Zoom on Social Media:Influencer Marketing&Fashion TrendsCredit:Nora JaloudHeuritech x Hivency1.Hiven.
2024-01-02
35页
5星级
12Branding at the speed of cultureThis is a condensed version of a presentation held at Valtech RADO.
2023-12-29
73页
5星级
ContentsT R E N D 1Series Slow Down,Cinema(Re)SurgeLaughs,Chills&ThrillsForeign Film from the Family.
2023-12-29
29页
5星级
Adapting to Changing Consumer BehaviorINFLUENCER MARKETING TRENDS IN 2023-The Evolution of Content&P.
2023-12-27
34页
5星级
STATE OF MARKETING AI REPORT2023 2023,Marketing AI Institute,All Rights Reserved.2|2023 State of Marketing AI Report3 A Letter from Paul Roetzer4 Executive Summary 8 Methodology 9 The Respondents Roles 9 Areas of Marketing 9 Industry 10 B2B vs.B2C 10 Revenue 11 Employees 1112 Key Findings Understanding of AI 12 Role in Evaluating and Purchasing Marketing AI Technology 13 Marketing AI Confidence Level 14 AIs Impact on Marketing Jobs 15 Stage of Marketing AI Transformation 16 Importance of AI to Marketing 17 Marketing AI Outcomes 18 Barriers to Marketing AI Adoption 19 Marketing AI Education and Training 20 AI Ownership 21 Personal Use of AI Tools 22 Generative AI Policies 23 AI Ethics Policy 24 Feelings on AI 25 Preferred Ways to Advance Knowledge 26 27 Final Thoughts28 About Drift28 About Marketing AI Institute Table of Contents3|2023 State of Marketing AI ReportWe are at the dawn of the most profound technological shift in human history.AI is changing everything about how we communicate,sell,learn,teach,design products,start and grow businesses,hire and develop talent,manage tech stacks,build strategies,allocate resources,and drive performance.Big tech is battling for AI supremacy,while pouring billions into AI infrastructure,models,and applications.AI startups are building tools that can generate text,images,videos,audio,and code.Governments are racing to understand and regulate AI.Schools are struggling to adapt curriculum and policies.Businesses are scrambling to evolve and innovate.Entrepreneurs are emerging from everywhere to launch AI native companies that will disrupt industries.Professionals are balancing fear of the unknown,with excitement for the previously unimaginable.AI is creating boundless opportunities,while sowing chaos and uncertainty in society.And this is the least capable AI we will ever know.For many businesses,ChatGPTs release in November 2022 was a wake-up call.But,ChatGPT and large language models(LLMs)are just the tip of the iceberg for whats to come in AI.AI advancements in language,vision,prediction,reasoning,decisioning,and action will reinvent business models and industries,and redefine knowledge work at a rate and scale that the economy has never seen.Millions of jobs will be impacted as companies realize the power and potential of AI to drive productivity,efficiency,and profits.Yet,the vast majority of leaders charged with guiding their organizations vision,strategy and teams lack even a baseline understanding of the technology.We have to do moreindividually as marketers,and collectively as an industryto move past fear and uncertainty;to embrace smarter technologies;and to lead in the responsible application of AI in our organizations,schools,and communities.We can choose to make the future more intelligent,and more human.PAUL ROETZERFounder&CEO,Marketing AI InstituteMaking the Future More Intelligent and More HumanA Letter from Paul Roetzer,Founder&CEO,Marketing AI Institute20234|2023 State of Marketing AI ReportThe 2023 State of Marketing AI Report contains never-before-seen data from more than 900 marketers on how AI is being used in their work.What we learned is that the marketing industry is diving headfirst into AI usage and adoption,but is in desperate need of executive leadership and support to realize the transformative benefits of AI in their companies and careers.1.AI IS A CLEAR TOP PRIORITY FOR MARKETERS THIS YEAR.64%of marketers say AI is either very important or critically important to their marketing success over the next 12 months.This is a significant change in sentiment over 2022,when only 51%said the same thing.2.MARKETERS ARE PRIMARILY LOOKING TO USE AI TO SAVE TIME.77%of marketers say that reducing the time spent on repetitive tasks is the top outcome they want to achieve with AI.This is also the top desired outcome among AI decision-makers and the C-suite.3.THERE IS SIGNIFICANT AI ADOPTION IN MARKETING.98%of all marketers surveyed say they are already personally using AI in some waymost commonly,theyre experimenting with it(45%).29%say its already infused into their daily workflows.4.THERE IS SIGNIFICANT AI OPTIMISM IN MARKETING.Not to mention,64%of marketers say they have positive feelings about AIs impact on marketing,business,and society.Just 5%say they have outwardly negative feelings about the technology.(Though 31%are neutral or not sure how to feel.)Executive SummaryMarketing AI Institute and Drift have teamed up once again to provide unparalleled insight into the awareness,understanding,and adoption of artificial intelligence in the marketing industry with the third annual State of Marketing AI Report.20235|2023 State of Marketing AI Report5.CONFIDENCE IN EVALUATING AND PURCHASING AI TECHNOLOGY IS SLOWLY IMPROVING.The percentage of respondents who say they have low confidence in evaluating and purchasing AI technology has decreased from 29%in 2022 to 21%today,while the percentage of those expressing medium confidence has increased from 39%in 2022 to 46%today.The percentage of those with high or very high confidence has also modestly improved,from 29%last year to 32%this year.6.MOST MARKETERS STILL REMAIN IN THE EARLY STAGES OF UNDERSTANDING AND ADOPTING AI.When asked how they classify their understanding of AI,the vast majority of marketers say theyre at beginner(35%)or intermediate(54%)levels.Just 11%say theyre advanced.Yet,when compared against the 2022 State of Marketing AI Report,these statistics indicate that many more people have moved from the beginner to intermediate stage of AI understanding.Because in 2022,45%of marketers classified themselves as beginners while only 43%said they were intermediate,indicating that a sizable portion of the industry has moved their AI understanding forward in the last 12 months.However,many are still in the early phases of marketing AI transformation.58%of marketers say theyre still learning how AI works,and exploring its applications and potential value.35%say theyre starting to prioritize and run AI pilot projects.And just 7%say theyre actually scaling AI today.7.COMPANIES LAG BEHIND IN PROVIDING AI EDUCATION AND GUIDANCE.78%of respondents say their employers have no internal AI-focused education or training.Predictably,then,when asked about their top barriers to adopting AI,a lack of education and training topped the list for the third straight year.