jueves, 27 de junio de 2019

Videos lead brand creative growth with 3x increase since 2017

As brands pursue audiences online, they are producing more creative content than ever — particularly around Instagram.

In the past twelve months, Brandfolder‘s Brand Index (check out the full Brand Index Report at the end of this article) tracked an 80% increase in videos and other creative material targeted for the platform.

With the Instagram community being a highly engaged group, brands rely on rich, visual content to connect to them. With the proliferation of new Instagram features, like video, Stories, multi-photo carousels, and IGTV, each subset requires its own content, further inflating the need for more brand creative.

The growth in brand creative isn’t just due to audience demands, however. The shelf life of brand assets has fallen as more brands compete with other content (and each other) for user attention.

In 2016-2017, the average asset shelf life was 395 days. From 2017-2018, it was 280 days, with varying lifespans across file type and industry. That’s a 29% decrease in lifespan. Over the next few years, we predict this number will continue to decrease.

data index final pg 10 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

Which means, as brands are becoming increasingly dynamic and getting serious about personalization, the need for brand creative, more frequently, will continue to skyrocket in order to stay current and relevant.

To bring this to life, think about the last professional sports game you watched. You noticed one team on the field was wearing a throwback jersey with an old school logo. At a different game, they were back to wearing their normal jerseys with the most current logo.

Later in the season, however, the team is wearing pink jerseys for Breast Cancer awareness. This is a prime example of a dynamic brand expressing their creativity while adapting to varying circumstances, events, and audiences. All of this necessitates fluid brand creative.

But what exactly is brand creative? In the broadest sense, it refers to the all-encompassing collection of online and offline creative assets that a business uses to represent its brand. When we refer to brand creative, we refer to assets of all types–like videos, social media posts, product photography, lifestyle imagery, sales materials, logos, fonts, 3d renderings, and much more.

At Brandfolder, we are focused on delivering intelligence about our customer’s brand creative. We house and manage millions of creative assets from companies of all sizes–anyone from small-scale mom-and-pop shops to large-scale Fortune 10 companies.

And within this massive creative data set, our data science team extracts actionable insights through asset scoring algorithms, prediction formulas, collections, classification tools, and uniqueness analysis, to name a few.

Through these analyses mentioned above, our data science team created the Brand Index– a collection of high-level brand creative trends that CMOs, brand managers, agency professionals, and designers should use to guide their strategic campaigns and deliverables. It was built on discoveries from tens of thousands of creative assets stored in our digital asset management platform from more than 6,000 brands between 2016-2019.

Some brands house asset counts as low as 60, while others house as many as 38,000 assets or more. Specific information analyzed within the Brand Index includes amounts of assets, file formats, asset orientation, asset shelf life, event-based interactions with assets, and more. This information was then combined with the customer’s industry and anonymized to remove any identifying and brand-specific information.

In the Brand Index, companies can learn things like why and how brands’ digital footprints are growing exponentially. From 2017-2018, total asset count on a by-brand basis skyrocketed by 81%. And, it’s on track to continue climbing.

data index final pg 3 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

A major factor for this digital asset boom could be the increasing demand for rich and personalized media on multiple channels, putting an even greater emphasis on the need for a robust digital asset management platform.

Additionally, as CMOs and design directors are putting more time and effort into their brand creative, the need for understanding which assets perform better, when and where, will continue to rise. Brands are already taking advantage of optimizing their creative content based on rich insights.

Thus, by integrating testing data with a platform that provides asset-specific performance insights, brands will have the competitive edge they need to continue retaining and building equity in the minds of their consumers.

Our findings also show that companies should take note of the shift in file type and how brand creative needs to become increasingly dynamic in order to keep delighting their customers. Rich media files used for engaging and dynamic advertising are on the rise–with video being a key player.

Videos have become the go-to file format supporting a variety of marketing and business goals like sales, retention, upsell opportunities, customer experience, education, thought leadership, and more. JPGs still tend to be a brand favorite, however, gone are the days that these JPGs only live in one place. Asset versatility and responsiveness are critical for the increase of digital channels. Which leads me to my next point: brand identity.

