Category Archives: Mobile

Engagement or SOV in conversations matter most?

In social media analytics, SOV is a very important metric for marketers, even more than the engagement metric. Does quantity still matter over quality? There has to be a shift in this thinking as content (especially crowd-sourced content or free media) is definitely a more important metric. Perhaps more effort is needed – after all it’s a media world (no offense to my media friends) or it’s what board of directors want to see at the end of the day – numbers or return on investment!

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Uber wins social media race ahead of GrabTaxi on #SingaporeGP

by Melissa Chue | Sep 22, 2015 | 7:10am

one, with Sebastian Vettel beating crowd favourites to clinch first place. Conversations peaked at just over 7, 000 mentions at 10pm on 20 September, as fans took to Twitter and Facebook to celebrate Team Ferrari’s win.

  

 
So, who were Formula 1’s winners on social media?

Uber races ahead of GrabTaxi
Not wanting to be left behind, smartphone-based taxi booking rivals Uber and GrabTaxi launched their own Formula 1 promotions, offering users free rides from their fleet of supercars.

According to Digimind Social’s comparison tool, Uber overtook GrabTaxi by 14 per cent for volume of Formula 1 related conversations. Now that’s what we call a neck-and-neck race!

  
  
Judging by how mentions about Uber and GrabTaxi centered around supercars, it’s clear that many were looking forward to catching a ride. The lucky few went on Twitter and Instagram to show off their sweet rides, as well as their appreciation for their favourite car brands.

  
However, while Uber had a larger share of voice, it was GrabTaxi that engaged their community the most during the Formula 1 weekend, consistently trumping their rival in terms of interactions and publications on their social media channels.

  
  
Here’s a look at their best performing post on Instagram, which scored a 44 per cent engagement rate on Digimind Social Analytics:

  

Maroon 5 takes center stage
Likewise, music lovers were in for a treat, as the Grand Prix festivities brought international acts to the stage. American pop rock band Maroon 5 proved to be the most popular, overtaking Pharrell and even Bon Jovi to dominate 40 per cent of conversations about the Formula 1 concerts on social media!

  
Their winning streak continued well after their gig on 19 September, compared to rapper Pharrell, whose mentions dropped by 50 per cent after his performance on 18 September.

  
We suspect that frontman Adam Levine had something to do with it…

  
  
  
Source: http://www.digitalmarket.asia/webdata/uber-wins-social-media-race-ahead-of-grabtaxi-on-singaporegp/

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Melissa Chue

Melissa Chue

Melissa Chue is a marketing executive at Digimind. Digimind is the global social media monitoring and competitive intelligence company that provides businesses with unrivaled insights into their true standing in the market. Digimind’s proven intelligence technology has provided Fortune 500 brands around the world with critical information for their business for more than 15 years. With a customer retention rate of 92% Digimind has more than 100 employees across offices in North America, Europe, Asia and Africa.

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The death of local content programming?

So, when more online steaming networks arrive to our shores, how will the game change for content providers out there? I believe all players will continue to exist and be in business. Only differences will be that we, the consumers will have access to more choices from a variety of content (entertainment to sports to knowledge to financial)… but at the expense of having multiple subscriptions to different content providers – from live TV to on-demand ones. Thus content (especially sports & entertainment) becomes more expensive to have for the consumers. This will shift them to demand only content they wish to have and in real-time – and will further enhance this form of business model for the big players in Asia, namely HBO, Fox and content aggregators like Astro and Singtel. Expect on-demand content to grow further, especially on multi-screens and be more competitively priced. I, for sure am looking forward to it.

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#mavericksindigital: Why Netflix in Asia makes sense
Andy Radovic | Sep 22, 2015 | 9:01am

netflixRecently it was announced that Netflix, a leader in on-demand Internet streaming of entertainment content will finally be making its foray into Asia. In August it entered into a deal with Japan-based SoftBank to offer its fully integrated Netflix experience in that market, after a long to and fro between both companies.

The countries that were announced in their ‘global rollout’ were South Korea, Singapore, Hong Kong and Taiwan. They were a bit hush hush in terms of pricing and exact launch dates at this point, but most people close to the industry are pegging an end of year or quarter one launch in 2016.

This launch comes at a time in Asia when most consumers have grown more accustomed to paying for online subscription services. The music industry is a case in point. Over the past four years we have seen a proliferation of music streaming services enter the region, the likes of iTunes, Deezer, Spotify and more recently Guvera and Apple Music. And of those that are considered medium to heavy users, classified as people who spend more than 20 minutes a day listening to music, they are more than twice as likely to pay for streaming music, according to a research piece from Effective Measure.

The closest competitors to Netflix within the region who currently seem to be doing well are services like iFlix in Malaysia, Hooq in Singapore and TBO in China, which Alibaba just recently launched. However, all three of these companies just launched their service in 2015, so none of them doesn’t really have a major first-mover advantage over Netflix. Plus, the brand cache Netflix has alone should be enough to woo users into their camp.