(64%of respondents said it was a barrier.)Other top barriers included a lack of AI awareness or understanding,and a lack of AI strategy.8.COMPANIES LAG BEHIND IN PROVIDING GENERATIVE AI AND ETHICS POLICIES.Only 22%of organizations have generative AI policies.And only 21%of organizations have an AI ethics policy or responsible AI principles.Smaller companies($0-$10M in revenue)are the most likely to lack these policies.2023Executive Summary6|2023 State of Marketing AI Report9.LACK OF COMPANY SUPPORT MAY BE CREATING FEAR AND UNCERTAINTY AROUND AI.Despite their widespread AI usage,marketers are still conflicted about how AI will impact their jobs.When asked how AI will affect marketing jobs in the next three years,40%of respondents say they believe more jobs will be eliminated over this time due to AI.Conversely,36%say more jobs will be created by AI in the same timeframe.Interestingly,those with the role of CEO/President are more likely than any other role to think that more jobs will be eliminated due to AI in the next 3 years(47%).10.ENTRY-LEVEL ROLES MAY BE PARTICULARLY LAGGING BEHIND WHEN IT COMES TO AI.Those who say they work in entry-level roles are most likely to say theyre beginners when it comes to understanding AI.They are also far more likely than other seniority levels to not use AI at all,with a full 10%saying they dont use it.Additionally,entry-level roles are most likely to say AI will have no meaningful impact on jobs at all(18%).11.CEOS AND CMOS ARE OWNING AI ADOPTION IN MARKETING.Respondents were asked who owns adoption and integration of AI technology for marketing within their organization.CEOs are most commonly cited(35%)as the full owner or a partial owner alongside other roles.CMOs are a close second,with 33%either partially or fully owning AI.Other roles dont come anywhere close.Just 15%of respondents say the Chief Technology Officer is involved in AI ownership,while 8%say the IT department or the Chief Digital Officer is involved.21%say that no one owns AI at all.This leaves CEOs and CMOs far and away as the two most important roles owning AI within marketing organizations.And,the larger the organization,the more AI ownership falls on CMOs.Smaller organizations of$0-$10M in revenue are most likely to cite the CEO as the AI owner while CMOs begin to be most commonly cited as partial or full AI owners once organizations grow above$10M in revenue.And out of the 33%of respondents who say CMOs are involved in AI ownership,two-thirds do not include the CEO in a co-ownership rolefurther indicating that CMOs are taking the AI reins in larger companies.2023Executive Summary7|2023 State of Marketing AI Report12.CMOS IN PARTICULAR MUST MAKE AI UNDERSTANDING,TRAINING,AND STRATEGY URGENT PRIORITIES.Though CMOs play a starring role in AI ownership,they also have gaps in their AI knowledgegaps that may be partially responsible for why organizations are lagging in AI understanding,training,and strategy.When benchmarked against the rest of the C-suite,CMOs fall behind in AI understanding,confidence,and usage.Among the C-suite,CMOs are most likely to say they have a beginners understanding of AI(30%)and are least likely to say they have an advanced understanding(10%).They also are the least likely to have high or very high degrees of confidence in evaluating AI technology(33%)and are the least likely to be infusing AI into their daily workflows(26%).If organizations expect to survive and thrive in the coming age of AI,CMOs must take urgent action to upskill themselvesand their teamson AI understanding,usage,and training.2023Executive Summary8|2023 State of Marketing AI ReportThe 2023 State of Marketing AI Report collected responses to 15 questions about AI and its role in marketing,as well as responses to six questions about the demographics of the survey takers.The survey took place between April 26 and July 12,2023.Respondents were not required to answer all of the questions in order to submit their responses.918 respondents completed at least some of the survey,with the vast majority(96%)completing the full survey.As such,the data presented in this report may reflect varying participation rates across different data points.Throughout the report,we clearly indicate the sample size of respondents for a particular answer set.In some places,percentages may add up to more than 100%,either due to multiple responses being selected or the rounding up of percentages for easy reading.The survey was primarily promoted via the Marketing AI Institute website,newsletter,podcast,and webinars,so it is possible that respondents,who have shown a predisposition to AI content and information,may have higher awareness and adoption levels of AI than the broader industry.Methodology20239|2023 State of Marketing AI ReportSurvey respondents represent a diverse set of roles,marketing disciplines,and company sizes.Areas of MarketingRespondents were asked about the areas of marketing theyre involved in.They could select multiple marketing categories.Content marketing leads the pack at 83%,followed by email marketing at 68%.Other top areas include social media marketing(67%),advertising(61%),and analytics(59%).The Respondents61%OF RESPONDENTS IDENTIFY THEIR ROLES