#is that he is clearly a very niche director who appeals to a very specific audience

[thenotoriousscuttlecliff]

Starting to get the sense that the higher ups at Netflix are having serious second thoughts about going all in on Zack Snyder. During the making of Army of the Dead they were throwing money at him for spin-offs and prequels, even his reject Star Wars fanfic, but since then seem to have quietly dialled back on all things Snyder. The AOTD anime series seems to have shelved indefinitely, his Norse myth series keeps getting pushed back, and there doesn't seem to be any solid plans in place for more Rebel Moon content or really anything else from Snyder besides Part II. No doubt because it was costly, they went all out promoting RM and in the end all they got back was bad reviews, poor audience scores, and it's already dropped out of the top ten in a lot of counties just after a couple of weeks. Wouldn't be at all surprised if Part II get a more lowkey release and the obligatory extended cuts get drop with little or no fanfare.

[cartoonessays]

“This Wasn’t Made For You”

WARNING: The following piece contains spoilers for Bao and other films.

I ranted about Pixar shorts a few years ago, mystified by what I saw was a decline in quality.  I was feeling like ever since Paperman, Disney and Pixar got stuck in telling the same tired and generic “boy meets girl” love stories with their shorts, Lava being their nadir.  They were creating new and amazing art aesthetics with shorts like Paperman, Blue Umbrella, and Feast, but my nagging thought watching these was that imagine if they used these boundary pushing aesthetics to tell a story that’s actually worth a damn.

There’s good news, though.  I think there’s been an improvement since then.

I haven’t seen or remember every Pixar/Disney short since 2015, so I’ll bring up the ones I remember off the top of my head.  Sanjay’s Super Team was like a breath of fresh air, especially after the embarrassing Lava.  I don’t really remember the hermit crab short that came before Finding Dory.  The short right before Moana about the dude’s internal organs was mediocre.  I didn’t see the short before Cars 3 and the half-hour Christmas special before Coco starring Mater the Snowman was pretty excruciating.  As of this writing, the most recent short is Bao, which is about a Chinese woman doting on a little dumpling she made as her child.

I liked this one very much.  I absolutely loved the cartoony way the human characters were designed and the cartoony way they were animated.  And while the story of the growing rift between the doting mother and the dumpling child wanting to go his own way in life as he grew up didn’t move me to tears, it was nonetheless very touching.

The short was directed by Domee Shi, a Chinese-Canadian woman and just like with Sanjay’s Super Team and its director Sanjay Patel, Bao draws on Shi’s Chinese background.  There seems to be a weirdly polarizing reception to Bao, attracting a lot of praise (particularly from other Asians) and confusion (particularly from white people).

Bao’s story is particularly resonant to Asians raised by immigrants in a Western country.  I’m not Asian, but I didn’t think the story was so uniquely Asian or Chinese that it’s completely unrelatable to anyone outside of that culture.  Bao is basically a condensed version of A Goofy Movie.  It shares parallels with Brave and the aforementioned Sanjay’s Super Team too.  So I’m completely mystified that there has been such a big chunk of people so detached to this that they can only come away from it baffled.

I’m also the child of immigrant parents who’s culture has not been represented in any of the cartoons I grew up watching or have watched since growing up.  Relating to all the white, Japanese, and anthropomorphic characters that inhabit all my favorite animated shows and films was never a problem for me.  As a matter of fact, I always found it even cooler when those shows introduced me to parts of their culture I wasn’t familiar with.  I’m not Jewish, so I was introduced to Passover and Hanukkah through episodes of Rugrats.  I learned what a bar mitzvah was through Hey Arnold!.  I’m not Persian, and one of my all-time favorite films is Persepolis.  The concept of Bao and the emotional gut-punch scene where the mother, fed up with her dumpling child’s defiance, devours him is no less confusing than CatDog’s mom and dad being a big blue Sasquatch thing and a big nosed frog.  They’re all metaphors for the points they’re getting at.

Asian fans of Bao were also mystified by some of the glib and dismissive responses the short has gotten from some white audience members.  Some of these fans argue and defend its cultural specificity to Asian immigrant culture by suggesting they should suck it up because this isn’t for them and there’s a billion other media that centers their experiences anyway.

(I don’t know how to embed tweets on Tumblr posts....)

I don’t agree with this take either.  Like I mentioned before, I don’t think Bao is so specific to Chinese culture that it can’t be relatable to anyone outside of it.  Domee Shi’s perspective is still one that comes from growing up in the West and she directed this film for a Western studio that primarily targets Western audiences i.e. audiences that aren’t Asian.  A studio like Pixar would never release a film that would only be relatable to a small cultural niche.  When Disney or Pixar portrays any cultures outside the dominant, they always package it in a way that allows for those outside of it to engage, for better or for worse.

However…

In This Corner of the World is a movie adaptation of a manga about a young artist who lived in Hiroshima during World War II.  I watched this movie last fall and I didn’t like it.  I found it too mundane and it was a struggle to keep from dozing off or to keep my attention on it.  This is a film that has garnered critical acclaim so I was confused by what I was missing, especially because I really liked other films/manga like Grave of the Fireflies and Barefoot Gen.  But then I realized something.

Most of In This Corner of the World takes place before Hiroshima is bombed by the United States.  The story mostly revolves around the young artist named Suzu getting married, moving in with her new husband’s family, and adjusting to her new duties as a wife.  These aren’t things that readily come to my mind when I think of Hiroshima.  When I think of Hiroshima, I think of the ravages and the immediate drama portrayed in Barefoot Gen or Grave of the Fireflies (although that didn’t take place in Hiroshima).  I don’t think of marriage or domestic home life when I think of Hiroshima.

And this is what is so pivotal about In This Corner of the World.  It portrayed Hiroshima and its residents before the bombing, laying them bare as no different than any other town in Japan (or anywhere, really).  The people there get up in the morning, go to work, get married, raise children, play, laugh, and cry just like anyone else.  Even as the war rages on in the background, the people of Hiroshima do their best go on with their lives.  The tragedy of the film is that the reality of living in a war-torn country steadily disrupts their lives more and more until it is unavoidable.  It started with taking shelter during the occasional air raid.  Then it continues with Suzu occasionally seeing bombs exploding in the sky.  Then it continues with food and water rations.  It continues further when the air raids increase in frequency and devastation.  And then it hits close to home when Suzu’s older brother is killed in action.  It hits even closer to home when Suzu’s sweet little niece is blown up by a time-delayed bomb.  This all culminates at the end of the film when the nuclear bomb is dropped on Hiroshima.

