GWR’s New Media properties. Helstrip deals with the details of the technology, comprising realistic and well-defined strategies, then digging deep into the analytics and redeploying as necessary to optimize results. He keeps resonant technology from becoming flat and draining profits.

“We have created the Glow Digital Leaders’ Conference to help equip US businesses coming to the UK with the information and contacts they need to make their launch a success,” Routley says.

With the harsh business climate of recessionary pressures, businesses are scrutinizing methods of driving top line revenue and controlling costs. “Technology allows businesses to do this: whether from a new revenue stream underpinned by an innovative product, or the ability to maximize operational efficiency and focus attention to areas that add value,” Routley says.

The conference is high-caliber. Senior executives across digital media, CEOs from network agency groups, digital directors from large media organizations in the UK, marketing directors and CMOs from influential digital advertisers in the UK are expected to attend.

“We expect an audience that will represent at least 100 different organizations,” he says. “Vendors will have the opportunity to pitch to delegates in small, intimate groups [maximum of 10 per group], and will be able to network with them afterwards. We will also have the go-to media for the sector covering the event and will be able to introduce vendors to bloggers and journalists.”

Supporters of the conference include DigitalMediaBuzz.com, the Department of Trade & Investment, Blue Sky Search Recruitment and professional services firms within legal and financial sectors.

Both the US and the UK market have strengths, according to Routley, and a close relationship between the markets will be mutually beneficial. This conference will serve to make introductions. “What is clear is that there is a lot of innovation in digital marketing technology coming out of the US and a huge appetite for it from Europe,” he says. “The downside for us here is that because the US is such a large addressable market, many start-ups and early-stage businesses don’t come to the UK for the first year or so of their operation. Yet, EU digital spend is close that of the US and growing.”

Conference details
Technology vendors wishing to attend the Glow Digital Leaders’ Conference must have an innovative digital marketing technology to introduce to the UK that will benefit publishers, agencies or advertisers.

“The vendors we are selecting cover a wide range of specialties: tools for publishers to integrate social media into their websites … as well as great leaps forward in targeting and mobile related fields,” Routley adds.

Two sessions will comprise the conference. The morning session will offer an educational track on launching a digital business in the UK, a platform for vendors to hear from private and public sector representatives from a financial, regulatory and resource basis. Speakers with a successful track record of launching UK subsidiaries of US technology companies will share their experience candidly via case studies.

In the afternoon session, the Digital Leaders will hear from the US businesses within small groups, and these roundtables will be followed by networking and one-on-one discussion opportunities.

Details on the keynote speaker are not available yet. The date of the conference is Thursday, Sept. 24. It follows Ad:Tech London so that participants from the US can keep travel efficient. The fee is $15,000 for the day, and vendors may contact Routley directly via e-mail at damian@thisisglow.com or by phone at 0044.7920.496.230.

But Mom, Watching Video IS My Homework

By Rebecca Jacoby

More and more higher education institutions employ the Internet as a platform to reach and teach global audiences with curricula that include digital media: interactive presentations, streaming video and audio programs. It was only a question of time before digital media would become embedded into daily lesson plans in U.S. elementary and high schools.

Discovery Education has created a team to partner with school districts and integrate their digital content as a daily standard in all subjects. The team from Discovery Education will review and categorize more than 250,000 titles from its digital library. Part of that task will include determining how a district may best apply the content so pacing guides, scope and sequence documents and instructions must accompany the digital content in a format that will not only educate but appeal to students.

“Today’s classrooms are dynamic places, and teachers are continually challenged to spend as much time on instruction as possible,” says Dale Fulton, senior vice president of curriculum development, and team leader. He noted the value of matching relevant digital content to curricula to maintain a high level of consistency in instruction, promote educational standards and allow for measurable outcomes that show learning has occurred. “It helps transform traditional classrooms into 21st century-learning environments by providing teachers with an easy-to-use resource where they can find engaging, effective and appropriate digital materials.”

Take a peek at www.discoveryeducation.com and behold interesting, eye-catching resources and possibilities. Who wouldn’t want to learn with tools like these? With rich digital media choices, learning just has to be fun.

Undeniably, digital media is a consuming part of an adolescent’s life: about 40 hours per week, equivalent to a full week of work. About 96 percent of those adolescents engage in social media networking as well.

In fact, Scott Kinney, vice president of Discovery Education, had the opportunity to tell the House Education and Labor Committee in a recent hearing just how essential digital media should be. Taking advantage that his firm was the only content company represented at the hearing, he cited ways that technology is improving education and ways that children can and already are learning. He discussed how formal educational systems teach to one learning style, whereas digital media can reach children who learn in different ways —perhaps even motivate students to dig deeper into a subject on their own.

Kinney stressed the need for federal and state government support of use of digital media in the classroom. His recommendation to the congressional committee complete with examples of states currently using digital media in classrooms can be seen on YouTube.

Contrary to the benefits of improved learning options, consistent standards and ease of lesson planning are questions about Fair Use and copyright law, a gray area that the courts retain the right to specify but that seems difficult to enforce. As digital media usage increases, it may also be necessary to review the Fair Use Guidelines for Educational Media.

Aside from Discovery Education, whose content is undergoing review, new job opportunities to develop digital media content open up. Full Sail University in Winter Park, Fla., currently offers an online Masters Program in Education Media Design and Technology.

A forerunner, the MacArthur Foundation joined the movement toward digital media and learning in 2006 with its launch of a five-year, $50 million initiative. How digitally adventurous is the Foundation? Well, in May it opened MacArthur Island in the virtual world, Second Life.

It seems that learning is happening everywhere.

http://www.youtube.com/watch?v=fzw9vykNydE&feature=channel

http://www.utsystem.edu/OGC/IntellectualProperty/ccmcguid.htm

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