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Moxy hotels. Google Docs - create and edit documents online, for free. TH videographers. TH UMG. Technology Sector - Yahoo! Finance Industry browser. Industry Center | Industry Index | Leaders & Laggards Copyright © 2016 Yahoo! Inc. All rights reserved. Privacy Policy - Terms of Service Industry information © 2016 Hemscott Americas All Rights Reserved. Company information © 2016 Capital IQ All Rights Reserved. Valuation | The Venture Alley. Untitled. How does an early-stage investor value a startup? By Carlos Eduardo Espinal (@cee) One of the most frequently asked questions at any startup event or investor panel, is “how do investors value a startup?”. The unfortunate answer to the question is: it depends. Startup valuation, as frustrating as this may be for anyone looking for a definitive answer, is, in fact, a relative science, and not an exact one. For those of you that want to cut to the summary of this post (which is somewhat self-evident when you read it) here it is: The biggest determinant of your startup’s value are the market forces of the industry & sector in which it plays, which include the balance (or imbalance) between demand and supply of money, the recency and size of recent exits, the willingness for an investor to pay a premium to get into a deal, and the level of desperation of the entrepreneur looking for money.

As any newly minted MBA will tell you, there are many valuation tools & methods out there. Apple Music FAQ: The ins and outs of Apple's new streaming music service. Apple singlehandedly turned the digital music marketplace on its head when it launched the iTunes Store in 2003, and now it’s going after the current hottest trend: Streaming media. Apple introduced this new service, Apple Music, during its annual Worldwide Developer’s Conference earlier this year, bringing out the company’s big guns (record exec and Beats cofounder Jimmy Iovine, Apple’s senior vice president of Internet Software Eddy Cue, and hip hop star Drake) to show the world how Apple Music plans to compete with the likes of Spotify, Rdio, and Tidal.

So, will this replace iTunes? Can you listen to music offline? What about existing Beats subscriptions? We’ve got the answers to those questions and more in this guide to everything Apple Music. If you have any additional questions, let us know in the comments below and we’ll see what we can dig up. Still antsy for more? Getting started What the heck is this thing? Isn’t that the same as iTunes? Apple Music is all about streaming. Apple. Apple Music FAQ: The ins and outs of Apple's new streaming music service. Apple Music FAQ: The ins and outs of Apple's new streaming music service. Welcome Back. Welcome Back. Collaborative Fund. Create a Video On Demand Strategy For Your Film. There are more distribution platforms than ever before, and audiences are no longer set on the idea that films must be watched in a theatrical environment. This is especially true of the more recent generations of filmgoers, many of which actually prefer to watch films digitally in the comfort of their homes.

As an indie filmmaker/producer, how you choose to release your film will depend on two factors – your means and your audience. However, with the rising success of Video on Demand (VOD) releases in recent years, it’s important to understand just how and why this platform can catapult your film in ways that a theatrical release may not be able to. 1. Accessibility Image from Shutterstock VOD takes many different forms and almost all of them provide viewers with instant access to films at a low cost, either for rent or to own.

For these reasons, VOD is extremely unique in ways that benefit both the viewers and the filmmaker: it is both accessible and cost-effective for both parties. 2. Contact | Mucker Capital. TopChart - LA Tech Investors. Karlin Ventures. Contact - Redpoint Ventures. Study: Streaming Video Third-Most-Popular Online Activity. 22 Jul, 2015By: Erik Gruenwedel Streaming video is the third-most-popular online activity after social networking and e-commerce — but ahead of listening to music, instant messaging, gaming and making a phone call, according to new global data from research firm GfK. Households with at least one member under the age of 49, and whose children (under age 17) are present, are more likely to stream and view over-the-top video on a connected TV.

More than 54% of connected-TV homes with kids view OTT video, compared with the national average of 40%. Child households are also significantly more likely than those without kids to be using a connected TV (14%), Blu-ray player (8%), gaming console (18%) or streaming media device (23%) to watch OTT video. Among ethnic and racial groups, Hispanics (42%) and whites (40%) are at roughly the national average in their OTT use, while African-Americans (29%) are significantly below. Streaming Video Now Accounts for 28% of All TV Watching – Subscription News from Subscription Insider.

