Rishad Tobaccowala’s Post

Tech innovation #ArtificialInteligence is gathering momentum in the #media & #marketing world, but how do you put it to use to give you and your clients the edge? The #CEO of ECI Media Management gives his inside track on the controversial new technology...

Digital transformation is positively impacting every industry, and the media industry is no exception. Media brands are constantly exploring new digital Transform your media and entertainment business using the potential of digital transformation. Our guide offers valuable insights on how to harness technology to produce, share, and profit from content in the digital era. #digitaltransformationinmedia https://lnkd.in/dGrc3Atw

"How Valuable IP Will Succeed Beyond The Walled Gardens of Media Conglomerates" I wrote in February's "This Magic (& Weird) Market Moment" that “the ‘gatekeepers’ in traditional media could never be ‘gatekeepers’ in digital media because in retail-first, consumer-first models, some elements of their traditional media bundle will always be greater than the sum of all parts.” Part of gatekeeping is media conglomerates aggregating valuable intellectual property—think Disney buying Marvel and Star Wars and Paramount owning "Mission Impossible"—and leveraging economies of scale to monetize that IP across multiple distribution channels (linear, theatrical, streaming) and business models (merchandise, theme parks). An essay by journalist Joe George (@joewriteswords) on intellectual property like Winnie-the-Pooh entering the public domain sparked my realization that we have crossed the rubicon away from the media conglomerate's gatekeeping model. There is value to consumers in delivering highly produced versions of popular IP exchange for their hard-earned cash: “In short, Mickey Mouse, Winnie-the-Pooh, Superman, and others do not belong to Disney or Warner Brothers. The people who created those stories have long since died (and, in many cases, the key creators were cheated by others who claimed sole credit, as in the case of Walt Disney and Ub Iwerks). The characters only matter now because we decide to keep them in our imagination and we continue to tell and retell their stories. Disney and its fellow corporations have fought to keep their mental colonies intact and limit our imaginations, reducing us to consumers who have to purchase the tools of our identity formation. But public domain returns these characters and these stories back to the people, back where they belong.” George’s argument reads biased towards a populist and politically progressive perspective, both in structure and spirit (e.g., “mental colonies”), in part because it was written for The Progressive Magazine (NOTE: I found the essay through a Google search for the movie “Winnie-the-Pooh: Blood and Honey”). Politics aside, George rephrases my point above: In retail-first, consumer-first models, consumers no longer need media companies to shape and dictate the storytelling of popular IP. [click on comment below to read the full essay] ****Key Takeaway**** The economic rationale for media conglomerates controlling enormous libraries of IP under the protection of copyright law is beginning to weaken. But, currently the most viable alternatives seem to be a range of models that fall somewhere in between Bored Ape Yacht Club's early days and memecoins. #MickeyMouse #gatekeeper #IP #copyright #BAYC #memecoins

With the rise in AI-generated made-for-advertising websites, trustworthy publishers need strategies and tools to stand out for their commitment to quality. We recently hosted a webinar with Ad Fontes Media to share how publishers can differentiate themselves through their reliable, impartial content. During the discussion, Kenny Paul discussed how investing in news media helps advertisers find quality audiences and maximize their media investment. https://hubs.li/Q02h2nHZ0 #media #advertising #news

It is always worth to read some bold statements of Grzegorz Piechota, about journalism, subscriptions and AI.