AS DIRECTOR-LEVEL OR ABOVE.83%OF RESPONDENTS ARE INVOLVED IN CONTENT MARKETINGTHE HIGHEST PERCENTAGE OF RESPONDENTS.2023RolePercentage of RespondentsManager24O/President23%Director18%Chief Marketing Officer9%RolePercentage of RespondentsContent Marketing83%Email Marketing68%Social Media Marketing67vertising61%Analytics59%Search Engine Optimization(SEO)55%RolePercentage of RespondentsOther9%Vice President7%Entry-Level6%Other C-Suite4%n=901RolePercentage of RespondentsCommunications/PR54%Customer Experience/Customer Service39%Sales36ommerce21%Other10%n=915RolesThe highest percentage of respondents(24%)identify themselves as managers.The next highest role cited is CEO/President(23%).The C-suite as a whole comprises 36%of respondents.Chief Marketing Officers comprise 9%of the total.10|2023 State of Marketing AI ReportThe Respondents88%OF RESPONDENTS WORK IN B2B.RolePercentage of RespondentsProfessional Services27%Software14%Other10%Media7ucation6%Health Care5%Finance5%Manufacturing4%Publishing3%Construction3%Consumer Packaged Goods(CPG)3%Retail2%RolePercentage of RespondentsInsurance2%Consumer Services2%Real Estate1%Transportation1%Telecommunications1%Entertainment1%Government1%Hotels1%Arts1%Travel1%Recreation0%Restaurants0%n=912B2B vs.B2CPercentage of RespondentsB2B53C10%Both35%NA2%n=883IndustryProfessional services is the industry most commonly identified by respondents,comprising 27%of those surveyed.Other common industries include software,media,education,health care,and finance.B2B vs.B2CWhen asked if their company was business-to-business(B2B)or business-to-consumer(B2C),53%say they are exclusively in B2B,while 35%say they are in both B2B and B2C.Just 10%say they are exclusively in B2C.Given the overlaps,88%either work exclusively or partially in B2B,while 45%work exclusively or partially in B2C.27%OF RESPONDENTS WORK IN PROFESSIONAL SERVICES,THE HIGHEST PERCENTAGE OF RESPONDENTS.202311|2023 State of Marketing AI ReportThe RespondentsRevenuePercentage of Respondents$0-$1M31%$1-$10M26%$10-$50M16%$50-$100M6%EmployeesPercentage of Respondents1-932-4921P-99120-2499%0-4996P0-9995%RevenuePercentage of Respondents$100-$250M5%$250-$500M4%$500M-$1B3%$1B 8%n=892EmployeesPercentage of Respondents1,000-2,4994%2,500-4,9992%5,000-9,9993,000-19,9992 ,000 5%n=908RevenueMore than half(57%)of respondents work at companies with$10M or less in revenue,a significantly smaller proportion than last year(68%at$10M or less in 2022).Larger enterprises are significantly represented,with 26%coming from people at companies with$50M or more in revenue(compared to 23%in 2022).EmployeesIn line with revenue numbers,53%of respondents work at organizations with fewer than 50 employees,while 27%work at companies with 250 or more employeesa rise from 2022,when only 21%cited being at companies with 250 or more employees.57%OF RESPONDENTS WORK IN ORGANIZATIONS WITH$10M OR LESS IN REVENUE.53%OF RESPONDENTS WORK AT ORGANIZATIONS WITH FEWER THAN 50 EMPLOYEES.202312|2023 State of Marketing AI ReportKey Findings2023As part of the State of Marketing AI Report,respondents were asked to answer 15 questions about their AI knowledge and how their organization uses AI in marketing.The questions came in two types.There were questions where respondents could only select one answer and there were questions where respondents could select multiple answers.In each key finding that follows,questions with multiple responses possible are indicated as such.When asked how they classify their understanding of AI terminology and capabilities,54%of respondents say they are at the intermediate level,while just 35%say they are beginners.This was a major difference from 2022,when 45%said they were beginners and 43%said they were intermediate,indicating that a significant portion of the industry has moved their AI understanding forward in the last 12 months.Those with advanced levels of understanding,however,remain largely unchanged compared to last year(11%in 2023 vs.12%in 2022).AI understanding appears to increase with seniority of role.Entry-level roles are most likely to say they are beginners(51%of entry-level respondents;n=51),with managers coming next(46%;n=218),followed by directors(37%;n=167).Chief Marketing Officers are the role most likely to say they have an intermediate understanding of AI(60%;n=79).Of the roles saying they have an advanced understanding of AI,other C-Suite roles(outside of CEOs or CMOs)lead the pack with 28%(n=36)saying theyre at an advanced level of understanding.CEOs come in second(23%;n=205),and notably,just 10%of CMOs consider themselves advanced in AI understanding.54%OF MARKETERS CLASSIFY THEIR UNDERSTANDING OF AI AS INTERMEDIATE.Understanding of AIQ:“HOW WOULD YOU CLASSIFY YOUR UNDERSTANDING OF AI TERMINOLOGY AND CAPABILITIES?”n=91613|2023 State of Marketing AI ReportKey FindingsMore than a third of respondents(38%)say theyre decision-makers within their organization,with the authority and budget to purchase marketing AI technology.Another 25%say theyre champions who advocate for marketing AI purchases internally,while 20%are influencers who research and recommend solutions.That means,overall,83%of 2023s respondents are involved in researching,recommending,championing,and/or deciding on marketing AI technology purchases.Most often,respondents who are CEOs/presidents are the ones making decisions,with 82%(n=203)saying they are decision-makers with the authority and budget to make purchases.CMOs are the second most-likely role to have decision-making authority(56%;n=77).38%OF RESPONDENTS ARE MARKETING AI TECHNOLOGY DECISION-MAKERS WITH PURCHASING AUTHORITY.Role in Evaluating and Purchasing Marketing AI TechnologyQ:“WHICH BEST DESCRIBES YOUR INVOLVEMENT IN EVALUATING AND PURCHASING MARKETING TECHNOLOGY?”n=911202314|2023 State of Marketing AI ReportKey FindingsRespondents most commonly(46%)rate their confidence in evaluating AI-powered marketing technology at a medium level.That was also last years most-cited confidence level,(39%in 2022),though more people overall