I suppose the real competition for Netflix here would be Linear TV, as it is still the dominant method for how people consume their TV content, particularly local content. And Netflix most likely would not have access to truly local content, putting it at a slight disadvantage at least within the higher age groups within Asia.

However, Netflix will do well particularly among the younger generations who didn’t really even grow up with Linear TV in the first place. This group of digital natives never felt the need to rush home on Wednesday’s at 9 pm to watch their favorite TV show. It was always accessible to them in everyway – across screen, at any time of day, and in any location they are in, like commuting to and from work. These groups of consumers have embraced the Netflix model and love the concept of “original programming”. Particularly the world-class programming Netflix has become famous from, like House of Cards, Orange is the New Black, and Daredevil.

Probably one of biggest areas under threat would be advertising as traditional TV advertising will most likely start to loose its importance while we see the growth of content marketing and other forms of branded and sponsored content initiatives take shape. These will become more critical especially in platforms that allow audiences to skips ads. But we will certainly see a big shift in advertising spend towards areas like online video networks which will clearly be a more effective way to reach Netflix watchers than traditional TV.

I believe the emergence of Netflix in our region is a good move. Good for me personally, as I’ll now have access to all this great content (finally). But good for the industry as well, as it fits nicely with the digital, mobile and youth-centric ecosystem that is Asia.

Andy Radovic is the Regional Director for Digital (APAC) at Maxus Global. He is a strategic digital marketer with 12+ years experience working in the digital media space across a variety of agencies, spanning stints in the U.S., Japan, Korea, and now Singapore. Currently working for Maxus Asia Pacific, part of the GroupM network, the world’s largest media investment management organisation, and media communications and planning arm of parent company WPP. At Maxus, Andy leads regional digital duties for Asia Pacific with a focus on building out the Maxus digital product offering across Asia Pacific focusing on search, social, mobile, digital analytics and e-commerce.

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– Source: http://www.digitalmarket.asia/webdata/mavericksindigital-why-netflix-in-asia-makes-sense/


Fantastic real-time dynamic Digital OOH use

Digital OOH is not new and especially linking with real-time crowd-sourced photos. Been done to death.

In comes a new way to capture these crowd-sourced content (photos) and push them directly (and dynamically) to any screens, literally! INSTAGRAM, and the Cloud. It’s not an easy platform to manage crowd-source photos or videos but this example demonstrates an efficient and yet effective use of Instagram. More cases to follow from the digital communications world soon, I believe.

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Sydney’s art festival uses Instagram for digital signage

DMA News Desk | Sep 22, 2015 | 7:11am

New product ‘doohfa’, which provides off-the-shelf dynamic content for Digital Out Of Home (DOOH) networks, delivered over 2,000 Instagram images to the digital screen in The Living Mall, Central Park Sydney during BEAMS Arts Festival on September 19.

The cloud-based platform was used to curate 317 unique Instagram images of the 478 submitted in the BEAMS Arts Festival Instagram Competition on the night, and integrate them immediately for display on the digital screen in The Living Mall, Central Park Sydney.

“There were nearly 500 Instagram posts with the competition hashtag during the five hour event – well over one post a minute. We used doohfa to curate over 77% for immediate display on The Living Wall. The imagery looked fantastic on the 15 metre digital screen. And it was so interesting to see the festival represented from the perspective of festival-goers, within minutes of the festival unfolding,” said Neice Waddington, doohfa’s Operations Director.

doohfa has been developed to provide DOOH networks a simple way to deliver the benefits of social media integration to their clients, and leverage other advantages of digital display networks.

“This activation delivered nearly 10% more Instagram followers to BEAMS in a 5 hour period, and 35% more Instagram activity around this one hashtag alone. With doohfa, this type of DOOH Instagram activation is now off-the-shelf – it’s easily transferable to other digital screen networks and scalable for more screens,” said Dave Petschack, doohfa’s Managing Director.

doohfa has been developed independently to overlay DOOH network ad scheduling systems to the advantage of both the networks and their advertisers. With doohfa, brands can manage their content across multiple DOOH networks from the one web-based dashboard.

“We were able to curate the Instagram content into dynamic playlists using a tablet from wherever we were during the festival. The content manager wasn’t chained to a desktop, and the digital display tech team didn’t have to lift a finger. doohfa really taps into the immediacy and dynamism of digital display networks,” said Neice Waddington.

doohfa powered the BEAMS Arts Festival Instagram Competition on September 19, 2015 from 5pm to 10pm. Participants posted their festival photos to Instagram and tagged them #BEAMSFESTIVAL then looked out for their entry on the digital screen in The Living Mall, Central Park Sydney during the festival.