Most brands now have at least four logo orientation and color variations that contribute to consistency and cohesion across their growing portfolio of channels. The brands that are succeeding in the marketplace have animated logos and other engaging asset types that they can switch out on any channel with the snap of a finger.

And as mentioned earlier, if the average shelf life of an asset differs by file type with a current average being 280 days or less, which file formats should brands continue to invest in order to maximize their ROI?

But, what does asset shelf life really mean? Asset shelf life is defined as the number of days between when an asset was created and its latest event date (the last time it was accessed, viewed, downloaded, distributed, etc.). An asset is just like a living, breathing creature. It moves from creation through purpose and finally reaches retirement or its, sometimes timely, archival.

Not all assets are created equal, however. With the creation of AI & ML technologies, brands are getting smarter about their content’s performance. High-performing brands are quicker to remove underperforming content from their arsenal and generate new brand creative to keep things fresh.

And with video on the rise, that also takes a big chunk of change out of marketing and creative budgets. Thankfully, but not ironically, we’re seeing that the asset types that take a larger investment also have longer shelf lives.

Companies should invest in a management solution for more expensive assets to ensure they are generating the maximum reach and profitability throughout their lives.

As brands look to scale their identities and creative asset production, as well as their distribution and delivery strategies, companies should take advantage of the Brandfolder Brand Index in order to ensure they aren’t left behind with the constantly evolving landscape.

Read the full Brandfolder Brand Index below:

 



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jueves, 20 de junio de 2019

‘The Operators’: Acceleprise partner Whitney Sales and Docsend CEO Russ Heddleston on how to grow your sales strategies

A Netflix hack lets you feel the action in a scene by vibrating your phone

Netflix Hack Day, the company’s internal hackathon, has a habit of producing some amazing gems — like a brain-controlled interface, a Fitbit hack that shuts off Netflix when you fall asleep, a Netflix app for the original NES, and a way to navigate the Netflix app with Face ID and ARKit, to name a few. At this year’s Netflix Hack Day, employees ventured into areas like voice technology and haptics — the latter, so your phone could vibrate right along with the on-screen action, among other things.

Project Rumble Pack, as the hack that used haptics was called, takes inspiration from mobile gaming. Some games vibrate, which allows players to feel the action — like a bouncing ball, a car on a race track, an object getting hit or destroyed, and so on.

Similarly, Project Rumble lets you feel the action in a scene from a show or movie — like a fight, battle or big explosion. (Imagine a Michael Bay movie with Rumble Pack turned on!) The team behind the hack, Hans van de Bruggen and Ed Barker, demoed haptics in an episode of Voltron where a huge explosion makes the phone shake in your hands.

The hack was created by syncing Netflix content with haptic effects using Immersion Corporation technology.

Another hack called The Voice of Netflix, taught Netflix to speak using the voice of Netflix’s favorite characters. The team trained a neural net to find words in Netflix’s content, which could then be used to create new sentences on demand.

A third favorite was TerraVision — a practical hack that sounds like a business opportunity.

The hack lets filmmakers drop a photo of a look like they like for a film location into an interface, then get back the closest results from a library of location photos. The hack used a computer vision model trained to recognize places for its reverse image search functionality.

The final highlight was a silly hack that plays “walk-out music” — like the music that kicks in when Oscar speeches go too long — when someone overstays their allotted time in a booked conference room.

Sadly, many of Netflix’s hacks don’t tend to escape the confines of the hackathon itself. But they can inspire real-world projects in other ways, and help to keep the creativity flowing.

An overview of this year’s Netflix Hack Day, which focused on Netflix’s studio efforts, is below.



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miércoles, 19 de junio de 2019

YouTube partners with Universal to upgrade nearly 1,000 classic music videos to HD

YouTube has teamed up with Universal Music Group to remaster nearly a thousand classic music videos, the companies announced today, including those from from Billy Idol, Beastie Boys, Boyz II Men, George Strait, Janet Jackson, Kiss, Lady Antebellum, Lady Gaga, Lionel Richie, Maroon 5, Meat Loaf, No Doubt/Gwen Stefani, Smokey Robinson, The Killers, Tom Petty, and others.

Many of the most iconic music videos on YouTube were only available in the “outdated standards originally intended for tube televisions with mono speakers,” YouTube explained in an announcement. But today, people watch videos across a number of platforms — desktop, mobile, and TV — and they often do so in high-definition. The old videos didn’t hold up.