A recent study by Gfk MRI shows that 28% of TV viewing is now done via streaming video, says Broadcasting & Cable. Of that total, 16% watch over-the-top (OTT) TV on a personal computer, laptop or mobile device, 9% view streaming content on an Internet-connect TV, and 3% watch streaming video on a gaming console like Sony PlayStation. The study was conducted as part of Gfk MRI’s “The Future of TV series,” in which the company discovered that people still like to watch TV the old-fashioned way – viewing programs live when they are first broadcast.

In fact, 39% of TV watching still occurs live, the study showed. Another interesting finding is a category that Gfk MRI calls “digital enthusiasts.” This group of viewers accounts for 41% of TV viewing audiences who pay for traditional cable TV plus an average of three streaming TV services like Netflix, Hulu ad Amazon Prime. Insider Take: What can we learn from this? The lesson here is that companies need to be open to change. Streaming video services continue U.S. home invasion. Streaming video services are increasingly becoming a staple in American homes with more than four out of 10 having a subscription, according to a new Nielsen report. Many use multiple services and are watching more content, too, Nielsen says. The report found that 41% of U.S. homes have access to an streaming video on demand subscription service such as Netflix, Hulu Plus or Amazon Prime Video during the last three months of 2014, up from 36% in the same period last year.

And 13% of homes have more than one streaming service. "Homes with subscription streaming services have both a penchant for TV-connected technology and, perhaps more importantly, display the greatest usage of these devices—nearly 50 minutes more than a typical TV home," said Nielsen's Dounia Turrill in The Total Audience Report Q4 2014. Other findings: --Netflix remains the most popular subscription video on demand service, found in 36% of U.S. homes, followed by Amazon Prime Instant Video (13%) and Hulu Plus (6.5%). Seven in 10 US Internet Users Watch OTT Video. This year, 181.0 million people in the US will watch video via an app or website that provides streaming content over the internet and bypasses traditional distribution, according to eMarketer’s first-ever forecast of over-the-top (OTT) video viewership.

The forecast includes viewers of services like Hulu, Netflix and Youtube, and estimates that at this point, the population is already growing slowly. Nearly nine in 10 digital video viewers in the US already watch video content this way. That’s largely because one provider of OTT video services is YouTube, which is already used by virtually all OTT video viewers.

The YouTube audience will reach 170.7 million monthly video viewers this year, eMarketer estimates, or 94.3% of OTT video service users. Other services have lower penetration and much faster growth. Netflix, for example, will grow its US audience by more than 20% this year to 114.3 million, or 63.2% of OTT viewers. Retailers See Benefits from Beacons. Forbes Welcome. Thanks for coming to Forbes. Please turn off your ad blocker in order to continue. To thank you for doing so, we’re happy to present you with an ad-light experience. Hi again. Looks like you’re still using an ad blocker. Please turn it off in order to continue into Forbes' ad-light experience. Thank you for turning off your ad blocker! Thank you for visiting Forbes. We noticed you still have ad blocker enabled. Thank you for turning off your ad blocker. How Would You Use All 27 New Platforms Available For Direct (aka DIY/DIWO) Distribution?

UPDATED 8/31 730A (Now 30 Platforms & Services!) Thanks for the recommendations in the comments and elsewhere! UPDATED 9/1 630A (Now 31 Platforms & Services!) UPDATED 9/1 830A, UPDATED 9/8 8A (32!) , UPDATED 9/15 6A, 9/23UPDATED 5/15/2012 (Now 33 Platforms & Services!) We are awash in wonderful opportunities. Now comes the time to develop some best practices. How about everyone pick a platform (ideally one they used) and write up some recommendations on how to use it well, and we run them as posts on this blog?

So… How do you think we should utilize all of these great tools and platforms? I am having a bit of a hard time coming up with the proper discriptions for the tools and services. 1. 2. 3. 4. 5. 6. 7. 8. 9.Digital Distribution Access Providers: Brainstorm, Distribber (analysis), GoDigital, Gravitas, Inception Digital Services, IndieBlitz ,Might Entertainment, New Video, Premiere Digital, 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. Documentary Filmmakers Tap New Distribution Models To Reach Audiences In The Age Of Netflix. If a viewer this week wanted to watch “This Changes Everything,” a new documentary on climate change, she could visit a theater, watch it from home on Apple iTunes or attend a small screening with a local community group.