Hiroshima will forever be haunted by the specter of the nuclear bomb, even as the surviving residents continued to live on as best as they can for the next 70+ years.  There are several generations of Japanese people who only know a Hiroshima after the bombing.  So it is a big deal that In This Corner of the World provides their audience with a vision of what Hiroshima was before the bomb and what it could have been if not for the bomb.  I can only imagine how powerful this is for Japanese audiences, especially those from Hiroshima, those who have relatives from Hiroshima, or those who have loved ones who died in Hiroshima.  I specifically say “I can only imagine” because this was not my response to the film.  I have no cultural or personal connection to Hiroshima at all, and I think this why my response to this film was so lukewarm.

In other words, In This Corner of the World wasn’t made for me.

This isn’t to say it could only resonate with Japanese people or people from Hiroshima.  Based off of its critical acclaim, it clearly has wider appeal.  I’m just acknowledging this as the likely reason it didn’t personally resonate with me.

So for those that didn’t like Bao, they don’t have to like it.  I just think it would do them some good to think about why it might resonate more with others and to demonstrate more thoughtfulness in their discourse.

Hell, I don’t doubt there are people who did culturally relate to Bao and still didn’t like it.  Actually, I related pretty strongly to Riley’s gradual descent into depression in Inside Out and it’s nonetheless one of only two Pixar films I didn’t like.

[faisalkhanlove]

What Is An Explainer Video In  USA 2021?

An explainer video is a video that sums up your brand promise. It shows potential customers who you are and what you can do for them. You can think of it as an elevator pitch.

There are many explainer video types that you could use to best suit your brand. No matter what style of explainer you choose to use, your goal is the same: to explain your product and service while answering the question of "what's it for me?" from the perspective that your audience.

Take a look at these videos and learn

Mat King is Vidyard's Video Product Manager and gives an overview about explainer videos as well as how to create them. Blake Smith is Vidyard's Creative director. He and Mat King discuss how to make an effective explainer video.

Explainer videos have many benefits

Explainer videos are about simplifying complex ideas and concepts for your audience.

They're a very popular way of learning about brands: 96% said they have seen explainer videos in order to learn more. The majority of people (68%) would rather see a video to learn more about a new product/service than from a text-based post (15%) When asked to choose the type or brand of video they want to see more of in their lives, more people chose explainer video than any other form of video content.

Website and landing pages

Your website can be a great location to place your explainer videos. A general explanation video works well on your homepage. More specific explainers work best on landing page pages that support each video's messaging.

(Psssst. Vidyard's web-based video hosting service allows you to embed any of your videos.

Paid Social Media

Because of the speed at which you can get feedback and collect results quickly, your social channels and advertisements are great places to experiment with explainer clips. You can also create explainer clips that reach different segments of your customer journey and target them in the right way.

For example, explainer videos could be created to send out social ads to people who don't know your company. You could also use the remarketing options to share explainer video that addresses specific questions about a product with people who have visited a page about it or abandoned it in an on-line shopping cart.

You already know some things about your channel so you can highlight specific benefits of your product or use explainer video to enhance your reputation as an expert within your niche.

Crowdfunding Sites, Campaigns

A great explainer video is an essential part of any crowdfunding campaign. A product that isn't even available yet must be clearly explained to the benefit of your campaign.

Kickstarter's own words are, "Make compelling videos. It's a great method to show off your talents and give people a glimpse into what you're doing.

Conferences, Events, and Presentations

However, you don't need to make explainer videos only online. A short explainer video can make a powerful introduction to your presentation and get your audience interested before you actually start speaking.

A simple explainer film running at your booth, on loop, can be a powerful way to present your brand or products at trade shows.

What's the secret of creating a quality explainer film?

It isn't easy to make a quality explainer video. As with any other task, the higher quality you want, the more you should pay. It is possible for costs to quickly mount so you need to be clear about the expected return.

Deep research into the brand, product, or target audience

It is amazing to produce an engaging video that captures the attention of your audience. It's what leads you to those conversions. A poor audience will not be interested in your product and can make top-tier content useless. This is why market research is so important.

The foundation of your videos can be greatly improved if you are willing and able to invest more. Doing extensive research will help you ensure that your videos appeal to the right audience. Additionally, by investing in research you can navigate competitive markets by learning what works and not working and avoiding any that may be too similar. Data is an important thing. Video creation is no different.

As mentioned above, the more original your content, you are the better. Unique content does not only rank better in SEO terms, but it also makes a greater impression on your audience.

Although creating video can be very expensive, it is possible to obtain unique assets. You have complete control of how they are used. It is cheaper to repurpose assets later than it is to own them, and there are no risks of them being associated or misused.

Book a call banner for better animation and asset management

High-quality components will be required for explainer videos that are high quality. This increases the cost of a project. You have many other options, such a whiteboard animation software and 2D animated videos, that can help you get your message across to the right audience. For your video marketing strategy, however, you need a greater budget and a better quality video.

3D animation can be used to promote big-budget video marketing. The detail, camerawork and graphic quality are unparalleled. While this animation style is expensive and not for everyone, it is well worth the investment. As an individual and sole owner, you can be sure that quality content represents your brand well.

Personnel professionals

This last point is quite obvious. Capable people create quality products. Even though it won't cost much, having professionals on your payroll is a great investment. Although this is true in every industry, it's especially true in video creation. You need professionals to keep your project on the schedule. They will not cut corners or stumble upon stumbling block and they will produce the best results. As your projects expand, more specialists will be needed. It might cost you less, but your animator will end up writing more.

The tech industry is continually evolving and coming up new technologies in hardware and software. These technologies are often complex and difficult for laymen to understand.

Explainer videos can be helpful in helping consumers understand new technology. They simplify the whole concept because they don’t tell you how it works. Instead they show it. Every tech company is looking for the best explainer clips to help them with their digital marketing. These videos increase conversion rates and the time that visitors stay on a site. This greatly improves Google's rankings.

