Apr 9, 2015 - UTRECHT, 15-03-2016 ..... Table 1 – Page 17 - Types of user-generated content ... outstanding content is an opportunity as well as a challenge. ..... Inclusion means the needs of a person to belong to a certain group or community that ...... 'occasion' (such as the Rugby World Cup or National Pet Day) as ...
Fast Moving Consumer Goods meets Fast Moving Consumer Content Video content in an age where users and publishers converge. How Tony Chocolonely can benefit from popular branded and usergenerated video content.
Pim Minderman 1614172
GRADUATION ASSIGNMENT SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR OF COMMUNICATION SYSTEMS OF THE INSTITUTE OF COMMUNICATION AT THE UTRECHT UNIVERSITY OF APPLIED SCIENCES UTRECHT
UTRECHT, 15-03-2016
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Executive Summary The purpose of this thesis is to lay the groundwork for new research into the use of popular video content in digital marketing strategies, and it focuses on brands in the FMCG sector. Its aim is to analyse how engaging branding and user video content can be translated into a online marketing strategy for brands. This research examines the Dutch chocolate manufacturer, Tony Chocolonely. The focus of this research will largely be on user- and brand-generated video content. It begins by explaining the focus and defining the research problem. This problem will be answered by the main research question: How can brands within the fast-moving consumer goods (FMCG) sector best utilize popular user-generated and published video content for online marketing strategies? This question will be supported by five sub-questions that explore the field of user-generated and published content with relation to the efficacy of viral video content within the FMCG sector. The literature review shows the current status of video content, explains what is meant by user-generated content, what motivates audiences in sharing online content, and what research has already been conducted on the drives and competences of viral video content. The research methods describe the parameters and what are qualitative in their approach, using in-depth expert interviews and a comparative content analysis. The content analysis is supported by a quantification of the engagement value of different kind of videos from brands within the FMCG sector. The findings of this research reveal three important competences. In the first instance, the effect of sharing will make video content popular and even viral on social networking sites. Online opinion leaders support the positive effect of sharing, as well as the drive for audiences to share content with others because they feel that they are self-enhancing. The second competency for utilizing popular video content differs on three of the major social channels (Instagram, Facebook and Youtube). On Instagram, the use of animated, informational and product-centred video content can cause high levels of engagement, where focus remains on the distinctive elements of the product. On Facebook, animated instructional video content has resulted in strong engagement, as long as they are combined with elements that are of practical value to the audience. On Youtube, the strongest competences have been found in user mini-documentaries, where a narrative is created through a video marketing strategy. These must be combined with social currency, so the audience can see the users’ genuine character and daily life. This thesis has not been sponsored by a work placement company but will consult the marketing department at Tony Chocolonely. Tony Chocolonely is the first Dutch manufacturer of labour-free chocolate bars and is committed to achieving 100% Fairtrade chocolate. The results, findings and advice in this thesis can be used for brands and companies who are interested in implementing video content within their digital marketing strategies and in developing viral video content. 3
Table of Contents
Executive Summary ................................................................................................................. 3 Table of Contents ..................................................................................................................... 4 List of Figures ......................................................................................................................... 6 List of Tables............................................................................................................................. 6 Chapter 1 – Introduction and background ............................................................................ 7 Problem description ...................................................................................................... 7 Problem Definition ........................................................................................................ 8 Research and policy question ....................................................................................... 9 1.3.1 Sub-questions................................................................................................................. 9 1.4 Marketing Strategy of Tony Chocolonely ......................................................................... 9 1.4.1 Introduction ................................................................................................................... 9 1.4.2 Marketing strategy ....................................................................................................... 11 Chapter 2 - Literature Research ........................................................................................... 14 2.1 Literature review .............................................................................................................. 14 2.1.1 Essentiality of video content in social media .............................................................. 14 2.1.2 User-generated content (UGC) .................................................................................... 16 2.1.3 Digestible content ........................................................................................................ 18 2.1.4 Discussion .................................................................................................................... 19 2.2 Theoretical Framework ................................................................................................... 19 2.2.1 Berger’s STEPPS model .............................................................................................. 19 2.2.2 Participation culture – Ladder of participation ............................................................ 22 2.2.3 Discussion of theories .................................................................................................. 24 Chapter 3 - Methodology ....................................................................................................... 26 3.1 Design ................................................................................................................................ 26 3.1.1 Qualitative research ..................................................................................................... 27 3.2 Participants ....................................................................................................................... 29 3.2.1 In-depth interviews ...................................................................................................... 29 3.3 Material ............................................................................................................................. 30 3.3.1 In-depth interviews ...................................................................................................... 30 3.3.2 Content analysis ........................................................................................................... 31 3.3.2.1 Cases & comparative content analysis ..................................................................... 31 3.3.2.2 Comparative content analysis steps .......................................................................... 33 3.4 Procedure .......................................................................................................................... 34
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Chapter 4 - Results ................................................................................................................. 36 4.1 Video content in online marketing strategy ................................................................... 36 4.1.1 Sharing effect on video content ................................................................................... 36 4.1.2 Engagement value of popular video content ............................................................... 38 4.1.2.1 Video content – consumer desire for branded videos............................................... 39 4.1.2.2 Video Content – Jon Berger’s STEPPS Model ........................................................ 43 4.2 Effects of user-generated video ....................................................................................... 46 4.2.1 Participation culture ..................................................................................................... 46 4.2.2 Competences of UGC video ........................................................................................ 49 Chapter 5 - Conclusion .......................................................................................................... 51 5.1 Introduction ...................................................................................................................... 51 5.2 Outcome ............................................................................................................................ 51 5.3 Research limitations ......................................................................................................... 54 Chapter 6 - Recommendations .............................................................................................. 56 6.1 Objectives and opportunities........................................................................................... 56 6.2 Video marketing strategy ................................................................................................ 56 6.2.1 Sharing effect – involve stakeholders .......................................................................... 56 6.2.2 Content pillars.............................................................................................................. 58 References ............................................................................................................................... 61 Appendices .............................................................................................................................. 66 Appendix 1 – Content Analysis ............................................................................................. 66 Appendix 1.1 – Content analysis Oreo, Coco Cola and user generated video content. .. 66 Appendix 1.1.1 - Results content analysis......................................................................... 68 Appendix 1.1.2 - Engagement Rate .................................................................................. 76 Appendix 2 .............................................................................................................................. 83 Appendix 2.1 - Interview question list .................................................................................. 83 Appendix 2.2- Summaries of the interviews ........................................................................ 86 Appendix 2.2.1 - Social Scientist – Ivar Vermeulen ........................................................ 86 Appendix 2.2.2 - Creative Director – Paul Falla .............................................................. 87 Appendix 2.2.3 - Creative Producer/strategist – Friso Schoone..................................... 89 Appendix 2.3: Transcript Interviews ................................................................................... 92 Appendix 2.3.1 - Interview Ivar Vermeulen..................................................................... 92 Appendix 2.3.2 - Interview Paul Falla .............................................................................. 95 Appendix 2.3.1 - Interview Friso Schoone ........................................................................ 98 Appendix 2.4: Coding interview ......................................................................................... 101
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List of Figures Figure 1 – Page 12 - Tony Chocolonely social content Figure 2 – Page 15 - Types of brand video consumers want to watch Figure 3 – Page 20 - Jonah Berger’s Contagious Model Figure 4 – Page 23 - Bernoff & Li’s - Ladder of participation model Figure 5 – Page 40 - Coca Cola - #Shark week (animation – comedian/spoof) Figure 6 – Page 41 - Oreo – Make your own Donut (animation – instructional) Figure 7 – Page 61 - Content pillar per channel
List of Tables Table 1 – Page 17 - Types of user-generated content Table 2 – Page 23 - Segments of participation ladder model ( Bernoff & Li, 2011) Table 3 – Page 26 - Sub questions and research methods Table 4 – Page 28 - Comparative content analysis Table 5 – Page 30 - In-depth interviews- Experts profiles Table 6 – Page 35 - Participatory Culture – Participation ladder Table 7 – Page 39 - Average Engagement Value (AEV) by brand and per channel Table 8 – Page 43 - Average Engagement Value (AEV) for consumer desire for video content Table 9 – Page 46 - Average Engagement Value (AEV) for STEPPS principles Table 10 – Page 48 - Ladder of participation roles and value to the effect of UGC -video Table 11 – Page 51- Competency of UGC – conclusions
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Chapter 1 – Introduction and background Problem description In social marketing, creating unique, outstanding content is an opportunity as well as a challenge. Research from Ascend2 (2010) has shown that 38% of marketers feel they do not have the desired resources for content creation, and 46% say that their video content is one of the three most convenient and effective methods of marketing. Video content has gained ground within the current media landscape. The public is becoming increasingly willing to be informed or entertained by online video content because it is fast, direct and easy to understand. Furthermore, consumer behaviour towards media channels has changed: the attention span of online videos has decreased from 12 to 8 seconds (Statistic Brain, 2014), the size of the computer screen is shrinking, and the essentiality for speed is increasing. These kinds of changes to online social behaviour have affected the ways that brand and social networking sites (SNS) reach their customers. Certain social networking sites have taken big steps on these prospects of publishing video content: Facebook increased its video content output to 75% in 2014, which makes them the biggest competitor of Youtube (Adage.com, 2015). Youtube does, however, continue to dominate the field, with over 1 billion monthly users (Reuters, 2015) and the number of hours people watch videos (defined as ‘watch time’) increases by 60% year to year (Youtube.com, 2015). Combined with the effect of social networking sites, a new concept has emerged: virality. Virality is achieved when online content is shared by a large number of people, and is derived from the notion of spreading a virus. A virus is explicitly described as an ‘ “infectious agent”—whether an idea, a product, or a behaviour—is assumed to spread from “infectives” (those who have it) to “susceptibles” (those who do not) via some contact process, where susceptibles can then be infected with some probability’ (Goel, Anderson, Hofman & Watts, 2015). Marketers of brands create different kinds of content, especially video, in the hope that the content will go ‘viral’. Viral content can only increase in value depending on public use of it, which is why audiences, users and user-generated content (UGC) are all essential components for a video achieving viral status. According to a study by Econsultancy, audiences are in control of their own digital story, which means that they decide what kind of content they want to see, read, share and/or publish (Turton, 2015). Brands need to take the role of ‘captains of their ships’ and guide their audiences through the ‘rough seas’. In order to create content that has variety and popularity, brands need to adapt the same characteristics that viral, non-branded content has. UGC has a different kind of competency for introducing viral content: it is one that reflects more on trust, reliance and belief, for example, by word of mouth (WOM) online or offline. According to research, 65% of consumers have more faith in and desire to use WOM on user-generated content than they do for content that has been produced by commercial publishers (MacKinnon, 2012). When referring to the competences of user-generated and branded content, some clarification is needed. The 7
definition of content competences can be derived from a study by researchers at the University of Nebraska-Lincoln (2015), who describe the key component: the individual attributes – properties, qualities or temperaments – that reflect one’s unique character. For this research, this means that the competences of popular content can be assessed by its properties, qualities and/or characteristics that either alters consumer behaviour or the technological features that make the content engaging. These attributes are the strengths and powers of content. Just how popularity and engagement are defined and measured will be described later on in this thesis. These facts and definitions indicate how and why user-generated and branded video content can be useful for giving certain insights into the strengths of viral content. This research will also provide advice on the strategic value of these user-generated and branded competences for brand marketing departments in the FMCG sector. More specifically, this research outlines my study on whether popular UGC and branded content can be applied to the marketing strategy of Tony Chocolonely.
Problem Definition Tony Chocolonely has a strategic content marketing plan: thirteen videos in the last year were posed to the social media channels Facebook, Instagram and Youtube, and one video had more than 10,000 views. The company’s knowledge and practice on challenging and understanding the market’s brand awareness over its competitors is remarkable. 53% of chocolate consumers in the Netherlands are familiar with Tony Chocolonely and will recognise the brand on sight. Yet only 17% of these consumers name Tony Chocolonely when asked to recall chocolate brand names (Tony Chocolonely, 2015). It positions itself as a chocolate brand that it original, authentic and socially responsible in its core products. The company’s products are quickly consumed goods – and thus its digital content can also be quickly consumed. With its current brand communication and identity, Tony Chocolonely is positively overemphasizing its brand characteristics to deliver its message. With its campaigns that focus on unequally distributed bars (in order to deliver the message of inequality in the cacao industry) and other features of the product, they build the brand’s image by creating content about the company’s values. Within marketing research, there are two problems: 1) failure to meet an objective and 2) failure to meet an opportunity. The thesis is not immediately acknowledged as meeting a problem, but more, it assesses an area in which a company might be able to perform more profitably (Burns & Bush, 2014). By combining their current approach with the product features of their current mission, brand strategy, and communication, online video content can be of great value for Tony Chocolonely. According to one of the brand managers of Tony Chocolonely, if the brand plans to grow and connect with a wider audience, it needs to be more direct and cutting edge in order to position itself between the multinationals and the traditional chocolate producers (van der Velde, 2013).
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Therefore, I believe video content can be an accommodating medium for the brand image of Tony Chocolonely because online video content has proven that it exceeds in reliability, interactivity, personalization, and usefulness in reviewing compared to more traditional communication outlets such as television commercials (Cha & Chan-Olmsted, 2012). The use and strengths of branded and usergenerated video content has potential to communicate more directly to Tony Chocolonely’s audience and can even more explicitly clarify its main mission as an important asset for their marketing strategy.
Research and policy question Research question:
‘How can popular, user-generated and branded video content enhance the digital marketing strategy of Tony Chocolonely?’
Policy Question:
‘How can brands within the fast-moving consumer goods (FMCG) sector utilize the competency of popular user-generated and branded video content for the current digital marketing strategy?’
1.3.1 Sub-questions 1.
How is video content related to a brand’s, general online marketing strategy?
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Which assets influence the popularity of user-generated and branded video content?
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How are brands in the FMCG sector using user-generated videos and branded video content within their digital marketing strategy?
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What is Tony Chocolonely’s current online marketing strategy and how are they exploiting it?
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What are competences of user-generated video content versus branded video content?
1.4 Marketing Strategy of Tony Chocolonely 1.4.1 Introduction Tony Chocolonely is a Dutch chocolate brand that has the main goal to make the chocolate industry 100% labour free. This means that the production by cocoa farmers in different countries have the right and need to earn a fair wage. The voice their ambition, the mapped their journey of being slave free in three phases (Tony Chocolonely, 2013):
Phase 1: Create awareness
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From the very start, in 2005, Tony’s Chocolonely has played an active role in exposing the abuses of the international cocoa trade. There is something very, very wrong with the global chocolate industry, and we want you to know it. Tony’s Chocolonely is an edible billboard against slavery!
Phase 2: Lead by example In 2012 we began buying our own cocoa direct from cocoa farmers in Ghana and Ivory Coast. We call this approach ‘Bean to Bar’. With Bean to Bar we enter long-term relationships with the farmers, giving them both very fair prices and financial stability so they can invest in their own futures. With Bean to Bar chocolate we know precisely where our cocoa comes from and the farmers that grow it.
Phase 3: Inspire to Act We are living proof that you can establish a fair, honest and profitable chocolate business in West Africa. And we want to inspire others to copy our model. And for you of course to help us spread the word!
This mission is transmitted into a philosophy called Bean to Bar and stands for ‘it begins with buying cocoa directly from cocoa farmers – establishing a long-term relationship with them and buying their cocoa for a fair price over a long period of time – and it ends with that satisfied post-chocolate smile on your face’. The mission is not only about making consumers happy with decent and good-quality sweets, but support the suppliers and farmers of chocolate by giving them a smile and economical fair prices (Tony Chocolonely, 2013). Tony Chocolonely is founded ten years ago by Dutch investigative reporter Teun van de Keuken. Before the launch of the chocolate bars in 2006, van de Keuken started an investigation about the use of slavery within the cocoa industry on his consumer report in the television program Keuringsdienst van Waren. This is a program about discussing, criticizing and inspecting the production and development of products in the FMCG sector, which are being sold in Dutch supermarkets. In his inspection he discovered that most of the production of chocolate was harvested by slaves. With this insights in mind, he approached large chocolate manufacturers like Nestle or Unilever, but his problem, insights and statement was ignored. That’s the key point where van de Keuken started his company Tony Chocolonely (Tony Chocolonely, 2013). The company has 27 employees and started building the company in 2005. In 2010 the management indicated that brining Tony to an higher level, the company should work on their marketing and how the brand and company could grow, with the priority of Tony Chocolonely social objective. This objective was stated in three principles that would guide the employers to a successful business and brand (Blom, van Burg, Verhage & Hillen, 2013):
Crazy about chocolate – Tony’s commits to making the most delicious chocolate without any bitter aftertaste.
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Serious about people – To Tony’s, what matters most is people: Tony’s team, farmers, consumers, customers and suppliers.
Raise the bar – Tony’s commits to continuously improving its business to stay at the forefront of responsible chocolate making.
1.4.2 Marketing strategy Tony Chocolonely’s current digital marketing strategy is based on several externally conducted interviews and secondary research. Tony Chocolonely is currently active on three platforms: Facebook (48,008 fans), Instagram (16,400 followers) and Twitter (11,455 followers). The most important element of their content marketing strategies is their brand mission statement: ‘crazy about chocolate, serious about people’. On social media channels, they communicate on different categories in content: user-generated content (submitted, applicable content from fans), images, product introductions, product promotions, real-time marketing content, calendar content (e.g. news jacking content on Sinterklaas en Christmas), promotion of their offline event Tony’s FairJaardag and news issues regarding their statements and mission. On social media, their current strategy is focussed on storytelling. Storytelling here means telling stories that contain factors such as locations, actions, attitudes, problems, characters, and so on that result in empathy in the listener (Woodside, 2010) and help the story to be remembered (Schank, 1999). Obviously, it has to be a story worth telling. The company objective is to change the chocolate industry and not only make their own chocolate 100% labour free but also to encourage its competitors and partners to do so as well. Tony Chocolonely is exploiting their social engagement by showing the inequality in the world, especially for cocoa farmers. For example, they have created the ‘unequally shaped bar’ which is a chocolate bar that is not separated into pieces of equal size, but into unequal pieces. Through video and images, the company communicates stories for ‘the greater cause’ and on their corporate social responsibility. They also use social content to support individuals and make audiences happier and more satisfied by using web care and responding to special requests with humour and/or dignity.
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Figure 1: Tony Chocolonely social content Chocolate with a mission – 10 year anniversary of Tony Chocolonely
Real-time marketing – Tony’s FairJaardag: introducing a new product
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Content calendar – Halloween content with Tony Chocolonely’s unequal bars
Regarding video content, Tony Chocolonely, can make big steps. These elements of storytelling; creating a narrative across the entire content marketing strategy, they are highlighting that they are truly interested in all their stakeholders, competitors, audience, consumers, partners and suppliers. According to an interview by Marketing facts (2013), Tony Chocolonely’s strength is that in each piece of marketing content they are explaining one central message: the motivation of their brand. Nevertheless, they do not overuse it and do not communicate it through paid media or advertising channels. Through this kind of storytelling and (e)WOM, 30% of consumers in the Netherlands know about Tony Chocolonely and 50% of these consumers frequently buy their products (Heesakkers, 2013). By using video content, there is an opportunity, a possibility to make there statement harder among a bigger audience and maybe a wider range of stakeholders. Within the conclusion and recommendation the justification why video content can be such an opening for the company is stated. According to Henk-Jan Beltman, Chief Chocolate Officer of Tony Chocolonely 'The power of Tony’s brand is that our chocolate has a purpose. Tony’s tells a meaningful story. We want consumers to feel part of this purpose and to enjoy chocolate without any bitter aftertaste' (Blom, van Burg, Verhage & Hillen, 2013). The mind-set of creating a movement can be of great value and ideal in execution on video content.
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Chapter 2 - Literature Research This literature review addresses previous studies about what, and how branded and user-generated video content has relevance with regards to this study. Consumers’ judgments and criticisms will influence why, how and what brands need to tell in their communication and marketing strategies (Cohn & Wolfe, 2012). As a result of on-going developments of (new) techniques and how users increasingly have access to producing video content, usergenerated content can be useful for brands in different kinds of ways. As start-ups and consumers have begun to challenge brands, user-generated content will be essential for brands to take into account.
2.1 Literature review 2.1.1 Essentiality of video content in social media In the current online environment, various characteristics of video content influence its power and how it will be perceived. Cisco predicts that in 2017, 69% of all consumer traffic (consumer content) will be video (Cisco, 2013), and Nielsen claims that 64% of all marketers expect to use video in their strategies (Vizu, 2012). The most important factor for gaining consumer traffic is social media. There is no single definition of social media, but as social media does not only mean user-generated content in this study, social media is here defined as ‘online tools that allow people to share content and information (e.g. video, images, text) online, and participation and collaboration through social interaction between individuals and entities such as brands and organizations’ (Newson, Houghton, & Patten, 2009). Video content, particularly pieces that are rapidly and widely circulated online, has a variety of crowd-pleasing key characteristics and elements. Of utmost importance is the type of content and what people prefer or desire to see; the type of content that matches audience desire in Google searches or when looking for entertainment on social network sites (SNS). According to research by Reach Engine (2014), brands do not meet consumer needs in their online video output. In their study of millennials, Reach Engine found that this demographic was highly interested in how-to and instructional guides, comedies/spoofs, product/informational videos, micro-documentaries (storytelling about people or events) and animations/infographics.
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Figure 2: Types of brand videos consumers want to watch (Reach Engine, 2014)
Second, by sharing videos users engaged to content with a symbolic connection (Dafonte,Gomez, 2014). This research concluded that 60% of successful video content had been shared in the past two years. The successful content are the top 25 most widely shared branded video content between 2006 and 2013. At the other hand, new, succesfull videos that entered have shown slow increases in the amount of views and shares. This is caused by the expansion of new and existing social networks, which makes it less of a hazard for the public to share or view content. Audience have more (technological) range of option to share video content, which makes the content accessible for more people. Third, the substance of videos for attracting an audience can be found on a more behavioural and attitudinal level: a study on humorous, erotic and violent elements in select videos (Dafonte-Gómez, A., 2014). showed that 58% could be characterized as humorous, while 8% were erotic and 16% were violent. In a human emotion study carried out by Ekman (1999), 78% of videos contained surprises of some nature, and 92% were focused on happiness. These results reveal the basic emotions (Ekman, 1999) that are popular in video content and indicate why emotions are one of the competences of video content and indirect to UGC video. Another study reveals why people forward short online videos to their social networks: perception of quality and empathy influenced the three benefit expectations of control, inclusion and affection (Huang, J., Chen, R., & Wang, X., 2012). Expectations of control means a person’s selfenhancement. Inclusion means the needs of a person to belong to a certain group or community that shares the same values. Affection means altruism – the urge and commitment to create valuable content for others. This research could be seen as one of the stepping stones to determine how perceptions and expectations of what audiences want to see and how they observe it can influence sharing and viewing behaviour, which are two elements that make content viral and are two of the competencies of user-generated content. Virality has been researched by Berger (2013), who states that that only 7% of WOM happens online, meaning social media is not the only sharing resource available. Obviously online video content begins by its online growth and spread, but it is important to 15
note that individuals will talk about a brand, person or company offline (face-to-face) as much as they will online. For the purposes of this research, however, electronic word of mouth (eWOM) is the most relevant. eWOM includes digital channels such as social media (Choi, Bell, & Lodish, 2012) and can be defined as ‘any positive or negative statement made by potential, actual, or former customers about a product or company, which is made available to a multitude of people and institutions via the Internet’ (Hennig-Thurau et al. 2004). Since this research is mainly about the most popular video content within the FMCG consumer sector, the terms ‘viral’ and ‘virality’ need clarification. According to a study conducted by the University of Pittsburgh, viral videos are defined as ‘content that becomes popular through a viral process of Internet sharing, typically through video sharing websites, social media and email’ (Broxton, Interian, Vaver & Wattenhofer, 2013). According to this research, people’s behaviour concerning decisions of what to watch ensures that individuals are more likely to perceive content that is shared from person to person on social networking sites in their online environment. Video content that becomes popular through this kind of sharing are considered viral videos, and the journey of how this content becomes viral is called the ‘viral process’ (Broxton, Interian, Vaver & Wattenhofer, 2013). In further research about what makes content viral, especially on Youtube, the social networking aspect of websites is shown as one of the drivers for success, and that liking, linking and valuing video content makes it organic, ‘commercial, payed’ media (Cheng et al, 2007). All the studies, research and information provided above show that consumers have certain desires, behaviours and actions that make content viral and widespread through social networking sites, social media brand marketing. This has highlighted earlier assumptions and analyses of why (video) content circulates rapidly in a short space of time, and proves that there are various attributes that can ensure the popularity of video content. These attributes can be technological, psychological, emotional, cultural or social and can greatly influence the engagement value of video content. In addition, by determining the meaning of viral content, virality and the viral process, the literature clarifies how content gains popularity and why certain content has rapidly and widely spread.