rate their confidence as medium this year.This year,fewer people also rate themselves at the low confidence level21%compared to last years 29%.More also say their confidence is high or very high this year than last year32%compared to 29%respectively.In line with respondents understanding of AI,it seems the biggest gains have been made in moving people from lower levels to medium levels of confidence in evaluating AI technology.As a whole,decision-makers predominately say they have medium levels of confidence when evaluating AI technology(42%;n=345).A sizable portion also say they have high degrees of confidence(30%).Predictably,those who say they have an advanced understanding of AI are also most likely to say they had high confidence in evaluating AI technology(50%of this group;n=101).Interestingly,out of all respondents who say they have beginner levels of AI understanding,most say they have medium confidence in evaluating AI by a slight margin(44%of this group;n=318).42%say they had low confidence.CEOs/Presidents(n=203)are tied with Other C-Suite roles(n=36)in having the largest proportion of respondents with high confidence in evaluating marketing technology(33%for both).However,Other C-Suite roles are a bit more likely to say they have very high confidence(17%)than CEOs/Presidents(15%).Only 24%of CMOs(n=78)say they have a high degree of confidence in evaluating marketing technology and just 9%rate themselves as having very high confidence.The majority(53%)rate their confidence as medium,and 14%say it is low.69%RATE THEIR CONFIDENCE LEVEL IN EVALUATING AI-POWERED MARKETING TECHNOLOGY AS MEDIUM,LOW,OR NONE.Marketing AI Confidence LevelQ:“HOW WOULD YOU RANK YOUR CONFIDENCE EVALUATING AI-POWERED MARKETING TECHNOLOGY?”n=918202315|2023 State of Marketing AI ReportKey FindingsWhen asked about how AI will affect marketing jobs in the next 3 years,respondents are pessimistic,albeit by a small margin.40%of respondents say AI will eliminate more jobs than it creates over the next 3 years,while 36%say more jobs will be created by AI.It isnt possible to directly compare this answer to 2022s report because last years report asked about AIs impact on marketing jobs over a 10-year timeline.When asked that question in 2022,57%of marketers said more jobs would be created by AI than eliminated and just 22%said more jobs would be eliminated.This could mean that marketers are overall far more pessimistic this year versus last year,thanks to the stunning advancements in AI over the last 12 months,or it could mean that marketers are more optimistic that,over time,AI will create new careers and opportunities,but believe short-term job elimination will have to come first.Interestingly,CEOs/Presidents are more likely than any other role to think that more jobs will be eliminated by AI(47%;n=204)on a 3-year timeline.Entry-level roles are most likely to say that AI will not have a meaningful impact on jobs(18%;n=51).CMOs are the most optimistic group out of all roles,being most likely to say they think more jobs will be created by AI(41%;n=75)over the next three yearsa higher percentage than any of the other roles.However,CMOs as a group are still exactly divided,with 41%also saying that they think more jobs will be eliminated by AI.40%OF MARKETERS SURVEYED SAY AI WILL ELIMINATE MORE JOBS THAN IT CREATES.AIs Impact on Marketing JobsQ:“WHAT DO YOU BELIEVE THE NET EFFECT OF AI WILL BE ON MARKETING JOBS OVER THE NEXT 3 YEARS?”n=914202316|2023 State of Marketing AI ReportKey FindingsRespondents were asked which stage of marketing AI transformation best describes their marketing teams.Most commonly,respondents cite being in the understanding phase(58%),where they are learning how AI works,and exploring its applications and potential value.In total,35%of respondents say theyre starting to pilot AI by prioritizing and running AI experiments.Just 7%say theyre actually scaling AI.While last years question allowed respondents to pick multiple answers,so a direct comparison isnt possible,in 2022,67%of respondents said they were in the understanding phase and 36%in the piloting phase.The biggest swing between last year and this year was in scaling.Last year,15%said they were scaling AI,compared to this years 7%.Out of all company sizes,$1B enterprises are most likely to be in the preliminary understanding phase of AI(66%;n=74).Organizations with$50-$100M in revenue are the leaders in the piloting phase(40%;n=50),and$0-$1M size firms(n=272)are tied with$1-$10M size firms(n=234)as the company size most likely to be in the scaling phase(9%).58%OF MARKETERS SAY THEYRE STILL LEARNING HOW AI WORKS,AND EXPLORING ITS APPLICATIONS AND POTENTIAL VALUE.Stage of Marketing AI TransformationQ:“WHICH STAGE OF AI TRANSFORMATION BEST DESCRIBES YOUR MARKETING TEAM?”n=907202317|2023 State of Marketing AI ReportKey FindingsNearly two-thirds of respondents(64%)say AI is either very important or critically important to the success of their marketing over the next 12 months.Thats a significant jump from 2022 when just 51%said the same thing.Many more people also say AI is critically important in 2023(26%)versus 2022(17%).Importance of AI to MarketingQ:“HOW IMPORTANT IS AI TO THE SUCCESS OF YOUR MARKETING OVER THE NEXT 12 MONTHS?”64%OF MARKETERS SAY AI IS EITHER VERY IMPORTANT OR CRITICALLY IMPORTANT TO THEIR MARKETING SUCCESS OVER THE NEXT 12 MONTHS.n=906202318|2023 State of Marketing AI ReportKey FindingsRespondents were asked which outcomes their organizations were interested in achieving with AI,and could choose multiple options.Most commonly,respondents say they want to reduce time spent on repetitive,data-driven tasks(77%).The next most-desired AI outcome is unlocking greater value from marketing technologies(62%),followed closely by generating greater ROI on campaigns(61%),and accelerating revenue growth(60%).Interestingly,the two least-common desired outcomes are shortening sales cycles(28%)and predicting consumer needs and behaviors with greater accuracy(39%).Among decision-makers buying