Category Archives: Business Models

YouTube and guilty pleasures…

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My local gym has recently installed new cardio equipment with touch screen monitors and internet access. So I find myself indulging in what some musicologists call “guilty pleasures” on YouTube – music that was so naff or cheesy when it first came out that no serious music lover would ever admit to liking it, but now it’s OK because retro is cool.*

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However, when I stumbled upon a couple of unauthorised YouTube posts featuring my own band, it got me thinking about all the “unofficial” uploads, and the impact that digital technology and social media are having through the increasing disregard for copyright and the rapid erosion of traditional business models by which content creators commercialize their intellectual property.

As more companies use digital media to support sales and marketing, brand management, customer engagement and market analysis, it becomes a valuable product or asset in its own right.

Even if you don’t believe your business is concerned with either content creation or commercializing intangible assets, there are implications for how you protect your business against commoditization or disintermediation.

What are the implications of new delivery channels for contemporary content creators, and what lessons does this offer to other businesses? 

For example, how can artists earn adequate fees from music streaming services? What do broadcasters gain from personalised radio apps? Who is making sure authors and publishers get their fair share of royalties from “curated” and aggregated content services?

The truth is, I don’t think anyone really knows the answers to these questions.

Some musicians may feel they are not adequately compensated by commercial streaming services; others recognise that the game has changed, that releasing recorded music is no longer enough to provide them with a living. In the past, musicians toured to promote their latest albums; now they release music to promote their next concert tour. They also know they must take more direct control over their income sources and revenue streams from music sales, live performance, merchandising and publishing.

For broadcasters, traditional content syndication models may no longer work if content can be disaggregated and re-aggregated without them really knowing about it. Internet streaming and web broadcasting are wonderful things, but how will advertisers react when broadcasters have limited ways of measuring the audience, because nobody knows where they are, or who they are, or when they are listening/watching?

Even authors and publishers, with a long and established history of licensing systems such as public lending rights, are wary of schemes to digitize their back catalogues. They are in a bind, because they know some income from these programs is better than none, but does it justify losing a high degree of control over the commercialisation and distribution of their copyright material?

Which brings me back to YouTube, one of the “best” examples of commercialised copyright infringement that the internet and social media have created. Even if file sharing services such as Megaupload are no longer with us, or controversial music re-sellers like LegalSounds have shut down, with very little effort anyone can extract content posted to YouTube, despite the fact that the latter does not actually support a download function.

For my part, I’ll happily admit to accessing YouTube content which is subject to copyright infringement – so much material on YouTube appears to have been posted without the prior consent (or knowledge) of the copyright holder. I’m actually very pleased that someone has posted it because I enjoy watching long-forgotten documentaries and TV interviews, out-of-print live recordings and broadcasts, and stuff that is unavailable commercially. But my consumption of this content is largely predicated on unauthorised uploading.

Although much of this “re-cycled” content is tagged with a “Standard YouTube License” (which simply means the viewer cannot record, download, monetize or claim ownership over the content), many people posting and uploading 3rd party content don’t have permission to do so in the first place. (Even a broad interpretation of “fair use” exemptions would not justify the wholesale uploading of complete albums which are still commercially available.)

I acknowledge that YouTube provides a copyright infringement process, and a Content ID system designed to help content owners assert copyright over material that has been unlawfully uploaded. But personally, I can’t help feeling that this is a rather disingenuous arrangement. YouTube stresses it is not in a position to determine copyright status – but it is more than happy to create opportunities for generating advertising revenue as part of the dispute resolution process (revenue which it presumably shares with the aggrieved copyright holder?).

YouTube started out as a platform for user-defined and user-contributed content. It does not create its own content – although it invests in original content for its “channels”,  and supports curated and personalised content (“recommendations”). This means YouTube attracts everything from amateur cat videos to professionally produced music promos, as well as highly original, creative and informative content uploaded by the independent musicians, artists, designers, educators and film-makers who create it and who choose to upload it.

And yet I keep coming back to the fact that YouTube is also full of “shared” content – content which is not owned by or licensed to the people uploading it. This is where the real commercial value of YouTube was always going to be found: in 3rd party content, however dodgy the provenance, because this reveals what might be popular and therefore, what can be monetized.