2.1.2 User-generated content (UGC) UGC can mean a number of different things, take on different forms, and have different aims and purposes. For instance, UGC can include entertainment, humour, learning, experiencing, confrontational videos, or a combination of them. Another important criteria for marketers, is where and when content can be shared. Table 1 (see below) shows the various types of user-generated content in order to clarify which of these individual types of user-generated content are most suitable for a particular social network channel. In this research, user-generated content will be specifically video content that is published online. 16
Table 1: Types of user-generated content Type
Description
Location
Text
Information provided by individuals in written form. Chatting, posting links and messages on social networking websites is also considered written content.
Internet forums (e.g. Tweakers), blogs (e.g. Want.nl), online magazines (e.g. Ze.nl), Wikipedia, reviews and recommendation sites (e.g. Vergelijk.nl and Eens.nl).
Video
Information and materials provided by individuals in motion and in visual form. Posting videos on social networking websites is also considered video content. Vlogs and interactive videos are examples.
Youtube, Facebook (video postings), Twitter (video postings), Dumpert, Buzzfeed, Dailymotion.
Audio
Information and materials provided in the form of sound. Posting audio on social networking websites is also considered audio content.
Sound cloud, Last.fm, Audio Mack.
Videogame
Information and materials provided in the form of mods. Mods are created by individuals and were built in order to operate differently from the originally distributed version of a videogame.
Counter-Strike (e.g. first person shooter), Star Trek Online, Second Life and other lifestyle games.
Image
Information and materials visually rendered. Posting images on social networking websites is also considered visual content.
Instagram, Pinterest, Flickr, 500px.
Crowdsourcing
Information and materials provided in the form of gaining resources from other people in order to use services, ideas, products or content in an online community.
Kickstarter, Indiegogo, Product Hunt.
In order to determine the competence(s) of video, we first need to define user-generated content and the parameters of the research. UGC (video, visual or text) definitions can come in many forms, but this research focuses on video content shared across select social media outlets. According to Hooper, user-generated content ‘encompasses all forms of media published by individual online contributors as opposed to traditional publishers. User generated content includes all text, images, audio, and video posted by the contributors to blogs, wikis, social networking sites and forums, and feedback- and review-sharing websites’ (Hooper, 2015). This definition should be associated with the virality of video content, which begins with the effect of sharing and is followed by the motivation to share.
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UGC will need to meet three requirements when or not, content is generated by users (OECD, 2007): 1. Video content is published on public-open accessible websites or social network sites to a selected group of people 2. Successful video content relies on the creative efforts of the producer 3. Video content needs to be created without the help, initiative and commissioning of professional companies practices. The relevancy of clarifying UGC and how certain definitions are applicable to the research problem is necessary in order to determine whether content is defined as a production of a brand, company or independent individual, or whether the brand is using user-generated video content as part of its marketing campaign or strategy.
2.1.3 Digestible content Within this study, ‘snackable’ or ‘digestible’ content plays a leading role in user-generated and branded content. Digestible content can be perceived as characteristic of user-generated content. Snackable has been used to seduce leads to engage, and focus is on dissolute, swift and easily consumed content (Engler, 2011). Research from the Static Brain Institute found that the average attention span of our brain is 8.25 seconds in 2015, against 12 seconds in 2000 (Statistic Brain Research Institute, 2015). This shows that the amount of time people spend on activities is decreasing – and includes their attention span for online video content. Dale Lovell from Econsultancy explains the ability to ‘digest’ content as audience adjustment to fast-moving consumer goods (FMCG), namely fast consumer content (Lovell, 2013). The following definition is suitable for this study: ‘Fast-moving consumer content (FMCC) is content that is created quickly. It is content primarily created for online consumption that can and is shared fast. Though the creation of such content can be done quickly the absolute reach of the content, when it is shared and promoted via online channels, can lead to the potential impact of an individual piece of content reaching global significance. The return on invest therefore from this type of content creation can far exceed any initial expectation and cost’ (Lovell, 2013). This definition shows where ‘fast consumer content’ occurs, how it has been used, and what the potential effect of this kind of content on sales and market shares can be. In Tsai & Hsiang-Ming’s study, the term ‘minifilm’ and ‘microfilm advertising’ (MFA) is used; these are short, streamed advertisements that go viral (Tsai & Hsiang-ming, 2014). This study proves the persuasive effects of short video content, and assumes that MFA is one of the characteristics of viral videos. The current status of snackable content has thus been explained, so it is now important to show how fast consumed content can be related to the competences of UGC video. Parallels can be made with popular television series against films. In our current society, people no longer take the time to consume long-form
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movies, as television series are easier to access and can be consumed in short bursts. The same can be said for the snackable characteristic of user-generated content.
2.1.4 Discussion What follows is a review of the analysed literature. The literature review has already described why certain information, studies and research are relevant for this research and policy-making, and so this discussion will review the material on a top level. The current literature is relevant in three ways: 1) its definitions, 2) its indication of why the stated problem is relevant to further current research, and 3) its creation of a framework to clarify the boundaries of this research. By defining social media and the viral process, the research shows that the two elements are interlinked. The options that social networking sites give for sharing content and information results in the viral process. Social media and the viral process thus together result in the increasing popularity of video content. By summarizing the different studies and statistics on video content performance in social media channels, we can see that user-generated and branded video content do have different characteristics that impact their popularity levels. This shows that the competences of user-generated and branded video content can be reliably evaluated and applied to brand marketing strategies in the FMCG sector. The literature review has given the boundaries of the research. It will focus on usergenerated, branded content that has gained virality through social networking sites and will only focus on online content. Finally, this study focuses only on content within the FMCG sector as describe in paragraph 2.1.3).
2.2 Theoretical Framework User-generated and published video content will be addressed in this research. In this section, I discuss the various models and theories that are related to the structure and/or strategy of user-generated and published video content in order to determine their value.
2.2.1 Berger’s STEPPS model Jonah Berger is assistant professor of marketing at University of Pennsylvania’s Wharton School of Business and author of Contagious: Why Things Catch On (2013). His research centres on social ‘epidemics’ in order to determine why and how products, ideas and behaviours gain popularity. Contagious means a disease that can be spread between people. Contagiousness in this study relates to how a feeling, product, opinion, initiative and idea become widely spread. For this research, Berger uses six factors in his STEPPS acronym (Berger, 2013). The following paragraph will describe these steps and why they are applicable to user-generated and branded video content. 19
Figure 3: Jonah Berger’s Contagious (STEPPS) Model
Social Currency
Trigger
Emotion
Practical Value
Public
Stories
Social currency. This means social payment: people have a tendency to share things in order to make them look like good Samaritans. When offering products or content, brands need to look for inner remarkability. Inner remarkability is about that the brands are touching individuals and that people are recoginize what brands or products are offering. The product, in any kind of form, need to awaken curiosity and interest. A way to achieve astonishment and surprise is to break consumer expectations and focus on benefits they may not foresee. For user-generated video content, in my opinion, ‘surprise’ is the key element for creating viral content. Due to social currency, people are willing to share content that makes them look good. The principle of social payment, provides that the brand created engagement on emotions and provides personality towards their audience (Berger, 2013). When brands and users discuss and create content on the right topics for their audience, they exhibit knowledge, humour, sophistication or involvement in the environment. If the topics of a brand’s content meet the interests and needs of its audience, consumers and other users will be willing to share it. Triggers. People will most likely discuss things that frequently concern them in daily life. It is human behaviour to tend toward events, problems, information and content revolving around these concerns. According to Berger, social currency gets us talking and triggers keeps us talking (Berger, 2013). For brands and users it is important to create ‘news jacking’ content: ‘jacking the news’ is the action of creating content related to a brand and topical events, occasions, news, problems, trending topics on social media, and events of the week. By creating products, ideas and content that contain triggers from the environment, people will be more willing to engage with the brand or user, and will increase their association levels for topics that directly impact them. Emotion. Creating things that are only fun, or different, or weird, is not enough for achieving success. The key is to build physiological arousal: triggering an emotion. Berger shows that when we 20
care, we share. The more value we give to information, ideas, and products, the more excitement and emotion we will put into it. It is not necessarily that positive content gains more virality than negative content. The level and intensity of arousal is decisive for a viewer to appreciate it (Berger, 2013). For brands and users, emotion or arousal gained from the message of content develops interest and engagement in the product/service. For brands it is important to release positive arousal messages because brands most actively seek strong, healthy associations and relations with their products/services for consumers. Users seek something extraordinary, outstanding, confrontation or recognisability in the content they watch. Public. If it is built to show, it is built to grow. Berger states that ‘things’ must be visible and available for the world to see. ‘Public’ content has a strong correlation with social currency, and has a certain power over social influences from consumer to consumer. When we see other people act in a particular way, or buy a certain product, we are more eager to imitate them, to follow their actions and behave in the same way (Berger, 2013). The influence of brands on initial users (‘early adopters’) leads to use from other users (‘laggards’). Users and brands try to reach their target audience with social influencers. Brands try to be as transparent as possible by using social influencers that give personal and honest opinions about services and brands with review videos and online letters of recommendation (through vlogs or blogs). Social influencers can be vloggers, bloggers, celebrities and experts in a particular field. Practical value. This term relates to information, news and content that is easily to use and has practical utility making it easy to share by the public or target audience. Regarding the STEPPS model, people share content in order to help others and thus make them better off. By sharing content that can be practically useful, users also employ the first step: social payment. However, with practical value, the importance lies with the receiver of the content (Berger, 2013). When helping others, sharers show the world that they are taking positive action. For brands and user-generated content, creating content that contains educative aspects, moral codes or environmental friendly support will be appealing to receivers. Kahneman en Tversky’s prospect theory states that people make evaluations of brands from particular, earlier-experienced reference points. Video content from certain brands or vloggers will always be compared to other brands or earlier productions. Stories. Good stories are full of content and ideas. Moral, pedantic and practical insight is one of many messages storytelling can provide. Content is often packaged into individual stories or in series of stories. Berger uses the analogy of the Trojan Horse, where produced content is only part of the bigger plan; the bigger story (Berger, 2013). For brands and users it is essential that the message, content, product or service that needs to be spread will become part of the bigger picture. As a brand or as user it is necessary to hide this message within a Trojan Horse, thus, embed the desired information into the narrative so that the public will pick up on the brand or user-generated content message in the content. Berger concludes his theory with the following quote: ‘Build a social currency-laden, triggered, emotional, public, practically valuable Trojan Horse, but don’t forget to 21
hide your message inside. Make sure the desired information is so embedded into the plot that people can't tell the story without it.’
2.2.2 Participation culture – Ladder of participation The participation culture is the opposite of consumer culture, meaning individuals not only act like consumers, expending sources and resources, but also contribute to a social community by creating content and generating resources or producers (Jenkins et al, 2005). The increasing access to and possibilities of the Internet shows that participatory culture has grown, meaning people are more capable of working together across geographic divides, they are more able to criticize and generate their own content, and they are able to express their comments and ideas on a public platform. Jenkins et al. have developed a white paper where they describe participatory culture by five principles: 1. Relatively low barriers to artistic expression and civic engagement 2. Strong support for creating and sharing one’s creations with others 3. Some form of informal mentorship, where what is known by the most experienced is passed along to novices 4. Where members believe that their contributions matter 5. Where members feel a degree of social connection with one another (at the very least they care what other people think about what they have created) Research into participatory culture has led to several models and theories of how an audience comprising certain demographics (e.g. age, culture, background, nationality) can participate in their community. In 2007, Bernoff & Li introduced a report on social technographics, which they then revised in 2010. This report, ‘Social Technographics’, categorizes social computing behaviours into a ladder of six levels of participation that companies can use to determine on which level their target audiences participate. Figure 3 illustrates this ladder and the role of each rung for target audiences. Participatory culture and the ladder of participation are both elements of this research as reliable models and theories as they define how different kinds of audiences, participators and nonactive users of a brand’s audience can be categorized and be applied to content to ensure high levels of engagement. In addition, the data on which the rungs of the ladder are based have been measured and collected by analysing consumers participating in online communities and social networking sites; these are the media platforms on which this research focuses.
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Figure 4: Bernoff & Li – Ladder of participation model , based on social technographics
The participation ladder is divided into: (1) creators, (2) critics, (3) collectors, (4) joiners, (5) spectators, and (6) inactive (Bernoff & Li, 2011). In Table 2, each segment of the participation ladder is named and their role is explained in relation to generating content.
Table 2: Segments of participation ladder model ( Bernoff & Li, 2011) Consumer participation segment
Description
Creators
Publishers, producers and contributors of online content (video, images, audio etc.) People who contribute by updating their status, so creating conversation. People who actively (weekly or monthly) criticize, judge and comment on online and social content. People who gather information by using RSS feeds, adding tags (e.g. on Facebook) and bookmark content. Participators who only observe and watch content without taking action on it. They also maintain social and online profiles. People who do not actively use their profile but only observe online content. None of the above.
Conversationalists Critics Collectors Joiners
Spectators Inactive
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2.2.3 Discussion of theories This section discusses the previously given and proposed theories. It contains arguments as to why the theories have been chosen for this study and criticizes theories by determining the advantages and disadvantages. Each model will be discussed separately.
Contagious model This model by Jonah Berger (2013) has been chosen because every asset in the STEPPS model can be adjusted and applied to content that has been through the viral process. The six elements of the STEPPS model can be applied to certain video content and can be used as a reference point for why select viral video content has gained so much popularity. As the research problem of this thesis is to determine the competences of why content has gone viral and how these competences can be applied to other marketing strategies, this model can be used to label or categorize content on the strongest features of content. First, the advantage of this model is that it begins with principles that are applicable to any kind of video, resource, piece of information, or service in order to improve products/services. This model is not only suitable for improving products but also to determine why certain products, ideas or content have the ingredients for becoming contagious. This makes analysing video content useful. Second, is the model is based on both online and offline processes of virality, which focuses on why people share and recommend products and ideas to others within an online environment. The principles also imply that certain attributes, such as practical value or social currency, are essential for increasing value through (e)WOM. The disadvantages of this model are that not one of the STEPPS principles has more importance over another. This also means that attributes such as social currency and practical value are easier to incorporate in a product, idea or concept because these parts of the model are more directly related to the audience. For social payment, people make their own social currency; for practical value, a product has a better relationship with and awareness among its audiences. Audiences are less directly aware of attributes like trigger and public because they are not meant to be aware of how these influence consumer behaviours (Berger, 2013). Another disadvantage of this model is in understanding why videos become viral and how content can be improved in order to gain virality. The disadvantage of this model is that it does not consider how content goes viral, nor does it consider the viral process. Ideas, products and concept all have the potential to go viral because they contain certain elements that are engaging, but the model does not provide a plan or system for how these principles can be applied within a video. Thus, even though the model is explained with a lot of examples, it does not go into detail on how it can be practically implemented. 24
Ladder of participation This model has been chosen because within our current society, participating in online communities and social networking sites has become prevalent. Participation in social networking sites like Facebook and Google+ continue to grow, but offline participation between young people in the age range of 15–19 years has been decreasing (Newcom Research & Consultancy, 2015). On the other hand, there has been an increase in the use of Instagram and (largely) women’s use of Pinterest. There is a constant fluctuation and shifting in the use of social channels from their users. The ladder of participation model has been developed to determine the segments of (potential) target audiences, whether or not they are worth engaging with, and how can some segments can influence others. For this thesis, the ladder of participation can determine which segments brands should target. The advantage of this model is that the segments are based on scientific research on consumers in online communities and social network sites (SNS), which makes it applicable to the creation of online video content and what competences should be used for creating viral content. The model highlights the segments that provide content (such as blogs, videos and images) to communities, and the segments that participate as a result of creator input. With this kind of information, one can determine in what manner segments participate and what kind of actions they make. One disadvantage is that there is no clear distinction for segments that only use, comment and perceive content from online communities, nor is there any consideration of people who might participate in more than one segment. Within the model, there is no definite explanation of how the terms ‘using social networking sites’ and ‘taking action’ differ. This raises questions about whether the use of social networking sites overlaps other segments, such as taking action by way of comments, tagging, sharing and reading.
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Chapter 3 - Methodology 3.1 Design In this chapter, I will briefly discuss my research method and the arguments behind my chosen methods, techniques and approaches. As there hasn’t been research conducted on the strengths, motivations and sharing of content and its relation to user-generated and branded content within this business sector, the scope of this thesis lies in exploratory research. Exploratory research is conducted for problems that has not been clearly defined yet and often occurs to make explanatory relationships or differences (Shields & Rangarjan, 2013). User generated and branded video content and their competences is analysed in order to give Tony Chocolonely professional advice about the possibilities of user-generated and branded video content. Opinions and hard data are necessary to support the findings. For this research, the majority of the research will be based on qualitative data, whereas secondary exploratory research will have a leading role. Secondary exploratory research are qualitative research on reviewing available literature and data/or data, informal and formal approaches. Although desk research is not a research method in itself, in order to answer the fourth sub-research question we will use information from secondary interviews and earlier reports from Tony Chocolonely. A paragraph about their company and marketing strategy will be given in section 4.3. The following table explains the kinds of methods and information that will be used in order to answer this thesis’ sub-research questions:
Table 3: Sub-questions and research methods
Sub-question
Research method
How is video content related to a brand’s, general online marketing strategy?
-
Content analysis In-depth interview experts
Which assets influence the popularity of user-generated and branded video content?
-
In-depth interviews Content analysis
How are brands in the FMCG sector using user-generated videos and branded video content within their digital marketing strategy?
-
In-depth interviews Content analysis
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What is Tony Chocolonely’s current online marketing strategy and how are they exploiting it?
-
Desk research
What are competences of user-generated video content versus branded video content?
-
In-depth interviews Content analysis
3.1.1 Qualitative research Qualitative research will have relatively more precedence to this analysis than will quantitative data. The argument behind this decision is that analysing video content cannot be conducted through hard data. This research is exploratory, which means that there is information and findings about this topic in general, but they are not specified to the research questions. With qualitative research, we want to conduct meanings, motives, reasons and patterns as to why particular video content by users or brands have high engagement (Cresswell, 2008). Although this research is not based on quantitative data, certain types of data, such as engagement rate calculations, viewing numbers, and the number of shares and comments, will be used in order to support the qualitative data and determine if video content has popularity. In order to conduct this research, I will use content analysis, in-depth interviews and desk research. The following two research methods will be the focus of this analysis:
Desk research: literature review Desk research is also known as secondary research, since the information has been already been gathered by others and used for other research outputs (Burns & Bush, 2014). For the purpose of this study, I have researched a variety of definitions on what social media is, and how this is related to video content and former research on competences of popular branded video and user-generated content. In the literature review, most of this research has already been conducted, but desk research will be used for Tony Chocolonely’s current situation on social media marketing.
Content analysis The content analysis will be the starting point of my qualitative research methods. Qualitative content analysis defines itself within the boundaries of this research as ‘an approach of empirical, methodological controlled analysis of texts within their context of communication, following content analytical rules and step by step models, without rash quantification’ (Mayring, 2000). In order to gain results and provide a comprehensive analysis, I will generate a comparative content analysis. For the content analysis, a review of available information on former situations that bear several similarities to the current research problem will be analysed.
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I will conduct a content analysis in order to build a competitive analysis among similar companies to Tony Chocolonely and determine how the competences of successful competitors or similar cases can be implemented to improve Tony Chocolonely’s current status (Baarda & Hidajattoellah, 2014). The brands that will be compared are: Oreo and Coca Cola. The reason for choosing for these brands and further background information on them will be given in Section 3.3 Material. Comparative content analysis will concern cases that have more in common than are different from each other, depending on the research question (Collier, 1993). For its content analysis, this thesis will use the approach outlined by Das & Bhaskaran (2008), who created a content analysis method for social research. This study is provided in table 4. In order to best scope the research, analysis will be conducted on the different elements. To define the most essential elements, prior research (given in the literature review) and a theoretical framework will be used. The first step will be to categorize the content and determine its purpose. This will be based on an analysis of consumer desires of branded video content and the most desirable types (Reach Engine, 2014). The second step of this content analysis will be to use the STEPPS model (Berger, 2013). The STEPPS model will determine the characteristics of video content and usergenerated content, and what the relation is to one another. For this analysis, we can conclude if the case bears relations to the competency for which this research is looking. In Table 4, each content analysis is described, along with its purpose and expected results:
Table 4: Content analysis – Comparative analysis
Type
Comparative Content Analysis
Description
Model/Theories
Competitor analysis to identify successful elements in user-generated and snackable video content generated by Oreo and Coco-Cola. STEPPS John Berger (2013)
Purpose
To determine competency elements
In-depth interviews As part of the qualitative research, three in-depth interviews with experts in the field of online video marketing, social media and social and psychological research will be conducted. In-depth interviewing is also known as ‘unstructured interviewing’. Researchers used this type of interview to gain information and an understanding of the interviewee’s point of view of the situation or phenomenon discussed. The interview will be conducted with open-ended questions and when necessary, so that the obtained data will be useful for the study (Cohen & Manion, 1994). According to Patton (1987), three basic approaches for conducting qualitative interviewing will be necessary: (1) that it should be informal and conversational; (2) that the interviewer should guide the interview, and (3) that all interviews should be standardised and open-ended. As the interviews are with two 28
professionals from different backgrounds (one interviewee with a science background and the other from practice), the approaches will be differentiated to accommodate their expertise. The data will be sourced from three experts: a social scientist, a video producer/strategist and a creative director.
3.2 Participants 3.2.1 In-depth interviews For the qualitative data of this research, three experts were interviewed. All interview participants are experts in their field of expertise and online video content, marketing strategies and social research. The participants were interviewed separately and were requested not to talk about the outcomes, findings and results.
Interview respondent 1: I.E. Vermeulen Interview respondent 2: P. Falla Interview respondent 3: F. Schoone
For this research, I interviewed two people from the business/commercial world and one person from the field of social and psychological research. Ivar Vermeulen is assistant professor and MA in social sciences, and is participating as the director of an interdisciplinary research network, together with the faculty of computer science. Vermeulen’s field of expertise is in persuasive communication but he is experienced in research to do with virality and participatory culture. In the interview, scientific knowledge from the respondent was gained on video content and how insights from the field of social science can be useful for considering new approaches to creating viral content. The approach for interviewing Vermeulen was interview-guided in order to gain information and data that was both systematic and comprehensive. On the other hand, Paul Falla and Friso Schoone are creative producers and strategists in the field of video marketing and have many years of experience in creating video concepts for Monster board, Oreo, BMW and many other brands. They established a company called FIVESECOND Communication because they believe that messages now need to be communicated within five seconds. The knowledge and insights gained from these two interviewees will be used to understand how they believe video content can be utilized. Table 6 outlines the profiles of these three respondents.
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Table 5: In-depth interviews – expert profiles Interviewee 1
Interviewee 2
Interviewee 3
Dr Ivar Vermeulen
Friso Schoone
Paul Falla
Company Vrije Universiteit Amsterdam / Assistant professor and scientist / Title
FIVE SECONDS / Owner, video producer and strategist
FIVE SECONDS / Owner, creative director
Location of the interview
Amsterdam
Amsterdam/Shanghai (Skype call)
Name
Communication Science,
Amsterdam
3.3 Material 3.3.1 In-depth interviews A semi-structured interview was created, consisting of 18 questions divided into three sections: personal information, video content and user-generated content. These categories and questions were submitted to the participant and used as guideline for the discussion (see full question list in Appendix 2.1). For the recording, I have used the Dictaphone application for the Apple iPhone as the recording program. During the interview, the participatory culture model was discussed in order to obtain knowledge and opinions about it from the interviewees. The reason of choice for these respondents and the interview structure is related to inducement of the research. The first instance, the justification to interview two different kind of respondents is that the scientific research, like models, results and conclusions can be valuable for video marketing strategies or the development of video content. Science can strengthen on how and why certain directions of creating successful video content is in line with brand current strategies. By using the knowledge and insights of scientific researcher and content producers and strategies, we will cover most of the information needed to decide how branded and user generated content have certain competences that makes viral content successful. The second instance is that scientific research is not always prevailing for creating video content. In some cases, trends, unprompted actions and respond on actual issues can cause that content is stepping in viral processes. By gaining insights and knowledge of individuals within the field of practice, information is provided about how they approach such things and why such content is relevant for engaging audiences. The interview is structured as semi-structured and open-ended in order to gain insight into how respondents perceive user-generated and branded video content, and what their practices and 30
knowledge are of using video content in research and business. Open-ended and semi-structured interviews can be of added value here, because they give respondents the opportunity to add additional thoughts and information that have not been considered in the make-up of this questionnaire.
3.3.2 Content analysis For video content analysis, we have used the comparative content analysis approach to compare and analyse the video content of the different social media channels of Oreo and Coca Cola.
3.3.2.1 Cases & comparative content analysis Oreo Oreo is an American chocolate cookie brand and is part of Mondelez International. Oreo has similarities with Tony Chocolonely on in terms of products (chocolate), sector (FMCG), packaging, positioning, consumer attitude, marketing and audience, and Oreo uses multiple types of video content in its online marketing strategy. Oreo has similarities with Tony Chocolonely in its approach to influence its audience with simple, unconventional and joyful video content. In addition, Oreo uses product-centred video content, using product features, information and emotional assets to engage its audience. There are, then, similarities between Oreo and Tony Chocolonely in marketing strategy, design and product. For Tony Chocolonely, the core attributes of its marketing – storytelling, authenticity and socially responsible production – are similar strategies to Oreo.
