Facebook to sell apps through new online hub

A giant ”like” icon made popular by Facebook is seen at the company’s new headquarters in Menlo Park, California January 11, 2012.

Credit: Reuters/Robert Galbraith

SAN FRANCISCO (Reuters) – Facebook Inc unveiled a new hub for consumers to find games and other apps on the social network, including its first storefront for selling paid apps, in the company’s latest effort to expand the ways it makes money from its massive audience.

The new App Center, which Facebook said will launch in the next few weeks, comes as the company is preparing an initial public offering that would value the company between $77 billion and $96 billion.

A key concern for investors is Facebook’s slowing revenue growth, due in part to the widening trend of consumers accessing its service on smartphones, where Facebook provides limited ads.

In an amended prospectus filed with the Securities and Exchange Commission on Wednesday, Facebook said the popularity of mobile devices has caused its number of daily users to grow faster than the number of ads it is delivering.

Facebook described the number of mobile ads it has recently begun showing to users as “immaterial.”

Facebook makes the vast majority of its revenue from online ads, although it also collects fees when consumers purchase goods from within social apps, such as Zynga’s Farmville.

The App Center will, for the first time, allow software developers to sell apps to consumers directly on Facebook.

Consumers will need to use Facebook Credits, the company’s payment system, to purchase the apps and Facebook will take a 30 percent cut of the revenue as it does with in-app purchases, said Facebook spokeswoman Malorie Lucich.

Facebook is introducing the app service to give software developers additional options, but the company expects in-app purchases to remain more prevalent on the social network, said Lucich.

Apps, ranging from social games to music services, are popular activities on Facebook, the world’s No.1 online social network with roughly 900 million users. According to the company, 200 of the apps that are available on Facebook have more than 1 million users.

The App Center will feature apps that designed for PCs as well as for mobile devices such as Apple Inc iPhones and Android smartphones. If a mobile app requires installation for the mobile device, Facebook said it will direct users to Apple’s App Store or Google Inc’s Play store to download the app.

The App Center will showcase apps based on the quality scores that users give apps and other data Facebook collects, such as how often and how long people use apps. Each user will see a different, customized version of the App Center, rather than one standard version of the App Center.

(Reporting by Alexei Oreskovic; Editing by Matt Driskill)

How to get your video or film noticed through social media

Right now there is so much attention paid to business models that define content’s availability “wherever” and “whenever” you want it.  The term “content everywhere” means different things to different people, but regardless of your own definition, one thing is certain: digital viewing through “over the top” services and STBs has arrived, like gangbusters.

In fact recent numbers show that digital views beat physical videos by over a billion views.  This is a huge number that will only continue to increase with new announcements for original content being developed by Hulu, NETFLIX and soon, Amazon, for first windows on digital platforms.

With the huge numbers in online views, the question then shifts to the opportunity to increase and engage those viewers. This will require the following: more interesting content; providing deeper engagement across platforms utilizing technological innovation; content extensions like games; and, most important, help for audiences to “discover” new content.

There are many ways to reach viewers, from strategically marketing, pairing and introducing new content through social and online destinations, to packaging and tailoring your content for audiences on specific platforms. Then there’s fully understanding and utilizing the right digital technology for your “content extensions,” learning about recommendation, discovery and “taste and mood” technologies, and driving audience by building compelling and intricate storylines that can work across platforms.

These pointers might not work for all online content, but would definitely work with, for example, content from the CW, Hulu, or Neflix:

The power of content extensions:

Content extensions — digital and social content “value-adds” — are important to  deliver a branding strategy before, during, and after a series has begun or ended — crucial to not to just online entertainment, but any form of entertainment for that matter.

An extension adds value to content off-line, off of the TV or after leaving the theatre in the form of an app, social or casual game, with all of the above increasing continued engagement that embraces competition, challenge and experience pushing audiences to continue with the content.

There are so many great examples of extensions that don’t cannibalize the content while building the experience across platforms and working as a “bridge” to a TV series. For example, there’s  the “X-Factor” and its extensions, to the strategy for “Psych,” or the new “Walking Dead” social game.

