The new "Post PC" landscape is driving significant changes in the way content is being distributed and consumed. Online content experiences are diversifying across multiple platforms and increasingly being packaged into new forms. In this session, you will learn effective strategies to maximize engagement and conversion across touch Web and app experiences for your content.
by Carmen Hill
Whether it’s Bridget Jones in pursuit of Mark Darcy or Luke Skywalker on a quest to discover himself while overcoming evil, film protagonists are on a journey inspired by the promise of adventure and reward. Real people are on a similar quest to solve problems--including the prospective customers you hope to attract with your content marketing strategy. By applying principles of film narrative you can shape the online journey of your buyers, helping them bond with fellow travelers and overcome obstacles along the way. To do that, you must look beyond the spreadsheets, diagrams and content management systems that are the tricks of your trade and think like a storyteller: Who are the heroes--and the villains? What conflicts and challenges do they face? What is their quest and what is the reward? Learn how to use film narrative to unite your team and client around a storyline, map the buyer’s journey, and align the right content to the right person in the right way and at the right time.
In the early days of owned and earned media (i.e., content) brands believed that communicating their messages via social and traditional media were the keys to success. And content is working; 61 percent of brands are doubling down on content this year. But advanced content strategists know that driving specific business objectives using content requires a wholesale shift to the user’s perspective - creating content that is entirely about theuser and the things they already care about. And for all the hand-wringing that goes on about creating the right content, 90 percent of brands investing in content lack a plan for optimizing the content and its distribution to reach targets, get them to “try” it and get them to come back to it on a regular basis.
This presentation takes brands and marketers on a deep dive into the behavioral neuropsychology that drives audiences to try and become addicted to a brand’s content, and helps them translate that knowledge into a scalable program that drives specific business objectives using consumer-centric content, complete with case studies of these strategies in action.
Forget apps, .mobi sites, and smoke signals. Here’s a little secret: you can make one website to cater to different devices and contexts. Designing responsive sites is gaining mainstream acceptance—but how do these sites effect your content strategy? Like the design, content is flexible—expanding based on screen resolution and medium to match the user's context. We need techniques to scale content as beautifully and responsively as our designs.
Responsive content can be used for both good and evil (or at least pleasant and painful user experiences). We'll examine when content should be responsive and when it shouldn't be.
Finally, the tech details: to make content respond, draw on the HTML5 spec, web standards, and semantic markup to systematically flag content. We can also use CSS, JS, and server-side processing to add or remove content from different contexts to create fast-loading sites.
by Tom Censani
With Dribbble, Forrst and other curated sites, the designer's attention has shifted focus to impressing his fellow peers and mimicking influences rather than who we should be focusing on: our audience. We're beginning to lose sight on delivering content in a meaningful way to the people who regularly traffic our sites.Design is beginning to look homogenous and more like a pattern of trends within the design community. Original design should be presented in a way that resonates with the audience and helps the designer grow without losing his own identity in the community.
The Whole World is Watching: From Tahrir Square to Homs to Zuccotti Park, citizen journalists and ordinary people are using social media, video and cell phones to document their stories and revolutions. New York Times reporter Jennifer Preston will moderate a panel w/ Jigar Mehta of the "18 Days in Egypt" project; Tim Pool, live stream video reporter of Occupy Wall Street movement; Eric Carvin, social media editor, Associated Press and Chris Michael from Witness.org. The panelists would like this to be a conversation so please bring your thoughts and questions about how technology is blurring the lines between traditional and citizen journalism -- and what that means. We will also remember those who lost their lives in recent months trying to report what was going on.#citizensx
by Kylee Ingram
CrowdTV is steaming ahead with the next iteration of crowd-sourcing, and is asking viewers to collaborate in deciding the direction and content of the documentary. For our pilot we gave the online community bare bones topic - water issues in Western Sydney. But beyond that, we threw open the doors to anyone who wants to have a say with the hope the result would be fun and a little bit gritty, but when starting out we had no idea what the outcome would be.
Participants gain points for contributing, such as through posting ideas or voting, and these points equate to credits in the film. This community involvement continues through every step of the production, with users also able to contribute research, vote on edit choices, and contribute or choose graphics and music.
Getting funding bodies interested in the idea proved difficult, as it was hard to pitch an idea for which the very point is that no one knows what it will look like yet. But it was the government and community partners got it immediately. They could see the value of community involvement as an end in itself, whereas the other bodies had been solely focused on the documentary.
We believe CrowdTV has the potential to encourage a broader level of community involvement than other approaches that are all about UGC- the model can be applied to any factual production.
9th–13th March 2012