Coca Cola Coca Cola is a successful soft drink brand and is part of the Coca Cola Company. Coca Cola has similarities to Tony Chocolonely with regards to its placement in the operations sector (FMCG), its packaging, marketing and audience, and Coca Cola uses multiple types of video content in its online marketing strategy. Coca Cola will be analysed by the UGC video of one of their campaigns and on its branded content. Regarding branded content, Coca Cola actively produces video content and continuously engages the audience with video shorts that focus on happiness and the goodness of life. The brand’s video content has expanded on the moments of joy and happiness with which Coca Cola has wanted to be associated. This kind of video content is useful for Tony Chocolonely because they show how video content can add value for a brand. On the other hand, one of Coca Cola’s current campaigns is Coke Fris Chicks, where the brand is operating and amplifying their global positioning of ‘Open Happiness’ by introducing weekly content where two vloggers provide positive and humorous video content revolving around daily ‘pranks’ (Happiness Coca Cola, 2015). This kind of video content analysis is relevant for my research because it determines how another brand has used user-generated video content in their local marketing positioning, in relation to their global marketing campaign. This is interesting for Tony Chocolonely’s video content strategy because the success of this 31
campaign can give insight into how UGC video can be used and/or how the brand could use social influencers to make their video content more compelling.
Comparative content analysis People share, like and comment on content in order to ‘belong’ to a certain group or culture, or to look sophisticated and humoristic (Berger, 2013). Former research has shown that Youtube and Facebook share the greatest number of video posts in last year (Social baker, 2014). Instagram was also chosen as a channel to study because it is a mobile-first channel with 98% of its users being on mobile. Social channels are highly obtained on online video content (ComScore, 2014). Combined with short-form video content (Instagram has a maximum of fifteen second videos) an additional video content for the marketing mix (Deloitte, 2015). Content analysis will begin with statistical information on the analysed videos. In what follows, I will describe the kind of information that will be gathered.
Oreo
Likes, shares, comments, views.
Engagement rate – the engagement rate will determine if a video gained social interaction with its audience, meaning videos have competences that can be translated or used as a pattern. The engagement rate will determine if a video gained (social) interaction with its audience, which meaning videos have competences that can be translated or used as a pattern.
The formula for the engagement rate on Facebook and Youtube is: (available likes + tweets + shares + comments) / (total views x 100) For Instagram, the formula is: (likes + comments) / (total amount of followers per channel x 100)
Coca Cola
Likes, shares, comments, views.
Engagement rate per post – the engagement rate will determine if a video gained social interaction with its audience, meaning videos have competences that can be translated or used as a pattern. The formula for the engagement rate on Facebook and Youtube is: (available likes + tweets + shares + comments) / (total views x 100) For Instagram, the formula is: (likes + comments) / (total amount of followers per channel x 100)
On non-branded user-generated content
Likes, shares, comments, views (only on YouTube/Facebook due the fact that user-generated video content on Instagram cannot easily be found).
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Engagement rate per post – the engagement rate will determine if a video gained social interaction with its audience, meaning videos have competences that can be translated or used as a pattern. The formula for the engagement rate on Facebook and Youtube is: (available likes + tweets + shares + comments) / (total views x 100) For Instagram, the formula is: (likes +comments / (total amount of followers per channel x 100)
3.3.2.2 Comparative content analysis steps A study that wishes to undertake content analysis must deal with four methodological issues (Stemple, 1989): 1. Selection of units of analysis 2. Developing categories 3. Sampling appropriate content 4. Checking reliability of coding In this research, the first step – the selection of units of analysis – is focussed on video content that has been broadcast on Instagram, Facebook and Youtube by Coca Cola and Oreo between January and November 2015 (this is time range for analysed videos). This time range has been chosen because during the selection of video content I noticed that video content was not as frequently broadcast on the social channels as were other forms of content. In order to produce a wide range of video content, I have opted for this time range. For user-generated content, the time range is equal for both Coca Cola and Oreo. On the other hand, we have chosen to use user-generated content because audiences today are becoming increasingly willing to participate with user-generated content, and research says that UGC video content is viewed around 10 times more than branded video content because the authenticity and credibility of users has higher value than that of brands (Octoly, 2013). The videos chosen will be based on the following requirements:
The length of video content (maximum fifteen seconds)
Brands (Coca Cola and Oreo)
Minimum number of views for branded and user-generated video content (minimum 100,000 views)
Time range (January 2015 – November 2015)
The popularity will be determined by an engagement value formula
The second step is to develop categories. In order to do this, the research uses models and theories that have been described in the literature review and theoretical framework. Virality concerns the various principles that are used to improve or recognize why video content has been popular. 33
Consumer desires for certain video content illustrates the type of video content that has gained high levels of engagement with its audience. The model of contagiousness and the consumer brand desire type theory have been comprehensively clarified in the literature review. A third consideration is with video popularity. This category underscores the popularity of certain videos and is compromised with an engagement rate. For this research, engagement rate is interaction levels (through tweets, likes, comments and shares) considered together with number of views. The choice for this kind of engagement rate is based on an earlier study (Socialbakers, 2013) that describes the way engagement rates and value can be calculated. As video content is valued on the number of its views, I have chosen to compare this with the action(s) people take once a video has been viewed. Interaction levels (through tweets, likes, comments or shares) of video content with an audience has greater value for a brand than the number of its views alone. The engagement rate formula has already been described in Section 3.3.2.1 Cases. The engagement rate formula is different per social media channel. All the values that are relevant for the engagement value are measured and obtained on the three earlier mentioned social media channels. This information have been gathered without the use of social media analysis tools, since collecting the values were very specific. The third step is to decide the kind of content that is appropriate for the sample. Within the parameters for selecting appropriate video content, content that meets the requirements of the second step will be analysed. This means that any video content that does not meet the requirements will be eliminated from the discussion.
3.4 Procedure The first interview was an conducted through an online Skype interview as Paul Falla was working in Shanghai for the advertising agency BSUR. Paul Falla was questioned about the different kinds of practices and cases for creating successful video content, and asked what approaches he took to make them so successful. This interview was used as a basis for the next interview with Friso Schoone, a colleague of Paul Falla. Even considering they came to the interview with the same cases and practices (as they co-own their company), the results show how different their perspective were. Finally, Ivar Vermeulen was interviewed. I changed a few interview questions for him, in order to make it more applicable for a social scientist (see Appendix 2.1). Ultimately, the interviews were coded and analysed according to grounded theory (Baarda, 2010). The first step of this process was to create interview transcripts. The second step began with open coding and related this coding to research results. These were highlighted using different colours. After the open coding session, different meanings started to become clear; the similarities and differences between codes resulted in new meanings and a restructuring of the data categorization. The complete coding of the interview data can be found in Appendix 2.4. Different questions were
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submitted and the answers (see Appendix 2.1) were analysed by way of the ladder of participation model. Table 5 clarifies the model with respect to purpose. Table 6: Participatory Culture – participation ladder
Type
Participatory Culture – Participation Ladder
Description
Participatory culture analysis to identify what the drives and motivations for individuals to participate in online communities and on content are. Analysis based on in-depth interviews.
Model/Theories
Participation Culture (Jenkins et al., 2005), Ladder of Online Participation (Bernoff & Li, 2010).
Purpose
To determine competency elements.
For content analysis, the raw material and analysed data can be found in Appendices 1.1.2 and 1.1.3. The procedure was started first by determining the relevant cases, and then ascertaining the similarities with the FMCG sector and Tony Chocolonely. Content analysis propositions were made, described and linked to the sub-research questions. Thereafter the data was gathered from the given time range and type. Finally, all the data were measured, engagement values were calculated and the findings were reported (Chapter 5).
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Chapter 4 - Results In the following chapter, I will present the results of the analysis based on the data collected in the indepth expert interviews and content analysis. All findings are presented by theme in order to categorise the findings by sub-questions and, finally, to the key research question. The themes that are relevant for the sub-research questions are (1) Video content in digital strategy, (2) Video content in social media channels (3) The effect of user-generated content and (4) The competences of UGC. The results are based on qualitative data. The content analysis conducted for this research can be founded in Appendix 1, and the analysed video content in Appendices 1.2 and 1.3. The respondents, summaries and coding’s of the in-depth interviews are included in Appendices 2.2, 2.3 and 2.4.
4.1 Video content in online marketing strategy From the literature review, several studies conclude video content is an essential aspect in online (and social) brand strategies (Cisco, 2015), and that marketers are becoming more willing to utilise video content in their branding strategy. In order to find out how and why video content has become essential for a brand like Tony Chocolonely, several experts in the field of video content, social science and the FMCG sector respectively have been interviewed. In addition, different types of video content created by brands in the FMCG sector have been analysed in order to determine why it is necessary and valuable to create video content. In the following paragraphs the results will be described on how video content is related and used in online marketing strategies by brands (4.1.1) and which assets are influencing branded video content and what the competences are (4.1.2).
4.1.1 Sharing effect on video content All three respondents concluded that the popularity of video content and virality of video content was down to using social network sites (hereafter: SNS). Obviously, all respondents have used social media channels and marketing as part of their own strategy and research. Where one respondent emphasized the focus on the sharing aspect and associations audiences made with video content, the other two respondents determined the effects of duration, length and short-focused content. The respondents’ answers highlighted the importance of the sharing effect for video content in social media strategies. They discussed the sharing effect as having two possible routes: audience motivation and the functional features of SNS. Audience motivations for sharing are largely about why audiences make certain decisions in their online behaviour. These motivations can be compared to purchase decisions, where people who share video content consider in advance the attitudes of others and the perceived risks that go with sharing (Kotler & Keller, 2008). Functional features enable sharing through buttons and other technological elements. 36
Interview respondents have individually experienced and researched why audiences are willing to share (video) content (see Appendix 2.3). Vermeulen answered ‘people take action on certain video content in order to look cool, sophisticated and knowledgeable’. By this statement, Vermeulen means that video content responds to a need for value engagement with other people, with friends, family and/or other opinion leaders in their social environment. He added that ‘People need to manage impressions of themselves to other people, and they wait for rewards and dedications. In addition, there are video warnings that let people know, for example, that something is fake, unreal or unknown, so that people can know whether or not something is helpful and supportive or humorous and fun.’ This implies that people want to share valuable content for altruistic purposes (helping others) and/or self-enhancement (Wojnicki and Godes, 2008). The effect of this kind of sharing also offers interaction between individuals on behalf of the brand, not just with the brand itself. Another positive aspect of the sharing effect occurs when content of ‘greater causes’ appear on social media channels, for example, content that focuses on the environment, human rights or social injustice makes viewers more willing to share content. They feel a commitment and dedication to ‘world problems’, which increases the chance for the video to go viral. Schoone believes the sharing effect is about on audience, stating that ‘people who are YouTube fanatics aren’t television watchers, and vice versa’. This statement is doubtful, because in a study on the role of digital media in television research, 90% of television viewers also visit Youtube and Google Search (Chen et al, 2014). In the context of sharing video content, however, in the current media landscape it is necessary to be aware of the people who are willing to share content and people who are not. The functional opportunities of SNS concern the second aspect of the sharing effect: according to Falla, social networking sites are today important in digital marketing because they are one of the only interactional communication systems in which everyone continuously participates. Falla also says that ‘the idea of “network effects” is related to the concept of video content on social network channels; people and brands want others to spread content in order to create more awareness or popularity’. Falla asserts that the strength of network effects is caused by the sequence of social media channels. Facebook, Youtube and Instagram video content are easy to share through a number of available links because of their common public functionalities. The various social channels and options for sharing content from websites to social networking sites make sharing easy and it is very quick to notify your social environment; similar to each other in that they are the social networking sites for video that garner the highest level of traffic, making them likely social channels for viral video content (Griffith, 2015). The adverse effect of sharing video content on SNS is that filling the social network sites with content causes content overload, which can make social media a source of irritation and users can become averse to it. Falla and Schoone also think that the success of the network effect is caused by how individuals consider the importance of duration, one-message-content, length and short-video content.
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They state that, nowadays, brands create video content that have too much information and several diverging messages, which causes confusion and differentiation for the video content.
4.1.2 Engagement value of popular video content Appendix 1.1 of this thesis shows data statistics from three of the most active social media channels on broadcasted video content by Oreo and Coca Cola, and food related user-generated video content (UGC video). On each social media channel, video content was analysed and measured by its popularity rating – better known as the engagement rate. The methodology in Chapter 3 showed how the engagement rate is calculated and why it is a better metric for determining the popularity of video content on actions (shares, likes, comments) rather than views alone. In the following three sections, the results from Appendix 1.1 will be given and the propositions of the content analysis will either be accepted or rejected. The results will be described per social media channel and further divided by two brands. User-generated content will be reported in the final section. In order to determine a benchmark among the analysed videos, the benchmark per brand and per social channel will be the average of all the engagement rates per table. This benchmark has been settled on in order to decide whether the actions (shares, comments, likes) match the average popularity related to the number of views. The benchmark value is also given as the average popularity level that the video content has to meet.
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4.1.2.1 Video content – consumer desire for branded videos In Table 7, the meaning of engagement values is measured per brand and per channel. The average engagement value is measured within a range that has already been clarified within the methodology. ‘N’ is the amount of analysed videos per channel, per brand. The content analysis in Appendix 1.1 briefly explains how and why the average engagement value in Tables 7, 8 and 9 have been calculated thusly.
Table 7: Average Engagement Value (AEV) per brand, per channel
Brand (+additional information)
Channel Instagram
Facebook
AEV
Oreo
2.08% (N=13)
Coca Cola
2.03% (N=24)
Oreo
1.49% (N=15)
Oreo – recipes
1.66% (N=12)
Coca Cola
2.03 (N=18)
Coca Cola #CokeFrisChicks
1.32% (N=20)
Oreo
0.32% (N=12)
User-generated content (UGC video)
3.82% (N=16)
Youtube
Facebook/Youtube
The results from this table show that Instagram has the highest AEV for branded video content, with 2.08%. User-generated content shows a significantly above average engagement value, with 3.82% more than branded content. Concerning the greatest frequency of published video content in the analysed time range, Coca Cola on Instagram and #CokeFrisChicks have posted the most content. Having said this, we must also take into account that Youtube only provides video, which makes this result somewhat biased as Facebook and Instagram also contain blogs, written content and images. In the next sections, the results are given based on consumer desires for certain types of video content.
Instagram On Instagram, the content analysis have resulted in different kind of results for Coca Cola, Oreo and randomly chosen UGC-video. Table 2.9 shows the average rate of all engagement values to be 2.25% (N=13), between 1.36 and 2.57. In this table, videos with ‘animation and instructional’ elements scored highly for frequency and had a higher AEV than the benchmark. In Table 6, out of thirteen videos, 42.8% of them fell under the category of ‘animation and instructional’. 39
Figure 5: Coca Cola – #Sharkweek (animation – comedian/spoof)
The Coca Cola case (Table 2.10) has resulted in an AEV of 2.03%, between 1.10% and 2.96%. In this table, videos with ‘animation’ and ‘comic/spoof’ elements have the highest frequency and an average audience interaction value of 2.48%. This is a significantly higher engagement rate than the total average of this table. In the table, 6 of 24 videos contain ‘animation’ and ‘comic/spoof’ attributions.
Facebook On Facebook, brand videos resulted in a different set of numbers that are relevant with regards to the two propositions made in the content analysis. Oreo is divided in two separate categories: regular content posts and recipe posts. Coca Cola contains regular video content. For Oreo, regular content has an AEV of 1.49% (N=15), between 0.55% and 3.25% (see Table 2.11). The type of content, based on the consumers’ desired branded content, showed that all videos contain comic or spoof attributes and that twelve videos were animated. Only five videos that were comic or animated were on or above the average engagement benchmark. The average engagement rate of these videos was 2.53%.
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Figure 6: Oreo – Make your own doughnut (animation - instructional)
For Oreo, the recipe content case resulted in an AEV of 1.65% (N=12), between 0.45% and 4.19% (see Table 2.12). Since all the videos content in this case are providing the similar kind of destination by emphasizing what the product of Oreo is and how the product can be of additional value for consumers and audience. This stated, the content in table 2.12 is categorized under the content type ‘animation’ and has been produced with an ‘instructional’ purpose for consumers to learn how to use Oreo’s products in recipes. However, six out of twelve videos reached the benchmark or had a significantly higher engagement value, with an average engagement value of 2.52%. In Table 2.12 it is clear that Coca Cola’s Facebook content resulted in an average of total engagement values of 1.66% (N=18), between 0.10% and 8.38%. Only four out of eighteen videos were on or above the benchmark. The type of content, based on consumers’ brand video desires, resulted in four ‘mini-documentaries’ that contain informational cues on the brand or its products. The for these videos is 3.58% (N=4); significantly higher than the benchmark.
Youtube Coca Cola began an influential campaign called CokeFrisChicks, were social influencers were recruited to create weekly user generated video content. This campaign has been established and sponsored by Coca Cola in the Netherlands. The AEV of all the analysed video content is 1,32%, 41
between the range of 0,63% and 1.80%. All content in this category is part of a narrative of minidocumentaries combined with comic and practical attributes. As a result, eleven of the nineteen videos have a benchmark value of 1.32% or above, meaning that the majority of the video content met the required popularity level or higher. Current social influences (Furtjuh – 231,000 subscribers on Youtube) and famous personalities (Dutch artists from Topnotch – 404,749 subscribers on Youtube) are contributing factors to creating successful campaign videos. Second, empathy was combined with humour and practical elements to arouse interest. Humour and practical attributes ensure that the audience can easily identify with the topics of the content, providing the humour (and practical jokes) is strong and that influential people perform it. This approach generates empathy with the audience, making the audiences more willing to share and view video content and even subscribe to the Youtube channel on which it has been posted (Huang, J., Chen, R., & Wang, X., 2012). The Oreo case (2.14) resulted in an average engagement value of 0.34%, in the range of 0.02% and 0.83%. The majority (ten in twelve) of the videos were animated or comic. For these videos, only three in twelve showed a significantly higher engagement than the average engagement of all the analysed content. A small number of videos did not meet the minimum benchmark. In Table 8, consumer brand desires for video content are shown. The table provides the most frequently used consumers’ desires for video that will have an equal or higher engagement rate than the average engagement for that brand and social channel.
Table 8: Average Engagement Value (AEV) for consumers ’ desires for video content
Channel
Brand (+ additional information)
Consumers’ desires for video
AEV for consumers’ desires
Oreo
Animation/ Informational
2.28% (N=6)
Coca Cola
Animation/ Comedian, spoof
2.48% (N=6)
Oreo
Animation/ Comedian, spoof
2.07% (N=8)
Oreo – recipes
Animation/ Instructional
2.52% (N=6)
Coca Cola
Mini-documentary/ Product, informational
4.7% (N=3)
Coca Cola #CokeFrisChicks
Mini-documentary/ Comedian, spoof
1.82% (N=20)
Oreo
Animation/ Comedian, spoof
0.25% (N=10)
User-generated content (UGC video)
Comedian, Spoof/ Minidocumentary
5.01% (N=4)
Instagram
Facebook
Youtube
Facebook/Youtube
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4.1.2.2 Video Content – Jon Berger’s STEPPS Model Jon Berger’s STEPPS model was applied to the content from Coca Cola, Oreo and user generated video content I collected in the comparative content analysis (see Appendix 1). The video content and popularity level was linked to the six principles that make content become viral.
Instagram For Oreo, the principles of ‘trigger’ and ‘public’ were the most frequently applicable to the analysed video content (see Table 2.9; Appendix 1.5). The average engagement value for these principles was 2.14% on twelve of the thirteen videos; significantly above average. In this context, the ‘trigger’ principle can be attributed to small, digestible content that remind the audience what the Oreo cookie is, what a consumer can do with the product and the features of the product/brand that awaken recognition of Oreo. Regarding the ‘public’ principle, Oreo use DMS) (Sharpe, 2015) to advertise the brand’s different flavours and introduce new products in the campaign #FlavorLove. Here, the DMS is combined with the ‘trigger’ and ‘public’ principles of the framework model. In these video content digests, they use DMS such as (1) the physical ability of the product, (2) sensory cues (shape, colours, design, execution), and (3) continuous, playful, joyful, or childish cues that enhance brand recognition for the audience. The DMS illustrates the availability and visibility cues for packaging and communicating products (Sharp, 2010). For Coca Cola (see Table 2.10), the principles of ‘public’ and ‘trigger’ were most frequently used in video content – eleven out of twenty-four videos. The videos containing those principles have an average engagement value of 2.07% (N=11), a significantly higher engagement value than the total value. Videos that contain the attribute ‘trigger’ contain content related to a certain holiday, event or cause, to which people can associate and relate. For example, content related to Shark Week and Labor Day showed significantly higher than engagement values than the given mean (2.79% and 2.22% respectively). The second principle is ‘public’, where the products of Coca Cola (drinks, bottles) were used in order to rouse the audience to celebrate happiness and life. For example, during university and high school graduation periods, Coca Cola used advertised Coca Cola their drinks as being a necessary part of the celebrations, and the brand congratulated students on their graduations and upcoming careers. This type of content is an extension of the ‘Open Happiness’ campaign, which began in 1923. Coca Cola use this campaign to deploy the feeling that they want audiences to have with their products. The focus lies in enjoying specific moments in your life, and in sharing that moment (or bottle) with someone and giving yourself and someone else joy. The content that Coca Cola uses on their social media channels imply that Coca Cola is essential to a consumer’s happiness and joy in celebrating personal milestones. It is not just about drinking Coca Cola during a celebration but rather a recollection of how Coca Cola has been a part of life’s most important moments.
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Facebook Oreo’s content on Facebook has been divided into standard video content and recipes. In Table 2.11, regular video content resulted in the most frequent use of ‘public’ and ‘trigger’ attributes – fourteen in fifteen videos (93%) with an AEV of 1.19%. This is significantly lower than the total average engagement value (1.49%). Oreo uses ‘public’ in order to relate the brand to its video content that has no direct connection with the product but has digestible and entertaining content that visualize the DMS principle (Sharp, 2010). Public enjoyment of the Oreo product/brand is brought out to generate memory associations of humour, fun, joy and fulfilment (‘Wonder filled’ is one such campaign). Here, they use the ‘trigger’ attribution in order to create a context and habitat for the brand that is couched in humoristic, entertaining and unconventional elements. Table 2.12 in the appendices shows that Oreo’s recipe content uses the principles of ‘social currency’ and ‘practical value’ on six in twelve videos, resulting in an AEV of 1.70%; significantly higher than the total average value. Practical value is related to the instructional aspect of the videos in order to explain and clarify how different kind of Oreo-based dishes can be made. Social currency is used in order to create a call for action. With these principles, Oreo wants its consumers to provide it with inspiration and input on Oreo cookies (what was surprising, what was tasty) and initiate new recipes. In Table 2.13 in the appendices , Coca Cola videos most frequently use ‘social currency’ and ‘emotion’ in six in eighteen videos. The videos containing these principles have an AEV of 1.27%; significantly lower than the total average. Social currency is employed in Coca Cola’s enforcing of an ‘occasion’ (such as the Rugby World Cup or National Pet Day) as being the best place for friends and related audiences to consume their product. These examples prove that people are looking to share information and entertaining videos in order to show that they care, that they are informed and that they have certain interests. When considered in combination with emotions, it is clear that Coca Cola wants to recall its remarkability and empathy with occasions, resulting in popularity and greater interaction.
Youtube All of the videos in Coca Cola’s campaign FrishChicks (Table 2.14 in the appendices) were made on the principles of ‘social currency’ and ‘stories’. The average engagement rate (1,26%) was equal to the total engagement value because all content was created on the same principles. This is a campaign based on social influences, and describes and imitates the lives of young people. The vlogs are minidocumentaries of young people and what keeps them motivated, as well as their daily social activities, issues, conflicts and so on. The social currency of these vlogs is explained on the basis of remarkability and the audiences’ emotional habitats. In this context, emotional habitat is explained as the positive association and connection people feel with the subjects. The content and subjects are
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related to the people’s current environment, their habitat. The content communicate this on emotional level instead, for example, more functional level. These vlogs describe how adolescents and teenagers can look knowledgeable, sophisticated and ‘cool’ towards others, creating sympathy for vloggers that create the content. Stories are used in order to build a narrative through the whole vlog series. In creating this narrative, adolescents feel emotionally connected and motivated to follow the vlogger’s advice, help and support. Compared to Coca Cola FrisChicks on Youtube, Oreo has an AEV of 0.35%. In Table 2.15, ten in twelve videos were created on the principles of ‘emotion’ and ‘stories’, with an average engagement rate of 0.25%. This comparatively low engagement value is caused by the low levels of audience interaction with the content, compared to its relatively high view rate.