[hyperadaption-blog]

Video Transcript

Olivia

What is it?  

Features and benefits?  

A key feature of the Hyperadapt is the fact that the shoes are “self-lacing”. Having shown this technology in the film Back to the Future Part 2 in 1989, the overwhelming desire for the public to have access to self-lacing shoes has been long coming (Eden, 2016). Not only does Nike provide the product for this need but it simultaneous introduces this technology with a more professional athletic angle. One of the key aspects of Nike’s trainers is their ability to enhance athlete's performance, designer Tim Hatfield kept this as a core principle when brainstorming for the progression of Nike’s designs for the future (Eden,2016). Thus, securing two markets upon release of the trainer.  

Eric Avar, the Nike creative director stated the Adapt BB was specifically targeted at basketball athletes (Nike, 2019). The genius of targeting basketball players is that there power to wear a shoe and have their fans want the same shoes. This has been tried and tested with the Jordan's. Therefore, it is likely, based on the success the Jordan's had, that various basketball players fans will likely strive to possess the Adapt BB in a similar manner.  

Another key benefit that may be able to come into play with the progression of the technology could be the ability to aid people in a medical way. Hatfield suggests that the adapt BB shoes could be ideal for those who are unable to put their own shoes on due to disability (Rubin,2019). Currently there are shoes that are supposedly designed to help people with cellulite and back pains; for example, the MBTs (Masai Barefoot Technology) by Karl Müller (Josse, 2000). Similarly, in a blog post, user Katie Menzies states how much the design of the regular Converses helped with her Cerebral Palsy (Menzies, 2018). It is highly likely with further research Nike would be able to curate a design that used this new adaptive footwear technology in order to cater to specific medical issues.  

Catering to the medical needs of those with disabilities is something that has become increasingly important to consumers with and without disabilities and was found especially successful with M&S’s easy dressing range, which was “praised by hundreds online” (ITV, 2018). And as of June 2018, there are more clothing lines dedicated to dogs than to those with disabilities (Ryan, 2018) and considering that the “purple pound” is worth around £249 billion in the UK (Ryan, 2018) - it seems that inclusive design could financially and morally be a great market for Nike to tap into further.  

The technology that Nike are using is nothing beyond the majority of the public's technological capabilities, as there are very few buttons and the functions are all labeled very simply and clearly. The most difficult aspect of the trainers is arguably the connecting of the phone to each shoe as several reviews on the app store detail having a large issue with this aspect of the app. This is an essential feature for the trainer to function at full potential. Furthermore, the app is essential to the functionality as mentioned, however the app is not compatible with iPhone 6 or anything before that and the apple watch for any generation. The app also only provides 15 languages and for comparison the Instagram app functions with over 29 languages so that is not ideal.  

Currently Puma have invested money into self-lacing shoes and have debuted a trainer in January that will connect to your phone and are self-lacing. Adidas have a “speed-lacing” selection of shoes and advertised this as not needing any charging, lights or mobile devices. So, although there are attempts from rival businesses, no brands have currently progressed as far as Nike have yet. I would argue that this is due to consumers having an instant correlation of self-lacing technology with the Nike brand as it was designed for Back to the future Part 2 by Nike and therefor featured their logo (Eden, 2016).

With the trainer's current capabilities, people will use it, but I think it is largely a niche market. Though basketball is a huge sport, this is predominantly a US sport with US fans. Therefore, really limiting its market. But keen “sneakerheads” and those who are serious about sport will be very interested in these shoes. As stated, there is huge market that could be developed for those with disabilities further in the future.  

Izzie

Complexity & Trialability

Nike may find it hard to distribute and sell in other countries because of any barriers to entry.  It may be challenging to pass different laws and regulations abroad such as the EU laws, which have been implemented. Nike must ensure their technology meet any requirements set by the EU, which ‘protect human and animal health, the environment and consumers rights’ (Europe EU, 2019). Researching the different laws and regulations from countries Nike chooses to export in may incur higher costs and can be time consuming. It can also be expensive to make any adaptions that might be required for them to trade in that country.

Research and development can be very expensive especially for technology, it is needed for innovation and finding better and new types of products. This is reflected by the high selling price, overtime the selling price will reduce due to the Research ad development cost being paid off.

Observable Communication

This technology is seen as cool and innovative as it hasn’t been seen before. Self-tying laces are new and no other brands have introduced it. This is a Unique Selling Point for Nike and it will attract customers, especially ones who are technology focused and have strong interest in new innovations.

The design is not the most fashion forward as other trainers in the price range such as shoes from Balenciaga, Christian Louboutin and Gucci, but these Nike trainers offer a different selling point, which is the technology in the shoes. Although, in general trainer sales have soared in the last few years and in the UK trainers ‘has become a staple fashion item in the nation's wardrobes”(SWNS Digital, 2018) showing that the trainer market is growing continuously due to a change in peoples lifestyle preferences. Consumers have become more casual in the way they dress at the workplace and outside their work, which has made them adapt their fashion preferences to more comfortable styles.  

Re-Invention  

This is a new product to the existing trainer market, it is personalized to the consumer as the laces adapt to the shape of their foot. This is their unique selling point,  

They have ‘“adaptive lacing” technology that’s activated by a heel sensor that automatically tightens its laces’ (Sneaker Bar Detroit2019) which will appeal to certain markets such as the primary audience who are basketball players. It may also expand to other consumers overtime if it proves to be good and worth the price.

Relating to the product life cycle, the Research and Development stage is long and costly due to the extensive research required for technology. Nike has their own ‘Sport Research Lab (NSRL) where athletes, scientists, engineers and designers converge to develop the key performance insights that drive Nike’s innovation’ (Nike, 2019). It has already been estimated that Nike have spent ‘$2.5 billion on research and development in the last five years’ (Business Insider, 2017). This is likely to rise as well if Nike want to remain competitive due to the vast amounts of competition such as Adidas, as well as the fast paced technology market.  

At the introduction stage will generate a lot of interest and a ‘hype’ around the trainers via social media, sports players and bloggers who target sportswear’s and technology. According to the Independent ‘Nike's new Adapt BB shoes have been hailed as the future of sneakers’ (Independent, 2019), this has already drawn attention to the product.  