AI technology,the most desired outcome is using AI to reduce the time spent on repetitive,data-driven tasks,with 80%(n=341)of them citing it as a desired outcome.This is also the most-desired outcome for both CEO/Presidents(n=203)and CMOs(n=77).77%SAY THAT REDUCING TIME SPENT ON REPETITIVE TASKS IS THE TOP OUTCOME THEYRE INTERESTED IN ACHIEVING WITH AI.Marketing AI OutcomesQ:“WHAT ARE THE PRIMARY OUTCOMES THAT YOUR ORGANIZATION IS INTERESTED IN ACHIEVING WITH AI?CHOOSE ALL THAT APPLY.”Primary Outcomes to Achieve with AIPercentage of RespondentsReduce time spent on repetitive,data-driven tasks77%Unlock greater value from marketing technologies62%Generate greater ROI on campaigns61celerate revenue growth60%Get more actionable insights from marketing data59%Create personalized consumer experiences at scale55%Drive costs down50%Increase qualified pipeline42%Predict consumer needs and behaviors with greater accuracy39%Shorten the sales cycle28%None of the above2%n=911202319|2023 State of Marketing AI ReportKey FindingsRespondents were asked which barriers they faced when it came to adopting AI in their marketing.They could choose multiple barriers.The top barrier is a lack of education and training(64%),which remains the top barrier from 2022 at nearly the same percentage(63%).At 56%,a lack of understanding and awareness is the second most common barrier.Other top barriers include:lack of strategy(44%),lack of talent with the right skill sets(38%),fear or mistrust of AI(36%),and lack of resources(32%).64%SAY A LACK OF EDUCATION AND TRAINING IS A TOP BARRIER TO AI ADOPTION.Barriers to Marketing AI AdoptionQ:“WHICH OF THE FOLLOWING DO YOU CONSIDER BARRIERS TO THE ADOPTION OF AI IN YOUR MARKETING?CHOOSE ALL THAT APPLY.”Barriers to Adoption of AIPercentage of RespondentsLack of education and training64%Lack of awareness or understanding56%Lack of strategy44%Lack of talent with the right skill sets38ar or mistrust of AI36%Lack of resources32%Unknown risks31%Lack of ownership or governance27%Lack of technology infrastructure26%Lack of executive support or vision25%Lack of the right data22%Unrealistic expectations22%None of the above3%n=917202320|2023 State of Marketing AI ReportKey FindingsWhen asked if their organization offered AI-focused education and training for the marketing team,78%say either no(54%)or that it is in development(24%).Just 17%say their employer offers this type of training.Though low,these numbers are improving compared to last year.The number of people who say their organization doesnt offer training dropped significantly,from 65%in 2022 to 54%today.More people also say training is in development this year,with 24%saying its in development compared to 16%last year.This seems to indicate that,although still in the early stages,organizations are putting more emphasis on developing or offering internal AI training.78%OF RESPONDENTS EMPLOYERS DO NOT HAVE INTERNAL AI-FOCUSED EDUCATION OR TRAINING CURRENTLY DEVELOPED.Marketing AI Education and TrainingQ:“DOES YOUR ORGANIZATION OFFER ANY AI-FOCUSED EDUCATION AND TRAINING FOR THE MARKETING TEAM?”Of companies offering some form of AI-focused training,those with$1-$10M in revenue led the pack,with 23%of respondents(n=235)at these companies saying they had it.Following these companies were$1B revenue companies at 22%(n=74).Companies with$500M-$1B in revenue were least likely to have AI training66%say they dont have it(n=29).n=914202321|2023 State of Marketing AI ReportKey FindingsRespondents were asked who owns the adoption and integration of AI for marketing,and could pick multiple roles.The most common response is the CEO(35%),followed very closely by the Chief Marketing Officer(CMO)at 33%.21%say nobody owns AI for marketing.Less-common owners cited by respondents include Chief Technology Officer(15%),the IT Department(8%),Chief Digital Officer(8%),and Chief Information Officer(7%).35%SAY THE CEO OWNS THE ADOPTION AND INTEGRATION OF AI FOR MARKETING,FOLLOWED CLOSELY BY THE CMO.AI OwnershipQ:“WHO IN YOUR ORGANIZATION OWNS THE ADOPTION AND INTEGRATION OF AI TECHNOLOGY FOR MARKETING?CHOOSE ALL THAT APPLY.”Predictably,smaller organizations are most likely to say the CEO owns AI.53%of respondents at companies of$0-$1M in revenue(n=275)say the CEO owns AI,while 39%at$1-$10M in revenue(n=234)indicate the same.Ownership begins to shift in part or in full to the CMO at the$10-$50M level(n=147).In organizations from$10-$50M to$1B (n=378),the CMO is most likely to be cited as a full or partial owner of AI.AI Owners Within OrganizationPercentage of RespondentsCEO35%Chief Marketing Officer33%No one owns it21%Chief Technology Officer15%Other12%Other C-Suite10%IT Department8%Chief Digital Officer8%Chief Information Officer7%Not sure7%Chief Data Officer4%n=915202322|2023 State of Marketing AI ReportKey FindingsWhen asked how they personally use AI,respondents most commonly(45%)say they are experimenting with AI tools.However,29%say they have infused AI into their daily workflows.Another 18%said they use AI periodically.Just 2%say they dont use AI at all.98%OF MARKETERS ARE PERSONALLY USING AI IN SOME WAY.Personal Use of AI ToolsQ:“HOW WOULD YOU BEST DESCRIBE YOUR PERSONAL USE OF AI TOOLS?”Interestingly,entry-level employees are far and away most likely to not use AI at all,with 10%(n=51)giving this answer.The role of CEO/President(n=203)is most likely to say AI is infused into their daily workflows already,tied with Other C-Suite roles(n=35),with both groups at 37%.These two groups are also most likely to say they cant live without AI(14%of Other C-Suite;11%of CEO/Presidents).Directors are most likely to be experimenting with AI(50%;n=167),followed closely by CMOs(49%;n=78).When looking at purchasing authority,decision-makers are far and away most likely to say they cant live without AI (59%;n=345).n=914202323|2023 State of Marketing AI ReportKey FindingsWhen respondents were asked if their organizations had generative AI policies that guided the use of AI-generated text,images,video,audio,and/or