As a result, it could be argued that YouTube has been a considerable beneficiary of  copyright abuse – by using its analytics and other data mining, it can identify potential revenue “hotspots”, even if the content has not been legitimately uploaded in the first place.

So, while YouTube is very useful as an archive resource, its future is written in the terms of its commercial alliance with Vevo. This deal is designed to promote popular artists through the distribution of their music and video content via highly controlled sales and marketing channels.

On one level, it’s merely the latest attempt by major record labels to reclaim their market dominance over a music industry that is increasingly subject to vertical re-integration. On another, it will inevitably lead to an uneven playing field: some (a very few?) content producers will generate huge revenues from mobile and on-line platforms through their share of the advertising (rather than from traditional airtime and mechanical royalties); others (the majority?) will neither be able to collect royalties (because the model is broken), nor attract advertising (because they don’t have the marketing budgets to spend on buying an audience big enough to be of interest to advertisers).

What is happening in the content and media industries today will likely happen to other industries tomorrow, especially in the services sector; but we can already see that the development of domestic 3-D printers creates the possibility of “open source” designs for producing our own consumer products – so what impact will this have on manufacturing, for example?

*Confession: Yes, I admit that Dollar’s “Hand Held in Black and White” is one of the “guilty pleasures” in my record collection. It’s big on cheese and none of my friends would ever admit to liking it, but it features some classic ’80s synth arpeggios and electronic drum programming, and was produced by Trevor Horn as he transitioned from the bubblegum synth pop of the Buggles to the splendour that was Art Of Noise….

Demo Day for MAP’s Class of 2013 Startups

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The Melbourne Accelerator Program (MAP) supported by University of Melbourne’s School of Engineering and Faculty of Business and Economics is only in its second year, but already shows signs of becoming a leading incubator of new and emerging entrepreneurial talent in the burgeoning Melbourne startup community.

Last week was Demo Day (a.k.a. pitch night) for the 6 successful teams who were selected from over 50 applications submitted for the 2013 program. Presenting to an audience of fellow entrepreneurs, potential investors, program mentors and “interlopers” (a term used by Dr Charlie Day in his introduction), each team was invited to present the fruits of their labours from the 3-month accelerator program.

To kick things off, there was a quick update on the Class of 2012, including the team behind the new Omny audio app, which offers curated audio content.

From the Class of 2013, first up was 2Mar Robotics, who are developing a remote-controlled robotic arm, aimed at helping people with quadriplegia or with restricted arm movement and control. An earlier, voice-operated prototype proved unstable due to interference from background noise, but the team, led by Young Australian of the Year 2012, Marita Cheng (and founder of Robogals) have already secured a number of pre-orders for the latest version, which they hope to ship in early 2014. While it is understandable that the team would want to keep key commercial aspects of their project confidential, the less-than-open responses to audience questions about product costs and market pricing created the impression that the team are still developing their business case.

The next project, also healthcare-related, was from Cortera Neurotechnologies, who specialise in remote monitoring sensors for epilepsy patients. The team’s goal, using highly developed neural interface technology, is to significantly reduce the risk of infection caused by major invasive surgery for the 30% of epilepsy sufferers who are unable to take medication. Despite some theoretical discourse and good-natured banter with the audience about cyborgs and mind control interfaces, the team (which is divided between Melbourne Uni and UC Berkeley) is well on its way to securing prototype funding.

Client Catalyst offers digital marketing services for SMEs, via mobile websites and integrated search solutions. Given that nearly half of all mobile searches are for local services, the solution has targeted the trade vertical (plumbers, builders, electricians, etc.) which accounts for about 25% of the SME market. Claiming much lower customer acquisition costs for their clients (compared to traditional classified directories), and a very high client conversion rate, the team has established a solid subscription business that more than covers their primary input cost of paid search terms.

By using highly intuitive data visualisation and enhanced search, the team behind The Price Geek claim to have established a major competitive edge over other price comparison sites, in their bid to help you “find out the market price for anything” (although currently, it really only covers tech devices, sneakers, and Tiger Woods memorabilia…). They have built affiliate programs with multiple merchants, giving them more market sources, more contributed content, and more data analytics. The site has already picked up some strong media coverage, and in future, The Price Geek plans to offer price comparison for cars.

