MediAvataar's News Desk
DCMN has reinvented itself into a stronger and bolder brand concept, which embraces the clear, consistent and relevant communication that it strives for, while reflecting what it is as a company.
DCMN, the growth marketing partner for digital businesses and startups, has announced its revamped brand identity with an idea to stay ahead of the curve in the ever-growing marketing and advertising industry.
The new brand is a clear reflection of the company’s identity and purpose. DCMN has reinvented itself into a stronger and bolder brand concept, which embraces the clear, consistent and relevant communication that it strives for, while reflecting what it is as a company.
For DCMN, this meant mirroring its development from a small company to a worldwide brand and the evolution of its business model over the years. Often when launching a company, businesses do not have a fully developed brand identity yet. As they grow and develop themselves, they need to become more strategic. A rebrand allows the business to address their target audience more efficiently and to take their brand concept and corporate identity to the next level.
For DCMN, the rebranding is a milestone as it’s data-driven, and a more fitting definition of the DCMN brand, interpreted through an evolution of its previous logo. The DNA of DCMN has always been data mastery and its new logo reflects this with a pattern that shows how it has come together to form something new.
Over the past couple of years, DCMN has grown more than double in size and has evolved in everything ranging from its overall business model to with whom it does business and where it does business. Given all of this change, it was only natural that the team thought about its future goals and reconsidered what DCMN stands for both internally and externally.
The new DCMN brand is bold, playful, empathetic and fresh. It contains a new spectrum of colours, representing the diversity of the company, various expertise and its method of working in the most agile, flexible and modular way the company works.
Bindu Balakrishnan, Country Head – India, DCMN, says, “The starting point of the rebranding process was why the company was originally founded. We did a lot of workshops and surveys to understand how we perceive ourselves and how we speak about the company. The new identity is a result of those efforts.”
Adding to this Matthias Riedl, Co-Founder and Chief Growth Officer, DCMN, says, “We believe that the rebranding is an opportunity to think about the company voice, dynamics and industry fit, as well as to create a common understanding and consistent image, both internally and externally. We have been in this business for a decade now and it was high time we looked at our roots and understood important market developments, as well as potential new competitors, in order to take better decisions in future. The endeavour helped us find out how DCMN is unique and differentiated in the market.”
The rebranding process began months ago, with the team reflecting on the heritage of the DCMN brand. Led by the DCMN brand solutions team, the rebrand brought together cofounders, Andreas Dengler and Matthias Riedl, as well as the corporate communications and creative teams, for workshops to make the process more holistic.
Watch one of the world’s greatest unsolved mysteries unfold on 1st July, 2018 on HISTORY TV18
Amelia Earhart, American aviation pioneer and author was the first pilot aviator to fly solo across the Atlantic. On July 2, 1937, during an attempt to circumnavigate the world, Earhart and her fellow navigator mysteriously vanished over the Central Pacific Ocean. All search efforts made during the period were unable to locate the pair or their airplane. HISTORY TV18’s upcoming show ‘Amelia Earhart: The Lost Evidence’ airing 1st July, 2018 at 9 PM will unfold this mystery, as the two hour special documentary reveals some shocking evidence.
In 1937, famous aviator Amelia Earhart and navigator Fred Noonan embarked upon a planned circumnavigation of the Earth via largely equatorial routes. Departing from Miami on June 1, Earhart and Noonan completed multiple legs of their journey without incident. On July 2, the pair took off on the longest and most dangerous leg of the trip en route to Howland Island from Lae, Papua New Guinea. However, they never reached their destination.
Former FBI official Shawn Henry investigates new, shocking evidence that Amelia Earhart was actually captured by the Japanese military and includes a photograph that goes to show Earhart and navigator Fred Noonan were alive after their disappearance. Evidence includes documents containing new information indicating that the U.S. government knew that she was in the custody of a foreign power, and may have covered it up.
The fate of Amelia Earhart and her navigator Fred Noonan has remained an enigma for 80 years, but the discovery of the evidence might change it all!
Catch the enigmatic show of Amelia Earhart: The Lost Evidence only on HISTORY TV18 on 1st July, 2018.
Newsbrands' combined revenue has dipped globally by $27.8bn between 2012 and 2017, with rising income from print circulation and digital advertising not enough to offset a $40.1bn decline in print ad receipts over the period. Publishers are now looking to diversify business models to balance the deficit.
These and other key findings are included the latest monthly Global Ad Trends report focusing on print and digital publishing compiled by WARC, the international authority on advertising and media effectiveness.
Print still provides over 90% of newsbrands' revenue and total income is down $28bn since 2012
Print (print advertising and print circulation) still accounts for over 90% of newsbrands' revenue worldwide, though the majority now comes from circulation. Print circulation revenue has grown by around 1.6% each year, rising from $80.4bn in 2012 to an estimated $86.8bn in 2017 (57.5% of the total). Once the main source of income, print advertising now contributes 33.2% towards the bottom line.
Digital (digital advertising and digital circulation)'s share of newsbrands' ad income is growing, but is not yet enough to offset print's decline. Income from digital ads ($10.1bn in 2017, of which $4.7bn is transacted in the US) now provides a further 6.7% and digital subscriptions just 2.6%.