Cross-platform experiences are important to a series reaching audiences whether they are watching on a tablet, smart phone, or “connected TV”. While live shows provide direct access to exclusive content before and after an airing, scripted series provide an even deeper level of engagement through direct and external story lines.

With any extension, the focus should be on pushing “discovery” of not just current programming but new series, exclusive content, and always an experience that is more than just wallpaper.

Discovery of new content starts through entry of an existing series, which is where the extension is most important.

Taste and Mood:

With new disruptive technologies taking recommendations to an intuitive new level, “discovery” moves to the forefront of finding content on broadband platforms.

As audiences embrace these new recommendation technologies, they will have opportunities to find a lot more content based on their “taste and mood.”

For example, Microsoft is using this strategy in a recent licensing deal with JINNI, an IPTV technology company specializing in “taste and mood” recommendations. JINNI’s technology is  part of a larger “movie genome” project that indexes content based on your mood, utilizing tags that also focus on style and plot to recommend what you might enjoy watching.

With Microsoft’s gaming platform for example, up to 40% of activity on X-Box is non-game, which is where technology like this becomes important, as access to and recommendations for new video content is crucial to continued audience growth.

With connected devices, social applications and disruptive technology making it possible, discovery will become more important as online video platform options continue to grow.

On the eve of its digital video upfront bonanza at the end of this month, Digitas released new research on the engagement possibilities in online video. By sharing the data prior to the two-week upfront marketplace called The NewFront  that boasts presentations from Google, Hulu, AOL, Yahoo, Microsoft and even NBCU, Digitas is aiming to prime marketers to spend more in online video this year, either as part of their overall TV buys, or by peeling off money from TV and moving it to the Web.

The Digitas study was conducted in partnership with Harris interactive late last month and found that 46% of online video viewers said that if an online video mentions a new product or brand, they’re likely to look that brand up afterwards. Also, about half of consumers who follow brands on social channels said if a brand posts a video online they are “somewhat likely to watch it.” (As an aside, “somewhat likely” is not a terribly encouraging combination of words to my ears, but I will say that if a sliver of those consumers watch a posted video, the brands are doing well).

The research also showed that consumers often engage in both mediums — TV and the PC — simultaneously. About 63% of users have looked at online content while watching TV, with that number rising to 71% for adults 18-44. About one-quarter said the online content they looked at was related to the show they’re watching, a promising figure that speaks to how platforms can work together to enhance viewer loyalty and engagement.

Finally, 53% said that if their favorite celebrity announced that they were starring in or launching an online video or web series, they would check it out. That last finding is not surprising, but it also underscores a key learning that brands increasingly have gotten hip to over the last year. This may seem obvious but few adhere to it — if you can land a familiar face for your branded video, DO IT.

Zooey Deschanel’s HelloGiggles

Celebrities are typically more visible in digital media through Facebook and Twitter. Lady Gaga and Justin Bieber have more than 20 million followers and 18 million followers on Twitter, respectively, and more than twice those numbers on Facebook.

But it hasn’t been easy for advertisers to leverage the presence of stars on Facebook and Twitter, no matter how vast the following. So celebrities are increasingly looking to convert those followings into audiences for media properties that they actually own.

Celeb-owned properties don’t have the built-in mass of a Facebook or Twitter, but they can collect sharply defined niche audiences. HelloGiggles, for one, had almost 400,000 U.S. unique visitors in January, a group that’s 75% female and 80% between the ages of 18 and 34, according to ComScore.

But unlike, say, Oprah or Martha Stewart’s publishing empires, these newest endeavors are driven by those communities, not by professionally produced content. Most of HelloGiggles content is user-generated, said co-founder and producer Sophia Rossi.

Consider that the veritable queen of social media, Lady Gaga, who has the most-followed account on Twitter, now also has her own social network. A LittleMonsters.com is the first. On the site, which is in beta with public launch planned for spring, Gaga fans get profile pages where they can discuss tidbits such as when they first saw her in concert, a Pinterest-like venue to share photos and videos, and their own @littlemonsters.com email addresses.