When it comes to the growth stage sales will hopefully rise, then once it hits the maturity stage it is likely to slow down quickly as competitors will bring out their own versions or new technology will be invented. Therefore it is likely to reach the decline stage (Tutor2u).

Sarah

innovators

✦ innovators are categorised by their imagination and openness to new things. This is the smallest sector of the diffusion process with only 2.5% of consumers being in the category.

✦ innovators are crucial as the diffusion process if innovation is ‘drip down’ meaning the technology won’t spread any further if innovators do not adopt it. The products introduction process is catalysed by the core motivater of pleasure/ pain, the new technology provides excitement for many different groups of Nike’s consumer base.

✦ Hyper-adapt and self lacing technology were anticipated by many innovators as the first shoes to feature the technology (Nike Mags) were based on the film ‘Back to the future 2’ this gained attention from those involved in sci-fi/ futurism and also with an interested in pop culture I believe there a few different sectors of innovators within the pool for the Hyper-adapt including ✧ social media influences for example Casey Neistat whom made videos about both the original Nike Mags and the Hyperadapt 1’s. He is Clearly an innovator as the video was made in 2016, when the technology was less famed and closer to the beginning of Nike’s attempt to shift to a new technological trajectory. Casey has a following of 11M on youtube and the video on the Hyperadapt 1 accumulated 2.6 M views. The shoe was also featured on channels such as ‘What’s Inside?’ Who's key demographic isn't those with an interest in fashion. With technology ✧ Nikes first intended practical purpose of the self lacing technology was for their use in basketball as it is essential to the game for laces and the shoe to be tight and fitted to the foot. Nike has sponsored Basketball player’s such as Jayson Tatum who was the first to debut the sneakers in a game for Boston Celtics. Nike are supporting the industry they wish to sell into and have an outlet to showcase the shoes capability through their actual intended usage early adopters   ✦ the early adopters are the type to run to the product as soon as they see the perceived benefit. In relation to Fogg’s  behaviour model, the early adopters basically require to see a simplicity factor in order to increase their motivation to buy the product.

✦ it is likely the simplicity factor of physical effort that would convince early adopters consumers to purchase as the intention of the technology is to prevent you having to bend down and tie your laces, this can also be linked to the simplicity factor of time.

✦ also according to Fogg’s behaviour model, Nikes increase in advertising and sponsorship is an attempt to provide triggers. This type of trigger is a spark designed in tandem with a core motivator. Nike would be attempting to highlight the pleasure the shoes can bring to the wearer and the benefits to perhaps beginning to incite fear about not having the sneakers. An example of this is the video Jayson Tatum made on the NBA on ESPN youtube channel recently speaking about and demoing the shoe. the early adopters likely includes

✧ ‘hypebeasts’ or ‘sneakerheads’ who are interested in having the newest Nike product almost regardless of the design and focusing more concern on it’s demand from others in the community and the ability to sell the product on. This group of consumers already showed interest in the Nike Mags when released, with 2011 iterations selling for up to  $10,000 on Flight Club, an infamous rebelling sight

✧ the shoes are also likely in this phase to be adopted by more NBA players as they become more educated they become more motivated to purchase as they understand the benefit to them ✦ Despite adding motivating factors Fogg’s behavioural model suggest that both motivational and enabling factors are necessary for the fastest rate of adoption. Due to limited line releases and the price tag of £619.95 Nike is not attempting to enable each of their consumers to buy the product, this is because the early adopter phase is also still for testing and improving according to Robinson early majority

✦ the early majority marks the product leaping the chasm to reach a bigger audience. They're followers who are comfortable with moderately progressive ideas.

✦the way for Nike to bridge the gap and ensure they reach the early majority from the early adopters is to refine the product to increase ease and reduce costs.

✦ another option would be to adapt the technology to different sports such as soccer, tennis or even ice skating. This is a great way for Nike to integrate the new technology to their pre-existing product line and introduce the product to new markets.  

✦majorities are more cost sensitive and adverse to risks and disruptions, they simply want a product that is trendy and will benefit their life. the early majority is the largest of categories so far at 34%, there is many demographics inside of this which includes ✧ followers of the NBA who’ve bought the product because they’ve seen their favourite basketball players sporting them. Particularly in America. ✧ other players of sports whom are motivated by the core motivator hope/ fear as they hope to simplify and solve there issue in order to improve their playing late majority

✦the late majority are those who hate risk and are uncomfortable with new ideas. The main driver for this group is the fear of not fitting in.

✦‘emphasise the risks of being left behind’ via advertising and social media. This will convince most of the late majority to adapt the technology

✦ but in order to reach the late majority Nike may have to alter the usage of their technology further not just providing it just for sports or fashion but also making it a purpose driven product engrained in real life. Many jobs require laces that stay tied including nurses and builders and if the price was right the industries may endorse the technology

✦ it can also be purpose driven within the context of healthcare for stroke/ cardiac victims etc. The late majority includes

✧ those who would not support the innovation due to the absence of the simplicity factor from fogg’s model of money. As Nike will likely be mass producing by the point of the late majority it should be cheaper for them to produce the shoe due to economies of scale. This means they can reduce cost and over come that. ✧ anyone for which the shoe does still not provide obvious purpose for. Those who are not particularly sporty and have waited for the fashion trend to be secure before purchase, these people are not trendy but once again want to fit in laggards  

✦ laggards are the last phase of the innovation diffusion process. These people see high risk in adopting new technologies and will do their best to put up arguments again. Sometimes laggards are innovators of other products. For example a consumer may believe self lacing technology is not revolutionary, and be wearing  hoverboots instead.  

✦ in Roger’s model of diffuseon of innovation it is suggested too give the laggards a high level of control to make them feel invested and in control in regards to the product. Luckily Nike has a service called NikeID which allows for this idea and would allow people to customise their shoes with self lacing technology, not forcing it as an essential but allowing it to be an option. This control is motivational for laggards

✦✧ laggards may include those with loyalty to other brands as although Nike is the market leader red fame found in a study on young people’s favourite sports brand that Adidas controls 21.5%

Cree

does it have a practical benefit?

What we have seen with the new hyper adapt bb trainers are that the future of footwear is no longer solely based on trends and fashion but have progressed further to benefit the consumer in a more performance based aspect.