The ability to choose all at once marks a significant departure for the documentary film industry, which has traditionally favored a slower progression, from film festivals to the box office and, eventually, to home viewing. As was widely reported Friday, Netflix is threatening to upend the traditional release window for theatrical films. The video-streaming giant premiered its new movie “Beasts of No Nation” in theaters and on-demand at the same time, much to the chagrin of multiplex owners who refused to screen the movie out of protest. But Netflix isn’t alone in experimenting with new ways of getting movies in front of audiences. “We’re trying to experiment,” Lewis said. Documentaries still make up just a tiny slice of overall U.S. movie business. Timing And Tie-Ins. What’s an Aggregator & Why Do You Need One to Get On iTunes & Beyond? Handling the digital release of your film yourself? The possibilities are exciting — and sometimes overwhelming.

How do you get your film on iTunes, Google Play, Hulu, Netflix and other giant platforms where new audiences can see the film? It’s easier than you think, and the bottom line is: get an aggregator. While in the past filmmakers have decried their dependence on the “middle men” of distribution, in this case, an aggregator can be a great ally. With the growing trend of aggregators towards flat fees and small-to-no profit share, the option is becoming more transparent and affordable for independent filmmakers with hybrid distribution strategies in mind. If you’re looking into this option for your next film, here is a very quick crash course on what an aggregator does, and where to find out more. Why do you need an aggregator? Aggregators are experts in delivering content to iTunes. So why do you want your film to be on one of these platforms, again?

It starts with the filmmaker.

BLOCKCHAIN

Stockpot. Luxury Branding Below the Radar. For nearly a decade marketers have been talking about the rise of “inconspicuous consumption”: elite consumers’ growing affinity for discreet rather than traditionally branded luxuries. Giana Eckhardt, a professor of marketing at Royal Holloway, University of London, watched with interest as the trend developed in Europe and the United States.

But it took a 2012 sabbatical in China to convince her that this was a global phenomenon to which she—and every chief marketing officer in the luxury sector—should devote full attention. “China was supposed to be the land of conspicuousness, but all of a sudden people were making fun of overt wealth and even taking the labels off their clothes,” Eckhardt recalls. To find out why, and what companies could do in response, she and two colleagues reviewed the research on the trend and investigated consumer behavior in markets around the world. Of course, all this poses a big problem for companies that have bet the farm on conspicuous branding.

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Banks Ranked by Total Assets. Creativity and art. ISMM. FAB. Brand architecture. Features. NewsCred Partners With Flite to Help Brands Become Publishers. With the brands-as-publishers movement well under way, new partnerships are popping up to help marketers engage audiences and allow publishers to spread their content further across the Web. Today, NewsCred, a content licensing and syndication platform, is joining the ranks of recent content partnerships to pair with the display ad platform Flite to bring real-time news content to brands everywhere. If you've spent time on the Internet browsing for news, there's a decent chance you've run into some content syndicated by NewsCred. Boasting over 750 publishers, the platform has agreements to license content from blue chip publications like The Economist and Forbes as well as Reuters and the AP.

Yet, NewsCred, which started out looking to connect publishers to other publishers, has found significant growth over the past year from brands looking to get into the content game. Now Fortune is Creating Content for Brands. This is the third in a four-part series, “Fixing The Publisher Model,” looking at how publishers are experimenting with new models that can bring in additional revenue. Fortune is the latest top-name publisher to get into the business of creating content for brands. Fortune will create content for brands to run on their own sites. It has brought in a freelancer who writes regularly for Fortune to create the content, but it goes through the Fortune editors before being delivered to advertisers.

The content will not run on Fortune’s site or in its magazine. The content will have nothing to do with the brand in any way, according to Jed Hartman, group publisher of news and business at Time Inc. Fortune is trying to thread the needle with how it deploys editorial resources for the project. The use of Fortune editorial resources will make many in the journalism establishment queasy. Brands are on the hunt for content. “It’s not advertising; it’s not native advertising,” Hartman said. Why GE, Target, And Credit Suisse Are Creating Content.

New agency models

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