Twitter has introduced a timeline for logged-out users, those who look at a tweet now and then without signing in, and is planning to sell ads against this. But what does this mean for advertisers?
Considerada a edição mais empreendedora da Campus Party desde sua estreia no Brasil em 2008, a CPBR8 contou com diversas oportunidades para quem estivesse interessado em colocar – e principalmente, tirar – ideias do papel. Circulando pelo São Paulo Expo era possível notar, fosse nas palestras apresentadas nos palcos, nas salas da Open Campus ou nas bancadas, que os embriões de muitas startups que ouviremos falar no futuro estavam surgindo ali.
Em um estágio mais amadurecido – próximos de serem lançados ou em atividade recente – os participantes da terceira edição do Startup & Makers Camp contribuíram para reforçar o lado business da Campus Party. Entre mais de 600 inscritos de todo o país, o programa realizado pelo Sebrae selecionou 200 empresas com grande potencial para se destacar no mercado.
“É possível que, nos próximos anos, a gente veja alguns dos negócios que começaram a ser feitos nas bancadas da Campus, e que foram colocados no papel com ajuda de nossos Agentes Locais de Inovação, aqui na arena do Startup & Makers”, acredita o gestor do Projeto de Startups do Sebrae, Márcio Brito. Segundo ele, a tendência do programa é continuar evoluindo em termos de conteúdo e visibilidade, mas o número de empresas participantes parece ter atingido um ideal.
“Empreender é algo difícil, por isso que a troca de experiências em um evento como a CPBR é tão importante. Muitos dos empreendedores das statups que participaram do programa em anos anteriores, agora retornaram para contar o que aprenderam, seus erros e acertos, o que pode ajudar muito quem está vindo por aí”, explica Márcio.
Uma das coisas que chamam a atenção no programa é a variedade de segmentos e soluções oferecidas pelas startups brasileiras, e a lista completa dos participantes pode ser conferida aqui.
Grande parte das startups geralmente nasce a partir de uma necessidade. No caso do DogsApp, os fundadores Carol Rezende e Henrique Freitas perceberam a dificuldade que muitas pessoas tinham para encontrar “parceiros” para seus cães. Foi assim que eles resolveram criar uma espécie de Tinder para cachorros, que já conta com uma versão para Android e em breve também será lançado para iOS.
Segundo Carol, o aplicativo já conta com mais de 3 mil usuários ativos, que têm fornecido feedbacks importantes. Um deles está relacionado à adoção de animais. “Tivemos contato com entidades especializadas em adoção de cães e já estamos planejando inserir uma área específica para adoção no DogsApp”, antecipa.
Segundo ela, o curso natural é que o aplicativo se torne uma rede de relacionamentos para quem gosta de cachorros, com indicação de serviços e troca de informações sobre tudo relacionado ao universo canino.
Outra startup que chamou a nossa atenção no Startup & Makers Camp foi a Writogether, criada por Ricardo Cestari Junior. Atualmente em fase de captação de recursos no Catarse, a startup se propõe a criar a maior plataforma de ficção colaborativa do mundo.
O diferencial aqui é que os usuários não colaboram com os escritores apenas sugerindo rumos para um personagem ou uma história, mas os autores podem aproveitar personagens, mundos e cenários de outros usuários, o que resulta em uma história verdadeiramente colaborativa. Os direitos autorais de cada colaborador é garantido por meio de ferramentas digitais, o que torna todo o processo seguro para todos os envolvidos.
Fotos: Amanda de Almeida e Luiz Prado/Agência LUZ
Post originalmente publicado no Brainstorm #9
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É o episódio estréia do nosso novo podcast: Zing! Um programa que traz conversas profundas sobre assuntos aparentemente banais. Cultura pop discutida com paixão, encaixada no espírito de seu tempo.
Os jornalistas Alexandre Maron e Luciana Obniski apresentam suas teorias, discordam e viajam sobre diversos fenômenos culturais.
O tema do episódio de estréia é a decadência dos superstars. Hollywood já viveu a era do Star System, passou pelos anos dos astros com cachês de dezenas de milhões e agora vive uma seca de atores e atrizes capazes de levar multidões aos cinemas. Tom Cruise, Will Smith, Tom Hanks e Julia Roberts não são mais aqueles.
Você concorda com o Alexandre? Com a Luciana? Com nenhum dos dois? Então dê seus pitacos abaixo!
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Críticas, elogios, sugestões para zing@brainstorm9.com.br ou no facebook.com/zingpodcast.
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Sam Smith took home Grammys for best new artist as well as both record and song of the year for “Stay With Me,” and Beck was the dark-horse winner for album of the year.
| THE ORIGINAL? Glico Pretz – 2004 Source : Japanese Commercials Agency : Unknown (Japan) |
LESS ORIGINAL BestJobs “Jobs, jobs, jobs, thousands of jobs!” – 2015 Source : YouTube Agency : In House (Romania) |
Lastminute.com has launched a campaign encouraging lovers to enjoy “the sexy delights of Europe” this Valentine’s Day.
Rainey Kelly Campbell Roalfe/Y&R held onto the BBC ad account last week, ahead of stiff competition. Mark Roalfe, the chairman and executive creative director, looks back at his favourite ads by the agency for the corporation.