User-generated content (video) The analysis of user-generated video content has resulted in content on multiple channels (Youtube and Facebook), where all shares, comments, likes and views were measured. The average engagement rate was measured in order to determine the popularity level of these videos based on audience interaction. In Appendix 1, Table 2.8, fifteen videos were analysed with an AEV of 3.58%. Just like the videos on branded content, this content will be categorised based on consumers’ desire for certain video content and on the STEPPS model. Appendix 1.2, Tables 2.8 and 2.15 show the results and categorisations of the analysed videos. The UGC video case in Table 2.16 in the appendices, has an average of all the engagement values of 3.58% (N=16), and a range of 0.57% and 9.19%. The highest frequency of video types is a combination of ‘comic/spoof’ and ‘mini-documentary’ in seven in sixteen videos. This has an average engagement rate of 5.00%; significantly higher than the total average rate in this table. The STEPPS model reveals two sets of combined principles that are most frequently used: ‘stories’/’social currency’ and ‘trigger’/’practical value’. Stories and practical value have been used in six in sixteen videos, at an average engagement rate of 4.01%. Trigger and practical value attributes can be found in six in sixteen videos at an average engagement rate of 3.27%. These four principles have a significantly higher engagement rate than the total average of engagement values. The principles of trigger and practical value are used in order to provide information about the product, about how something works or to introduce something new. The videos on stories/social currency are there to create a narrative and for social influencers to show their audiences what they have to offer, to make a connection, create empathy and make their audience ‘insiders’. In Table 9, the most commonly occurring principles of the STEPPS model are linked to different kind of content. Here, the average engagement value per principle was calculated and the frequency (N) of the principles that occurred in the table has been determined.
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Table 9: Average Engagement Value (AEV) for STEPPS principles
Channel
Brand Coca Cola
STEPPS principles Public, Trigger
AEV (%) per principle 2.07 (N=11)
Total Average (%) 2.12 (N=24)
Instagram Oreo
Public, Trigger
2.31 (N=11)
2.25 (N=13)
Coca Cola
Social Currency, Emotion
1.27 (N=7)
1.76 (N=18)
Oreo
Public, Trigger
1.19 (N=14)
1.49 (N=15)
Oreo –Recipes
Practical Value, Social Currency
1.70 (N=6)
1.65
Coca Cola – #CokeFrisChicks
Social Currency, Stories
1.26 (N=19)
1.26 (N=19)
Oreo
Emotion, Stories
0.25 (N=10)
0.35 (N=12)
Stories, Social Currency
4.01% (N=6)
Trigger, Practical Value’
3.27% (N=6)
Facebook
Youtube
Facebook/ Youtube
User-generated content (UGC video)
3.82 (N=16)
4.2 Effects of user-generated video 4.2.1 Participation culture In the following paragraphs the results will be described on which assets are influencing the popularity of user generated content and how brands are using user generated content (4.2.1 & 4.2.2). Besides, it describes the competences of user generated video content (4.2.2). In the model of participation culture by Jenkins et al (2005), the effect of who is participating and what kind of roles can be designated to them has already been described in the methodology. The mapping of how audiences contribute to creating, joining or criticising online video content published by independent users is, in this analysis, influenced by how experts in the field interpret audience participation in online video content and how analysed video content can relate to different rungs on the ladder model. The participation ladder is a social technographic of participatory culture (Bernoff & Li, 2010). This ladder is applicable to user-generated video content by dividing its rungs by two types of 46
segments. The ‘creators’ are the top participators in social networking sites and video content; the only segment that generates video content for SNS. The other groups include: people who perceive and interact with video content; these people engage with content by comments, ratings, reviews, views and judgements in tweets, likes and/or favourites. According to the Ladder of Participation Model (LOPM), creators have the highest rank, which indicates that their participation within user-generated video content is also the highest. In UGC videos, content creators are UGC by brands, social influencers and the publishers of UGC videos on social media channels. This model will be used to determine what kinds of participators are relevant as competences of UGC video and for Tony Chocolonely. Creators are important for generating online WOM and brand awareness. The creators in the results of Appendix 1.1 are the social influencers and branded vloggers from the campaign #CokeFrisChicks, and vloggers EnzoKnol and Meisje Damilla. These social influencers create a great deal of brand awareness and credibility for their audience; as a result, consumers will buy into their beliefs. The creators segment, however, seems relevant for brands and for UGC; the size of this group is small and not the most effective. Not only is this group small, it is also growing slowly, making it not the most important group for UGC participation. In the results from the interviews, the respondents have implied that the creators are not creating the effect of sharing (Appendix 2.3) but rather the audiences that participate in it. According to Vermeulen, in our current environment opinion leaders have gained a new role. Due to the increasing popularity of video content in the media, opinion leaders are not just random individuals but can also be television programs (RTL Late Night, or Letterman) and new media channels (like Dumpert) who curate video content, openly discuss it and highlight parts of it. On the ladder, this type of engager is termed ‘collector’. Collectors can be related to opinion leaders, because they are a new segment within the multistep flow model (Stanley, 2011). Instead of people who form an opinion about content, online and offline media apply user-generated content to their program strategy, disseminating it to their audiences. Another another (coded, theorized nterview text) on participation of consumers says that ‘the culture of participating is about to define and identify elites’. This statement provide that individuals participating within online, social cultures in order to define towards other people who they are and identify themselves to other by using self-promotion. Consumers work on their own self-esteem and self-presentation through sharing content that they feel resonates with them (Berger & Milkman, 2013); they inform and spread content to others in order to position themselves as broad-minded, educated and ‘maybe a bit more classy than they actually are’. The same can be said for joiners and critics: joiners are audience members who do not share information in order to create a representative social profile but instead search for people who are willing to give input into content they like. Joiners look for critics, are frequently (inter)active on social channels, and use their knowledge, information
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and content by creators for their own self-representation. In Table 10, audience roles according to the Ladder of Participation will be briefly described with regards to the effect of user-generated content.
Table 10: Ladder of Participation roles and value to the effect of UGC video
Participating role
Description of relations
Creators
Lo w significance. According to the Participation Ladder, the group is too small and not gro wing enough.
Collectors
High significance. According to the interview data, the role of online opinion leaders within social networking sites are essential for sharing content.
Joiners and critics
Medium significance. By using critics, these participators in online culture can cause created video content to be rated, commented on or linked to in order to connect other joiners.
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4.2.2 Competences of UGC video User-generated content has a different kind of potential and competences in order to gain in popularity. From the in-depth interviews of the respondents, various competences were named and described. These competences will be associated in combination with the advantages of UGC video. In the first instance, the terms ‘actuality’ and ‘relevance’ were used on multiple occasions. Respondents explained actuality and relevance in two ways: the ease of perceiving and the relatedness. According to Falla and Schoone, an audience member is willing to interact with content that is relevant to them. The concept of user generated content only can be successful when it contains elements like actuality and relevance, because this kind of video content is the actuality and relevance itself. Trends and development in cultures are emerging from actual and relevant user generated content that is absorbed by audiences. That is an advantage for brands, as they can use user-generated content as relevant and actual situations in online media, and apply this to their own content or campaigns. Besides, they can use user generated video content to notice what kind of video content is popular, successful and engaging. Schoone concluded that actuality and/or relevance, combined with short content, is one of the key attributes for making a successful viral video. Another essential term is empathy. On empathy, Falla states that ‘on cats, the popularity can be explained by the empathy that people have with these animals. It lies within your own interests, you have it at home and you see them every day’. Falla clarifies that empathy in video content needs to have the capacity of reflection and experience. Content needs to take the position of the audience’s emotions and feelings and display this effectively (Bellet & Maloney, 1991). Individuals need to be able to recognise themselves; this will make it easier to share content with others who are in the same position. User-generated content responds to this competence by generating pieces that are created and perceived by the audience. The power of empathy can be extended by the use of credibility, reality and authenticity. Falla and Vermeulen both state ‘credibility and reality is what makes people become emotionally connected’. Video content needs to have the sort of value as though people on the street made it; branded video content mostly looks too ‘forced’ and ‘professional’. They state that user-generated content needs to reflect authenticity and truth, which makes content worth watching, easy to perceive and identifiable, appealing to empathic emotions. For branded content, this needs to be acknowledged and adapted by creating content that is not too artificial and well-formed because this can drive away the dignity of realness and authenticity that is found in user-generated content. From the interviews, seven principles that respondents used for creating highly popular content emerged: 1) uniqueness/originality, 2) emotions (love, cuteness, peculiarity, helpfulness, humour), 3) content for a greater cause, 4) surprise, 5) innovation in being the first to do something, 6) good impressions and 7) extraordinary qualities. Schoone and Falla are adding to this that this content needs to be short and single messaged in contrast to current video content.
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In Table 11, conclusions from the most competences of user-generated content are determined by the interview data.
Table 11: Competency of UGC – Conclusions
Most relevant results
Motivation
Actuality
The leading strength of UGC is that it creates newsworthy. UGC videos can reach the news or generate PR, mean ing that it can become topical. Brands can use this to their advantage by generating their own content that is related to their brand strategy.
Empathy
Empathy is strong within UGC because of recognisability, recollection and good memories. Brands can use this to their advantage by showing their empathetic values to their audience.
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Chapter 5 - Conclusion 5.1 Introduction Here, I will discuss and compare the results and findings of the analysed video content and coding. The conclusion will be led by the sub-questions and end with final insights. This conclusion will consider three things: (1) Assets of popular video content, (2) the competences and intentions of UGC and branded video content, and (3) the competences of UGC videos versus branded content. The goal of this research was to conclude with advice for Tony Chocolonely on how the company could use competences and successes of user-generated viral videos for their own online marketing strategy, focussing in particular on video. Before I give my advice, however, the general outcomes of the research will be provided.
5.2 Outcome According to the literature review, 80% of all future (up to 2019) consumer Internet traffic will be for video content. This includes content from publishers, brands and companies, and users. Video content can and will continue to be produced and published in a variety of forms and from many sources.
Assets of popular video content The qualitative data highlighted that popular video content that went viral is caused by the effect of sharing. This entails that a brand wants its audience to talk about its content, its brand and its actions. If the target audience takes action due to a brand’s content, that action will ensure business growth. The outcomes of these qualitative data demonstrate that sharing video content is the result of online possibilities and individual features that matter to the user, his/her friends, social groups and other relevant people in the (online) social environment. Audiences are using branded and unbranded video content to make themselves knowledgeable, sophisticated and appreciated in their community. Brands achieve this by interacting with their audiences. This kind of self-enhancement is influenced by popular, viral video content. As with comments, likes, shares and other actions possible on social networking sites, the virality of content is created through eWOM. This is, obviously, for many marketers one of the most desirable results that social media marketing can have, and is the first positive benefit of the sharing effect. The first influence of the sharing effect is to determine the essential online opinion leaders and how they influence, associate with and/or affect others when they share content. Within groups, cultures and societies, the effect of opinion leaders is that they can cause a greater number of people to take the action from the content they share. It is not only the socially influential, celebrities and vloggers who are essential in this respect, but also the people within the public eye who are active 51
users, creators, producers and/or conversationalists. Participators who create interactions, content, and/or criticize branded or unbranded content can be useful for spreading content through the online world and making virality happen. The second influence of the sharing effect, as implied by the results, concerns short and direct messaging content. This phenomenon is based on Microsoft’s neurological and qualitative research on the attention span of consumers as less than eight seconds. The results of this thesis’ analysis imply that content needs to be short, effective and to focus on one single message in order to gain the required attention, to make content valuable for consumers, and thus to gain a higher chance of gaining enough popularity to go viral. As stated by one of the respondents during the interviews, short videos can only be successful when they contain a single message so that the audience is not distracted by multiple ideas.
Competences of UGC and branded video content In order to create professional online video marketing strategies for creating successful video content, the various competences must be determined. These elements relate to underscoring the reasons why people forward content (i.e. their motivations), but above all, the research indicates that the substance of content is the main reason why people forward it. To determine the most engaging type of video content, two factors have been taken into account: (1) the platforms that have the most engaging content and (2) how which competences are the most valuable for the analysed, popular video content. Initially, the outcome of the analysed videos showed that animation, informational and humorous videos on Instagram had the highest engagement value and were more frequently used than average. This strongly indicates that: animated video content can be incredibly appealing to audiences due to the simplicity in which animation informs people about a certain message; and the brand wants to inform or entertain people with no-nonsense (humorous) content about their product. On the other hand, content that contains different kinds of instructional features combined with animations have the highest results on Facebook. This reflects the on-going trend of blogging, vlogging and how-to guides on, for instance, making food. It has been proven that people use these kinds of instructional videos as escapist entertainment, a way to exploring new things, and/or to develop their own expertise or to simplify their methods and approaches. In the analysis, I described how and what kinds of principles occur the most frequently, as well as assess which principles have high engagement values with respect to virality. On Instagram, the attributes of ‘public’ and ‘trigger’ have been used the most frequently, largely through video content that uses emotions and characterizations to create publicity (PR) and keep the brand in a consumer’s thoughts. In using the public attribute, Coca Cola and Oreo created ‘behavioural residue’ within their content by repetitively using recognizable shapes, brand identity, logos and other product elements. They thus actively build memory and understanding of their product(s) through distinctive structure and images, deciding on the elements that best characterize and set them apart from their 52
competitors. On Facebook, ‘practical value’ and ‘public’ were the most frequent attributes used, and resulted in significantly higher engagement values. Practical value was applied in order to entertain audiences, but they particularly revealed how viewers can make use of the benefits in the video content and the brand. In using how-to recipe content, Oreo wisely responds to the current trend for recipes and highly interacts with its audience on both a product and a brand level. On Youtube, ‘social currency’ and ‘stories’ have the highest interaction values. This social influencers campaign causes remarkability with the inner of young people, on what they really appreciated and like. This kind of remarkability is executed in several videos headed by a narrative story. This narrative provides a chain of stories and events that are related to the influencers. The campaign reveals the audience’s critical problems, events, culture, language and habits, in order to remain on par with the brand’s strategy. Analysing the strengths of user-generated content, two considerations stand out: 1) neither user-generated nor branded content significantly cause greater engagement, and no clear significance was found in the STEPPS model or consumers’ most desirable video type. Results show that the average engagement value of branded content is slightly higher than it is for UGC video. In addition, the competences of user-generated video content have been given the following useful categories: (1) actuality and (2) empathy. Humour (comic/spoof), vloggers and/or social influencers try to engage with their audience so that problems and issues are understood and resolved. Research into real-time marketing content has shown that trending topics, spontaneity, being genuine and relevancy are essential for viral content. The strength of news jacking content is related to how topical a given piece is, which is essential for taking into account in video marketing strategies. Using newsworthiness can, and indeed should lead to developing empathy, interacting with the audience about ‘understanding or feeling what another being (a human or non-human animal) is experiencing from within the otherbeing's frame of reference, i.e., the capacity to place oneself in another's position’ (Bellet, Paul, and Maloney, 1991). The analysed videos show higher engagement for content that uses the attributes of ‘social currency’ and ‘practical value’. By watching these videos, individuals can be inspired, or seek advice/support.
Contrasting and comparing UGC video and publisher content The results show that the AEV (average engagement value) of the majority of branded video content has a higher engagement value than UGC video. Obviously, animation and informational videos are more applicable to branded and publisher content strategies than they are to user-generated content because they are relatively complex to produce and brands have better resources, more time and greater possibilities to create this kind of content. Considering their high engagement values, Oreo and Coca Cola are, however, using user-generated content very effectively. The strength of user-generated content lies in the topical nature of it, its relevance, its ease of use, and its relation to the ‘real world’. In addition, both brand and user content score high on engagement by creating narrative within and between video content, which can attract audiences for a longer time. This implies that the strength of 53
video content does not lie in branded or user-generated content, but rather within the choice to apply elements in the content that are the most applicable to a brand. For the FMCG sector, brands should define their main objectives and aims, and then determine whether to create topical content through social influencers (like the campaign #CokeFrisChicks) and/or to create a platform for instructional (and animated) videos about how to use products.
5.3 Research limitations As a result of the digital environment, use of technology (namely smartphones), and the constantly changing social media landscape, this research does have its limitations and constraints. For instance, video content is now everywhere (e.g. on online television, on video content websites, on Facebook), as a result of which user-generated video content is perceived by all kinds of people and in all kinds of ways. Within the confines of this research, it was not possible to take in account the kind of environment in which people live, the values they have, and their behaviour in a given situation. For additional results, a mixed method approach could have been used to include, for instance, a survey. When conducting the interviews I could have also involved consumers and customers, who would have given a different perspective on how they perceive user-generated content. Quantitative research and analysis have not been conducted, and so hard data has not been a part of this research. Popular video content is shared because people feel intrigued, affected by, influenced by or associate with the content. This statement relies on consumer opinions, motivations and desires; the usual content of qualitative data. Therefore, I decided not to use quantitative data to analyse the problem but rather to quantify and support the select video content and give additional insight into content analysis and theories. Quantitative research could have been conducted because within this research I explored and described how popular video content and its competences could be defined. The research problem is not about generalizing or comparing data in a systematic way but rather exploring how video content is analysed – this could be relevant for video marketing strategies. Another limitation is that only Tony Chocolonely or its competitor brand can use this research. Tony Chocolonely was established as a fair and transparent brand that fits within the concerns of the modern world and the FMCG sector. This research has been conducted for the current media and the modern environment, and is thus not evergreen. The approach of this study has been descriptive and exploratory. The use of social media in relation to video content marketing is a relatively new field of expertise and there should be much more research into how different kind of brand categories can adapt to and use viral content in their video marketing strategies. The definition of the actual roles of popular video content is hard to measure and to analyse as it is such a new field of research. Thus, this unfamiliar ground has resulted in the constant introduction of new techniques, social platforms and innovations to attract new users,
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new ideas of how people interact with content, and why people respond to content on different of levels.
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Chapter 6 - Recommendations In order to give comprehensive and useful advice for the Tony Chocolonely marketing department in the use of video content, propositions will be made that can be implemented into their current online marketing strategy. These propositions are derived from this thesis’ research, analysis and conclusions. In order to properly advise on strategy changes, the suggestions are given in three separate subsections: (6.1) objectives and opportunities, (6.2) video marketing strategy based on the research and applicable to Tony Chocolonely, and (6.3) how the advice in this thesis can be implemented into their online marketing strategy.
6.1 Objectives and opportunities According to a study by Tony Chocolonely, in their annual ‘JaarFairslag’, on brand awareness 17% of the consumers recall Tony Chocolonely when they are asked about chocolate brands and only 9% knows about their current brand mission (Tony Chocolonely, 2015). Based on these numbers, new opportunities could be had from making short, engaging video content. According to an interview with Nicole van de Velde (2014) Tony Chocolonely’s their brand objective was to enhance brand awareness and, when communicating with a broader audience, content needed to be edgy and straightforward. As their brand awareness and direct communication has not been significantly developed, this advice could be essential for Tony Chocolonely.
6.2 Video marketing strategy The video content marketing strategy for Tony Chocolonely should (1) describe the approach that should be used to get stakeholders involved, (2) define what the various video content pillars can be, and (3) consider how to maintain audience engagement on social networking sites.
6.2.1 Sharing effect – involve stakeholders Tony Chocolonely has various stakeholders who are willing to help increase brand awareness. In my view, the message ‘crazy about chocolate, serious about people’ is a strong story on his own, which can be emphasized in video content. First, in order to reach different kinds of audiences (Tony Chocolonely has a broadly target audience), online opinion leaders need to be defined in order to create greater brand awareness and more knowledge about its mission. According to the outlined conclusions, successful (viral) video content is partly based on the sharing effect, and Tony Chocolonely should use their network of influencers and ambassadors in order to raise awareness of the brand among its audiences. online opinion leaders, the government, suppliers, activists, brand ambassadors and/or vloggers can all be social influencers. These individuals, especially vloggers, have an incredible number of followers and fans willing to share stories for a greater cause, and in order to make the world a little bit better for everyone (100% slave free). Tony Chocolonely should gather 56
these online opinion leaders by inviting them to their annual JaarFairslag and give them the feeling of emotional engagement with the brand and help them to understand that Tony Chocolonely really is true to its mission. In the following bullets will be described who these opinion leaders could be and why they are important:
Consumer brand ambassadors: determine which consumers are your biggest online fans and determine their online reach on social media channels. Determine which consumers have high engagement with their social networks and high engagement with your brands, so you can use them as the online opinion leaders to all audiences that. In the case of Tony’s, opinion leaders need to be found who are have high affection with food, the FMCG sector and fair-trade with high amount of followers, or joiners. The significant role of joiners and critics are essential for Tony Chocolonely. The joiners and critics are types of audiences who follow (joiners) and criticize (critics) all kinds of content on social networking sites. Critics are active users who are willing to interact with and participate in content. The transparency of Tony Chocolonely and its corporate social responsibility is important because critics (and, in future, the joiners) can influence the already durable image that Tony Chocolonely has built.
Social influencers: determine which influencers are independent producers of video content and are able to reach a high amount of audiences. These influencers are online opinion leaders who can activate current consumers, current consumer ambassadors and potential audiences. Build a partnership with different kind of online food bloggers who are already participating in fair trade events, write about fair trade products and have a wide audience that embrace fair trade food production. By using these opinion leaders, video content will be shared with additional value, the value that your company is transparent and that Tony’s message about their fair trade program is key.
Second, Tony Chocolonely should focus on short video content, where a single message is communicated in any way. By using short video content, audience attention spans can be maintained and will make content more appealing to the average viewer. By employing just one message, audiences will be less likely to lose interest, providing the message and information is clear. Tony’s should use this kind of approach in order to make their video content appealing to one certain message. Tony’s has an extensive amount of categories that can and should be communicated, but every message should be packed in short, clear and specified content, in order to make no confusion among audiences. Categories like information about new products and information about the brand mission need to be differentiated from each other. Obviously, the narrative of the video content and brand strategy should be maintained in all the content, but Tony’s should make a distinction between product-centred and statement-centred content.
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6.2.2 Content pillars The content pillars are used to determine on what kind of platforms and competences Tony’s should focus if they want highly engaging video content. The pillars will be explained and determined and related to Tony Chocolonely’s current online marketing strategy. According to the research, all three of the analysed channels (Instagram, Facebook and Youtube) are suitable for Tony Chocolonely’s video content strategy because all three have a composite of strengths and opportunities. On Instagram, animated videos are especially important, as they have been proven to be highly engaging for audiences. Animation combined with simple, helpful, entertaining and informative content will ensure that people know how and why the brand’s message is important. Animation must be combined with informative content – introducing new products, product promotions and product engagement can all help to facilitate this. Informative content that is combined with animation gives videos a feeling of playfulness and quirkiness that are proven to be highly engaging factors. For example, Oreo has used multiple kinds of animated video content in order (re)introduce old and new products; these were videos without serious substance about product features but were nevertheless highly engaging. It is also essential to add some humour to the videos in order to make the content open-ended and avoid the feeling that the video is all about product advertising. For this kind of video, centring on the product is essential because of the ‘unequal shaped bar’ that Tony Chocolonely has introduced. The brand’s products (new flavours, limited editions etc.), packaging and features are already highly engaging, recognizable and strong. This kind of branding results in distinctive memory structures (Sharp, 2010) and helps to show how they differentiate themselves from other products on the market. On Facebook, Tony Chocolonely should also focus on animated video content. However, here there is a need for an instructional approach. According to research, content where people are instructed, inspired and incited to make things themselves have resulted in high engagement values. An instructional approach can take the form of how-to recipes, such as for baking Tony Chocolonelybased products like pies, muffins, doughnuts and so on. The focus should be on what individuals can do with the content. By following the trend of posting recipes and how-to videos, creating similar content such as ‘how-to make your own chocolate at home’ will both appeal to the trend and show consumers the effort, time and dedication that cocoa farmers put into the first stages of chocolate preparation. By using this approach, Tony Chocolonely could differentiate themselves from competitors by engage their audience by becoming a brand and company that not only stands for corporate social responsibility, but also by brand who is actively participating in what people want and need. In the following bullets will be described what kind of video content Tony Chocolonely could produce according to the conclusions of the research:
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Instruct people about the world of corporate social responsibility and how Tony Chocolonely is participating. With animation and instructional you can inform and learn people about the journey of how one, unequally shaped chocolate bar is produced and developed.
Instruct audiences about how to use Tony Chocolonely products in their daily live, because that will show them social currency and practical value. Give the products added value by clarifying that Tony Chocolonely can be used in chocolate pies, as chocolate sauce or chocolate mousse. In combination with recipe post, audience will become aware that they are eating and using product that are corporate social responsible and easy to use.