Before commenting on Ebla, a self-publishing platform for lawyers, I should declare an interest: I previously worked for the legal information division of Thomson Reuters, including the Westlaw online service. So, IMHO, anyone who is attempting to bring a new technology solution to informed legal commentary and analysis deserves a lot of credit, especially if, as intended, the service empowers individual lawyers to showcase their expertise in a collaborative and adductive environment. Contrary to some popular misconception, the legal profession (along with financial services) was one of the first industries to embrace the digital age*. Yet consider this: the sheer volume of legislation, case-law and commentary; the complexity of the material and its many idiosyncrasies (e.g., case citation systems); the proprietary nature of much document drafting; and the “knowledge is power” approach to researching obscure precedents before facing your opponent in court – all these factors tend to work against the notion of knowledge sharing and collaboration among lawyers. (I have heard of some law firms that embed deliberate mistakes in their commercial drafting templates, to deter plagiarism by their competitors if the originals were to fall into the wrong hands.) Access to the site, which is still in Beta, is by invitation only, and will offer a freemium subscription model.

The last team to present was SwatchMate, with a Bluetooth-enabled reader that helps users to “capture the color of any surface” (or “Shazam for color”). I have to say that when I first saw this team present at a Lean Startup Melbourne event earlier this year, I was somewhat sceptical about the product, as they seemed to be focussing on the paint market (both trade and DIY customers), yet didn’t appear to realise that most people only paint their home once every 5-7 years. However, I am pleased to report that SwatchMate have since lifted their game, by identifying strong opportunities among designers and creatives, brand managers, the cosmetics industry, and even TV and monitor calibration. With linkages to major design software, as well as to leading colour and paint catalogues, SwatchMate will offer an integrated solution once they go into production. Meanwhile, they are planning to launch on Kickstarter, and are a finalist at next week’s Melbourne Design Awards (plus shortlisted for the Sydney and Brisbane Design Awards)**.

Applications for MAP 2014 close on April 24, and there are also opportunities to participate as a mentor (full details not yet available).

* Lawyers love their technology: The Wang word processing system was eagerly adopted by law firms in the 1970s and 1980s, for its ability to support complex document formatting. Online legal research tools like Westlaw and Lexis-Nexis were launched in the 1970s. Some of the first CD-ROM and web-based law publications in the 1990s deployed specialised html coding and Boolean logic designed for legal search and retrieval purposes. Many law firms use sophisticated knowledge management systems to capture the in-house expertise of their lawyers. Court reporting and litigation support tools have been using advanced voice recognition, extensive text parsing and real-time data capture and processing for many years.

** Declaration of interest: I am currently involved with the Design Awards, although I have no say in the selection of shortlisted entries or finalists.

Has web-traffic analysis just got better or worse thanks to Google search encryption?

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Last month, WordPress informed its customers that Google has expanded search encryption to cover any search except for clicks on ads. The impact will mean less detail about which keyword searches are driving traffic to your website. Debate among industry observers suggested that this was done either in response to security-related issues, or simply to maximise ad revenue.

I’ll leave you to decide what the real motive is, and to determine what your own response should be around SEO strategies. My sense is that content owners and social marketers will sharpen their use of keywords, and devise new tactics to maximise the value of web traffic analytics. As one commentator has observed, Google has a near monopoly on search – but in the end, it’s their platform and they’ll do what they want with it.

From my own analysis here at Content in Context, the number of “unknown search terms” far outweighs precise keyword or search strings, but thanks to the WordPress stats, I am still able to get a reasonably informed sense of what drives traffic to this blog:

  • Social networks (Twitter, LinkedIn, Facebook, etc.) account for about half of all referrals to Content in Context (including 10% from Reddit, even though I do not actively participate on that platform)
  • Search engines comprise about one-third of referrals (with Google Search accounting for over 90%)
  • Meetup is an increasingly important source of referrals
  • Embedded links (used selectively) can also be a useful source of referrals

I have found some interesting citations to my blog (including undergraduate study forums), and I figure I must be doing something right when third parties approach me to write about their products or to include advertorial content in my blog – and of course, I would declare any such interest when it arises!

Even though I do not pay for Google ad words, or undertake any paid-for SEO, this blog comes up 2nd (after paid results) when using Google search for “Content in Context”.

One outcome from Google search encryption will undoubtedly be a renewed focus on providers offering contextual search solutions, because keyword search relies primarily on frequency, proximity and assumed relevance of search terms, rather than actual contextual meaning.