Jim Butler’s home, a rustic four-bedroom overlooking a marsh in Southampton, N.Y., is quiet. On a weekday afternoon in February, the snow, piled up over two feet, muted what little noise the water made.
Inside, however, the house buzzed with digital life.
Before leaving his primary home in New Jersey, Mr. Butler, president of Roundarch Isobar, a Dentsu Aegis digital agency, uses his iPhone to switch on the five Nest smart thermostats at his Southampton home. En route, he pulls out his phone again, navigates to the “smart home” folder containing six apps, and taps the screen for the August Smart Lock. He adds my phone number, and almost immediately, I receive a text prompting me to download August’s app.
Ask forward-thinking publishers what they worry about most and you won’t hear about declines in print. What you’ll hear about is the unfettered growth in mobile.
Last year, mobile constituted 60% of time spent on digital, up from 53% in 2013, according to ComScore. Yes, this mobile explosion is helping goose traffic at media sites. But they’re failing to monetize it quickly enough, resulting in a widening gap between mobile readers and revenue. At The New York Times, for instance, more than half its digital audience comes from mobile, yet just 10% of its digital-ad revenue is attributed to these devices. “We knew 18 months ago, just like everyone else did, that our future was going to have a lot of dependency on our ability to close the monetization gap,” said Meredith Kopit Levien, exec VP-advertising at the Times.
A high-ranking digital-media exec put the broader industry’s state of affairs more bluntly: “We’re looking at an ‘Oh shit’ moment.”
Two years ago, AT&T had a cozy pact with Starbucks. The telecom company provided Wi-Fi to 7,000 of the coffee chain’s outlets, a contract won in 2008. Then, suddenly, in July 2013, its Starbucks contract was wrested away.
The new provider wasn’t T-Mobile or archrival Verizon. It was Google.
Internet service providers, long dogged by consumer dissatisfaction, have been anxiously watching over the past 18 months as the search giant encroaches on their turf. This was not their typical competitor, but a lovable brand with unpredictable, bottomless ambition.
It’s no longer just the bright shiny object of marketing: Digital is fast becoming finance’s silver bullet. Marketer after marketer has been telling Wall Street that while they may be cutting, or at least controlling, the growth of ad spending overall, they are still getting the same or even more bang for their buck, thanks to the miracle drug of digital media.
Mattel, Darden Restaurants, Heineken, Clorox, Big Lots and Burlington Stores have all talked about hiking digital spending on recent investor calls. But it’s consumer packaged goods executives, once viewed as laggards of the digital revolution, that have jumped on this bandwagon particularly hard. Unilever, Procter & Gamble Co. and Kraft Foods Group have in recent quarters said digital accounts for 20% to 35% of their total media or marketing outlays.
That puts some of them beyond the global average of 24% of media budgets now going to digital estimated by ZenithOptimedia — effectively making them canaries in the coal mine of digital-media effectiveness.
Pour cette série qu’elle a nommé The Unseen, la photographe Lara Zankoul dévoile ce qui ne peut être vu : des mises en scène surréalistes vues en coupe, où l’eau submerge la moitié de la pièce et ses drôles d’occupants. Ainsi, on découvre à la fois ce qui se passe sous l’eau et à la surface. Plus de détails en images.
Le designer Ukrainien Dmitry Kozinenko a conçu cette série superbe série d’étagères et de cabinets perforés par des trous s’élargissant progressivement d’un côté vers l’autre. Le concept est de retranscrire l’effet du brouillard qui s’étend, faisant partiellement disparaître l’objet. Une idée originale et bien exécutée à découvrir dans notre galerie.
Nostalgia has always been advertising’s happiness grenade, but brands will need to do more than just reference the 1990s to win over difficult millennials.
Topman has partnered with Mercury Prize nominee Ghostpoet to launch Openshoot, a YouTube project to crowdsource ideas for his next music video.
More than 2,500 representatives from governments, NGOs and the private sector convened in Davos for the World Economic Forum last month, writes Keith Weed, CMO of Unilever.
The board of directors at agency holding companies don’t typically make much noise, but that may no longer be the case at Interpublic Group of Cos., which reached a settlement with activist investor and shareholder Elliott Management. The outcome was three new board members. To make room, two existing board members were replaced, increasing the total number of directors to 10 from nine.
The most significant outcome may be the formation of a finance committee that will focus on improving IPG’s margins and advising on global financial strategies and transactions, according to a public filing. The five-person committee will include the three new directors. Elliott has a 6.9% stake in IPG as of Feb. 4.
An IPG regulatory filing indicated the settlement is a one-year agreement, meaning Elliott could launch a proxy fight to wrest majority control of the board in a year. But for now Elliott has high hopes for the trio. Meet the new independent directors:
Le Studio Makgill, basé à Brighton, a conçu le catalogue promotionnel de l’imprimerie G.F Smith Specials Applied, fondée en 1885. A travers une découpe et perforation sur plusieurs couches, on peut voir apparaitre le nom de l’imprimerie dans différents styles et couleurs grâce à une impression de qualité, utilisant la technique de l’embossage, c’est-à-dire en relief et en creux.
Heart has clocked up four consecutive quarters with more than nine million weekly listeners, solidifying its place as the top national commercial radio station.
Catherine Kehoe, managing director for brands & marketing, Lloyds Banking Group, reveals three great ads she admires but had nothing to do with.
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