code,72%say no.22%say their organization has one or more of these policies,and 5%are unsure if these policies exist.22%OF ORGANIZATIONS HAVE GENERATIVE AI POLICIES.Generative AI PoliciesQ:“DOES YOUR ORGANIZATION HAVE GENERATIVE AI POLICIES WHICH GUIDE THE USE OF AI-GENERATED TEXT,IMAGES,VIDEO,AUDIO,AND/OR CODE?”The smallest companies,$0-$1M in revenue(n=271),are least likely to have a generative AI policy,with 80%saying they dont have one.Companies at$250-$500M in revenue(n=33)are most likely to have such a policy,with 36%saying one is in place.n=910202324|2023 State of Marketing AI ReportKey FindingsRespondents were asked if their organization had any type of AI ethics policy or responsible AI principles,either publicly or internal-facing.The vast majority(71%)say no.Only 21%say they have such policies.And 8%say they dont know if they have them.21%OF ORGANIZATIONS HAVE AN AI ETHICS POLICY OR RESPONSIBLE AI PRINCIPLES.AI Ethics PolicyQ:“DOES YOUR ORGANIZATION HAVE AN AI ETHICS POLICY AND/OR RESPONSIBLE AI PRINCIPLESEITHER PUBLIC-FACING OR FOR INTERNAL USE?”As with the generative AI policies,the smallest companies($1-$10M),are also least likely to have an AI ethics policy77%say they dont have one(n=234).Companies with$50-$100M in revenue are most likely to have one (36%;n=50).n=911202325|2023 State of Marketing AI ReportKey FindingsWe asked respondents how they felt personally about AI and the significant impact its having on marketing,business,and society.64%say they have positive feelings about AIs impact and just 5%say they have negative feelings.14%are neutral and 17%are unsure how they feel.64%OF RESPONDENTS FEEL POSITIVE ABOUT AI AND ITS IMPACT.Feelings on AIQ:“HOW DO YOU FEEL PERSONALLY ABOUT AI AND THE IMPACT ITS HAVING ON MARKETING,BUSINESS,AND SOCIETY?”n=914202326|2023 State of Marketing AI ReportKey FindingsWe wanted to learn how marketers advance their AI knowledge and capabilities,so we asked which ways they preferred.The most popular answer(84%)is through attending online events like webinars and virtual summits.The second most popular option(75%)is taking online courses.Reading books and articles round out the top three at 68%of respondents.Interestingly,the least preferred method is by attending in-person events.84%OF MARKETERS PREFER TO ADVANCE THEIR AI KNOWLEDGE THROUGH ONLINE EVENTS.Preferred Ways to Advance KnowledgeQ:“WHICH OF THESE ARE YOUR PREFERRED WAYS TO ADVANCE YOUR AI KNOWLEDGE AND CAPABILITIES?CHOOSE ALL THAT APPLY.”Preferred Ways to Advance AI KnowledgePercentage of RespondentsAttend online events(webinars,virtual summits,etc.)84%Take online courses75%Read books and/or articles68%Listen to podcasts59%Join and participate in online communities49%Attend in-person events41%None of the above1%n=918202327|2023 State of Marketing AI ReportFinal Thoughts2023Its never been more important for leaders to act with urgency when it comes to AI.AI is a top priority this year for marketing decision-makers and practitioners in the marketing industry.And it is quickly being integrated into the daily workflows of marketers to significantly impact productivity and performance.But marketers clearly need education,guidance,and direction from leaders on how to use AI effectively and ethically.Leaders,especially CMOs,must act with urgency to devise and implement AI training programs,strategies,and policies.Without formal organizational support for AI,the industry risks missing out on the full potential of AI in marketing across organizations of any size in any industry.The good news?Every marketer has the opportunity to step up and become an AI leader within their organization,whether in a formal capacity as an AI owner or an informal one as a champion for AI in their company and career.Dont wait for the marketing world to get smarter around you.Be curious,and explore AI.28|2023 State of Marketing AI Report2023About DriftDrift,the Conversation Cloud company,helps businesses connect with people at the right time,in the right place with the right conversation.Using the Drift Conversation Cloud,businesses can personalize experiences that lead to more quality pipeline,revenue,and lifelong customers.Drift brings Conversational Marketing,Conversational Sales,and Conversational Service into a single platform that integrates chat,email,and video and powers personalized experiences with artificial intelligence(AI)at all stages of the customer journey.More than 5,000 customers use Drift to deliver a more enjoyable and more human buying experience that builds trust and accelerates revenue.Representing less than 1%of unicorns led by Latino founders,Drift is building an equitable,enduring company to transform the way businesses buy from businesses.For more information,visit and follow drift.About Marketing AI InstituteMarketing AI Institute is a media,event,and education company that makes AI approachable and actionable for marketers and business leaders.The Institute owns and operates the Marketing Artificial Intelligence Conference(MAICON),hosts The Marketing AI Show podcast,runs the AI Academy for Marketers featuring dozens of on-demand courses,and published Marketing Artificial Intelligence:AI,Marketing and the Future of Business(Matt Holt Books,2022).The Institute also hosts AI for Writers Summit,AI for Agencies Summit,and AI for B2B Marketers Summit.Founded in 2016,Marketing AI Institute educates marketers and business leaders on the present and future potential of artificial intelligence and connects them with AI-powered technologies to drive marketing performance and transform their careers.Today,subscribers and community members come from major brands including AARP,Accenture,Adidas,Adobe,Campbells,Cleveland Clinic,Disney,Ford,The Gap,IBM,KPMG,LEGO,LinkedIn,MassMutual,MasterCard,Mayo Clinic,Microsoft,Nasdaq,Nestle,Nissan,Nvidia,Oracle,Prudential,Salesforce,Samsung,S&P Global,VMware,and Wolters Kluwer.Learn more at .
2023-12-22
28页
5星级
2023,Volume 1ChinaDIGITALMARKETINGwww.eTOC-GeTOC GroupLegal notice.We are your bridge between the Ea.