Lady Gaga’s Little Monsters

 
“I imagine you won’t see the kind of scale you’d see on a dedicated site as you would on Facebook or Twitter, where people are anyway. Even with Lady Gaga’s millions of fans, it’s going to be a smaller subset,” said Andy Wasef, head of mobile and emerging platforms for media agency MEC .

Gaga’s is the only Backplane community so far, but the startup is gaining steam with fresh venture funding and plans to launch more communities this year. Given that Gaga has snagged brands such as HP, Wonder Bread and Diet Coke in past ventures, advertisers on her social network are sure to follow.

Celebrities have been trying to monetize their activity on the major social networks for a few years now. Startups such as Ad.ly have represented celebs such as Kim Kardashian, Snoop Dogg, Paris Hilton and Charlie Sheen to sell advertisers endorsements via tweet.

While those efforts have petered out, celeb-owned media may prove more lucrative. HelloGiggles has just signed with Say Media, the digital network that also sells advertising on behalf of xoJane.com, the blog of famed magazine editor Jane Pratt.

Another celeb ladies’ lifestyle site, Gwyneth Paltrow’s Goop, has gotten into the business of selling content with recently launched mobile-app city guides for $3.99 a pop.

Jermaine Dupri, who has produced records for Mariah Carey and Procter & Gamble, has entered into a relationship with Hearst Corp’s digital agency iCrossing , which will provide search marketing and social-media counsel for Global14.com, his website for fans. While there are no advertisers on the site today, he’s interested in acquiring them.

“If Twitter were to disappear tomorrow, where would Lady Gaga or Justin Bieber be without all those millions of followers? What’s your strategy to find all those people again?” asked Mr. Dupri. Global14, to which his 33,600 fans also contribute, includes his blog about fashion, cars and women.

But while advertisers are clearly gaga for social media such as Facebook and Twitter, will they want to give a Gaga social network a spin in the future?

As is always the issue with new media, finding enough people to market to will be the first hurdle. “It’s much easier for an advertiser to run an ad in a magazine with Lady Gaga on the cover, but that’s not to say that won’t change,” said Jeff Hinz, managing partner-U.S. digital director for another agency, Mediacom.

Stephanie Drenka

We are particularly pleased that Stephanie brings brand marketing experience to assist the small and medium enterprises we support daily, added Carita Weaver, Partner at i5 web works.

Southlake, TX (PRWEB) March 12, 2012

i5 web works, an award-winning provider of internet solutions including custom website design and development, search engine optimization and social media marketing, announced today that Stephanie Drenka has been hired as Internet Marketing Manager.

“We are very pleased that Stephanie elected to join i5, as she brings an additional level of skill and experience to round out our extensive line of Internet Marketing services,” said i5 web works co-founder, Carita Weaver, “We are particularly pleased that Stephanie brings brand marketing experience to assist the small and medium enterprises we support daily. Brand Marketing, associated with the expanding social media segments, is the most effective path to achieving the level of recognition, which in the past was available to only the largest firms.”

In her new role as Internet Marketing Manager at i5 web works, Ms. Drenka will develop and execute comprehensive social media strategies for clients, offering complete online presence management services. She will monitor evolving trends in social media tools to ensure that clients’ brands retain longevity across all relevant internet channels, and create engaging content to promote community growth and customer interaction.

Ms. Drenka brings a wealth of diverse marketing experience, including copywriting, graphic design, web development, branding, and public relations. She holds a B.S. in Communications from DePaul University. Prior to joining i5 web works, Ms. Drenka worked for American Airlines, Bradford Licensing, Hyatt, and most recently, Bioworld Merchandising. She has extensive expertise in brand development, having managed merchandising programs for clients including Disney, Sanrio, Dickies and London Fog.

“I was drawn to i5 web works for the company’s innovative and forward-thinking strategies. With proven successes over the past decade, they offer clients the acumen of a well-established business and the insight of industry pioneers,” said Ms. Drenka.