With the new partnership, both the video and audio quality will be updated to the highest standards, then the new videos will slide in to take the place of the existing SD versions. They’ll also retain the same URL on YouTube as well as all the view-counts and likes, instead of arriving as new content.

As of today, the companies have already updated over 100 music videos including the following:

The plan is to fully upgrade nearly 1,000 over the next year, with plans to have all 1,000 titles available before year-end 2020. More videos will arrive on a weekly basis as this program continues, YouTube says.

The videos will be available exclusively on YouTube and YouTube Music — the latter ahead of a planned merger with Google Play Music. 

You’ll be able to tell if a YouTube music video has been through the upgrading process because it will read “Remasted” in the video’s description.

“It’s really an honor to partner with Universal Music Group and change the way fans around the globe will experience viewing some of the most classic and iconic videos. The quality is truly stunning,” said Stephen Bryan, Global Head of Label Relations at YouTube, in a statement. “It’s our goal to ensure that today’s music videos — true works of art — meet the high-quality standards that artists’ works deserve and today’s music fans expect.”

“We’re excited to partner with YouTube to present these iconic music videos in the highest audio and video quality possible,” added Michael Nash, Executive Vice President of Digital Strategy at UMG. “Our recording artists and video directors imbued these videos with so much creativity; it’s great to enable the full experience of their vision and music. These videos not only look amazing on any screen now, they will be enjoyed by music fans for decades to come.”



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Kano, the kids-focused coding and hardware startup, inks deal with Microsoft, launches $300 Kano PC

Kano, the London-based startup that builds hardware designed to teach younger people about computing and coding, is taking a significant step forward in its growth strategy today. The startup has inked a partnership with Microsoft that sees Kano launching the Kano PC, a new 11.6-inch touch-enabled, Intel Atom-powered computer, its first to run Windows — Windows 10 S specifically. As part of the deal, Microsoft is also making an investment of an undisclosed amount in Kano.

The Kano PC is up for pre-order now at $299.99 and £299.99 on Kano.me and the Microsoft Store, to ship in October. It will also go on sale at selected retailers in the US, Canada, and the UK starting October 21, 2019.

The shift to building a Windows-powered device is a significant one for Kano.

The startup first made its name with a popular Kickstarter campaign based around a device built using Raspberry Pi, speaking to the DIY ethos that has shaped it over the last several years.

Alex Klein, Kano’s founder and CEO, said that while Kano will continue to support its Raspberry Pi-powered devices, it has yet to determine what its roadmap will be in terms of launching new hardware on this processor:

“The Raspberry Pi devices remain in the portfolio at good price points, but this machine is designed for a much broader age set. It’s a proper Windows PC” — Klein said, pointing to the Intel Atom x5-Z8350 Quad core 1.44 GHz processor, the 4GB of memory, and 64GB of storage — “and a powerful machine for the price point.”

While the Kano line up to now has largely been used and tracked by 6-13 year-olds, Klein describes the Kano PC as a “K-12 device,” acknowledging that “branding might take more time to unfold” to connect with the younger and older ends of that range.

It will be doing so with an army of software now supplied by way of its Microsoft partnership:

Make Art – Learn to code high-quality images in Coffeescript
Kano App – Make almost anything, including magic effects and adventurous worlds, with simple steps and programming fundamentals
Paint 3D – Make and share 3D models and send them out for printing
Minecraft: Education Edition – The award-winning creative game-based learning platform
Microsoft Teams – To get new projects and content, and share your work (Yes, Slack, now kids will be using Teams)
Live Tiles – Personalized projects on coding and creativity delivered directly to your dashboard

Up to now, Kano’s traction with a core group of users — younger kids who are interested in computers and coding, as well as parents who want to encourage their kids to be interested in these — has led to it launching a number of other accessories to work with its basic computers. It’s also launched a clever tech toy that plays to its demographic: last year, it launched a Harry Potter magic wand that you could build yourself, program and use. Alex Klein, the CEO and founder, hinted in an interview that we’re going to see more products of this kind coming soon from Kano.