2023-12-22
37页
5星级
Influencer Marketing Insights eBook2023 Consumer Trends:United States&Canada2Influencer Marketing Insights 2023 Consumer Trends:US&CAAbout this guideThe influence of social media has revolutionized the way we connect,communicate,and find new products.Influencers have become an essential part of marketing,and brands that effectively leverage this power can drive sustainable growth.Finding the right social platform and influencer to partner with is key to success.We have done the hard work for you by compiling consumer insights and tips to make navigating the creator economy easier.Enjoy this eBook and consider how adding a robust influencer strategy to your affiliate program can help you outperform your performance marketing goals.3Influencer Marketing Insights 2023 Consumer Trends:US&CATable of ContentsOur survey methodology.4Lets break it down.5The eyes have it.6Find your niche with the right influencer.7-8Yes,disclosure really matters.9The content sharing economy.10Winning content formats.11About measurement.12Increasing your discoverability.13Power through affiliate links.14 The always-on audience.15Purchasing power by age.16 Inspiration=purchase.17Payment&commissions.18Affiliate links for the win .195 tips to boost your influencer program.20Ready to learn more?.21Click the lines below to jump to a specific section in this report.4Influencer Marketing Insights 2023 Consumer Trends:US&CATo gain insights into consumers who shop on social media,we conducted a survey on their opinions about influencers.The following consumer insights are taken from 1,500 respondents across the US and Canada.At Rakuten Advertising,our services navigate the influencer landscape,delivering tailored strategies for social media platforms.We provide strategy,insights,and ensure you are driving high-performing influencer campaigns.Our survey methodologyIncome$25k-$34,999Under$25k$35k-$44,999$45k-$59,999$60k-$74,999$75k-$99,999$100k-$149,999$150kNo answer18%7%5%AgeGen Z 18-2416C%Millennial 25-34Gen X 35-49Gender(self-identified)74male26%male5Influencer Marketing Insights 2023 Consumer Trends:US&CAInfluencers can hold incredible sway over consumers,but each platform has a unique way of serving content to the viewer.Both existing and emerging platforms have a role in the consumer journey and your influencer marketing mix.Lets break it downContent typesInfluencer types Number of followersMega:1-5MMacro:500K-1MMid-Tier:50-500KMicro:10-50KNano:1-10KSocial media platformsFacebookYouTubeInstagramPinterestTwitterSnapChatTikTokRedditStatic ImagesShort form video(10 minutes)Long form text(blogs)6Influencer Marketing Insights 2023 Consumer Trends:US&CATake advantage of creating content with influencers across multiple platforms!The potential reach is truly endless when it comes to the major social channel players.Each of these top platforms boasts over of 1B Global Monthly Average Users(MAUs).Thats a LOT of eyes you can get your brand in front of!The eyes have itInstagram 2 billion Global MAUsTikTok 1 billion Global MAUsYouTube 1.7 billion Global MAUsFacebook 2.9 billion Global MAUsSource:Meltwater,Social Media Report7Influencer Marketing Insights 2023 Consumer Trends:US&CAEach social media platform has its best-performing niche,but determining what works best for your influencer program can be tricky.To help you allocate your resources effectively,heres a breakdown of top-performing verticals by platform.Source:Mavrck,The Influencer Marketing Guide By Social NetworkFind your niche.Finance and business are quickly becoming new spaces for influencers to flex their knowledge,commonly in podcasts and blogs.Instagram 49.3male 50.7%maleFashionBeautyTravelFoodYouTube 46.1male 59.3%maleFashionBeautyHomeTravel FinancialTikTok 59male 39%maleFashionBeautyTravelLifestyle FinancialFacebook 43.4male 56.6%maleFashionBeautyTravel MusicGamingSportsTop Brand Verticals8Influencer Marketing Insights 2023 Consumer Trends:US&CA.with the right influencerYou might be asking,how do I get the right influencer in front of the right customer?Think of a niche customer,maybe its someone looking to buy designer luggage or looking for just the right credit card theres an influencer out there for them.At Rakuten Advertising,we have multiple solutions to help you find the right influencer for you.There is no doubt that an influencer or creator can authentically fit your brand and represent your values.Here are the top categories where the influencer audience is looking to find inspiration:Entertainment51auty51%Craft or DIY33%Home/Lifestyle44%Gaming32shion44%Technology284%TravelFood Enthusiasts43%Finance/money experts23%9Influencer Marketing Insights 2023 Consumer Trends:US&CAYes,disclosure really mattersIt all boils down to trust.Consumers value influencers who are authentic,honest,and practice what they preach.This includes selecting brand partnerships that align with their values and providing honest reviews of gifted products.The more authentic an influencer is,the more consumers trust their opinion,especially when it comes to disclosures.This ultimately leads to more sales for your product.25%of respondents20%of respondentssaid they follow influencers to find new product recommendationssaid their primary reason for following influencers is to get an authentic,honest view of a product or service.What kind of advertising do you find the most trustworthy?Sponsored influencer link,or unpaid influencer review37%Brands ad on social platforms (on the page or in feed)29%None of the above34%Partnering with an influencer that shares the same values as your brand is paramount to a successful partnership dont be pitching diet pills to someone who built their audience on body positivity.10Influencer Marketing Insights 2023 Consumer Trends:US&CAcheck social media at least once a day 63%check multiple times a dayThe content sharing economySocial media consumers are already eager to share posts from influencers and are inspired by new products they find in their feeds.Work with your influencers to create catchy and share-worthy content!They are the experts.We help you work with your influencers to make your content catchy and share-worthy!will share content with their followersfollow a blogger or social media influencer2%whenever they make a purchase11%when they think a community theyre part of will find it interesting30%when they think a friend will like the brand/product42%when they find it interesting and different15%dont share contentWhen do you share influencer content with others?85%of consumers42%of consumers82%of consumers11Influencer Marketing Insights 2023 Consumer Trends:US&CAWinning