Promoting not only our clients but ourselves too:) 𝗛𝗲𝗿𝗲'𝘀 𝗵𝗼𝘄 𝗮 𝗣𝗥 𝗮𝗴𝗲𝗻𝗰𝘆 𝗳𝗿𝗼𝗺 𝗖𝗲𝗻𝘁𝗿𝗮𝗹 𝗔𝘀𝗶𝗮 𝗰𝗿𝗲𝗮𝘁𝗲𝗱 𝗮 𝘀𝗲𝗿𝘃𝗶𝗰𝗲 𝗳𝗼𝗿 $𝟲𝟬 𝗮𝗻𝗱 𝗴𝗼𝘁 𝟯𝟳 𝗳𝗿𝗲𝗲 𝗺𝗲𝗱𝗶𝗮 𝗮𝗻𝗱 𝘀𝗼𝗰𝗶𝗮𝗹 𝗺𝗲𝗱𝗶𝗮 𝗽𝘂𝗯𝗹𝗶𝗰𝗮𝘁𝗶𝗼𝗻𝘀, 𝗮𝗻 𝗮𝘂𝗱𝗶𝗲𝗻𝗰𝗲 𝗿𝗲𝗮𝗰𝗵 𝗼𝗳 𝟴,𝟬𝟬𝟬,𝟬𝟬𝟬, 𝗮𝗻𝗱 𝗮 +𝟲𝟳% 𝗶𝗻𝗰𝗿𝗲𝗮𝘀𝗲 𝗶𝗻 𝗰𝗹𝗶𝗲𝗻𝘁 𝗶𝗻𝗾𝘂𝗶𝗿𝗶𝗲𝘀. We've entered the industry competition TAF!23 with our case, "AI-Powered Press Release Generator" by PR agency ITCOMMS. Cross your fingers for us and wish us luck! What makes this case interesting: 🟢 It vividly demonstrates how to create a news angle, use newsjacking technology, and tap into the hype of external events, in our case, the AI boom. 🟢 It proves that a brilliant idea can boost a brand without a mega budget. Our fearless PR pro, Jeanna Skripal, leads the project: "𝘛𝘩𝘪𝘴 𝘴𝘦𝘳𝘷𝘪𝘤𝘦 𝘪𝘴 𝘶𝘯𝘪𝘲𝘶𝘦 𝘯𝘰𝘵 𝘰𝘯𝘭𝘺 𝘪𝘯 𝘪𝘵𝘴 𝘶𝘴𝘦 𝘰𝘧 𝘵𝘦𝘤𝘩𝘯𝘰𝘭𝘰𝘨𝘺 𝘧𝘰𝘳 𝘯𝘦𝘸𝘴 𝘢𝘯𝘨𝘭𝘦𝘴 𝘣𝘶𝘵 𝘢𝘭𝘴𝘰 𝘢𝘴 𝘰𝘶𝘳 𝘤𝘰𝘯𝘵𝘳𝘪𝘣𝘶𝘵𝘪𝘰𝘯 𝘵𝘰 𝘵𝘩𝘦 𝘗𝘙 𝘪𝘯𝘥𝘶𝘴𝘵𝘳𝘺. 𝘋𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘨𝘦𝘯𝘦𝘳𝘢𝘵𝘰𝘳'𝘴 𝘰𝘱𝘦𝘳𝘢𝘵𝘪𝘰𝘯, 𝘪𝘵 𝘸𝘢𝘴 𝘷𝘪𝘴𝘪𝘵𝘦𝘥 𝘣𝘺 3,000+ 𝘱𝘦𝘰𝘱𝘭𝘦 𝘧𝘳𝘰𝘮 𝘢𝘳𝘰𝘶𝘯𝘥 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥, 𝘸𝘪𝘵𝘩 𝘰𝘷𝘦𝘳 20 𝘶𝘴𝘦𝘳𝘴 𝘭𝘦𝘢𝘷𝘪𝘯𝘨 𝘱𝘰𝘴𝘪𝘵𝘪𝘷𝘦 𝘳𝘦𝘷𝘪𝘦𝘸𝘴. 𝘞𝘦 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳 𝘵𝘩𝘪𝘴 𝘢 𝘴𝘶𝘤𝘤𝘦𝘴𝘴!" Show your support for our case with likes 💚💚💚 Just a reminder: ✔️ The competition results will be announced on October 7th at the V Tashkent Advertising Festival. 🎙️ This year, our agency's founder, Alexander Likhtman, is part of the expert jury, but, of course, he won't be judging our work. 🌀 TAF!23 competition website https://lnkd.in/dDMGqvz2 💚 Our case is available through this link https://lnkd.in/dcNwmPZb #PR #SuccessStory #TAF23 #PRagency #AI #Innovation #Newsjacking

The brilliant Cory Doctorow captures in words what we're all feeling about online voice casting platforms. From his must-read essay, The 'Enshittification' of TikTok: "Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die. I call this enshittification, and it is a seemingly inevitable consequence arising from the combination of the ease of changing how a platform allocates value, combined with the nature of a “two sided market,” where a platform sits between buyers and sellers, hold each hostage to the other, raking off an ever-larger share of the value that passes between them." You see it everywhere, and they're all operating on the same business model. The solution: production companies need to build their own rosters and have Ace voice actors in their back pockets, creating a sustainable business model by hiring directly and saving platform fees on both ends actor and producer. But if only happens if we talented ones band together by getting off the platforms and band together to build our own books. You're reading this right now thinking, "God, I hate (Platform Name)." Yes, you do. Most of us do, too. It's soul crushing. So: commit to marketing yourself and get off the hamster wheel. It's only getting more expensive, and for less results. If you don't know how, don't ask me; reach out to your network. (You do have a network, right?)