The Microsoft deal will bring it a higher profile among a wider set of consumers beyond early adopters, and likely a new entry point into selling into educational environments, where Microsoft has been making a big push.

This is the second side of the deal that’s also interesting: Microsoft has a long history of selling software and hardware into educational environments and this — a different brand from the rest of the back — will bring move diversity into the mix, with a brand designed specifically for younger people, rather than adult-focused brands that have been downsized in functionality (but possibly not in price) for children.

“We’re very excited to partner with Kano for the launch of the Kano PC. We align with Kano’s goal of making classroom experiences more inclusive for teachers and students, empowering them to build the future, not just imagine it’” said Anthony Salcito, VP of Education at Microsoft, in a statement.

Kano’s scrappy success up to now has also led to it raising some $50 million in funding from a list of backers that include Saul and Robin Klein (relatives of the founder Alex Klein), as well as Marc Benioff, Index Ventures, Breyer Capital, Troy Carter and a number of other investors. Klein said that it’s likely to be looking for another equity round in the near future, but declined to comment further on that.



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lunes, 17 de junio de 2019

Tim Cook says Silicon Valley has created too much chaos

Apple CEO Tim Cook gave a speech to Stanford graduates this weekend. In addition to the usual motivational stuff, he attacked other big tech companies in a not-so-subtle way. He painted a stark picture of Silicon Valley, saying it’s responsible for too many mistakes.

“Today we gather at a moment that demands some reflections. Fueled by caffeine and code, optimism and idealism, conviction and creativity, generations of Stanford graduates and dropouts have used technology to remake our society,” Cook said.

“But I think you would agree that lately the results haven’t been neat or straightforward. In just the four years that you’ve been here, things feel like they’ve taken a sharp turn. Crisis has tempered optimism. Consequences have challenged idealism. And reality has shaken blind faith.”

In order to counterbalance that statement, Cook named a few great inventions that were born in Silicon Valley, from Hewlett Packard’s oscillator to the iPhone, social media, shareable videos and Snapchat stories — YouTube and Facebook weren’t named directly.

“But lately it seems this industry is becoming better known for a less noble innovation — the belief that you can claim credit without accepting responsibility. We see it every day now with every data breach, every privacy violation, every blind eye turned to hate speech, fake news poisoning our national conversation, the false miracles in exchange for a single drop of your blood,” he continued.

“It feels a bit crazy that anyone has to say this, but if you built a chaos factory, you can’t dodge responsibility for the chaos. Taking responsibility means having the courage to think things through,” he added later.

Cook then focused on privacy, a topic that is dear to his heart. “If we accept as normal and unavoidable that anything in our lives can be aggregated, sold or even leaked in the event of a hack, then we lose so much more than data. We lose the freedom to be human,” he said. “The chilling effect of digital surveillance is profound and it touches everything.”

Sure, it’s easier to say that as the CEO of Apple. The company still generates the vast majority of its revenue from hardware. And Apple can be criticized for many business practices as well. But it’s hard to disagree with Cook on this topic.



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Adobe’s new painting and drawing app will be called Adobe Fresco

Adobe’s upcoming drawing and painting app has an official name: Adobe Fresco. Inspired by the classic technique of applying pigment to wet plaster, the app is intended “to inspire spontaneous creativity.”

The app has been in development under the codename ‘Project Gemini’ and debuted at Adobe’s Max conference in 2018. It will first be available as an iPad app and later for other devices that use touch and stylus inputs.

Fresco will replicate how real-world mediums such as watercolor and oil paints interact with surfaces and each other. These tools are called Live Brushes.

Artists will also be able to use Photoshop brushes such as those created by Kyle Webster (who was hired by Adobe in 2017). For vector enthusiasts, Fresco includes vector brushes to create infinitely scalable drawings in combination with the aforementioned pixel-based brushes.

The app will include layer, masking and selection tools. Files can be manipulated in Photoshop and exported to PDF for editing in Illustrator.

Adobe hasn’t said exactly when it’ll be released, but does say to expect it “soon.”