Most publishers believe their business will diversify to offset the downturn
A quarter of respondents to a recent WAN-IFRA survey believe that non-traditional revenue sources (i.e. those beyond circulation, subscriptions and advertising) currently account for less than 10% of total income. By 2022, most (21%) believe non-traditional income will contribute between 31% and 40%. Branded content teams (such as Guardian Labs, WSJ Custom Studios and T Brand Studio) are becoming in-house fixtures, and partnerships with content recommendation companies (such as Outbrain and Taboola) are commonplace.
Facebook offers publishers scale, and risk
The majority of publishers state that their main business objective when engaging with Facebook is to use the platform as a distributor of content. Targeting new audiences and building brand awareness are also key goals, highlighting the social network's scale.
On average, 26.7% of consumers are sharing news stories online, varying from 43.0% in Brazil to 8.0% in Japan last year. But 53% could not remember the name of the newsbrand when referred from social media. Aside from anonymity, publishers have little control over the user's overall viewing experience, and monetisation of the audience is a significant issue.
Facebook recently made changes to its news feed algorithm, which de-prioritise video content from third-party media outlets. The move threatens publishers' "pivot to video", a strategy which aims to generate more ad income from non-text formats.
UK newsbrands join forces to offer brands context, safety and scale
As of last week, advertisers and agencies are now able to buy digital inventory and access audiences across UK newsbrands The Times, The Daily Telegraph, The Sun and The Guardian from a single sales point. The publishers each have an equal stake in revenue generated from an audience roughly on a par with Facebook's reach in the UK of 35.1m users, according to the latest PAMCo data, and could be a potential indication of the future model for other publishers.
Summing up, James McDonald, Data Editor, WARC, says: "The data underline the scale of the challenge facing publishers - despite robust consumer interest in their products. The response appears to be to club together to build scale, to emphasise the importance of context and brand safety, and to diversify revenue streams, particularly into native and branded content."
Global media analysis: A round-up of print and digital publishing
1.6% average growth rate in print circulation revenue
26.7% readers who share news stories on social media
31.0% US newsbrand ad revenue coming from digital
34.3% average growth rate in digital subscription revenue
57.4% consumers who are willing to see advertising in exchange for free news
90.7% newsbrand revenue derived from print
Call to Reimagine Your Workspace on Canvas
What does a workspace feel like? How does its interpretation change across people, professions and cultures? WeWork, the platform for creators, invites everyone to join India’s top creators who are reimagining the concept of a workspace in the form of art.
Art and design are crucial elements in elevating any physical space, including where we spend the majority of our day, the workspace. This initiative by WeWork is aimed at celebrating Indian artists, showcasing their exploration of spaces and reimagining the concept of a workspace on canvas. Select entries will be showcased in “The Artist Point of View”, an exhibition alongside curated artworks by 20 of India’s top, game-changing artists. The exhibition, open to the general public, will be an opportunity for talented artists with a strong point of view to reach a wider audience, participate in a network of creators, and stand a chance to be compensated monetarily.
It’s the perfect opportunity to bring out your creative side and get rewarded for it!
M&E sector exhibits dramatic increase in dealmaking intentions
The 18th Media & Entertainment Capital Confidence Barometer reveals a significant focus on acquisitions,supported by releasing capital via divestments.
Media and entertainment executives remain focused on M&A in 2018, driven by confidence in business fundamentals and the near-term performance outlook, along with a longer-term need to strategically position the portfolio for future growth.
Dramatic increase in dealmaking intentions
In EY’s 18th Media & Entertainment Global Capital Confidence Barometer, respondents are positive about the M&A market, with 72% expecting it to improve in the next 12 months, up dramatically from 47% six months ago. Respondents also cite strong expectations for dealmaking, with 60% expecting their M&A pipeline to increase over the next 12 months and 63% expecting a greater number of deal completions, compared with the previous 12 months.
Among midsize and larger media and entertainment companies, the strategic imperative to pursue acquisitions remains strong. Approximately 55% of companies with revenues of $1B or more intend to pursue acquisitions in the year ahead. Generally, media and entertainment companies’ targets today are businesses that add scale, differentiate their content portfolio, or fill gaps in their technology, talent or content.
At the same time, 74% of executives say that their last portfolio review identified an asset to divest. They are looking to shed businesses that no longer fit their core strategy, have slower growth profiles than their core assets or require significantly more capital allocation than core assets.
Confidence in performance
Executives remain highly confident in their current performance — 100% expect improving or stable corporate earnings in the sector. What’s more, 100% also see the global economy in which they operate as stable or improving. From a position of confidence, media and entertainment executives are exercising deal discipline on the buy side and exploiting opportunity on the sell side — engaging more tactically above the fray of heated M&A competition and heightened regulatory and political uncertainty.
The number of media and entertainment executives who see an increase in dealmaking competition in this Barometer (88%) has almost doubled in six months — mainly (67%) because of a surge in activity by private equity funds. Three-quarters (75%) say they have failed to complete a deal or have walked away from one in the past 12 months — mainly (61%) because of competition from other buyers or disagreement on price/valuation.
Changing boardroom agenda
Portfolio transformation is the top priority for boardrooms, with 73% of respondents identifying it as one of their top three concerns for the next six months. At the same time, boards’ attention has pivoted somewhat toward increasing economic and political uncertainty (now up 25 points in six months, to 40%), and regulatory and government intervention (now up 18 points in six months, to 21%). Digital transformation and shareholder activism remain important, with 21% and 38%, respectively, of boards citing them as important.