On Youtube, Tony Chocolonely should opt for a social influencer strategy by using both young and old individuals to tell stories about the brand’s mission and objectives. Social influencers have high engagement values and high positive awareness about what they are communicating. By using humoristic elements combined with serious messages about Tony Chocolonely and its journey to make chocolate 100% labour-free, the video content will show the brand’s social and environmental awareness and its transparency, and will improve the brand’s image without coming across as being too serious and appear as a charity or non-profit organisation. There are also user-generated content competences that can be implemented here: narratives and social currency. Tony Chocolonely’s storytelling approach and will to make the world a better place for food producers can easily be communicated through a series of stories. This can be connected to emotions of humour and joy underscored by the brand’s ‘crazy about chocolate’ message. One advice is to incorporate user generated video content by collaborate with Youtube vloggers and social influencers. By creating a narrative about what Tony Chocolonely is, you will create a storytelling concept about the production of the products, input by fans, suprising fans and engage audiences with promotions, contests, presents and product placement. With the current brand image and their brand mission, the social currency (empathy) of audiences with the brand will be stronger and more durable. Tony Chocolonely is newsworthy and a brand with a clear mission: ‘crazy about chocolate, serious about people’. The brand’s video content needs relevancy and social responsibility in order to make potential consumers think about Tony Chocolonely. The topical nature of video content falls in line with Tony Chocolonely’s brand strategy and vision: to disrupt the chocolate market, inspire other chocolate manufacturers and appeal for 100% labour-free food sectors. Empathy for the videos’ content is explained on audience identification and positive association with Tony’s. Tony’s need to create this within their videos in order to gain recognition by their current audience and potential consumers/followers. Here, empathy does not need be for the brand itself but rather for chocolate growers and heartfelt stories will make Tony Chocolonely, something more to share and above all, to care and to dare. Tony Chocolonely has enormous potential to conflict other brands and show how they are daring the world to make a change in producing slave free chocolate. With the video content and 59
the competences that can gain more popularity, the sharing will lead to more caring by the audience and more daring among Tony’s as a brand.
Figure 7: Content pillar per channel
Instagram
• Animated video • Informational & humorous • Product publicity (public) and create context (trigger)
Facebook
• Animated video • Instructional • Practical value and social currency
Youtube
• Mini-documentaries (social influencer strategy) • Humorous • Stories/narratives and social currency
Planning Before planning the video content and implementing it into the current online marketing strategy, the various requirements for planning viral video content must be determined:
Create video content on a frequent basis by staying active. The more video content, the more people will recall and relate to Tony Chocolonely and its social responsibility message.
Use web care and social network sites to communicate with your audience in order to respond to the requests and needs of fans/followers. This can generate more user content that remains topical, credible and transparent.
Use the same narrative across a story series.
Track, measure and analyse social media and consumer behaviours towards the brand.
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Appendices Appendix 1 – Content Analysis Appendix 1.1 – Content analysis Oreo, Coco Cola and user generated video content. For the content analysis, I used the comparing content analysis specified on collective design. This choice can be justified by the fact that comparative study describe certain characteristics of a phenomenon in its context, which means in respect to the research question, in order to build a theory about the strengths of popular video content (Baškarada, 2014). Within this content analysis, the research needs to gain insight and understanding of a particular situation, in this case the main research question and competences of Coca Cola/Coke Frish Chicks and Oreo in branded content and user generated video content. In this content analysis, two cases will be analysed. The cases will contain a total of all the videos in the last year per brand per social channel (2015). These will be measured on the engagement rate per social media channel. The engagement rate will be analysed in Instagram on likes and comments, on Youtube on comments/shares/likes and on Facebook on shares/likes/comments. According to research from Jonah Berger, the actions (and not the views) are determining the reasons why people watched video content, their motivation. In the table below you will see how the number of shares on Facebook and Youtube are the highest, which will describe that the interaction on video post has increased and the essence of sharing video content is proven.
Appendices - Table 1.1 - Social content is more valuable on engagem ent through action by the audience (Socialbakers, 2015).
66
Step 2. Content analysis propositions Content analysis propositions will be hypothesis and assumptions based on earlier research. This propositions will be determined on the basis of research and sub-research questions of the current research. Appendices – Table 1.2
Propositions
Source
User generated content has more value than branded generated content for consumers and audiences.
Guopeng, Y. and Deqiang, Z. (2015) "Which User-generated Content Should Be Appreciated More? - A Study on UGC Features, Consumers' Behavioral Intentions and Social Media Engagement". ECIS 2015 Completed Research Papers. Paper 211.
Different kind of factors will make video content popular. For the FMCG different kind of competences are applicable like emotions, use of social media networks, type of content, destination of content.
West, T. (2011). Going Viral: Factors That Lead Videos to Become Internet Phenomena. The Elon Journal Of Undergraduate Research In Communications, 2(1), 80-81.
Step 3. Analysis In the following paragraphs the data of the content analysis (Oreo, Coca Cola and food related UGC video content) will be provided. In appendix 1.2 you will find the raw data that is gathered and analyzed by amount of likes, amount of comments, amount of shares, week published, calculated engagement value. In appendix 1.3 the raw data has been analysed and categorized on basis of consumer desire video type and the STEPPS model bij Jonah Berger (2013).
67
Appendix 1.1.1 - Results content analysis Table 2.1: Oreo’s Instagram video content
Oreo Amount of Amount of likes comments
A golden snack opportunity. #FlavorLove
24600
Week published in 2015 425 wk 29
It’s classic, with a twist. #FlavorLove
24400
682 wk 28
2,28
Here’s to the creme. Here’s to the creme again. #FlavorLove
24000
419 wk 28
2,22
For the snackers who act like it’s their birthday year-round. #FlavorLove
26000
792 wk27
2,44
Chocolate lovers unite. #FlavorLove (unless you're a chocolate hater, in which case, bummer.)
24200
824 wk 24
2,27
The flavor of awesome. #FlavorLove
22400
295 wk 24
2,06
For the snacker who keeps it simple. #FlavorLove
24300
363 wk 23
2,24
Wait for it…waaaittt for it…waittt, JK it’s a loop!
27500
750 wk 19
2,57
Bringing #PlayWithOreo to life on the streets of New York: watch how @jeffsotoart made it happen.
17200
129 wk 15
1,58
Hop to it!
20100
938 wk 15
1,91
It's a slam dunk! And the crowd goes cookie!
14600
384 wk 13
1,36
You just got served. Now grab some milk and get this party started.
18400
634 wk 13
1,73
Made for cookie lovers, by cookie lovers. #ValentinesDay
21800
Instagram Content - Oreo Video
Total amount of Fans
1100000
68
1.145 wk 6
Engagement (likes+comments/ fan countx100%) 2,28
2,09
Table 2.2. Coca Cola – Instagram Video Content Amount of likes
Instagram - Coca Cola
Amount of comments
Engagement (Likes+comments/followers)*100%
Thanksgiving can be stressful. That's why we're here 24/7 to help with your CocaCola–related holiday needs/questions/random thoughts with a warm, slightly robotic voice. Call 1-866-844-8327.
10200
123
1,10
The Coke Polar Beard appears during No-Shave November, then gets cut off in time for the holidays because in-laws.
17100
216
1,85
Drinkable "place cards" are a refreshing way to eliminate confusion. www.ShareaCoke.com
15.000
165
1,62
Careful, they sometimes run in packs. #WereCoke #HappyHalloween
15.900
139
1,71
You’re not paranoid — that bear IS looking at you. #PolarScare
15.900
132
1,71
Throwback to before the exorcism. #CokePoltergeist
16.000
276
1,74
You know your idea's pretty good when it's the symbol for good ideas. #LightbulbsBirthday #ThomasEdison #ThanksScience
13.400
85
1,44
Soaking up the last of the summer sun. Happy Labor Day! #WeDontSweatWeGlisten
20.300
504
2,22
As the temperature goes up, the Coke goes down. #Equilibrium #SummerScience
16.900
187
1,82
How man's best friends become best friends. #DogToys #HumanToys #RefreshingFriendships
23.400
514
2,55
It’s hard to choose just one summer love for your Coca-Cola. #SummerFlings
15.800
146
1,70
It’s National Ice Cream Day. Whatever your ice-cream boat is, Coke will float it. #HowIceCreamGetsSocial
27.100
623
2,96
Been bit by the summer love-bug? Then #ShareaCoke with your summer crush by tagging their name in the comments.
16.500
886
1,86
Giving sharks a new reason to show off all those pearly whites. #SharkWeek #SharkSmile
25.600
582
2,79
How the killer robot from the future decided to become the helpful robot from the future. #RefreshmentDay
17.900
152
1,93
Create your own sparks this 4th of July by sharing a Coke with your favorite person. #LifeLibertyAndThePursuitOfFizziness
23.700
796
2,61
On your upcoming summer road trip, which of your friends gets to ride shotgun? Start planning now by tagging your friends. #ShareaCoke
18.400
583
2,03
A migrating herd of Cokeasaurus in the wild! Probably headed to a theater to see #JurassicWorld and #ShareaCoke.
21.600
729
2,38
All best friends should have a secret handshake. Show us yours! Happy #NationalBestFriendsDay. #ShakeHandsNotCocaColas
18.900
650
2,09
What comes after graduate? Professional! Congratulations class of 2015! Raise a bottle and #ShareaCoke to celebrate.
22.400
532
2,45
Prom is coming up and - let’s be honest - Dancing Is Hard. That’s why Polar P is going to teach you some moves he perfected for his polar #prom. Here’s Lesson 1.
18.000
572
1,98
The flavor is strong with this one. #MayThe4thBeWithYou
15.700
228
1,70
#ShareaCoke is back with 1,000 names! Tag a friend if you see their name.
18.300
3.041
2,28
Its elastic properties make the tongue of youth an ideal springboard to master the "Flip 'n Sip" and enjoy a Coca-Cola. #TasteBudTalent
20.300
1.127
2,29
Total Amount of Fans
937.000
69
Table 2.3. Oreo – Facebook Video Content - Regular
Facebook Content - Name
T D ya Amount Amount of pt of shares views e
I wonder... of Oreo ook jouw favoriete Halloweenkoekje is?
43
121.959
Wonder if I gave that OREO to my dad?
223
261.857
The flavor of awesome. #FlavorLove
136
306.909
For the snacker who keeps it simple. #FlavorLove
469
775.537
Who can resist a yummy game of Tic Tac Oreo? #PlayWithOreo
295
193.212
Wait for it…
132
396364
Sweet anticipation
112
212773
Let's goooooooo! #PlayWithOreo
2
230436
BAM! #PlayWithOreo
26
358.878
1.471
303.568
Krijg jij ook geen genoeg van Oreoreoreoreoreoreoreo? #PlayWithOreo @playwithoreo.com
23
155.063
Dream on, little daredevil, dream on. Come #playwithoreo at playwithoreo.com
139
170.146
This guy is totally crushing it. Come #playwithoreo at playwithoreo.com
207
154.829
This guy can roll for days. Come #playwithoreo at playwithoreo.com
225
788.197
Don't resist the twist. Come #playwithoreo at playwithoreo.com
170
209.581
Where will your imagination go when you #PlaywithOreo? See for yourself in our latest Wonderfilled video with Yelle. Pour yourself a cold glass of milk and enjoy.
70
op A 2 n8 A n A 3 n0 A 2 n3 A 3 n P7 r A n A n A 1 n5 A 8 n iM A 3 n iM A 1 n2 i m F A 1 n0 i A 5 n iF A 3 n iF
Amount of comments
Engagement (likes+comments+shares/views)*10 0%
107
0,58
365
1,39
89
1,09
267
1,37
145
1,96
115
1,11
102
1,18
55
0,55
162
0,55
188
3,25
225
1,17
102
2,10
198
2,84
101
0,68
91
2,51
Table 2.4 Oreo – Facebook Video Content – Recipes Amount of shares
Amount of views
Date published
Amount of comments
Engagement (likes+comments+shar es/views)*100
958
380.858
9 april 2015
284
4,19
1.601
1.404.763
7 april 2015
527
0,77
The bar for awesomeness has been set with Oreo Chewy Bars. Make your own awesome Chewy Bars, then share them using #PlaywithOreo. For this #recipe, visit http://expi.co/0Iobl
923
1.208.900
3 april 2015
347
0,67
Say Cheese! http://expi.co/0Ie9B #PlayWithOreo
283
319.706
3 april 2015
582
1,82
This is how we roll, Oreo Cookie Balls that is. Make your own and share them using #PlaywithOreo for a chance to see them on playwithoreo.com. For this #recipe, visit http://expi.co/0Ie4C
191
285.697
31 March 2015
146
1,24
Hé pannenkoek! Fijne pannenkoekendag! (DUTCH)
208
294.050
27 March 2015
1400
1,95
Oreo Cheesecake Bites. Cheesy, but in a good kind of way. Show us your cheesiest bites using #PlaywithOreo, and we might show them on playwithoreo.com. For this #recipe, visit http://expi.co/0HmNe
1.196
1.866.537
19 March 2015
438
0,45
Making an Oreo banana cream pie is as easy as…pie. #PlaywithOreo and make your own. For this #recipe, visit http://expi.co/0HH1M
944
512.960
10 March 2015
463
1,79
Let’s go bananas with Oreo! http://expi.co/0H7AF #PlayWithOreo
333
211.298
6 March 2015
850
2,93
Even if you shake your milk, you can still dunk in it. #PlaywithOreo and make this Oreo Milkshake. http://expi.co/0Gy4d
1.895
812.024
5 March 2015
787
2,44
Oreo Fruit Tart - This video is a perfect place to start if you want to make an Oreo Fruit Tart. Once you’re done, share it using #PlaywithOreo for a chance to see it on playwithoreo.com. For this #recipe, visit http://expi.co/0GfYw
540
1.282.177
26 February 2015
246
0,55
3.412
2.313.609
21 February 2015
1900
1,04
Facebook Content Name - Recipe posts
Oreo Donuts, round they go. Where the fun stops, nobody knows. Make a batch of Oreo Donuts, and share them around using #PlaywithOreo. For this#recipe, visit http://expi.co/0JHZW Who says you can’t have your Oreo cupcake and eat it too? Make your own cupcakes and share them using#PlaywithOreo. It’s a piece of cake! For this #recipe, visit http://expi.co/0IzJa
Plain old pancakes don't stack up to Oreo Pancakes. #PlaywithOreo and make a stack of your own. http://expi.co/0GHRT
71
Table 2.5 Coca Cola – Facebook Video Content Amount of shares
Amount of views
Date published
Amount of comments
Engagement (likes+comments+shares/ views)
Tomorrow night we're going to change the Internet for the better. Together, we'll #MakeItHappy.
1.368
395.456
31-1-2015
982
8,38
Everyone deserves a treat! Today is #NationalPetDay, so spend some #MiniFamilyTime with your fuzziest family members.
4.355
1.010.065
11-4-2015
753
3,34
Your head's already going to be tilted back anyway. #EnjoyaCoke #SuperBloodMoon
960
171057
27-9-2015
160
3,24
Want to get your hands on one of the official Rugby World Cup 2015 match balls? All you have to do for the chance to win is try to get the ball into the outline and share your photo in the comments below. Closes on 14/10/15. Entrants must be aged 13 years and over. T&Cs apply http://CokeURL.com/66wy9
573
448.419
13-10-2015
10.000
2,61
ICY cold COKE = Colour changing cans! 💗 💜 💙 #COKEcomealive
90
136.905
1-11-2015
153
1,70
2.198
1.406.370
11-5-2015
1.200
1,67
Careful, they sometimes run in packs. #WereCoke #HappyHalloween
856
438.399
31-10-2015
147
1,39
Refreshment when you are home alone Coca-Cola Taste it…Love It!
143
109.122
42.309
87
1,24
De oerhollandse kus maakt ons blij. Wiens kus maakt jou helemaal gelukkig? #choosehappiness
104
387.852
22-7-2015
1700
1,18
Nederlands trots! #choosehappiness
52
272.315
10-7-2015
45
1,00
Vind Happiness Under the Red Cap en win iedere dag een van de vijfhonderd prijzen!
3
130.136
20-7-2015
45
0,85
Kies Hollands Glorie! Wie verdient volgens jou een bloemetje? #choosehappiness
21
281.358
13-7-2015
163
0,78
1.721
1.640.830
1-12-2015
351
0,74
Kies keuze. Kies Coca-Cola. #choosehappiness
20
135.889
28-8-2015
50
0,59
Let's play en tag je voetbalmaatje! #choosehappiness
15
118.190
23-10-2015
174
0,51
Kies Groen. Kies Coca-Cola. #choosehappiness
13
101.355
17-8-2015
55
0,41
BAM! Deze week staat Desi met Dylan Haegens in de ring & gaat Jeske chillen met de crew van Grease. Check snel Coke FrisChicks #26!
0
110.454
8-11-2015
5
0,21
De FrisChicks gaan lipsyncen in de studio waar Lucky TV en Spongebob ook worden opgenomen! Hoe dat afloopt... dat zie je hier, natuurlijk.
11
388.908
6-11-2015
13
0,10
Facebook Content Name - Coca Cola
Voor we leren te kruipen, lopen of praten, leren we te lachen! #ChooseHappiness
Tis the season to spread some joy and give a little happiness. Check out our latest TV ad. #holidaysarecoming
72
Table 2.6. Coca Cola #CokeFrisChicks – Youtube Video Content
Coca Cola Amount of views
Youtube Content Name - Coca Cola - #CokeFrisChicks
Engagement (Likes+comme nts/views)*100 %
Amount of Amount of likes comments
#1 Examenstress met Furtjuh & StukTV – FrisChicks
226.426
3.159
906
1,80
#2 Half naakt naar de DYTG met de Gierige Gasten – FrisChicks
184.411
1568
223
0,97
#3 Bang Bang!! Give it up for Ariana Grande - FrisChicks
180.041
2.012
162
1,21
#6 Dollen met TOUZANI TV & handtekeningen van NL hockey dames – FrisChicks
163.342
915
394
0,80
#4 Vliegen met Beautygloss & foto’s klikken met de Kleine youtuber – FrisChicks
138.278
1.383
370
1,27
#18 Liftend naar Lil’ Kleine op FRIS feest – FrisChicks
121.884
1.898
127
1,66
#8 Met Furtjuh mensen verglitteren op Extrema Outdoor - FrisChicks
108.328
963
427
1,28
#17 Met Niek Roozen naar Brugklas & privéconcert van Zomaer- FrisChicks
100.080
1.303
235
1,54
93.753
884
293
1,26
105.215
1.400
232
1,55
#23 Eigen Spongebob & Lucky TV item Lipsyncen - FrisChicks
87.302
445
102
0,63
Jeske op de planken & date met StukTV! - FrisChicks
87.349
1.273
72
1,54
#12 Verhuizen met Disfordazzle & ontgroeningsperikelen - FrisChicks
79.846
1.121
115
1,55
#19 Opgesloten met Fijne vrienden & blubberen bij Mudmasters - FrisChicks
78.331
1.165
180
1,72
#5 Hard gaan op Out Of Control @ Walibi - FrisChicks
78.057
1.003
180
1,52
#22 Painten met Frank E Hollywood & een Dutch design hagelslagstoel FrisChicks
76.163
579
110
0,90
#20 Een duik in het diepe met onze broertjes! [FAMILY SPECIAL] - FrisChicks
72.531
949
56
1,39
#21 FIFA spelen in de skybox & succeswensen voor Oranje - FrisChicks
66.175
447
56
0,76
#11 Met Ikvrouwvanjou naar de Gay Pride & daten op Solar Weekend Festival FrisChicks
60.977
935
111
1,72
#14 Desi van de dood gered en Jeske draait door op de Sail Amsterdam FrisChicks
60.726
712
93
1,33
#7 Met Manon Tilstra naar Shownieuws & een make-over voor Jeske – FrisChicks #24 Simsen met GameplayWorldXL & naar 't WK van League of Legends FrisChicks
73
Table 2.7. Oreo – Youtube Video Content Oreo - Youtube Content Name
Amount of likes
Oreo Great White Shark #Wonderfilled
163
OREO #Wonderfilled Dracula
84
OREO Big Bad Wolf #Wonderfilled (NL)
124
New Golden Oreo (UK&IE)
203
Oreo Jenga
222
Red Velvet Oreo flavored cookies. “The Flight”
141
Red Velvet Oreo flavored cookies. “The Door”
82
Red Velvet Oreo flavored cookies. “The Theater”
107
Red Velvet Oreo flavored cookies. “The Button”
135
Red Velvet Oreo flavored cookies. “The Clerk”
132
Red Velvet Oreo flavored cookies. “The Bus”
170
Play With Oreo
104
74
T Amount of y comments p e A 11 n i A n 4 i m A n 8 i m P 15 r o C 7 o m A 9 n i A 2 n i A 11 n i A 11 n i A 14 n i A 9 n i A 6 n i
Additional
Engagement (likes+comments/views)*100%
Duplicate of TV Commercial Wonderfilled campaign
0,72
Duplicate of TV Commercial – Wonderfilled campaign
0,33
Duplicate of TV Commercial – Wonderfilled campaign
0,12
Duplicate of TV Commercial
0,83 0,41
Valentine’s day campaign
0,25
Valentine’s day campaign
0,21
Valentine’s day campaign
0,28
Valentine’s day campaign
0,19
Valentine’s day campaign
0,19
Valentine’s day campaign
0,25 0,02
Table 2.8. Non-branded user generated content – Facebook & Youtube Non-branded user generated content
Amount of shares
A Amount of m views o u
Social Channel
Engagement (likes+comments+shares/views)*100
BABY FOOD CHALLENGE! - ENZOKNOL VLOG #833
1631
392.455
Youtube
9,19
Ah vluchtelingenweken
6.580
113.344
Youtube
6,86
ULTIEME CHOCOLADE REEP CHALLENGE - Tony's Chocolonely || Let's eat - MeisjeDamilla
512
275.824
Youtube
5,54
1 EURO GEVONDEN! - ENZOKNOL VLOG #831
1121
387.844
Youtube
5,30
Oreo-Stuffed Doughnut Holes - Recipe (Tasty Facebookpage)
46.372
3.174.694
Facebook
4,45
Voedsel Is Lekker.
213
119.891
Youtube
4,37
Coca-Cola Christmas Ribbon Label. Awesome Coca-Cola Christmas bottle bowtie
534
135.594
Facebook
3,90
Salted Chocolate Caramel Shortbread Slice
164.185
8.533.326
Facebook
3,85
1.068.740
49.353.262
Facebook
3,49
262.586
24.360.105
Facebook
1,98
RAAR AMERIKAANS SNOEP 2 || Let's Eat - MeisjeDamilla
743
628.553
Youtube
1,93
De ultieme zure snoep challenge! - MeisjeDamilla
3211
660.128
Youtube
1,90
Hilarisch! Dit gebeurt er als je kinderen HEEEEEL erg pure chocolade laat proeven.
385
186.402
Facebook
1,86
Coca-Cola Tricks You Need To See To Believe
133.637
13.234.210
Facebook
1,25
John Coffey singer catches beer while crowdwalking, and drinks it! (the original)
25.346
5.682.959
Youtube
0,84
Infinite chocolate trick
3.842
1.132.721
Youtube
0,57
Beauty Hacks: Fail or Holy Grail? ♥ Coca Cola Hair Rinse | Ellko
5.473
23.597.494
Youtube
0,13
Oreo Churros - Recipe (Buzzfeed Food) A new way to enjoy Oreos. (Buzzfeed Food)
75
Appendix 1.1.2 - Engagement Rate Consumer’s Desire on Brand Video Content & John Berger’s Contagious Model
Table 2.9. Oreo - Instagram Video Content (results of table 2.1)
Oreo Engagement
Type of Content 1
Type of Content 2 Contagious - Jon Berger
2,57
Animation, comedian/spoof
Public - Trigger
2,44
Animation, informational
Public - Trigger
It’s classic, with a twist. #FlavorLove
2,28
Animation, informational
Public - Trigger
A golden snack opportunity. #FlavorLove
2,28
Animation, informational
Public - Trigger
Chocolate lovers unite. #FlavorLove (unless you're a chocolate hater, in which case, bummer.)
2,27
Animation, informational
Public - Trigger
For the snacker who keeps it simple. #FlavorLove
2,24
Animation, informational
Public - Trigger
Here’s to the creme. Here’s to the creme again. #FlavorLove
2,22
Animation, informational
Public - Trigger
Made for cookie lovers, by cookie lovers. #ValentinesDay
2,09
Comedian/spoof
Public - Trigger
The flavor of awesome. #FlavorLove
2,06
Animation, informational
Public - Trigger
Hop to it!
1,91
Comedian/spoof
Public - Trigger
You just got served. Now grab some milk and get this party started.
1,73
Comedian/spoof
Public - Trigger
It's a slam dunk! And the crowd goes cookie!
1,36
Comedian/spoof
Public - Trigger
Bringing #PlayWithOreo to life on the streets of New York: watch how @jeffsotoart made it happen.
1,58
Mini-documentary
Triggers - Emotion
Instagram Content - Name Wait for it…waaaittt for it…waittt, JK it’s a loop! For the snackers who act like it’s their birthday year-round. #FlavorLove
Total Amount of Fans Average Engagement Rate
1100000 2,08
76
Table 2.10 Coca Cola – Instagram Video Content – (results of table 2.2) Engagement (Likes+comments/followe rs)*100%
Type of content 1
Type of Content 2 - Contagious Jon Berger
It’s National Ice Cream Day. Whatever your ice-cream boat is, Coke will float it. #HowIceCreamGetsSocial
2,96
Animation - Comedian/Spoof
Emotion - Stories
Giving sharks a new reason to show off all those pearly whites. #SharkWeek #SharkSmile
2,79
Animation - Comedian/Spoof
Public - Trigger
Create your own sparks this 4th of July by sharing a Coke with your favorite person. #LifeLibertyAndThePursuitOfFizziness
2,61
Animation - Instructional
Social Currency - Trigger
How man's best friends become best friends. #DogToys #HumanToys #RefreshingFriendships
2,55
Comedian/Spoof
Public - Trigger
What comes after graduate? Professional! Congratulations class of 2015! Raise a bottle and #ShareaCoke to celebrate.