With this new trainer they have the ability to help athletes who are serious about their profession. ‘When a player steps into the Nike Adapt BB, a custom motor and gear train senses the tension needed by the foot and adjusts accordingly to keep the foot snug.

By manual touch or by using the Nike Adapt app on a smartphone, players can input different fit settings depending on different moments of a game.’

The practicality of hyper adapt trainers are solely for basketball use however the Nike team have stated that they are moving toward adapting the technology to fit other sports and lifestyle options. However will all sports adapt to this technology and embrace it as well as the basketball community has? The shoes has been criticized recently for being a gimmick however the designer assures us that it has an more meaningful purpose. The shoe can also help to prevent injuries for athletes as well as help those with disabilities due to its adaptive nature. In the future Nike intends to develop this technology more by even adding an zip that use similar tech as the self-lacing trainers especially or those with disabilities.    

Although the argument is that if  Nike are targeting all lifestyles the price of the trainers are not suitable for all economic backgrounds. This could cause problems with marketing it to their consumer base because it is not fees able for everyone. Although this may be what they want for the hyper adapt trainer, to have more exclusivity than any of their other shoes and later on in the product life cycle make it attainable to other consumer areas.  

Does it fit in with the brand ethos?  

Nike’s ethos is to continue to be the leader in innovation being that their mission statement is “To bring inspiration and innovation to every athlete in the world.” I believe that this shoe embodies everything that their brand stands for. For example the back to the future self-lacing shoe is one of Nike recent projects as well. The trainer  is a replica of Michael J fox’s shoes in the 1989 movie,back to the future. This shoes a continuation in advancing that technology which proves that Nike innovation strategy is to continue being a futuristic market leader within the industry. The brand image of Nike is to make their customer feel like every aspect of  of their business is an experience. Which is why hyper adapt links so well with their ethos because every aspect of the tech is specialized in a way making you feel as if the shoe is made especially for you and adheres to your individual body and lifestyle as well as making you feel as if you are apart of that back to the future culture.  

Does it reflect a logical development in their tech strategy?  

Nike current tech strategy is to take advantage of three main strategies business. In 2017 Nike unveiled its plan for growth is called the Triple Double Strategy (2X). Through it, the company promised to double its cadence and impact of innovation, double its speed to market and double its direct connections with consumers. This is important for the brand as they have the most market share within the footwear industry and need to continue to find ways to retain their customers. The hyper adapt trainer does fit in well with their current growth strategy for technology. It reaches all three of their core growth strategy goals. On the impact of innovation this is one of the first trainers Nike has done that gives athletes an almost heightened ability which can make them more competitive in their designated field especially with basketball. Moving to connection with their customers they have allowed famous athletes to test trial their shoe and have posted it on all social media platforms, this is an key marketing tool as it adjust the consumers mind to allow the early majority to adapt sooner because they identify with the celebrity that is using the item, Specifically the hype beast culture that is continuing to have an impact on the way younger consumers buy products. They don’t necessarily like the product but the prestige of the brand who sells it.  

The hyper adapt technology and design took 28 years to develop and perfect including and extra 11 years just for Research and development. This conflicts with Nike strategy to double its speed to market however with such a sensitive piece of technology you can agree that it is time sensitive, which is also why the shoe is so expensive. In my opinion I feel that the technology will continue to grow and overtime be useful to many different types of athletes around the world.

Jess

Nike’s general target market is quite wide range. For this innovation ‘Hyper Adapt BB’, they are targeting basketball players meaning it is a niche market. However, this market will definitely make use of the product due to the practicality and efficiency that it gives them. Nike are targeting high profile basketballers to begin with, meaning that they have a high social media profile and engagement, meaning that they will market the product to the followers without Nike having to go out of their way to advertise which means that more people will be interested and aware of Nikes’ new innovation. In the long-term, the product will most likely be used by a wider range market due to the facts form the diffusion of innovation theory including early majority then leading onto late majority and laggards (Changeology, Les Robinson, 2019). Also customers such as disabled or wheelchair users may find that this could potentially have a great impact in improving their health whilst playing sport or even walking in general. This means that an even wider range of people will use Nikes new innovation which increases the customer range.

Although the future path for trainers is bleak and not known, eventually lots of customers may be interested because it is known as the ‘back to the future’ self lacing shoe, which means that it will become a ‘wanted’ item due to the fact it has a back story to an extremely popular and cool film. Customers will see this innovation as the next big thing if they associate it with back to the future.(digital trends, 2019)  

Can the brand use it to strengthen their market position? How? Communication?

In the past when Nike have released similar self-lacing trainers to the Hyper adapt BB however they have only released low quantities due to the fact that the brand can’t support the high demand at this stage of innovation and because a new innovation is a high risk.

The brand already has a strong market position meaning they have a high customer and brand loyalty.according to Ansoffs Matrix, (tutor2u, 2019) Nike are currently at the product development stage of the innovation and are outlining the market development stage as they are releasing them. Therefore, this means that Nike can use this new innovation, hyper adapt, to strengthen the brand and increase the range of consumers interested. The more interest they get means that the brands market position increases and strengthens to become the top brand in the market. This is because they are one of the first in the gap in the market and they have a high level of knowledge within the industry.

Can the brand afford to implement it? Afford not too? Additional resources/ investment required?  

Nike are a multi-million £ brand which means they have the funds to afford to implement the new technology and they also have the brand loyalty needed to ensure it actually takes off within the market.(Nike, 2019)

Nike are a huge organisation therefore have a lot of resources’ to carry out a large amount of research and development which means that their market share has a higher chance of increasing due to having a good knowledge and understanding of the industry and the consumer spending habits. However, other competitors have this knowledge too. Like Puma, Puma created a self lacing sneaker with Fit intelligence earlier this year (2019), however even though they released it after the first Nike self lacing trainer, they had made slight adjustments from what Nike did meaning that Nike would need to keep working and improving theirs. (Dezeen, 2019)

Nike first sold the 2016 self lacing shoes through a lottery system and donated $10 of the money to Parkinson’s research charity, proving that the brand know how to please the customers and know the customers habits etc. they know what the customers want from the product and from the brand. Customers don’t just want a good product, they want a good brand.