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– Source: http://www.digitalmarket.asia/webdata/sydneys-art-festival-uses-instagram-for-digital-signage/


Digital Landscape in Vietnam (Q2 2015)

Vietnam’s digital landscape is growing and this is a big opportunity for brands.
Internet penetration is 35.6%. The We Are Social / Cimigo reports have shown that more Vietnamese are going online on desktop and mobile, especially youths, and less on TV. 52% of Vietnamese consumers watch video online daily.
Mobile penetration is high at almost 145%. However only about 36% (or about 33 mil) are using smartphones – ie 3G subscribers. Cheaper smartphones in recent years have contributed to this rapid growth.
Chat apps (Zalo is the largest with over 22mil subscribers), online / mobile games (locally produced games are aplenty especially after the Flappy Bird success) and online commerce (e-shopping like Lazada, Tiki, Adayroi & e-bookings like GrabTaxi, Uber) have become popular as a result.
All these new digital channels spell more opportunities for advertisers to reach out to more people.
With online tracking technologies and lots of user data collected from how consumers use digital channels (behavior, interests, location, etc), digital advertising is becoming more important for brands to market their brands more effectively and on an individual basis based on needs.
So there is no denying that if advertisers want to further reach out and convince a bigger target audience beyond TV, then digital (online, social, mobile) is the way to go. Being present in digital alone is not enough. Digital channels allow engagements (2-way interactions) which traditionally TV doesn’t allow. Advertisers should fully take advantage of this.
Media (and creative) agencies should start to play a big role in fulfilling advertisers’ needs to market their products in the most optimal way; and that is through digital channels. After all, most consumers who make purchase decisions “live” online and online is the best place to reach out to them.
This in turn gives rise to opportunities for publishers and ad networks (like Admob, Admicro) to develop more creative digital advertising inventories to suit the different needs of the different advertisers. However, advertisers should be more creative to stand out from the clutter of online ads.
A snapshot of the general consumer’s online journey as follows:

– heard about it / saw on TV

– will go google or Facebook it
(Alternatively, consumers may see our online or mobile advertisements and click on them)
– a click through will land user on the campaign page (website, microsite, mobile site, facebook page, etc)

– user also does research about your product vs competitors… Again Google search.

– user reads in forums for recommendations from peers or others; and user also compares prices / specs / nutrition information etc to find the best

– user finds out where to go and buy

– user goes to retail shop (offline)
** if brands have an online shop, it will be better as users can purchase immediately (from experience, online to offline has high drop outs, and will make your digital ROI low, unless the product is irresistible).


[iPhone 5] – iPhone 5 Compared With Competitors [Mashable Tech article]

This may still be early days… but for me, the iPhone 5 still is the most tempting/desired among the 4 here!

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iPhone 5 Compared With Competitors [CHART]

 September 12, 2012 by

 


The iPhone 5 launches into a more challenging field of competitors than ever, and to give you some context about the iPhone 5 specifications compared with those of its chief competitors, we put the most important characteristics of each into this handy table.

As we look at specs of the iPhone 5 compared with the Samsung Galaxy S III, Nokia Lumia 920 and Motorola Droid RAZR HD, we can see patterns emerging, such as all the iPhone 5′s competitors have a screen that’s at least 720p (1,280×720 pixels), dual-core 1.5GHz processors, an updated operating system (although that’s debatable in the case of Android 4.0.4 Ice Cream Sandwich), an 8-megapixel camera and 4G LTE — all functioning as de facto standards in this highest echelon of smartphone goodness.

iPhone 5 vs. Samsung Galaxy S III vs. Droid RAZR HD vs. Nokia Lumia 920


Apple
iPhone 5

Samsung Galaxy S III

Droid RAZR HD

Nokia
Lumia 920
Screen Size 4 inches 4.8 inches 4.7 inches 4.5 inches
Resolution 1,136 x 640 1,280 x 720 1,280 x 720 1,280 x 768
Weight 3.9 oz 4.7 oz 5.1 oz 6.5 oz
CPU Dual-core Apple A6 Dual-core 1.5GHz Snapdragon S4 (in the U.S.) Dual-core 1.5GHz Snapdragon S4 Dual-core 1.5 GHz Snapdragon S4
Storage 16GB, 32GB or 64GB, no card slot 16GB, 32GB or 64GB +microSD slot 12GB+microSD slot 32GB, no card slot
Connectors Apple Lightning microUSB microUSB microUSB
Operating System iOS 6 Android 4.0.4 (Ice Cream Sandwich) Android 4.0.4 (Ice Cream Sandwich) Microsoft Windows Phone 8
Battery 225 hours standby, 8 hours talk time (3G) 790 hours standby, 11:40 hours talk time (3G) TBA 300 hours standby, 10 hours talk time (3G)
Camera 8MP, 3264×2448 pixels, autofocus, LED flash 8MP, 3264×2448 pixels, autofocus, LED flash 8MP, 3264×2448 pixels, autofocus, LED flash 8MP, 3264×2448 pixels, optical image stabilization, autofocus, dual-LED flash
Networking Wi-Fi, 2G, 3G, 4G LTE Wi-Fi, 2G, 3G, 4G LTE Wi-Fi, 2G, 3G, 4G LTE Wi-Fi, 2G, 3G, 4G LTE
Price $199 for 16GB, $299 for 32GB, $399 for 64GB; avail. Sept. 21 $199.99 + $35 carrier fee $199 (estimated, launch end of 2012) TBA, launch Q4 2012