2,45
Animation - Comedian/Spoof
Public - Trigger
A migrating herd of Cokeasaurus in the wild! Probably headed to a theater to see #JurassicWorld and #ShareaCoke.
2,38
Animation - Comedian/Spoof
Social Currency - Trigger
Its elastic properties make the tongue of youth an ideal springboard to master the "Flip 'n Sip" and enjoy a Coca-Cola. #TasteBudTalent
2,29
Animation - Comedian/Spoof
Public - Trigger
#ShareaCoke is back with 1,000 names! Tag a friend if you see their name.
2,28
Instructional - Comedian/Spoof
Social Currency - Trigger
Soaking up the last of the summer sun. Happy Labor Day! #WeDontSweatWeGlisten
2,22
Comedian/Spoof
Public - Trigger
All best friends should have a secret handshake. Show us yours! Happy #NationalBestFriendsDay. #ShakeHandsNotCocaColas
2,09
Instructional - Comedian/Spoof
Social Currency - Trigger
On your upcoming summer road trip, which of your friends gets to ride shotgun? Start planning now by tagging your friends. #ShareaCoke
2,03
Animation - Comedian/Spoof
Social Currency - Trigger
Prom is coming up and - let’s be honest - Dancing Is Hard. That’s why Polar P is going to teach you some moves he perfected for his polar #prom. Here’s Lesson 1.
1,98
Comedian/Spoof
Public - Trigger
How the killer robot from the future decided to become the helpful robot from the future. #RefreshmentDay
1,93
Animation - Comedian/Spoof
Emotion - Stories
Been bit by the summer love-bug? Then #ShareaCoke with your summer crush by tagging their name in the comments.
1,86
Animation - Comedian/Spoof
Social Currency - Trigger
The Coke Polar Beard appears during No-Shave November, then gets cut off in time for the holidays because in-laws.
1,85
Comedian/Spoof
Emotion - Stories
As the temperature goes up, the Coke goes down. #Equilibrium #SummerScience
1,82
Animation - Comedian/Spoof
Public - Trigger
Throwback to before the exorcism. #CokePoltergeist
1,74
Comedian/Spoof
Public - Trigger
Careful, they sometimes run in packs. #WereCoke #HappyHalloween
1,71
Comedian/Spoof
Social Currency - Trigger
You’re not paranoid — that bear IS looking at you. #PolarScare
1,71
Comedian/Spoof
Public - Trigger
It’s hard to choose just one summer love for your Coca-Cola. #SummerFlings
1,70
Instructional - Comedian/Spoof
Public - Trigger
The flavor is strong with this one. #MayThe4thBeWithYou
1,70
Animation - Comedian/Spoof
Social Currency - Trigger
Drinkable "place cards" are a refreshing way to eliminate confusion. www.ShareaCoke.com
1,62
Comedian/Spoof
Public - Trigger
You know your idea's pretty good when it's the symbol for good ideas. #LightbulbsBirthday #ThomasEdison #ThanksScience
1,44
Instructional
Social Currency - Trigger
Thanksgiving can be stressful. That's why we're here 24/7 to help with your Coca-Cola–related holiday needs/questions/random thoughts with a warm, slightly robotic voice. Call 1-866-844-8327.
1,10
Instructional
Emotion - Trigger
Average Engagement Rate
1,91
Instagram - Coca Cola
77
Table 2.11 Oreo – Facebook Video Content (Regular) – (results of table 2.3) Engagement
Type of Content 1
Type of Content 2 - Contagious Jon Berger
Where will your imagination go when you #PlaywithOreo? See for yourself in our latest Wonderfilled video with Yelle. Pour yourself a cold glass of milk and enjoy.
3,25
Animations - Comedian/spoof
Emotion - Trigger
This guy is totally crushing it. Come #playwithoreo at playwithoreo.com
2,84
Animations - Comedian/spoof
Public - Trigger
Don't resist the twist. Come #playwithoreo at playwithoreo.com
2,51
Animations - Comedian/spoof
Public - Trigger
Dream on, little daredevil, dream on. Come #playwithoreo at playwithoreo.com
2,10
Animations - Comedian/spoof
Public - Trigger
Who can resist a yummy game of Tic Tac Oreo? #PlayWithOreo
1,96
Animations - Comedian/spoof
Public - Trigger
Wonder if I gave that OREO to my dad?
1,39
Animations - Comedian/spoof
Public - Trigger
For the snacker who keeps it simple. #FlavorLove
1,37
Animations - Comedian/spoof
Public - Trigger
Sweet anticipation
1,18
Animations - Comedian/spoof
Public - Trigger
Krijg jij ook geen genoeg van Oreoreoreoreoreoreoreo? #PlayWithOreo @playwithoreo.com
1,17
Animations - Comedian/spoof
Public - Trigger
Wait for it…
1,11
Product/ informational, comedian/spoof
Public - Trigger
The flavor of awesome. #FlavorLove
1,09
Animations - Comedian/spoof
Public - Trigger
This guy can roll for days. Come #playwithoreo at playwithoreo.com
0,68
Animations - Comedian/spoof
Public - Trigger
I wonder... of Oreo ook jouw favoriete Halloweenkoekje is?
0,58
Animations - Comedian/spoof
Public - Trigger
Let's goooooooo! #PlayWithOreo
0,55
Animations - Comedian/spoof
Public - Trigger
BAM! #PlayWithOreo
0,55
Animations - Comedian/spoof
Public - Trigger
Average Engagement Rate
1,49
Facebook Content - Name
78
Table 2.12 Oreo – Facebook Video Content (Recipes) – (results of table 2.4) Engagement
Type of Content 1
Type of Content 2 Contagious - Jon Berger
Oreo Donuts, round they go. Where the fun stops, nobody knows. Make a batch of Oreo Donuts, and share them around using #PlaywithOreo. For this#recipe, visit http://expi.co/0JHZW
4,19
Animation - Instructional
Practical Value - Public
Let’s go bananas with Oreo! http://expi.co/0H7AF #PlayWithOreo
2,93
Animation - Instructional
Practical Value - Social Currency
Even if you shake your milk, you can still dunk in it. #PlaywithOreo and make this Oreo Milkshake. http://expi.co/0Gy4d
2,44
Animation - Instructional
Practical Value - Social Currency
Say Cheese! http://expi.co/0Ie9B #PlayWithOreo
1,82
Animation - Instructional
Practical Value - Social Currency
Making an Oreo banana cream pie is as easy as…pie. #PlaywithOreo and make your own. For this #recipe, visit http://expi.co/0HH1M
1,79
Animation - Instructional
Practical Value - Social Currency
0,77
Animation - Instructional
Practical Value - Social Currency
0,45
Animation - Instructional
Practical Value - Social Currency
Hé pannenkoek! Fijne pannenkoekendag! (DUTCH)
1,95
Animation - Instructional
Practical Value - Trigger
This is how we roll, Oreo Cookie Balls that is. Make your own and share them using #PlaywithOreo for a chance to see them on playwithoreo.com. For this #recipe, visit http://expi.co/0Ie4C
1,24
Animation - Instructional
Practical Value -Trigger
Plain old pancakes don't stack up to Oreo Pancakes. #PlaywithOreo and make a stack of your own. http://expi.co/0GHRT
1,04
Animation - Instructional
Practical Value -Trigger
The bar for awesomeness has been set with Oreo Chewy Bars. Make your own awesome Chewy Bars, then share them using #PlaywithOreo. For this #recipe, visit http://expi.co/0Iobl
0,67
Animation - Instructional
Practical Value -Trigger
Oreo Fruit Tart - This video is a perfect place to start if you want to make an Oreo Fruit Tart. Once you’re done, share it using #PlaywithOreo for a chance to see it on playwithoreo.com. For this #recipe, visit http://expi.co/0GfYw
0,55
Animation - Instructional
Practical Value -Trigger
Average Engagement Rate
1,65
Facebook Content Name - Recipe posts
Who says you can’t have your Oreo cupcake and eat it too? Make your own cupcakes and share them using#PlaywithOreo. It’s a piece of cake! For this #recipe, visit http://expi.co/0IzJa Oreo Cheesecake Bites. Cheesy, but in a good kind of way. Show us your cheesiest bites using #PlaywithOreo, and we might show them on playwithoreo.com. For this #recipe, visit http://expi.co/0HmNe
79
Table 2.13 Coca Cola – Facebook Video Content – (results of table 2.5) Facebook Content - Coca Cola
Engagement (Likes+comments/views)*100%
Type of content
Type of Content 2 Contagious - Jon Berger
Kies Groen. Kies Coca-Cola. #choosehappiness
0,41
Animation/Instructional
Emotion - Trigger
ICY cold COKE = Colour changing cans! 💗 💜 💙 #COKEcomealive
1,70
Mini-Documentary - Comedian/Spoof
Public - Trigger
Want to get your hands on one of the official Rugby World Cup 2015 match balls? All you have to do for the chance to win is try to get the ball into the outline and share your photo in the comments below. Closes on 14/10/15. Entrants must be aged 13 years and over. T&Cs apply http://CokeURL.com/66wy9
2,61
Mini Documentary - Informational
Social Currency - Trigger
Let's play en tag je voetbalmaatje! #choosehappiness
0,51
Mini-Documentary/Comedian/Spoof
Social Currency - Trigger
Your head's already going to be tilted back anyway. #EnjoyaCoke #SuperBloodMoon
3,24
Animation - Comedian/Spoof
Social Currency - Emotion
De oerhollandse kus maakt ons blij. Wiens kus maakt jou helemaal gelukkig? #choosehappiness
1,18
Animation/Comedian/Spoof
Social Currency - Emotion
Nederlands trots! #choosehappiness
1,00
Animation/Comedian/Spoof
Social Currency - Emotion
Kies Hollands Glorie! Wie verdient volgens jou een bloemetje? #choosehappiness
0,78
Animation/Comedian/Spoof
Social Currency - Emotion
Tis the season to spread some joy and give a little happiness. Check out our latest TV ad. #holidaysarecoming
0,74
Product/Informational
Social Currency - Emotion
Kies keuze. Kies Coca-Cola. #choosehappiness
0,59
Animation/Instructional
Social Currency - Emotion
8,38
Mini-Documentary Product/Informational
Social Currency - Public
0,21
Mini-Documentary/Comedian/Spoof
Social Currency - Stories
0,10
Mini-Documentary/Comedian/Spoof
Social Currency - Stories
Everyone deserves a treat! Today is #NationalPetDay, so spend some #MiniFamilyTime with your fuzziest family members.
3,34
Mini-Documentary Product/Informational
Social Currency - Trigger
Refreshment when you are home alone Coca-Cola Taste it…Love It!
1,24
Product/Informational
Social currency - Trigger
Careful, they sometimes run in packs. #WereCoke #HappyHalloween
1,39
Animation/Comedian/Spoof
Social Curreny - Emotion
Voor we leren te kruipen, lopen of praten, leren we te lachen! #ChooseHappiness
1,67
Mini-Documentary - Informational
Stories - Public
Vind Happiness Under the Red Cap en win iedere dag een van de vijfhonderd prijzen!
0,85
Spoof/Instructional
Trigger - Practical Value
Average Engagement Rate
1,66
Tomorrow night we're going to change the Internet for the better. Together, we'll #MakeItHappy. BAM! Deze week staat Desi met Dylan Haegens in de ring & gaat Jeske chillen met de crew van Grease. Check snel Coke FrisChicks #26! De FrisChicks gaan lipsyncen in de studio waar Lucky TV en Spongebob ook worden opgenomen! Hoe dat afloopt... dat zie je hier, natuurlijk.
80
Table 2.14 Coca Cola #CokeFrisChicks Youtube – (results of table 2.6) Engagement (Likes+comments/ views)*100%
Type of Content 1
Type of Content 2 - Contagious Jon Berger
#1 Examenstress metA125:B139 Furtjuh & StukTV – FrisChicks
1,80
Mini-Documentary Comedian/spoof
Social Currency -Stories
#19 Opgesloten met Fijne vrienden & blubberen bij Mudmasters - FrisChicks
1,72
Mini-Documentary Comedian/spoof
Social Currency -Stories
#11 Met Ikvrouwvanjou naar de Gay Pride & daten op Solar Weekend Festival FrisChicks
1,72
Mini-Documentary Comedian/spoof
Social Currency -Stories
#18 Liftend naar Lil’ Kleine op FRIS feest – FrisChicks
1,66
Mini-Documentary Comedian/spoof
Social Currency -Stories
#24 Simsen met GameplayWorldXL & naar 't WK van League of Legends - FrisChicks
1,55
Mini-Documentary Comedian/spoof
Social Currency -Stories
#12 Verhuizen met Disfordazzle & ontgroeningsperikelen - FrisChicks
1,55
Mini-Documentary Comedian/spoof
Social Currency -Stories
Jeske op de planken & date met StukTV! - FrisChicks
1,54
Mini-Documentary Comedian/spoof
Social Currency -Stories
#17 Met Niek Roozen naar Brugklas & privéconcert van Zomaer- FrisChicks
1,54
Mini-Documentary Comedian/spoof
Social Currency -Stories
#5 Hard gaan op Out Of Control @ Walibi - FrisChicks
1,52
Mini-Documentary Comedian/spoof
Social Currency -Stories
#20 Een duik in het diepe met onze broertjes! [FAMILY SPECIAL] - FrisChicks
1,39
Mini-Documentary Comedian/spoof
Social Currency -Stories
#14 Desi van de dood gered en Jeske draait door op de Sail Amsterdam - FrisChicks
1,33
Mini-Documentary Comedian/spoof
Social Currency -Stories
#8 Met Furtjuh mensen verglitteren op Extrema Outdoor - FrisChicks
1,28
Mini-Documentary Comedian/spoof
Social Currency -Stories
#4 Vliegen met Beautygloss & foto’s klikken met de Kleine youtuber – FrisChicks
1,27
Mini-Documentary Comedian/spoof
Social Currency -Stories
#7 Met Manon Tilstra naar Shownieuws & een make-over voor Jeske – FrisChicks
1,26
Mini-Documentary Comedian/spoof
Social Currency -Stories
#3 Bang Bang!! Give it up for Ariana Grande - FrisChicks
1,21
Mini-Documentary Comedian/spoof
Social Currency -Stories
#2 Half naakt naar de DYTG met de Gierige Gasten – FrisChicks
0,97
Mini-Documentary Comedian/spoof
Social Currency -Stories
#22 Painten met Frank E Hollywood & een Dutch design hagelslagstoel - FrisChicks
0,90
Mini-Documentary Comedian/spoof
Social Currency -Stories
#6 Dollen met TOUZANI TV & handtekeningen van NL hockey dames – FrisChicks
0,80
Mini-Documentary Comedian/spoof
Social Currency -Stories
#21 FIFA spelen in de skybox & succeswensen voor Oranje - FrisChicks
0,76
Mini-Documentary Comedian/spoof
Social Currency -Stories
#23 Eigen Spongebob & Lucky TV item Lipsyncen - FrisChicks
0,63
Mini-Documentary Comedian/spoof
Social Currency -Stories
Average Engagement
1,32
Youtube Content Name - Coca Cola - #CokeFrisChicks
81
Table 2.15 Oreo – Youtube Video Content – (results of table 2.7) Youtube Content Name
Engagement
Type of Content 1
Type of Content 2 - Contagious Jon Berger
New Golden Oreo (UK&IE)
0,83 Animation, Product/Informational Public - Triggers
Oreo Great White Shark #Wonderfilled
0,72 Animation, Comedian/Spoof
Emotion - Stories
Oreo Jenga
0,41 Comedian/spoof
Public - Triggers
OREO #Wonderfilled Dracula
0,33 Animation, Comedian/Spoof
Emotion - Stories
Red Velvet Oreo flavored cookies. “The Theater”
0,28 Animation, Comedian/Spoof
Emotion - Stories
Red Velvet Oreo flavored cookies. “The Flight”
0,25 Animation, Comedian/spoof
Emotion - Stories
Red Velvet Oreo flavored cookies. “The Bus”
0,25 Animation, Comedian/Spoof
Emotion - Stories
Red Velvet Oreo flavored cookies. “The Door”
0,21 Animation, Comedian/Spoof
Emotion - Stories
Red Velvet Oreo flavored cookies. “The Button”
0,19 Animation, Comedian/Spoof
Emotion - Stories
Red Velvet Oreo flavored cookies. “The Clerk”
0,19 Animation, Comedian/Spoof
Emotion - Stories
OREO Big Bad Wolf #Wonderfilled (NL)
0,12 Animation, Comedian/Spoof
Emotion - Stories
Play With Oreo
0,02 Animation, Comedian/Spoof
Emotion - Stories
Average Engagement Rate
0,32
Table 2.16 Non-branded user generated content – (results of table 2.8) Non-branded user generated content
Engagement Social Channel (likes+comments+shares/vie Type of Content 1 ws)*100%
Voedsel Is Lekker.
Youtube
4,37
Comedian/Spoof - Mini Documentary
Stories - Emotions
De ultieme zure snoep challenge! - MeisjeDamilla
Youtube
1,86
Comedian/Spoof - Mini Documentary
Stories - Emotions
BABY FOOD CHALLENGE! - ENZOKNOL VLOG #833
Youtube
9,19
Comedian/Spoof - Mini Documentary
Stories - Social Currency
ULTIEME CHOCOLADE REEP CHALLENGE - Tony's Chocolonely || Let's eat - MeisjeDamilla
Youtube
5,54
Comedian/Spoof - Mini Documentary
Stories - Social Currency
1 EURO GEVONDEN! - ENZOKNOL VLOG #831
Youtube
5,30
Comedian/Spoof - Mini Documentary
Stories - Social Currency
RAAR AMERIKAANS SNOEP 2 || Let's Eat - MeisjeDamilla
Youtube
1,90
Comedian/Spoof - Mini Documentary
Stories - Social Currency
Coca-Cola Tricks You Need To See To Believe
Facebook
1,25
Instructional - Mini Documentary
Stories - Social Currency
John Coffey singer catches beer while crowdwalking, and drinks it! (the original)
Youtube
0,84
Comedian/Spoof
Stories - Social Currency
Ah vluchtelingenweken
Youtube
6,86
Comedian/Spoof - Mini Documentary
Trigger - Emotion
Infinite chocolate trick
Youtube
0,57
Comedian/Spoof Instructional
Trigger - Emotion
Oreo-Stuffed Doughnut Holes - Recipe (Tasty Facebookpage)
Facebook
4,45
Comedian/Spoof Instructional
Trigger - Practical Value
Coca-Cola Christmas Ribbon Label. Awesome Coca-Cola Christmas bottle Facebook bowtie
3,90
Comedian/Spoof Instructional
Trigger - Practical Value
Salted Chocolate Caramel Shortbread Slice
Facebook
3,85
Comedian/Spoof Instructional
Trigger - Practical Value
Oreo Churros - Recipe (Buzzfeed Food)
Facebook
3,49
Instructional - Product
Trigger - Practical Value
A new way to enjoy Oreos. (Buzzfeed Food)
Facebook
1,98
Instructional - Product
Trigger - Practical Value
1,93
Comedian/Spoof Informational/Product
Trigger - Practical Value
Hilarisch! Dit gebeurt er als je kinderen HEEEEEL erg pure chocolade laat Facebook proeven. Average Engagement Rate
3,58
82
Type of Content 2 Contagious - Jon Berger
Appendix 2 Appendix 2.1 - Interview question list Persoonlijk 1. Wie bent u en wat doet u precies voor werk? En doet u daar nog dingen naast? 2. Wat is uw field of expertise en kunt u uitleggen wat u hierin precies doet? 3. Wat is u visie op het gebruik van video content binnen marketingcommunicatie? Inhoudelijk – Video Content 4. Uit onderzoek blijkt meer dan de helft van alle brands en bedrijven al gebruikt maakt van video in content marketing (Axonn, 2013). Welke beginselen liggen volgens u ten grondslag om video content te maken en waar zouden marketeers in de FMCG sector rekening mee moeten houden? 5. Als ik het goed begrepen heb, heeft u veel onderzoek gedaan naar online persuasieve communicatie. Heeft u ook onderzoeken naar video content en de viriliteit daarvan? Kunt u een onderzoek beschrijven hierover en wat de meeste bijzondere resultaten hieruit zijn? 6. In het programma de Wereld Leert Door (2013) bent u te gast geweest bij Diederik Jekel om uw onderzoek toe te lichten over muziek en beïnvloeding. U heeft het hier over het gebruik van muziek in persuasieve context, zoals de ‘money noot’ en ‘kippenvel-moment’ in muziek. Waar zitten volgens u soortgelijke momenten in viral video content, zoals Beauty Sketches (Dove) of The Epic Split (Volvo)? 7. Wat voor soort competenties zag u terug in deze onderzoeken naar video content en de populariteit daarvan? 8. Veel onderzoek is er gedaan naar online video en de impact die sociale media hierop heeft. Wat zijn volgens u de belangrijkste krachten van sociale media waardoor video content populariteit krijgt, en dan bedoel ik voor van merken in de FMCG sector? 9. In onderzoeken naar motivaties voor het publiek om content te door te zenden naar mensen in hun (sociale) netwerk (eWOM), zijn implicaties als; onderscheiden van het publiek, affectie, control belangrijke elementen (Ho & Dempsey, 2008). Hoe denkt u hierover? Zijn er volgens nu nog andere implicaties te noemen? En waarom precies deze?
83
Inhoudelijk – User generated content 10. Wat is volgens u User Generated Content? Bent u bekend met het fenomeen? 11. User generated content is onderdeel van de participatie culture. Bent u bekend met dit fenomeen en hoe ziet u deze participatie cultuur in verhouding tot video content die zo veel gedeeld wordt? 12. Hoe ziet u de relatie tussen video content die gemaakt wordt door merken en de populariteit van video’s gemaakt door het publiek (user generated content)? 13. De populariteit van user generated video content ligt op een technische en gedragsvlak, waar social media kanalen zorgen voor de mogelijkheden om video’s makkelijk te delen en de inhoud van video’s zorgen voor de attitude en gedrag mensen hebben, waardoor ze het delen. En wellicht een combinatie van deze twee. Dit is aanname die ik heb genomen naar aanleiding van het lezen van verschillende onderzoeken over UGC-video. Hoe ziet u de populariteit van user generated video content? Zijn er volgens U nog andere vlakken waar de populariteit van user generated content op steunt? 14. In hoeverre hebben trends en onderstromingen die spelen in de online en offline wereld invloed op video content die gegenereerd wordt door het publiek? En hoe wordt dit gebruikt in video content? 15. Hoe ziet u video content in de toekomst? Wat is uw visie daarover op wetenschappelijk gebied en in de praktijk?
Appendix 2.1.1: Creative Director & Strategist – Paul Falla & Creative and Content Producer Friso Schoone Persoonlijk 1. Wie zijn jullie en wat doet jullie bedrijf precies? Hoe zouden jullie je bedrijf omschrijven? 2. Waarom hebben jullie ooit gekozen om short video content te gaan produceren? 3. Wat is jullie visie op het maken van video content? Inhoudelijk – Video Content 4. Uit onderzoek blijkt dat short video content steeds aantrekkelijker gaat worden binnen marketing- en communicatiestrategieën van merken (Cisco, 2015). Wat is jullie aanpak om deze short video content te maken? 5. Wat voor technieken en elementen gebruiken jullie bij het creëren van short video content? 6. Wat is het belang van sociale media marketing voor jullie werk van klanten? 7. Jullie werken ook voor merken in de FMCG sector. Voor wat voor merken werken jullie en zijn daar bepaalde competenties die vaker terugkomen in verschillende werken? 84
8. Als je kijkt naar verschillende emoties van een doelgroep van een bepaald merk, en dan doel ik op merken als Oreo of Coca Cola, op welke emoties spelen jullie vaak in? Zoals, humor, verrassing, spanning, geluk, liefde, wonderbaarlijk, teleurstelling, boosheid? Zijn hier emoties die jullie vaker gebruiken? 9. Zijn er bepaalde terugkomende elementen die jullie altijd gebruik in het produceren van video content? 10. Zouden jullie een strategie van een van jullie FMCG cases kunnen beschrijven en daarin uitleggen waarom jullie bepaalde keuzes hebben gemaakt om dit ‘soort’ video content te produceren? Inhoudelijk – User Generated Content 11. User generated video content is mateloos populair, door onder andere mediakanalen als Youtube, Buzzfeed, Dumpert, Dailymotion en natuurlijk Facebook (video). Dit zijn ook korte filmpjes, zoals jullie die produceren. Wat voor overeenkomsten zien jullie hierin? En wat is jullie visie waarom deze filmpjes zo krachtig zijn? 12. User generated content is onderdeel van de participatie culture. Bent u bekend met dit fenomeen en hoe ziet u deze participatie cultuur in verhouding tot video content die zo veel gedeeld wordt? 13. Hoe ziet u de relatie tussen video content die gemaakt wordt door merken en de populariteit van video’s gemaakt door het publiek (user generated content)? 14. Hoe gebruiken jullie bepaalde trends en competenties van user generated video content voor het produceren van werk voor jullie klanten? 15. Gebruiken jullie user generated content als inspiratie voor jullie eigen werk? Zo ja, waarom en hoe? Toekomst van video content 16. Hoe zien jullie video content in de toekomst? Wat is jullie visie daarover?