Leading on from this, Nike have introduced another self lacing shoe at a much lower price for 2019, showing that the brand are still innovating and improving on the same self lacing trainer to try and appeal to a wider range of people and increase the amount of people buying them. The hyper adapt BB is the 2019 version aimed at basketball players.  (Forbes, 2019).

Conclusion  

In conclusion, the main feature that stood out with the hyper adapt technology is that it is developing further to benefit different types of lifestyles especially those that have disabilities. It has promoted the health and performance enhancing benefits rather than just focusing on the fashion aspects of a trainer. Nike have diversified and innovated their trainers to help consumers with disabilities by making the trainers adapt to their foot size which makes them more comfortable. The self-tying laces make the trainers easy to take on and off for the consumer, therefore saving time and any difficulty they may have previously experienced.

Secondly, this technology in the trainers is new and unique to the current market. Eventually this technology could be incorporated in every trainer and considered to be standard in all footwear. If it is successful Nike may only make trainers with the technology and other brands such as Adidas may follow in their footsteps. The price is high due to the costs of the research and development that was required to invent the technology, once that cost is reimbursed the selling price will reduce therefore making it more attractive to consumers  who perhaps do not have very large amounts of disposable income. The lower price will be more affordable and will hopefully lead to a larger volume of sales, which will generate more sales revenue. This sales revenue can be used to be reinvested into Nike to innovate further and keep up with the fast paced technology market.

[cinephiled-com]

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Interview: The Hulu Documentary 'Jawline' Shines a Revealing Spotlight on Boy Internet Stars

In rural Tennessee, Austyn Tester, a 16-year-old newcomer to the live-broadcast ecosystem, attempts to become the next big Internet crush. Teen girls all over the world tune into online “boy broadcasts” like Tester’s, in a 21st-century version of Tiger Beat, where all your favorite heartthrobs might actually interact with you online for a minute or two — or more for the right price. But Tester’s earnestness sets him apart, peering wide-eyed into his laptop camera and professing unconditional love and support to his female fans for hours on end. What’s he selling? Male validation. In return, he asks for fame and a better life for his family. Will Tester’s open heart give him celebrity status and a chance to escape from his dead-end town, or is this new ecosystem built for failure?

Liza Mandelup’s fascinating documentary Jawline, now showing on Hulu, distills complex concepts about growing up in today’s connected world with its new and fleeting versions of the American Dream with a moving human portrait that questions the values we’ve passed onto our young people. Mandelup approaches this peculiar world with an intimate air of BFF confidentiality and finds that as esoteric as the Internet and its niches feel to some, boy broadcasts represent modern youth’s starvation for love and acceptance and susceptibility to exploitation — a tale, unfortunately, as old as time.

I sat down with director Liza Mandelup, and then separately with Austyn Tester, the earnest subject of the film, and Michael Weist, the young and driven entrepreneur/talent manager who is Tester’s polar opposite.

Danny Miller: Liza, I came to this film knowing next to nothing about this world. At first I was thinking how great it was at leveling the playing field, at giving someone like Austyn who had no resources and was kind of miserable in his small town a real chance to follow his dreams. But by the end of the film I saw it more as a cautionary tale. Do you see it that way at all?

Liza Mandelup: No, I don’t think I would call it a cautionary tale because I think the film gets into a lot of the positive aspects of this phenomenon as well. Like finding a community when you don’t feel that you have one and providing refuge to young girls who are feeling lost or even suicidal. I was very surprised by those aspects of this world.

Yes, I was moved by some of those girls, too, especially in the lower key settings where they got to spend time with Austyn and were so honest with him about their feelings. Unlike some of the other online personalities you see in the film, Austyn seems so sweet and unassuming, a real innocent.

That’s what I loved about him and why I picked him. We were shooting for like a year without a main character. I started by talking to the fangirls. Then I started making contact with some of the boys to see who I might shoot. The boys I spoke to all had around 10 or 20 thousand followers and they all had managers and did these big tours, something I wasn’t that familiar with — it took me a while to understand the system. That’s when I found Michael Weist who was such an interesting character. When I eventually heard of Austyn, he didn’t have a manager and hadn’t even done a tour yet.

And when Austyn finally got a manager (not Michael) and went on tour, that’s when everything started to go downhill for him, right?

After he did his first tour, I followed him back home with my camera and I had these visions that he’d be walking all over town giving high fives to everybody, that girls would be running from different directions to see him, and that he’d be this local celebrity wherever we went. But instead I found him to be very anxious, not wanting to leave his room, and not being that into broadcasting anymore. I felt so bad because he’s had a really difficult life and he was really starting to get the kind of attention that he so craved as a means to get out of his town.

He seemed so real, like he wasn’t faking his sincere attitude at all.

Oh, he clearly wasn’t faking it or else he would have continued faking it! Instead, some things happened to him that really hurt his feelings and he started to lose interest. I purposely chose someone that I thought had very good intentions, not some ruthless, obnoxious person who would do whatever it took to get to the top, so his being a little fragile was a risk I was taking.

When you starting shooting Austyn, did you have it in your head that maybe he’d be super famous by the end of the film? I did!

To be honest, I genuinely thought that he might be because of those qualities you mentioned. Girls just loved him! But there’s something very arbitrary about this world, and I’m not sure he was prepared for it. But I’m so grateful that I met Austyn because he took me to a place that’s way more human than I ever could’ve hoped for. When I started making film, I was worried that the film would lack humanity.

Austyn had none of the veneer or blind ambition that so many of those boys seem to have, including Michael Weist, the manager.

Right. I’m very happy to have Michael’s voice in the film but I also wanted someone who could reflect a very human experience, not just the statistical side of things like how to increase the number of your followers. I kept reminding myself that even though we were telling a story against the backdrop of social media technology, it was still a human story.

Which is why I found Austyn so appealing. Do you think he’ll be able to use the attention he’ll get now that the film is out to reboot his social media presence?

I kind of hope so. As a documentary filmmaker, I’d like to give back to him in some way and I hope the attention that the film gets helps him to figure out how he wants to exist in this world. But to be honest, I don’t know if he wants it anymore, I feel like we may have caught a moment in time. That’s the crazy part about documentaries that exist in a very specific timeframe. When we made this film, Austyn wanted that kind of success more than anything in the world. But in the course of making the film, he changed.