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Huawei says US ban will cost it $30B in lost revenue

domingo, 16 de junio de 2019

Week-in-Review: E3’s forever franchises and Elon Musk’s submersible Tesla

Hey, weekend readers. This is Week-in-Review where I get hopped up on caffeine and give a heavy amount of analysis on one story while scouring the rest of the hundreds of stories that emerged on TechCrunch this week to surface my favorites for your reading pleasure.

Last week, I railed on Google’s new Stadia game streaming platform. The injection of competition into the tired PlayStation/Xbox gaming rivalry is certainly welcome, but Google is making such a concerted play into a tight niche that it’s hard to imagine them following through. I got some great emails and DMs with a lot of good back-and-forth, most notably pointing out that I didn’t give Google credit for some of the details they did give on multi-player, I also got some less helpful responses, but hey, I guess I’m the one that asked for the feedback.

On that note, check out my comparison of Stadia with Microsoft’s new xCloud service that they revealed this week.


Alright, onto new things. Actually, let’s dig into my week at the E3 gaming expo. I swear this isn’t only a gaming newsletter, but let’s talk forever franchises…

I spent the past few days on the show floor of the conference checking out what the latest and greatest gaming trends were, what I saw looked pretty familiar though.

Entrenched franchises are a special kind of force in the gaming industry.

Walking around it was wild how so many of these studios are coasting off of 20 or 30-year-old characters and storylines. Sega had a massive booth this year showing off some reskinned Sonic the Hedgehog shit. Watching the Square Enix keynote was a special kind of hell, I admittedly do not have a very religious connection to the studio, but their announcements were all related to reboots, rehashes or remasters. Nintendo, which I dearly love, dug into the success of Breath of the Wild by promising a direct sequel for the title, something that’s a bit unusual for the Zelda series, Jesus, even Animal Crossing is nearly a 20-year franchise at this point! Every large booth dragged gamers’ attention to something derivative.

This obviously isn’t some sort of breaking news, but as the years stretch on from the gaming industry’s conception, it’s fascinating to see how the founding franchises are keeping their shine.

What’s fascinating is how this impacts the boom and bust life cycles of game studios and massive publishers. While larger movie studios need to constantly be vetting new tentpole franchises, once game studios find a hit they join this club of mainstays where the marks of success become more dependent on creative execution rather than creativity itself. This can make life pretty profitable for studios like Rovio that strike gold and can spend a decade milking their former glory and fading out, but it’s still fascinating.

It also makes the introduction of new IP such a nerve-racking, high stakes process. You look at someone like Hideo Kojima and the buzz Sony has been trying to build around Death Stranding and you just realize how insanely complex it is to craft a hit with nothing but marketing and talking head hype. Word of mouth and network effects build these franchises over time, but there’s so much invested beforehand and for new IP, it’s hard to guarantee a winner.

Why does Toy Story fade after a few films but a singular piece of gaming IP can suck hundreds of hours out of a gamer’s life over several releases? I’d imagine being able to hold a role in the progression of a character fosters a closer bond with the user, gameplay can be dozens of hours long but more often than not the storyline is pretty straight-forward leading you to fill in the blanks, which can be powerful. Games are fundamentally more than just stories.

But then, as I walked around and watched gameplay and cinematic trailers, I was left with the takeaway that so much of the dialogue in some of these games is garbage. When are the writers behind the “golden age of TV” going to trickle down into crafting some of these single-player campaigns? But then are more rich and rewarding storylines going to cause these franchises to have shorter shelf lives because we’ll get to know the characters too well? I don’t really know, if you work in the games industry I’d love to pick your brain.

Send me feedback
on Twitter @lucasmtny or email
lucas@techcrunch.com

On to the rest of the week’s news.

(Photo by Steve Jennings/Getty Images for TechCrunch)

Trends of the week

Here are a few big news items from big companies, with green links to all the sweet, sweet added context.

  • Salesforce buys Tableau
    Marc Benioff is known to signal Salesforce’s future via its M&A, so the company’s largest acquisition to date is probably worth taking a closer look at. Read why Salesforce is spending $15.7 billion on Seattle-based Tableau.
  • Samsung gets ready to re-release its Foldy phone
    The Galaxy Fold has had a pretty raucous life in the press and it hasn’t even successfully been released yet. Read more about its coming launch.
  • Musk’s Tesla submarine
    It wouldn’t be a Tesla shareholder meeting if some bizarre headlines didn’t surface. Apparently Musk claims that the company has vehicle designs for a submersible Tesla based on the aquatic car from the James Bond movie. Musk said it’s technically possible to make a functioning version, but added, “I think the market for this would be small — small, but enthusiastic.” Read more here.