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Appendix 2.2- Summaries of the interviews Appendix 2.2.1 - Social Scientist – Ivar Vermeulen Ivar Vermeulen, head tutor of Communication Science at the Vrije Universiteit van Amsterdam. He is director of a network institute, interdisciplinary research institute combined with the faculty computer science. Besides, he have done research among different kind of brands and agencies, for example a research about the operation of music in advertisement, how music could help how to position products. His field of expertise is persuasive communication, where he researches different kind of persuasive elements when you already perceived the attitude of your audience. According to Vermeulen, says that video content virality is caused by the network of online channels and sharing different kind of content because you want to associate with certain group, knowledge, identity and expertise in your surroundings. He quotes that ‘people are taking an action on certain video content in order to look cool, sophisticated and know ledged’. Or certain video content can go viral because of a clear and environmental (people, nature) goals, so people are willing to share it for a greater cause. Vermeulen is talking about the substance of content when the videos are authentic, a little bit odd, but above all, content has to be real. The scepticism of consumers has caused that they want real content, that is authentic and that is most of all identifiable with the audience. He adds that power of the sharing effect is also about creating frequent content. Vermeulen says that ‘when producing and broadcasting 100 kinds of video, branded or unbranded, there will be one that will catch the attention of the audience and the chain will start’. Therefore is obviously content needed that is recognizable for the audience and contains something new, extraordinary or surprising in order to share it. Vermeulen says that the need of popularity is another parameter for creating and sharing video content. Within creating content and especially sharing and broadcasting it, you need to know which audiences are in need of popularity and susceptible for behaviours like grooming (taking care of yourself), self-presentation, profile enhancement and routine use of social network sites. In former research the need of popularity plays a significant role in social network sites and you can relate this to the huge popularity of video content today, because people with this behaviour are willing to be that individual who is sharing valuable or humoristic content. Another rule that Vermeulen is explaining are the network effects. The idea of the network effects is related to the concept of video content on social network channels; people and brands want other people to spread content, in order to create awareness or other purposes, depending on what the objectives are. He also makes the parallel with chain letters, in order to make ‘analogy’ content viral, where people sended 100.000 letters between each other. He adds that content on television cannot go viral, because ‘the public cannot share the content with others, they can only see it and share it with others by face to face. This means that the network effect is influenced by the channel, online channels that can cause larger effects and impact on people. This effect is caused by one thing that is 86
extraordinary, new, unexpected, surprising and unique, which causes that more people are bonding with the content and spreading the information.’ Vermeulen makes the difference between content that has authenticity with almost unbelievable, ‘funniest home videos’ content and high production valued video content, produced by brands and companies. With high production value content is looking for beautiful created content, with something sensational, something that is rising above people’s imagination. Another element is that strong, impressive music is part of popular video content, but he is explaining that music can only effect virality of video content, when people are willing to take an action after video content – which means that the music has positioned the brand in people’s mind and people are willing to buy a product or service. What he is imagining, that culture is meant to define and identify elites and that people are love to show others that they have a good taste or position yourself as broadly orientated, educated and maybe a bit more classified that they are. People need impression management to other people, where they are waiting for rewards and dedication towards the individual. Besides, you have the warning, letting people know that something is fake, unreal or unknown, which is more used as supportive and help. In the first place Vermeulen is looking for user generated content based on reviews. User generated content has more chance to go viral than branded content, because a real person, real actions have more authenticity, more relevance and more belief than branded content. Although, the factor of speciality and originality is step two in this process, because ‘normal’ things aren’t causing impact or impressions for audiences. Another element we have discussed about original video content that has been imitated, a take-off or derision. This causes views and actions on video content, because it’s showing how UGC that has already went viral, can be funnier or be more extraordinary. Another important element he mentioned are opinion leaders in the new era. Television programs like de DWDD, RTL Late Night are important opinion leaders that will provide user generated content that can improve the popularity, because the video will be explained, certain elements featured, which can cause that people will have new reasons that watch certain moments. He mentions the two-step flow model from psychological research, where opinion leaders have key roles in spreading information and content. This is also applicable to user generated content. His vision on the future of user generated content for brands is making more possibilities for audiences to create and upload video content that has something to do with the targeted brand. He says that you want people to associate with a brand by giving them the opportunity to create video content that is relevant for the brand and has something humoristic or specialism for the audience.
Appendix 2.2.2 - Creative Director – Paul Falla Paul Falla is a creative director for 27 years in the world of advertisement. He worked on different kind of advertising agencies and brands like Saatchi, Lowe, BBDO and for brands as Coca Cola, Mars, 87
M&M’s and many other FMCG companies. With this experience and knowledge, Paul has wide knowledge about how and why humans making certain decisions and what interests them and what doesn’t interests them. Together with a former colleague, Paul Falla started an advertising and production agency which is the first agency that specializes in five seconds communication in video. The key belief of this agency is that ‘YOU ONLY NEED FIVE SECONDS TO MAKE AN IMPRESSION’, you need short amount of time in order to influence someone’s decision or impress someone to take an new action (like sharing content). The reason why they have chosen to start in this niche is because people only have five seconds of their time left for advertisement and video content, because within 1 second, they are distracted by other things; for five seconds. His vision on video content is mostly that television commercials and the tactics is dead. You cannot just send information and content towards the audience, you need to work for your consumers, for the people you want to bond, you need to entertain people. According to research from Cisco (2015), short video content is starting to become the most important tool in marketing and communication strategies. The approach of Five Seconds is to build wide campaigns and sending information, but divided in small chunks, which can be content that can be perceived in 5 seconds or less. Five seconds is using different kind of techniques and elements to create short video content. They always start by creating something new and extraordinary, because this will cause the effect of surprise. In the next step, they start with the kind of elements are important and essential for the brand or company that is asking for video content. The target is to create something unique, unique colours, unique elements, unique variables and unique propositions. Shell is more using information and want to create the image of a humanized organisation, but with more factual information. At the other hand, Coca Cola communication is based on emotions, so more sensitivity is needed. Techniques are important in order to show the audience that you are using innovations and devices that are accessible for the audience, but show that these are new and special. Social Media marketing is according to Falla very important, but dangerous. Social media marketing is the main cause that video content has been shared so much, because with social channels, blogs and public websites, everybody can continuously and unlimited share content with others. With this size of social media, people will think about social media as a negative thing, something annoying and they get irritated by branded content as user content. According to Fall, he says that competences of video content works best in combination with different kind of elements. It’s important to use emotions, like humour with straight to the point message, which will need to be a game between branded content and the humoristic, direct message. For video content it’s essential to make one message, with one meaning. In current television commercials, there are too many messages and destinations of the communicated content, which causes that consumers doesn’t understand where to focus on. Another essential element is that not talk too much about the brand, but
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talk about what people can do with the brand. That makes the consumer relevant and it makes the brand relevant for the consumer. A good example of emotional campaigns are the campaigns of Oreo. They are using commerce messaging combined with practical jokes and informational elements. The use of unique imaging, imaging that hasn’t been used before, product centric, but still surprising. More branded content on emotions are from Adidas Rugby, Audi, because they are using emotion with the line of speed. Fast, direct used emotions towards the audience in short time frames. In producing video content, Fall and Schoone (Five seconds) are saying that returning elements of video depends on the type of video, but certain, core elements don’t change over time. Competences of using attractive women, sex, aggression, extremism are returning elements that people are always curious about. And obviously cats. On cats Falla says that popularity can be explained by the empathy that people have with these animals. It lays within your interest, you have it at home and you are seeing them every day. Falla says that elements like empathy and giving ownership to audiences creates recall and recognition, which will lead to humour and joy. User generated content is part of the participation culture, which means that people have the drive to participate in certain cultures, groups, channels and discussion in order to feel valued and accepted. According to Falla, that hasn’t changed in 5 years, just the amount of video content has grown, because of the increase of technique and the ease to produce content. The big differences is that nowadays a small amount of people is creating the content and the biggest part is sharing, adapting, watching and valuating the content. This is interesting, because the popularity of video is in the first place about the content and in the second place which audience and the size of it that will determine the popularity. Falla sees the relationship between user generated content and branded content as copying the crap from others. Five seconds is not copying crap, like the Chinese people do, but they want to build new products, new communication and new concepts for the Chinese markets. Focussed on the Chinese, but with the quality of the West. Quality, beautiful, clean and innovative concepts can break the market on video content, because nowadays their content is built on copying and adapting. The use of user generated media as inspirations on trends and new things is something I do every day. They are using new trends that people are making (like cats, how-to, new humour, extremism, first moment impressions, GIFS or content with movement) in order to create the most impact. And according to Falla, always be the first combined with the highest quality. Because the one with that combination, is attracting the highest recommendation.
Appendix 2.2.3 - Creative Producer/strategist – Friso Schoone Friso Schoone is a video producer in advertising and the founder of Five seconds. He has worked at many advertising agencies, worked for many brands and is also a producer of music for branded video. According to Schoone, the world of advertising is changing rapidly and so are the minds of many 89
brands and marketers’. Short-term solutions will heal the wounds, but Schoone says they need to think bigger, wider and longer. He thinks that short content can cause that media concepts can be shorter, more on edge and more direct. Schoone is saying that short video content is more easy, more affordable, easily to produce with less time and money. He thinks that consumers and audiences think long commercials are annoying and taking their valuable time. In researches, Vine, GIFS and other short video content channels are more effective than longer video content, because these were used as causes, as a trigger to convert people to like their brand, video content, product or anything. He thinks five seconds advertising is working, because of the ‘one-message-content’. Brands are building campaigns and on each campaign, they are spreading multiple message per content. Schoone says that each kind of content need to have one message. And that the campaign will pack all these messages in order to convince consumers. According to Schoone, popular video content is all about ‘sky is the limit’. Create video content in all possible ways and always stick it to insights and elements that are relevant for your audience, for the period and the fit of your brand. Besides, humour is still the most popular way to gain awareness, virality and results. Although, people who are Youtube fanatics aren’t television watchers and vice versa. Schoone says that most branded and unbranded content is based on emotions and especially short content, jokes, practicality, authenticity and style. He says that the success of Oreo lays in always differentiate and surprise, but with the tone and background of that one product: the cookie. No complicated ideas, just simple, short content that is entertaining and describing the product values and characteristics. Similarities with work Five seconds have made is that you don’t need to send it, you need to give it, share it and ask for more. People want to feel emotion and dedication and they want to see that in the content. At the other hand, he is talking about the relationship between UGC and branded content. He says that the production value of video content by brands or users doesn’t need to be high, but it needs to be real. Credibility and reality is what makes people emotional connected. Video content need to have the value like if it is made by people on the street, where branded video content mostly looks like ‘too’ real, too professional. Now is the trend to make things more on edge, more extreme, but in both ways. In the first place consumers and audiences love sharing, caring, love, emotion, cuteness and peculiarity, because that is what they are looking for, what they want and especially what they are hoping to happen in their lives. At the other hand, UGC is also creating more negative emotions, like hate, violence and murders. The last important element Schoone mentioned is creating content on actuality, because it causes relevance and direct bonding. Users and brands can easily adapt happenings, news, trends and events by making short content for the audience. He says actuality will make the content fast and easy to perceive and easily to relate brands. People will easily perceive brands who are using actuality, as positive and promising. 90
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Appendix 2.3: Transcript Interviews Appendix 2.3.1 - Interview Ivar Vermeulen Ivar Vermeulen Persoonlijk 1. Wie bent u en wat doet u precies voor werk? En doet u daar nog dingen naast? Ivar Vermeulen, sociale wetenschappen- communicatiewetenschappen. Directeur netwerk dispuut van de faculteit computerwetenschappen van de Vrije Universiteit van Amsterdam. Muzikant en een voorliefde voor psychologie en het menselijke gedrag Onderzoek voor bedrijven- scriptie onderzoeken, zoals onderzoek naar het werken van muziek in reclame en hoe daarbij het product wordt gepositioneerd. 2. Wat is uw field of expertise en kunt u uitleggen wat u hierin precies doet? Persuasieve communicatie, waardoor ik niet zo zeer aandacht op de aandacht van video content zit, maar meer over de overtuiging onderzoek doen. 3. Waarom bent u ooit begonnen in dit veld en wat voor onderzoek doet u daar nu in? Ooit begonnen als student Psychologie in Amsterdam en voor verschillende reclamebureaus onderzoek gedaan, waardoor ik een optie kreeg om professor te worden. Inhoudelijk – Video Content 4. Wat is u visie op het gebruik van video content binnen marketingcommunicatie? Ik denk dan aan viraal, video’s die ik vaak doorgestuurd krijgen, ik vind ze leuk, maar heb eigenlijk geen intentie om het door te sturen. Ik denk dat het te maken heeft met een bepaald trucje. Ik denk aan elementen die belangrijk zijn, dan denk ik aan – partitioneren- verhaaltjes zijn tegenwoordig saai en niet genoeg daadkracht in alleen als de link naar een website belangrijk is. Daarbij helpt korte content, wel omdat dat aandacht trekt. Content moet aandacht trekkend, iets met seks/ruzie. Verschillen tussen de filmpjes die niet viraal gaan en filmpjes die wel viraal gaan Netwerken – door een bepaalde call to action – associëren – goed van slecht te onderscheiden. Je hangt je eigen identiteit. Het is altijd iets wat zielig is, of juist een goed doel heeft. Een authentiek, echt, echt gebeuren, bijzondere dingen. 5. Uit onderzoek blijkt meer dan de helft van alle Brands en bedrijven al gebruikt maakt van video in content marketing (Axonn, 2013). Welke beginselen liggen volgens u ten grondslag om video content te maken en waar zouden marketeers in de FMCG sector rekening mee moeten houden? Waarom, is makkelijk, omdat video content tegenwoordig social media netwerk gebaseerd zijn, e zogenaamde netwerk effecten. Door het digitale en analoge tijdperk met elkaar te verbinden krijgt de gebruiker van meerdere kanten filmpjes. Door het digitale tijdperk, multipliceren, technologisch mogelijkheden om filmpjes viraal te laten gaan. Waarom? Het tv-effect- zoals bij de Wereld Draait door, waar filmpjes worden getoond die viraal gaan. Het element van mee doen, het element van het onderdeel zijn van een cultuur en erbij willen horen. Zoals vroeger gingen kettingbrieven gingen vaak viral en kwam dan aan het einde vaak de bedreiging tot stand. Wat doet het dan? Authentiek, gebeurd niet, maar is wel echt. Of heel erg mooi. High production value! Extremiteit. Sensatie. Iets dat ver boven jezelf uitsteekt.
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6. Als ik het goed begrepen heb, heeft u veel onderzoek gedaan naar online persuasieve communicatie. Heeft u ook onderzoeken naar video content en de viraliteit daarvan? Kunt u een onderzoek beschrijven hierover en wat de meeste bijzondere resultaten hieruit zijn? Nee, helaas heb ik geen onderzoeken naar viraliteit, maar alleen onderzoeken naar hoe viraliteit ervoor heeft gezorgd dat mensen een bepaalde houding aan nemen, maar dat heeft niet per se te maken met viral. 7. In het programma de Wereld Leert Door (2013) bent u te gast geweest bij Diederik Jekel om uw onderzoek toe te lichten over muziek en beïnvloeding. U heeft het hier over het gebruik van muziek in persuasieve context, zoals de ‘money noot’ en ‘kippenvel-moment’ in muziek. Waar zitten volgens u soortgelijke momenten in viral video content, zoals Beauty Sketches (Dove) of The Epic Split (Volvo)? Beschouwd, het moment van de muziek, als gebruik wordt om een sterke gevoel tussen muziek en het merk. Meer over persuasion en meer over aandacht. Natuurlijk, onwijs goede muziek is de reden om het door te sturen. En gaat dan meer om de actie, dan om de muziek. Tijdgeestig gevoelig bent, kan muziek belangrijk zijn. Cultuur is heel erg bedoeld om elites te bevestigen, sociale klasse, laten zien. Reden om door te sturen, impression management. Interactie tussen de twee – de actie- en de inhoud van de video. Het gaat vooral om het persoon, media gevoelig, gevoelig is voor Reward, de rol heeft in de vriendenkring. Of het doel moet zo goed zijn, dat het niet uitmaakt. De waarschuwing, de onzin, wist je dat, sensatie, zijn allemaal voorbeelden van een soort Reward en zelf presentatie naar andere toe. De money noot is echt over attitude, maar een money noot voor viraal video’s zou kunnen zijn dat video’s authenticatie, echtheid en realiteit moet laten zien. Consumenten zijn sceptisch en weten snel of iets echt is of nep, of iets identificeerbaar is of niet. 8. Wat voor soort competenties zag u terug in deze onderzoeken naar video content en de populariteit daarvan? Niet toepasbaar. 9. Veel onderzoek is er gedaan naar online video en de impact die sociale media hierop heeft. Wat zijn volgens u de belangrijkste krachten van sociale media waardoor video content populariteit krijgt, en dan bedoel ik vooral van merken in de FMCG sector? Volgens mij ligt het aan effect en the need van populariteit onder de mensen. Er zijn altijd opinie leiders (zoals in het multi-step flow model), waar het belangrijk is dat andere mensen bepaalde opinie leiders volgen omdat ze achter hun idee staan. Dat werkt ook online zo, waar binnen vriendengroepen en social omgevingen altijd opinie leiders zijn die de juiste content hebben, viraal videootje die grappig zijn. 10. In onderzoeken naar motivaties voor het publiek om content te door te zenden naar mensen in hun (sociale) netwerk (eWOM), zijn implicaties als; onderscheiden van het publiek, affectie, control belangrijke elementen (Ho & Dempsey, 2008). Hoe denkt u hierover? Zijn er volgens nu nog andere implicaties te noemen? En waarom precies deze? Hij zegt dat in eerste instantie mensen sommige acties ondernemen, omdat cultuur is bedoeld om te identificeren met elites en met liefde aan andere mensen te laten zien dat ze goed opgeleid zijn, slim zijn, grappig, of een goeie smaak hebben. Ze participeren om zichzelf beter te laten voelen en soms wel iets beter dan ze eigenlijk zijn. Op social media is dat natuurlijk ook erg makkelijk. Inhoudelijk – User generated content 11. Wat is volgens u User Generated Content? Bent u bekend met het fenomeen?
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Ja, uiteraard. Zelf doe ik onderzoek naar de recommendations economy en hoe user generated content producten kan positioneren. Daar geld wel hetzelfde voor als bij branded content, maar UGC heeft meer kans om viraal gaat. Een echt persoon, is altijd interessanter, altijd meer authentiek, sterker en makkelijker te identificeren. Als voorbeeld zag ik een filmpje over hoe het voor Amerikanen is om Nederland te fietsen? Dit zijn dingen als de bijzonderheidsfactor, karikatuur of persiflage. Filmpjes als ‘Krakaka’ van een Nederlandse rapper wordt zo uitgelicht dat het viraal gaat. 12. User generated content is onderdeel van de participatie culture. Bent u bekend met dit fenomeen en hoe ziet u deze participatie cultuur in verhouding tot video content die zo veel gedeeld wordt? Deze vraag werd helaas niet beantwoord. 13. Hoe ziet u de relatie tussen video content die gemaakt wordt door merken en de populariteit van video’s gemaakt door het publiek (user generated content)? Merken en user generated content zijn heel erg verschillend en de relatie zit hem vooral in dat er altijd achter de een commercieel gevoel zit en achter de ander eigenlijk helemaal geen doel, waardoor het twee verschillende doelen en uitingen heeft. 14. De populariteit van user generated video content ligt op een technische en gedragsvlak, waar social media kanalen zorgen voor de mogelijkheden om video’s makkelijk te delen en de inhoud van video’s zorgen voor de attitude en gedrag mensen hebben, waardoor ze het delen. En wellicht een combinatie van deze twee. Dit is aanname die ik heb genomen naar aanleiding van het lezen van verschillende onderzoeken over UGC-video. -Hoe ziet u de populariteit van user generated video content? Zijn er volgens U nog andere vlakken waar de populariteit van user generated content op steunt? Het is altijd een combinatie van die twee, want door het een gaat het effect van delen door en mensen delen dingen omdat ze een bepaald gedrag er naar hebben. Volgens mij zit ook in de frequentie hoe vaak een bepaald soort filmpje te voor schijn komt, met dezelfde soort in houd, waardoor er altijd wel een viral gaat. UGC video or branded video maakt hierin geen verschil, want na het maken van 100 filmpjes en die op internet zetten gaat er wel een viraal. Dit moeten dan wel filmpjes zijn die een bepaalde inhoud hebben die continue interactie en engagement trekken. 15. In hoeverre hebben trends en onderstromingen die spelen in de online en offline wereld invloed op video content die gegenereerd wordt door het publiek? En hoe wordt dit gebruikt in video content? Heel veel, en dat is ook heel belangrijk. Het magische van bepaalde trends is dat je er niet echt iets aan kunt doen of voorspellen,, het gebeurd en het publiek speelt daar dan op in. Mensen gaan zich dan anders gedragen. Bij de Wereld Draait door filmpjes. Opinie leiders, video leiders. De vraag of het uitmaakt of ze gesponsord zijn of niet is tegenwoordig een trend en een grote vraag, omdat user generated content dan zijn doel een beetje verliest. Het verliest transparantie en duidelijkheid. 16. Hoe ziet u video content in de toekomst? Wat is uw visie daarover op wetenschappelijk gebied en in de praktijk? Wat voor de hand ligt, een logisch aan het voorgaande, mensen willen dat merken eerlijk zijn en hun een dienst leveren. Volgens mij moet er een site komen waar Youtube kanalen, video networking sites op een wereldwijde dropbox aangesloten zijn. Mensen kunnen hier hun eigen content op publiceren en de grotere merken zouden dit kunnen gebruiken. Hiermee hou je waardigheid en geloofwaardigheid, maar wel op een branded manier. De kracht van co- creation, waar je een soort wedstrijd creëert. Hiermee loop je wel de kans dat je rare ervaringen, video’s en informatie krijgt.
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Ik kan er nog niet helemaal de vinger opleggen, omdat de cultuur nu helemaal van slag is en andere mensen duidelijk weten wat ze wel en niet willen. Verandering in gedrag en van soorten mensen gaat zo snel, dat het moeilijk is te bepalen wat mensen willen zien.