So, in some ways Google’s decision to encrypt all search will make everyone else lift their game, which can only be positive.

Focus, Focus, Focus: from great idea to MVP in one (not so) easy lesson

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Last week’s Lean Startup Melbourne session explored what it takes to turn your great startup idea into a minimum viable product (MVP) before launching in the market. And as the entrepreneurs pitching their product ideas soon found out, it’s all about focus: on the problem you are solving, on the solution you are offering, and on connecting with your target customer.

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The evening’s event was once again hosted by Inspire9, and generously sponsored by BlueChilli, and the ever-entertaining and animated Kussowski Brothers, along with newcomers Startup Victoria and Xero.

As well as a panel comprising 4 of Melbourne’s leading startup experts, there were a couple of lightning talks from Sidekicker and Attendly on how to find a tech co-founder, and how to identify your customer respectively.

On to the evening’s brave pitchers:

First up was ClassWired, a platform for helping ESL classes go digital. Building on personal and professional experience, the product aims to make ESL lesson content more social and the student experience more personal. The challenge is that the ESL market is divided between a handful of major players (who are easy to identify, but could leverage their scale to deploy their own solutions), and a large pool of independent teachers (who are harder to reach). While a need may exist for more interactive ESL content, the panel felt the revenue model lacked clarity, and as yet there was no compelling reason for customer adoption. ClassWired could establish some differentiation through superior instructional design, or by building content development tools for use by tutors.

Next came a presentation by Reflow, which entertained and baffled in equal measure. The product is designed to handle high-volume messaging traffic, from sensory, mobile and web sources across logistics, apps and environmental monitoring. Although the pitch was deep on technical domain knowledge, and again drew heavily on personal and professional experience, the panel was unclear as to the precise problem being addressed, and the solution being offered. Talk of “virtual hair dryers” and “sensory message overload” only helped to confuse the audience. Maybe there are opportunities in outsourcing, or in data analytics – but with cheap and plentiful hosting capacity out there, Reflow needs to find some focus.

Changing tone and gears came StillReel, which streams digital art to an LCD monitor near you. With the idea of bringing limited-edition digital artworks to a wider audience, StillReel offers a monthly subscription model, and is exploring the consumer, commercial and corporate markets. Leaving aside the concept of scarcity value in digital art, the overall feedback suggested that the market needs to be clearly defined, and the offering made more explicit. Is it simply art? Is it entertainment? Is it pandering to the elite? From my perspective, Brian Eno has created a different model via 77 Million Paintings, and no doubt social media is already “liberating” digital art and video from the galleries and museums.

Curated shopping service, YourGrocer offered the best and most succinct presentation on the night, and told a great story about how the experience of “validation in Brunswick” has helped them build a viable business connecting local grocery outlets with time-poor customers. With several options for revenue streams, supplier partnerships and even a franchise model, YourGrocer could be spoilt for choice – but like everyone else, they need to focus (and decide whether they are a community service, a social enterprise or a commercial venture).

Finally, MeetLinkShare offers virtual data rooms – a service somewhat clumsily describing itself as “The Swiss Army Knife of Mobile Collaboration”. Having built a proven platform for secure team-based document and content sharing (including annotations, tags, custom fields, multimedia and version control etc.) the team is now contemplating two significant (but quite separate) market segments: 1) Virtual Data Rooms for SME’s and 2) Private Tutors. They are also seeking a new round of funding. Again, the panel’s recommendation was to find their customer focus, although with some smart and distinct branding, it’s possible that MeetLinkShare could service both markets.

Conclusion

Having a great idea is not enough – as I learned very early on in product development, there may be an opportunity in the market, but is there a market in the opportunity? A couple of things missing from most of these presentations were:

  • a clear definition of both the upstream and downstream markets;
  • an understanding of the customer value chain (and how to monetize it); and
  • the specific contribution that each product, service or solution brings to their chosen domain.

It was also apparent that each of the pitches have opportunities across indirect applications, or within adjacent markets – so part of the challenge is knowing how to gain sufficient traction in one segment that will provide momentum (and relevance) to move into the next growth phase.

Disclosure: The author is not affiliated with any of the businesses mentioned in this blog, although he does acknowledge the receipt of 2 free beers and a couple of slices of pizza from the organisers.