About i5 web works

i5 web works provides search engine optimization, Internet marketing, domain registration, and comprehensive site management programs that include website design, maintenance and hosting. The company serves clients in a broad range of industries from its headquarters in the Dallas Fort Worth area. i5 web works understands the application of Internet marketing services, pay per click advertising, search engine optimization, and social media for both business-to-business and business-to-consumer purposes. Creating an Internet presence requires an in-depth understanding of natural search engine optimization techniques and supporting Internet marketing programs.

Saban Signs Shout Factory for Home Entertainment

Shout Factory and Saban Brands announced a multi-year, multi-property alliance to bring Saban’s series, including Power Rangers, to the home entertainment marketplace in the U.S. and Canada.

The multi-year alliance provides Shout Factory with exclusive home entertainment packaged media (DVD/Blu-ray) and select digital rights to Saban Brands’ extensive catalog of properties including more than 700 episodes of Power Rangers (1993–2009), 92 episodes of VR Troopers (1994), 26 episodes of Ninja Turtles: The Next Mutation (1997), and 88 episodes of Beetleborgs (1996) for home entertainment releases and digital distribution across select entertainment platforms in North America.

Shout Factory plans an aggressive rollout of Saban Brands television properties beginning this summer, including from individual programs as well as complete series.

Beehive Brands Signs Australian Artist Chris Chun

Australian artist and designer Chris Chun announced that he has appointed Beehive Brands, the U.S.-based licensing agency, to help develop his brand’s licensing program in North America.

Beehive Brands will be working exclusively with Chris Chun to secure upscale licensing programs across a range of high-end home décor, stationery, greeting cards, apparel, and other popular lifestyle categories.

For more information, please visit www.chrischun.com.

American Greetings Properties Signs Russian Licensing Agents

American Greetings Properties (AGP), the intellectual property and outbound licensing division of American Greetings Corporation, announced the appointment of two new licensing agents in Russia. RIO Licensing will represent Care Bears for AGP and worldwide licensing agent Cookie Jar, and Megalicense will represent Twisted Whiskers in the region.

Both Megalicense and RIO Licensing will present their respective brands at the third annual Licensing New Europe convention this month in Moscow. The event will include company and property presentations, screenings, networking events, and a comprehensive conference program focused on the Russian and Eastern European markets.

Far East Movement Creates Monsuno Theme Song

Pacific Animation Partners, a joint venture between Jakks Pacific and Dentsu Entertainment USA, has aligned with Cherrytree/Interscope Records’ Far East Movement, to create an original theme song for the adventure series, Monsuno.

The Monsuno theme song, produced by Martin Kierzenbaum, chairman of Cherrytree Records, is a high energy blend of hip-hop, pop, electro, and dance that is a signature of Far East Movement’s style and sound. This partnership marks the first time the group has created a theme song for an animated television series. The Monsuno theme song opens every episode of the series, which currently airs on Nicktoons.

To listen to the Monsuno theme song, visit http://bit.ly/MonsunoFMThemeSong.

Harry Potter Exhibit Comes to Asia

Harry Potter: The Exhibition is coming to Singapore and Asia for the first time starting with the ArtScience Museum on June 2. Fans will enjoy a firsthand look inside the Harry Potter films as props are showcased.

Keeping in line with the Harry Potter immersive movie experience, visitors will be transported to some of their favorite locations in the films via themed vignettes, including the Gryffindor common room, a Hogwarts classroom, Hagrid’s hut, the Forbidden Forest, the Great Hall, and more. Guests will also have the opportunity to pull a Mandrake from its pot in the Herbology vignette, toss a Quaffle in the Quidditch area, and tour Hagrid’s hut as part of the exhibition’s experience.

Harry Potter: The Exhibition, created by Global Experience Specialists, Inc., (GES) in partnership with Warner Bros. Consumer Products, will run from June 2–September 30, 2012.

Why marketers should embrace Facebook’s new Timeline for brands

By Mike More