He’s such an interesting case study.

At the end of the film he kind of returns to his previous life. Now he has this opportunity to come back but I’m not sure how that will go. He was so young when we started filming and he’s still trying to figure out who he is, both in his real life as well as online.

After talking to Liza, I went down the hall to talk to young entrepreneur Michael Weist looking like a Hollywood superagent. Austyn was supposed to be in Los Angeles that day as well but had some family issues he had to deal with in Tennessee so he joined Michael and me via speakerphone.

Michael, I admit I had no idea that all these young online personalities even had managers, I learned so much about how it all works.

Michael Weist: Yeah, it’s kind of like a subculture that most people don’t know anything about. I’m glad that the film finally shows that to the world.

Austyn, I think you come across so great in the documentary but it ends on a bit of a questionable note regarding your Internet career. Have you gone back to that at all since the shooting ended?

Austyn Tester: To be honest, I’m not doing it right now, no. I’ve just been really lazy. Since I went on tour with all these famous social media people, I’ve had to come back home and get an actual job. I’m working at a Starbucks now.

Do you both like how you come off in the film? Are there any moments that make you cringe?

Michael Weist: Watching it back is definitely like seeing this time capsule of your life. But ultimately, it shows who I was at that time. I think Austyn can attest to that, too, that’s just who we were then. I don’t think there’s anything I’d really change because all that made me who I am today.

Austyn Tester: When I watch myself in the film, there are moments when I cringe. I was pretty young and I think some of the stuff I do online is pretty bad like the lip-synching! Things have changed a lot on social media since the film was made, so I’d really like to figure that out.

Cool. Michael, I assume you still have your business managing online people?

Michael Weist: Yes, I’ve been able to refine my company a bit more, trim off pieces that needed to be trimmed, and grow in the right areas. The world of social media has changed quite a bit and only people who adapt to it will survive.

What are the qualities you look for in a client?

Michael Weist: Number one, you need to have consistency on all your platforms. You need to be very determined, you can’t half-ass it. You have to be very personable, very outgoing. That’s the formula for success.

Austyn Tester: I know if I jump back in, I’d have to be consistent which I haven’t been at all lately. I get it, though. Why would people follow me if I’m not giving them anything to watch?

It was moving to see all those girls at your public events getting so much joy out of interacting with you. Was that ever overwhelming, dealing with those hordes of girls?

Austyn Tester: I always felt it was friendly, but sometimes it was a bit too much! I was always super nervous before a live show, though, just sweating and hurrying through it. I saw all the screaming girls and would think, “Oh my gosh, what if they don’t like me?”

Were you surprised when you watched the film and learned how much you helped some of those girls who were really struggling in their lives?

Austyn Tester: Yeah, that was amazing to see, I’m so glad I helped people with my social media presence, that’s all I ever wanted to do. I always tried to remain positive and inspire people. It was kind of crazy because I was like 15 or 16 changing these 13-year-old girls’ lives. You suddenly realize, holy cow, you really do have an influence on people. It’s kind of hard for me to believe that happened.

[festivalists]

Undisputed

It is not that often that we have a chance to bring you film events from North America, yet when we do, we always aim for the sweetest cinephile fruits. And the Major League: Wesley Snipes in Focus retrospective organized at BAMcinématek, in the heart of Brooklyn, is precisely such a special occasion to gaze with nostalgia at an era in the US life and cinema industry that is no more. Yoana Pavlova talks to the British critic and programmer Ashley Clark who curated the selection.

As someone who grew up in Eastern Europe, I can assure you that in a post-1989 world American cinema meant everything to us. After the fall of the Berlin Wall, the market was flooded with straight-to-VHS flicks (often shown in theatres), and we watched them all, eager to adopt this new narrative. We laughed at the clumsy homo sovieticus personages often portrayed in these films, but apparently we were not quite yet white in the Western sense of the word. And what was the opposite of white back at the time? Well, Eddie Murphy, despite his cult success with the BEVERLY HILLS COP series and particularly with COMING TO AMERICA (1988) that we instantly recognized as a metaphor for our circumstances, was a little bit too hysterical to identify with. 2Pac was too niche.

This is when Wesley Snipes appeared, with his swag and smoothness, navigating the cliches of the then pop-culture with so much irony that it was a love at first sight. He was an underdog to champion in cinema and a role model in reality (I practically cannot imagine there was a time in the 1990s when a Kangol beret was not on my wish-list). The films he starred in, I saw on big screen, and his quirkier projects such as TO WONG FOO THANKS FOR EVERYTHING, JULIE NEWMAR (1995) – on the Bulgarian National Television, it was part of the zeitgeist. Alas, at the turn of the century, his career lost its momentum, his movies were enveloped by straight-to-DVD haze, only nobody was watching anymore.

This is why Ashley Clark's idea to stage a comeback of sorts, especially in a venue like BAMcinématek, with the 10 titles he picked for Major League: Wesley Snipes in Focus, is such a significant occasion to celebrate. While Film Twitter buzzed about the BARRY LYNDON (1975) screening with live orchestra and the 4K re-release DONNIE DARKO (2001), seemingly the retrospective had to compete for American cinephiles' attention. Nevertheless, Nick Pinkerton's piece for Artforum validates Wesley Snipes' “imperious and, yes, royal gravity, and an irresistible common-man likeability” in such an indisputable manner that there is no doubt what was the New York film event that first half of April.

Meanwhile, in real life, despite that Wesley Snipes rolled in a tank on Croisette with THE EXPENDABLES 3 (2014) and implicitly shared some of the buzz around Spike Lee's CHI-RAQ (2015), his real comeback is still to be seen (maybe even in VR). The dynamics behind his life and career, though, is a poignant lesson how vulnerable an actor's legacy can be – I believe this should serve as a reminder in the light of the recent backlash against Will Smith's jury nomination at Cannes from the same cinephile crowd.

Yoana Pavlova: Let's start with your idea to organize this retrospective with a special focus on Wesley Snipes. My impression from your work so far is that when you curate these programs revolving around race, you pick different kind of films, this case seems to be more particular.