Appendix 2.3.2 - Interview Paul Falla Persoonlijk 1. Wie zijn jullie en wat doet jullie bedrijf precies? Hoe zouden jullie je bedrijf omschrijven? Paul Falla, reclame voor 27 jaar. London Saatchi, Lowe. 20 jaar in Nederland. FHV. TBWA. Door deze ervaring, veel reclame, posters, print, radio, je kent consument meer en meer. Heel veel mensen zijn in denial, ze willen niet toegeven. Mobiel, films, video’s, streaming, series. Interessant artikel, 100 jaar geleden waren gemaakt voor de massa, nu is alles gemaakt voor het ene persoon, je kan precies weten wat iemand wil. En dat vind ik ook zo interessant, wat mensen nu wil en niet interesseert en waarom ze bepaalde keuzes maken. Ik ben zelf een echt creatieve persoon en mijn collega ligt meer in de productie en strategie. Het doel en de missie van het bedrijf, om zo kort mogelijk video’s te maken, nooit langer dan 5 seconden. Uit eigen ervaring, doordat Youtube, het snelle leven van mensen, digital schermen buiten, fast, fast, faster, je vaak maar 3 of 4 seconden hebt om een indruk te maken. 2. Wie zijn jullie Klanten? Op dit moment geen klanten. 3. Waarom hebben jullie ooit gekozen om short video content te gaan produceren? Het is allemaal heel makkelijk te produceren, omdat de budgetten lager zijn, de kosten hoger, de tijd korter en de aandacht naar de mensen meer moet zijn. Inhoudelijk – Video Content 4. Wat is jullie visie op het maken van video content? De back to the future film komt deze week uit, wat al aangeeft wat er allemaal veranderd had moeten zijn en nog niet veranderd is. Daarom hebben wij 5 seconden, omdat wij denken dat video content maar 5 second nodig heeft om genoeg te zeggen en waar de televisie commercial dat al lang niet meer doet en kan doen. Het is niet meer realistisch en eerder een irritatie dan goede verkoop. Het is niet acceptabel, dat kan niet meer, je moet mensen entertainen, je moet echt iets doen voor de consument. Het is een feit. Video content moet zorgen voor ontspanning, entertainment of informatie. 5. Uit onderzoek blijkt dat short video content steeds aantrekkelijker gaat worden binnen marketing- en communicatiestrategieën van merken (Cisco, 2015). Wat is jullie aanpak om deze short video content te maken? Heel traditioneel, eerste fase is PR, persbericht geschreven, heel veel te vertellen over onze aanpak van video content. In Europa hebben we 2 artikelen geschreven over onderzoek naar video content. Vervolgens gaan we bij marketingbazen van klanten, test films maken en vooral niet teveel geld uitgeven. Voor Coca-Cola, Nike, Shell hebben we allerlei video’s gemaakt, van klein tot groot, tot lang en kort. Maar altijd ging het om de inhoud, omdat de klant er altijd iets meer in wilde dan kon. Nu willen we vooral video content maken voor merken, waardoor het wel multi inzetbaar, voor alle soorten media. Voor Philips maakten we ooit al 5 films in de vorm van korte content, met duidelijk, zakelijk informatie in klein ‘porties’. Bij het publiek gaan we vooral zoeken op wat ze lezen, horen kijken en doen wat ze willen en daar hapklare content van maken. 6. Wat voor technieken en elementen gebruiken jullie bij het creëren van short video content? 95
Een van mijn voordelen, elke keer iets nieuw doen. Specialistisch zijn is echt mijn ding. Zorg ervoor dat je als user of als merk ergens bijzonder in bent. Bijvoorbeeld heb je een Nederlandse ontwerper, en die doet altijd alles met wit, waardoor hij hierom bekend staat. Het gebruik van unieke elementen, unieke stijl en maken van unieke content is een van de sterkste punten. Het Arsenaal is een merk waarvoor ik gewerkt heb, wil de ene keer graag een animatie, dan weer film, maar speelt altijd in op de emotie. Coca Cola doet dit ook heel goed, door korte video’s te gebruiken voor korte informatie. Shell is niet zoveel over emoties, meer informatie. De invloed van techniek? Heel groot, de nieuwste, de bijzonderste, de gekste apparaten, gadgets, waardoor alle content die je maakt op elk apparaat belangrijk is en ook moet passen binnen het gebruik van het apparaat. Dat zorgt voor verassing en bijzonderheid. 7. Wat is het belang van sociale media marketing voor jullie werk van klanten? Social media is cruciaal, maar ik vind het ook een gevaarlijk middel. Mensen vinden het heel irritant, ook al wil de klant het wil. Mensen willen je content niet, dan moet je het niet gelijk doen, het kan ook namelijk de liefde voor je merk wegdrukken. Tegenwoordig hebben mensen hebben minder te vertellen, en door een overvloed aan informatie is het niet meer relevant. Ik zie wel een moment, dat mensen content helemaal niet meer relevant vinden en merken wegdrukken van social media. 8. Jullie werken ook voor merken in de FMCG sector. Voor wat voor merken werken jullie en zijn daar bepaalde competenties die vaker terugkomen in verschillende werken? Een campagne voor MARS, een facebook campagne. We hebben geprobeerd leuke ideeën te maken, maar ik help deze merken niet echt, omdat ze niet precies weten wat ze willen. Zij proberen grapjes te maken, humor, maar er moet wel altijd een Mars boodschap bij. Het is een heel tricky spel, tussen branded content en de inhoud die je graag wil communiceren. Campagne Silvie Meis, voor Gillette. Waarom is dit goed? Ik denk dat we het niet te gebranded gemaakt. Het is belangrijk niet teveel over jezelf te praten, maar meer over de inhoud van je video, want dat maakt content aantrekkelijk. Het voelt te als reclame, teveel sales als je wel over jezelf blijft praten als merk. 9. Als je kijkt naar verschillende emoties van een doelgroep van een bepaald merk, en dan doel ik op merken als Oreo of Coca Cola, op welke emoties spelen jullie vaak in? Zoals, humor, verrassing, spanning, geluk, liefde, wonderbaarlijk, teleurstelling, boosheid? Zijn hier emoties die jullie vaker gebruiken? OREO is een goed voorbeeld. Ik vind het hier vooral heel krachtig dat het een message gebruik, met een doel. Daarnaast waren zij de eerste, anders dan de rest, ze hebben een bepaalde positie ingenomen en daardoor ook vaak viral video’s gemaakt. Altijd maken ze gebruik van een commerciële boodschap, maar toch is leuk en vermakelijk. Ze gebruiken niet zo veel emoties, maar ze spelen het slim met Visuals, grapjes, bijzonder beeld, product centric, maar toch verassend. En ik kom er weer bij terug, ze liepen toen al 3 jaar voor. Beste voorbeeld van emoties in viral video content zijn films van Adidas rugby, de film van Audi over snelheid, waar ze iets materialistisch koppelen aan emoties. Goede campagnes, met snelle, directe emotie naar het publiek toe met korte time frames. 10. Zijn er bepaalde terugkomende elementen die jullie altijd gebruik in het produceren van video content? Ja, alles dat een mooie vrouw bevat en alles wat zo min mogelijk mannen heeft in video content. Het grootste succes is nog steeds wel aantrekkelijk, vrouwelijk schoon, seks, agressie, extremiteiten. En natuurlijk zijn CATS erg populair. Ik denk dat dit vooral komt doordat mensen veel van deze beesten thuis hebben, het vaak belangrijker pionnen in hun leven zijn, het ligt in een bepaalde interesse sfeer, het hoort bij een levensstijl, het is iets wat je vaak ziet en je voelt een soort empathie met je eigen kat 96
en katten in video's. Elementen zoals empathie en het geven van eigendom aan het publiek creëert herkenning, wat weer zal leiden sympathie voor de video en vreugde. 11. Zouden jullie een strategie van een van jullie FMCG cases kunnen beschrijven en daarin uitleggen waarom jullie bepaalde keuzes hebben gemaakt om dit ‘soort’ video content te produceren? Helaas hebben we nog geen klanten, dus zou ik die nu niet voor je kunnen doen.
Inhoudelijk – User Generated Content 12. User generated video content is mateloos populair, door onder andere mediakanalen als Youtube, Buzzfeed, Dumpert, Dailymotion en natuurlijk Facebook (video). Dit zijn ook korte filmpjes, zoals jullie die produceren. Wat voor overeenkomsten zien jullie hierin? En wat is jullie visie waarom deze filmpjes zo krachtig zijn? Ja, die overeenkomsten. Vaak wordt user generated content als saai gezien, en alleen toepasbaar voor een kleine groep. Hetzelfde eigenlijk ook met branded video content, omdat branded video User generated content komt veel eerder van het publiek, dan dat het komt van commerciële bedrijven.
13. User generated content is onderdeel van de participatie culture. Bent u bekend met dit fenomeen en hoe ziet u deze participatie cultuur in verhouding tot video content die zo veel gedeeld wordt? Zelfde gedacht de laatste 5 jaar, uploaden van filmpjes. Het grote verschil tussen participatie een hele klein groep dat het maakt, en een hele grote groep die het kijkt. Ik heb het gevoel de participatie wordt minder wordt, omdat mensen minder willen deelnemen. Dit is interessant, omdat het dan de vraag is of mensen minder willen deelnemen met het maken van user generated content vanwege de inhoud of van wege het overvloed aan. Daarnaast willen mensen minder meedoen, behalve als bepaalde content zo sterk is, dat het het waard is om er actie toe te nemen. 14. Hoe ziet u de relatie tussen video content die gemaakt wordt door merken en de populariteit van video's gemaakt door het publiek (user generated content)? Het maken en kopiëren van goedkope crap, want dat is vaak wat er met UGC gebeurd. Tegenwoordig is veel content, zowel user as branded content gekopieerd, nagemaakt of adaptief. Wij willen goeie producten maken voor China, dat mensen willen hebben in Europa en Amerika, ze zoeken echt naar dingen die niet Chinees zijn, goede kwaliteit hebben, mooie, netjes, nieuw zijn. 15. Hoe gebruiken jullie bepaalde trends en competenties van user generated video content voor het produceren van werk voor jullie klanten? Ja natuurlijk, een trend, of iets geweldig vinden, dan laat je altijd bezig zijn geïnteresseerd zijn. Heel bijzonder in reclameland, dat wij de eerste zijn. Trend is nu altijd films te maken die meer spanning, sensatie, en gekker zijn dan jezelf eigenlijk bent, ook voor je vrienden. Het gevaar is dat mensen verder en verder gaan en ik zou me niet verbazen om ‘likes’ te krijgen voor moord dat wordt gefilmd. Hierdoor krijg je black mirror over social media, wat weer flink veel invloed heeft op hoe content gemaakt mag en kan worden.
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Appendix 2.3.1 - Interview Friso Schoone Persoonlijk 1. Wie zijn jullie en wat doet jullie bedrijf precies? Hoe zouden jullie je bedrijf omschrijven? Mijn naam is Friso Schoone en sinds kort zijn wij Fivesconds begonnen, waar we korte video content gaan maken die ervoor zorgt dat media concepten korter, maar groter, breder en wijder kunnen uitzetten. Korte content werd ook gezien als korte termijn, omdat het snel en makkelijk gemaakt kon worden. Met deze aanpak gaan we online media- campagnes toepasbaar maken voor social media. Ik ben ooit begonnen met korte content, omdat ik zag dat de lange, onduidelijk en zware video’s niet meer werkten. Ik heb gewerkt bij FHV, waar ik groot corporate werkt maakten voor netwerk klanten en Nederlandse klanten. Maar de budgetten werden hier minder, waardoor er behoefte was aan een snelle content, korte lijnen, snel, niet zo heel erg duur en met minder mensen. 2. Wie zijn jullie Klanten? Op dit moment geen klanten. Korte video content gemaakt voor Brenda, Monsterboard (Monster), vooral bij FHV. 3. Waarom hebben jullie ooit gekozen om short video content te gaan produceren? Deze content is heel makkelijk te produceren, omdat het voor lage budgetten kan en minder tijd kost. Mijn belangrijkste argumenten zijn dat wij het idee hebben dat mensen, lange reclame vervelend vinden. Zoals het bij ons is dat wij reclame juist verheerlijken, vinden mensen reclame juist een obstakel, iets vervelends. Nieuwe reclame is ten dode opgeschreven, omdat het niet meer aan de behoeft van de hedendaagse mensen en cultuur voldoet. Uit onderzoeken blijkt als dat video’s als VINE- 6 seconds, instituten als de 5 seconds film school, content krachtiger wordt.
Inhoudelijk – Video Content 4. Wat is jullie visie op het maken van video content? De boodschappen zijn het belangrijkste, en vooral dat je in die korte tijd van 5 seconden, niet teveel boodschappen moet stoppen. Gebruik een boodschap per film en zorg dat de totale boodschap in je hele campagne duidelijk wordt. Dit is ontstaan uit het feit dat vroeger per 5 seconden ingekocht mediatijd werd ingekocht. 5. Uit onderzoek blijkt dat short video content steeds aantrekkelijker gaat worden binnen marketing- en communicatiestrategieën van merken (Cisco, 2015). Wat is jullie aanpak om deze short video content te maken? Vaak gaan wij te werk met het maken van video als onderdeel van een bestaande campagneparameters van de campagne- in beeld en in woord, hierdoor gebruiken we vaak de vrijheid in het idee. Dit kan dan zijn in een banner, GIF, iets voor op een site, dat is eigenlijk wel vrij te interpreteren. Het is vooral belangrijk dat je weet wat de communicatie behoefte is en aan welk haakje het weer kan aansluiten. 6. Wat voor technieken en elementen gebruiken jullie bij het creëren van short video content? Wij hebben eigenlijk geen belemmeringen, alles kan en alles mag. Als het mogelijk is in 5 seconde (of ietsje meer) een volledige 3d wereld te maken is dat ook goed. Vooral gaat het 98
erom dat je een boodschap overbrengt, die onderdeel is van de grote, campagne matige boodschap. Daarnaast wordt voornamelijk humor gebruikt, dat blijft en is mateloos populair, omdat het zorgt ontspanning en even weg van de wereld. Ook zijn ook de dingen die televisie programma’s aan ons vertellen vaak ook gerelateerd aan dat gene dat op internet gebeurd, waardoor dat weer viral gaat. En is het te bepalen aan wie je bepaalde content deelt op telvisie of internet, omdat mensen die TV kijken niet de kijkers zijn van Youtube filmpjes en andersom. 7. Wat is het belang van sociale media marketing voor jullie werk van klanten? Het belangrijkste element en dan vooral de jongste generatie is het heel geschikt. Makkelijke toepassingen, vaak makkelijk te bereiken en de kosten zijn relatief laag. Een voorbeeld is de hoge interactie van NBA video’s – korte filmpjes, waar ze je uitdagen de hele wedstrijd te kijken door middel van voorbeschouwingen en vaak interessante gemaakt door spanning op te bouwen. 8. Jullie werken ook voor merken in de FMCG sector. Voor wat voor merken werken jullie en zijn daar bepaalde competenties die vaker terugkomen in verschillende werken? Twee campagnes met korte contents zijn eigenlijk deze: Idee afhankelijk. Monster billboard – Doe je ogen open- want de beste banen liggen voor je open. Brenda – vorm in 5 seconden – wat zij wil is aandacht voor haar werk. 9. Als je kijkt naar verschillende emoties van een doelgroep van een bepaald merk, en dan doel ik op merken als Oreo of Coca Cola, op welke emoties spelen jullie vaak in? Zoals, humor, verrassing, spanning, geluk, liefde, wonderbaarlijk, teleurstelling, boosheid? Zijn hier emoties die jullie vaker gebruiken? Ja, Oreo heeft veel campagnes waar ze putten uit korte content en wat dus ook heel succesvol zal zijn, is gebleken. Het is vooral de combinatie van grappig, het ontstaan van een koekje, het laten zien van authenticiteit. Dit gebeurd bijvoorbeeld ook bij Nescafé, waar ze authenticiteit gebruik voor bedrijfsfilmpjes, om zo hun werknemers te binden. Nescafé is natuurlijk ook heel stijlvol. Oreo heeft bewezen, hetzelfde te zeggen met de kracht iedere keer een nieuwe verassend filmpje, die ook nog leuk is, het verschil maakt ten opzichte van andere merken, diversiteit creëert en zij vinden ook de juiste cohesie. 10. Zijn er bepaalde terugkomende elementen die jullie altijd gebruik in het produceren van video content? Nee, eigenlijk is dat heel erg afhankelijk van welk merk je hebt en welk behoeftes die consumenten van dat merk hebben. Wij zorgen in ieder geval dat het altijd uniek, nieuwe en anders is dan normaal. 11. Zouden jullie een strategie van een van jullie FMCG cases kunnen beschrijven en daarin uitleggen waarom jullie bepaalde keuzes hebben gemaakt om dit ‘soort’ video content te produceren? Voor Douwe Egberts maakten we ooit korte introductie filmpjes, maar dit zijn niet viral video’s geworden en die waren daarvoor ook niet zo gemaakt. Ook heb ik gewerkt aan de 15 seconden – M&M’s commercial, die met ‘you get in the bowl’. Die is vooral viral gegaan door humor. Korte filmpjes, met toch een duidelijk verhaal in de totale campagne. Een eigen rolletje van een product en weer met eigen een verhaaltje, wat door veel mensen weer wordt gezien als herkenbaarheid, het gevoel van op de bank M&M’s eten en ook een beetje dat eigenwijzen. Inhoudelijk – User Generated Content 12. User generated video content is mateloos populair, door onder andere mediakanalen als Youtube, Buzzfeed, Dumpert, Dailymotion en natuurlijk Facebook (video). Dit zijn ook
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korte filmpjes, zoals jullie die produceren. Wat voor overeenkomsten zien jullie hierin? En wat is jullie visie waarom deze filmpjes zo krachtig zijn? Het is social content die altijd voorbij komt, vaak is het niet leuk, maar je kijkt er wel naar, je bedenkt je dan, waarom is dit zo leuk, waarom vinden andere mensen in mijn sociale omgeving dit leuk? Het is een soort ijkpunt. Tegenwoordig is het minder belangrijk dat mensen het zien, maar belangrijker dat mensen het delen. Je kan niet meer alleen maar zenden, het is nu ook belangrijk wat je gaat delen, het vaststellen, de bevestiging dat mensen het met een actie ook echt waarderen.. Mensen krijgen nu een andere emotionele band met een video. Ik kom dan weert terug bij de korte boodschap, die wordt gedeeld en vervolgens wordt het product of de service afgenomen. 13. User generated content is onderdeel van de participatie culture. Bent u bekend met dit fenomeen en hoe ziet u deze participatie cultuur in verhouding tot video content die zo veel gedeeld wordt? Nee, ik ben hier niet bekend mee, maar ik denk wel dat participatie cultuur belangrijk is voor de mensen en merken. Merken moeten weten waarom mensen willen deelnemen aan events, comments willen geven of iets willen doen met content. 14. Hoe ziet u de relatie tussen video content die gemaakt wordt door merken en de populariteit van video’s gemaakt door het publiek (user generated content)? De enige relatie die ik zie is dat content tegenwoordig niet zulke hoge productie value hoeft te hebben. User generate content heeft dit heel sterk. Daarnaast is het belangrijker dat het geloofwaardig is, betrouwbaar en echt. De credibility van merken ligt onder de loep en als de content niet op de juiste manier landt bij mensen ben je als merk gezien. Bijvoorbeeld een dolletje met elkaar op straat is bij UGC-video leuk, aantrekkelijk en echt. Als Brands dit soort dingen gaan maken ziet het er enorm gelikt uit, ongeloofwaardig. Daarom zijn onderdelen als authenciteit, realiteit en actualiteit erg belangrijk, omdat het content identificeerbaar maakt voor mensen en mensen voelen dat ze niet voor de gek worden gehouden. 15. Hoe gebruiken jullie bepaalde trends en competenties van user generated video content voor het produceren van werk voor jullie klanten? Naar mijn mening zijn de Dumpert video trends teveel gefocust op afzeiken, het goedkope effect van leed vermaakt en hufterigheid. Een trend is meer een interpretatie in de tijd van de waarden waardoor je dat maar even kan gebruiken. Het is even hip, leuk en nieuw en na een tijdje is het niet meer interessant en komt er iets nieuws. Dus zorg dat je dan actueel aanwezig bent en gebruik de trend van UGC-video om als merk aan te haken. Daarnaast zie ik nu vooral dat dingen als schattigheid, sharing, lief, bijzonder goed werken, omdat we in een vreedzame wereld leven en dan zien mensen liever dingen die gelukkig voelen, er gelukkig uit zien. Toekomst van video content 16. Hoe zien jullie video content in de toekomst? Wat is jullie visie daarover? Algemeenheid: totale aantal video content neemt toe. Communicatie zal steeds meer toenemen in beeld. Kort beeld, illustratief, snel handig en makkelijk te maken. Bewegend beeld zal groter worden– omdat technieken makkelijker zijn en de toegankelijkheid groter. Meer verschillende mensen kunnen meer maken. Voor bedrijven/merken: ik denk bedrijven in ze algemeenheid – een andere manier van communiceren moeten vinden. De manier waarop mensen met elkaar communiceren – moet de manier van communicatie van het merk .Bijvoorbeeld zoals Heineken het #twelftal heeft gemaakt, actueel, nieuwe, verassend, een duidelijk haakje en humor.
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Appendix 2.4: Coding interview Personal Information Video Content Vision Sharing Effect Participation Culture Competences of UGC Raw Data
Axial Code
INTERVIEW TRANSCRIPT
Information/details about the interview
October 2015
Axial Memo Code Detailed information about the interview
Head tutor of Communication Science, Information Science Network Insitute Board at the VU Amsterdam Creative Director and owner of FIVESECONDS Communications Personal Information Interviewees are being described by Video producer/strategist and owner of FIVESECONDS Communications & Charateristics their occupation and background Persuasive Communication and the specialized in how elements in advertisement can be compelling to position products. Expert in creative output on behavioural and decision-making communication Creator, producer and expert on the use of sound and short and long video content. 'video content virality is caused by the network of online channels and sharing different kind of content because you want to associate with certain group, knowledge, identity and expertise in your surroundings' 'Vine, GIFS and other short video content channels are more effective than longer video Questions asked based on research content, because these were used as causes, as a trigger to convert people to like their Video Content Vision and reactions brand, video content, product or anything' 'that ‘YOU ONLY NEED FIVE SECONDS TO MAKE AN IMPRESSION’, you need short amount of time in order to influence someone’s decision or impress someone to take an new action (like sharing content). ‘People are taking an action on certain video content in order to look cool, sophisticated and knowledged’. 'Certain video content can go viral because of a clear and environmental (people, nature) goals, so people are willing to share it for a greater cause.' 'The idea of the network effects is related to the concept of video content on social network channels; people and brands want other people to spread content, in order to create awareness or other purposes, depending on what the objectives are.' ' User generated content has more chance to go viral than branded content, because a real person, real actions have more authenticity, more relevance and more belief than branded content.' 'Social media marketing is the main cause that video content has been shared so much, because with social channels, blogs and public websites, everybody can continuously and unlimited share content with others. Although, people who are Youtube fanatics aren’t television watchers and vice versa.' the public cannot share the content with others, they can only see it and share it with others by face to face. This means that the network effect is influenced by the channel, online channels that can cause larger effects and impact on people. This effect is caused by one thing that is extraordinairy, new, unexpected, suprising and unique, which causes that more people are bonding with the content and spreading the information.’ 'This is interesting, because the popularity of video is in the first place about the content and in the second place which audience and the size of it that will determine the popularity.'
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Sharing Effect
Answers based on experience, research and/or knowledge
'The substance of content when the videos are authentic, a little bit odd, but above all, content has to be real. The scepticism of consumers has caused that they want real content, that is authentic and that is most of all identifiable with the audience.' 'The difference between content that has authenticity with almost unbelievable, ‘funniest home videos’ content and high production valued video content, produced by brands and companies' 'They always start by creating something new and extraordinary, because this will cause the effect of surprise. ' 'The target is to create something unique, unique colors, unique elements, unique variables and unique propositions.' 'It’s important to use emotions, like humour with straight to the point message, which will need to be a game between branded content and the humoristic, direct message. 'Another essential element is that not talk too much about the brand, but talk about what people can do with the brand. That makes the consumer relevant and it makes the brand relevant for the consumer. 'The use of unique imaging, imaging that hasn’t been used before, product centric, but still surprising'. Elements / 'Schoone says that most branded and unbranded content is based on emotions and Techniques Populair especially short content, jokes, practicality, authenticity and style.' Video Content 'In the first place consumers and audiences love sharing, caring, love, emotion, cuteness and peculiarity, because that is what they are looking for, what they want and especially what they are hoping to happen in their lives.' 'People need impression management to other people, where they are waiting for rewards and dedication towards the individual. Besides, you have the warning, letting people know that something is fake, unreal or unknown, so people know whether something is help and support or humour and fun. 'More branded content on emotions are from Adidas Rugby, Audi, because they are using emotion with the line of speed. Fast, direct used emotions towards the audience in short time frames.' 'the ‘one-message-content’. Brands are building campaigns and on each campaign, they are spreading multiple message per content. Schoone says that each kind of content need to have one message. And that the campaign will pack all these messages in order to convince consumers.' 'At the other hand, UGC is also creating more negative emotions, like hate, violence and murders.' 'that culture is meant to define and identify elites and that people love to show others that they have a good taste or position yourself as broadly orientated, educated and maybe a bit more classified that they are.' 'Another important element he mentioned are opinion leaders in the new era. Television programs like de DWDD, RTL Late Night are important opinion leaders that will provide user generated content that can improve the popularity, because the video will be explained, certain elements featured, which can cause that people will have new reasons that watch certain moments. 'Techniques are important in order to show the audience that you are using innovations and devices that are accessible for the audience, but show that these are new and special.' 'which means that people have the drive to participate in certain cultures, groups, channels and discussion in order to feel valued and accepted.' Quality, beautiful, clean and innovative concepts can break the market on video content, because nowadays they build on copying and adapting.
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Participation Culture
Answers/reactions based on facts and observation
Answers and questions based observations, knowledge and observations
The production value of video content by brands or users doesn’t need to be high, but it needs to be real. 'creating content on actuality, because it causes relevance and direct bonding. Users and brands can easily adapt happenings, news, trends and events by making short content for the audience. ' They are using new trends that people are making (like cats, how-to, new humor, extremism, first moment impressions, GIFS or content with movement) in order to create the most impact. Always be the first combined with the highest quality. Because the one with that combination, is attracting the highest recommendation. ' 'On cats Falla says that popularity can be explained by the empathy that people have with these animals. It lays within your interest, you have it at home and you are seeing them every day.' that elements like empathy and giving ownership to audiences creates recall and recognition, which will lead to humour and joy. ' 'creating content on actuality, because it causes relevance and direct bonding. Users and Competences of UGC brands can easily adapt happenings, news, trends and events by making short content for the audience.' 'actuality will make the content fast and easy to perceive and easily to relate brands. People will easily perceive brands who are using actuality, as positive and promising. ' 'Although, the factor of speciality and originality is step two in this process, because ‘normal’ things aren’t causing impact or impressions for audiences.' 'element we have discussed about original video content that has been imitated, a takeoff or derision. This causes views and actions on video content, because it’s showing how UGC that has already went viral, can be funnier or be more extraordinary. ' 'opinion leaders that will provide user generated content that can improve the popularity, because the video will be explained, certain elements featured, which can cause that people will have new reasons that watch certain moments. ' 'Credibility and reality is what makes people emotional connected. Video content need to have the value like if it is made by people on the street, where branded video content mostly looks like ‘too’ real, too professional. '
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Answers based on earlier experience, research or knowledge