Facebook CEO Mark Zuckerberg leaving The Merrion Hotel in Dublin

GAFA Gaffes

How did the top tech companies screw up this week? This clearly needs its own section, in order of awfulness:

  1. YouTube CEO serves up an “apology”:
    [YouTube CEO Susan Wojcicki addresses hate speech controversy]
  2. Deepf**ked:
    [Facebook will not remove deepfakes of Mark Zuckerberg and others from Instagram]

Extra Crunch

Our premium subscription service had another week of interesting deep dives. TechCrunch’s Sarah Buhr chatted with some venture capitalists that are investing in female fertility startups and tried to get to the bottom of what signals they search for.

What top VCs look for in a women’s fertility startup

“…Longer term, women’s health has a special interest: a new understanding of women’s reproductive health will generate novel insights into other domains, including longevity…”

Here are some of our other top reads this week for premium subscribers. This week TechCrunch writers talked a bit the future of car ownership, and whether people raising venture capital should even bother dealing with associates at the firms…

Want to read some of this stuff, but haven’t signed up? We’ve got a deal going where you can sign up for $2 and get two months of Extra Crunch.



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jueves, 13 de junio de 2019

VidMob raises raises $25M for its video advertising tools

Video advertising company VidMob is announcing that it has raised $25 million in Series B funding.

When I wrote about VidMob’s seed funding back in 2015, it was focused on building a marketplace that connected marketers and professional video editors. That’s still a component of the VidMob business, said founder and CEO Alex Collmer, but the company has also built a broader platform for video advertising, which it calls the Agile Creative Studio.

So Collmer said that with VidMob, not only can marketers find professionals (editors, animators, graphic designers and more) to create their ads, they can also “with a single click, send hundreds and in some cases thousands of custom ads” to VidMob partners like Facebook, Google/YouTube, Instagram, Snapchat and Twitter.

The platform analyzes how the different creative elements are affecting the way audiences are responding to an ad and uses this data to make campaigns more effective. The result, Collmer said, is that “the decay curve actually inverts and the ad actually improves over time through this iterative process of creating and learning, creating and learning.”

VidMob screenshot

Brands using VidMob include Bayer, Intercontinental Hotel Group, Ikea and Neutrogena, as well as startups like Acorns. In a statement, Joshua Palau, the vice president of media platforms and strategy for Bayer U.S., said the platform has “allowed us to meaningfully improve the ROI on our social video campaigns.”

VidMob has now raised more than $45 million in total funding. The round was led by Austin-based BuildGroup, with participation from Acadia Woods, Herington, Interlock Partners, Macanta Investments, the limited partners at Manifest and “brandtech” firm You & Mr Jones.

“VidMob solves a really important pain point for brands — how to deliver the volume of content that brands now need for all the different platforms, at the speed and price they need it at,” said You & Mr Jones founder David Jones in a statement. “In the near future all content will be intelligent and driven by data and VidMob has a product that delivers that now.”

And, BuildGroup co-founder and CEO Lanham Napier offered a statement praising VidMob for “not only offering up meaningful insights, but also providing the tools and talent to quickly and cost-effectively activate on that intelligence.”

“But it’s their vision for the future that gets us most excited,” Napier added. “As the world moves towards more complex forms of communication, the idea of an API for creativity is so powerful that you can see it becoming another foundational service layer of the web.”

VidMob screenshot

Collmer expanded on this idea in our interview, suggesting that VidMob could eventually do much more than facilitate video ads on social media platforms.

“As the web is moving from text and images to more complex media types — today that’s video, tomorrow it’s augmented reality, who knows what it will be after that — I’m fairly certain needle is always going to point towards greater complexity,” he said. “That creative friciton becomes a tax on the entire internet. We’re trying to build what I think of as an API for creativity … Today, that friction point is frequently with our platform partners, with the Facebooks and Snaps, but we see it expanding to other areas where you see imagery as the central point of communication.”



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