Ashley Clark: The first thing to say is that I would not classify this project as anything to do with race specifically. I am a fan of Wesley Snipes, and I had some conversations with friends about how much of the hot gigs he had from the 1980s through to the late 1990s, up to BLADE II (2002), at the start of the new millennium, and how this has been overshadowed by his time in jail. If you google “Wesley Snipes” today, the first thing to come out is “tax evasion.” So I thought, you know, this would be a good opportunity to focus on his work, on the impact of his charismatic screen performance, as well as on the variety of genres – from action to comedy to serious drama – and he excelled in all of them. Another aspect, from curatorial point of view, is that many retrospectives are more authorial, so they would focus on the director or across a theme. So I thought it would be interesting to instead look at it through the prism of an actor, particularly someone like Wesley Snipes, who meant a lot to black audiences but also had cross-over appeal. And stardom is often the window onto film for many viewers who are not necessarily cinephiles. I think it is a way to be slightly more inclusive, perhaps.

YP: How about BAMcinématek, have you considered your selection particularly for this venue?

AC: Well, I worked with BAMcinématek before, on a couple of programs – on Afrofuturism and a film series around my book on Spike Lee’s BAMBOOZLED (2000) [Facing Blackness: Media and Minstrelsy in Spike Lee’s Bamboozled, 2015]. In terms of our working relationship, and the respective audience, I thought they would be a good fit. So they were the only institution I considered. Fortunately, that worked out very well.

YP: My next question is about this new context, in which this retrospective actually had to play out, in the so-called Trump era.

AC: Oh, tough question. I mean, I thought of the Wesley Snipes retrospective long before the Trump presidency was a reality.

YP: I imagine, yes.

AC: I genuinely didn't... I never really considered this was the Wesley Snipes program in dialogue with a particular political context. Certain themes that come through the films might be applicable, like the war on drugs in NEW JACK CITY (1991) era – there are going to be things that spark comparisons with contemporary life. Good films always stay relevant in one way or another, but I couldn't possibly say that I consider the Wesley Snipes retrospective as an answer to the political climate today.

YP: And what was your impression about the way the retrospective was received? I guess some people were there to see the films for yet another time, others were there to discover them – what was the feedback that you got?

AC: We were very fortunate the have some very good crowds, particularly for films like WHITE MEN CAN'T JUMP (1992) and the BLADE I (1998) and II double bill. It was a testament to the way Wesley Snipes commands the screen, commands the space, there were many visceral reactions in the audience, you know, amusement and a sense of togetherness. These films play fairly often on TV, or people have them on DVD, so it was very gratifying for me to bring them into a communal space, project them on a big screen, frequently off 35mm prints, so they had that kind of grainy texture to them, and to have the audiences respond in a really lively, engaged way, it was really fun! Some of the attendances were a bit quiet for a film like JUNGLE FEVER (1991), for example, that is shown fairly frequently in New York. JUNGLE FEVER contains so many different themes and ideas that it easily lends itself to many programs and angles. Even seeing it now, it was remarkable... Actually, this is less a Wesley Snipes and more a Spike Lee thing. JUNGLE FEVER strikes me as one of the most honest films I think I’ve ever seen, in terms of a filmmaker's head being projected straight onto the screen. I think Lee is very honest about his views on particular issues at that point in time, and this is why the film hasn't aged so well, and lends itself very open to criticism, particularly on topics like gender, sexuality, race. And it was incredible to see that on big screen, with Wesley Snipes' performance at the center of it.

YP: It is interesting that you mention JUNGLE FEVER, because it deals a lot with sexuality and race, which reminds me of MOONLIGHT (2016) and this new concept of “black masculinity.” How do you think this particular film, or the other titles from your program, resonate with the post-MOONLIGHT obsession?

AC: I think that in films like JUNGLE FEVER or ONE NIGHT STAND (1997) and particularly in WAITING TO EXHALE (1995), which wasn't in the series because it is quite a small role, Wesley Snipes challenged many of the Blaxploitation and post-Blaxploitation-era stereotypes, of black masculinity and power. One of his most significant achievements was to bring a tridimensional approach to portraying black masculinity on screen, and that is down to his ability to play in many different registers. I think he is in some ways a forerunner to someone like Michael B. Jordan, who is about to star in BLACK PANTHER (2018) by Ryan Coogler, the same way I saw Wesley Snipes do many things very convincingly. I’ve seen Michael B. Jordan do internal, romantic, and low-key in FRUITVALE STATION (2013), I’ve seen him do intensely physical in CREED (2015), he's been very funny in THAT AWKWARD MOMENT (2014), and he has got a lot of range and versatility to him. If you are looking for a contemporary analogue for what Wesley Snipes did.

YP: I was also thinking of these films a testimony of another production segment that does not seem to exist anymore in American cinema, in between what we label now as “indie” and the openly commercial films we get from studios nowadays. What are your thoughts about this fact that Wesley Snipes maybe landed at the right time in order to shine?

AC: Yes, he is very much a star of that mid-budget Hollywood era, where films could still maintain an independent sensibility yet held significant budget and high production values, and enough investment across the board to get the films out in many cinemas and in many homes. But, yeah, WHITE MEN CAN'T JUMP is a perfect example of that. It is a downbeat, indie comedy that has no interest in having a sequel [even if in the beginning of this year it was reported that there will be one], it is not part of a franchise, but it clearly has high production values. So, yeah, I agree with you, I do associate Wesley Snipes with that era, and it certainly does not exist anymore. MOONLIGHT might be a key film in bringing that kind of thing back. I do not know if Barry Jenkins is someone who will operate in this kind of largeg-scale blockbuster space, so I am thinking of films like MOONLIGHT with a bit more money behind them. But then the landscape of how we watch films, with the role of Netflix and Amazon in terms of finding and distributing content, is changing rapidly... So, yes, Wesley Snipes is very much a man of that era.

YP: Last question about the retrospective – did you by any chance had a visit by Wesley Snipes himself?

AC: Unfortunately, no. We tried, we got one tweet out of him, but sadly he did not respond to our requests. Hopefully he knew about the series, I hope he knows a lot of people are thinking about him. I hope he comes back and does what he is capable of, because he is a fantastic actor. He is 54, he is young, when you look at contemporary actors like Denzel Washington and Tom Cruise, they are still going strong.