content formatsWhile methods for content sharing are always emerging,these content types are tried and true when it comes to what the audience is likely to share(which is what really matters,right?).Static PicturesShort Form Video(TikTok or Instagram reels)Recorded Video(YouTube videos or vlogs)What type of content do you usually share with others?Pictures63%Short form videos/reels53%Recorded videos44%Written content/blog posts25%Livestream video22%Podcasts20Influencer Marketing Insights 2023 Consumer Trends:US&CAEvery influencer campaign is different,but here are some of the most common metrics that advertisers use to measure success and effectiveness.No matter what metric is important to you,we help you communicate that to your influencer partners.About measurementGrowth Rate%Growth Influencers see with Posting ScheduleAffiliate Sales Affiliate links that generate%of sale for influencerReachImpressionsEngagement Likes,Comments,Shares,SavesSource:Sprout Social,50 of the most important social media marketing statistics for 2023Measuring both brand and performance metrics is a proven method for finding the right influencer for your campaign.13Influencer Marketing Insights 2023 Consumer Trends:US&CA80%of US respondents59%of Canadian respondentsIncreasing your discoverabilityThe world of social commerce moves fast!Keep your influencer marketing programs fresh with new content and different promotions.Consumers who are inspired to find and buy new products are always on the lookout.discover a new product or brand through an influencer monthly 35%find something new weeklyhave been inspired to purchase something from an influencer they follow How often do you discover a new product or brand through an influencer you follow?11ily35%Weekly34%Monthly19%Monthly14Influencer Marketing Insights 2023 Consumer Trends:US&CAPower through affiliate linksAfter the point of discovery,the influencer audience is highly likely to make a purchase.77%of consumers are inspired to purchase something that was recommended to them by an influencer whether that be a paid promotion or not.Consumers are looking for the next new thing,they arent turned off by paid promotion if its a good product from someone they trust.58%of them said they have gone out of their way to click a link,whether affiliate or not.This shows just how dedicated the influencer audience can be when they want to support the influencers they trust.have been inspired to purchase something recommended by an influencer they followhave purchased something recommended by an influencer they follow by clicking a link or image they sharedBrand Ambassadors affiliate links work magic with these influencers!77%of respondents58%of respondents15Influencer Marketing Insights 2023 Consumer Trends:US&CAThe always-on audienceThe influencer audience in the US is diverse,but they tend to stick to the same platforms when looking for inspiration.As for Canada,their browsing habits are relatively similar,but YouTube clinched the top spot.InstagramYouTubeTikTokFacebook54VWI907&%Where do you primarily follow online Influencers?USCanada16Influencer Marketing Insights 2023 Consumer Trends:US&CAPurchasing power by ageThis younger Gen-Z generation buys apparel,beauty&skincare,and health&wellness.They find inspiration from influencers predominantly in the beauty,fashion,and entertainment industries.18 24Who they are following Ages54auty49shion49%Entertainment43%Food enthusiasts42%Gaming31%Home/Lifestyle51auty50%Entertainment48%Home/Lifestyle45shion45%Food enthusiasts41%Travel54%Entertainment51auty45%Home/Lifestyle41%Food enthusiasts41shion39%Craft/DIY30%Travel56%Apparel40auty34%Health/Wellness28%Footwear28%Jewelry20%Personalized Items20%Travel14%Automotive60%Apparel41auty38%Footwear36%Health/wellness33%Jewelry32%Personalized Items23%Automotive19%Children/Toys54%Apparel42%Footwear41auty38%Health/wellness27%Jewelry27%Personalized Items23%Automotive18%TravelCategories they are purchasingYounger millennials primarily buy apparel,beauty&skincare.They find inspiration from influencers in the beauty,entertainment,and home&lifestyle verticals.25 34This generation buys apparel,beauty and skincare,footwear,and health and wellness products.They find inspiration from influencers in beauty,home&lifestyle,fashion,&travel industries.35 4917Influencer Marketing Insights 2023 Consumer Trends:US&CAFinding inspiration for the perfect gift,regardless of the occasion,is where an influencer can really shine.Savvy social shoppers are looking for inspiration for the next must-have gift.Influencers use curated gift guides,Instagram stories,and sponsored ads during peak shopping times to partner with brands to introduce new products to their audience.We asked consumers how much they rely on influencers for gift-giving inspiration around top shopping times in the year:Inspiration=purchaseIts time for a little inspo.78%Christmas&major holidays68%Birthdays61%Valentines Day59%Mothers&Fathers Day58%Weddings or Special occasions18Influencer Marketing Insights 2023 Consumer Trends:US&CAThere are a huge variety of paid and unpaid ways that you can work with influencers,but no matter the model,pay them on time!Here are a few of the most popular commission models we see from Rakuten Advertising clients that work best for getting your product or service in the hands of the right influencer:Payment and commissionsPaid Partnerships:This involves an upfront fee to promote your product or service.The fees you can expect to pay vary significantly depending on the influencers size,ranging from a few thousand dollars to several million.Free Product or Service:Instead of payment,you can send influencers free products,a comped trip or service,or store credit.In return,they will create posts,stories,or some combination of content depending on your primary objectives.Affiliate Links:This is a great way to build a true partnership with an influencer.It allows you to see the revenue an influencer can generate for your brand while giving them a%(usually 5-10%)of what their followers purchase.Licensing UGC:When a brand loyalist creates content showcasing a brands product,the brand can pay a licensing fee to use the content on their social channels,provided it aligns with their needs.Hybrid Models:Combining affiliate and influencer marketing is a win-win.Influencers get a base fee for their efforts and an affiliate link that generates consistent income based on conversions.Brands,on the other hand,get sponsored content that increases brand awareness.*Source:L,15 Influencer Marketing Trends to Watch in 202319Influencer Marketing Insights 2023 Consumer Trends:US&CAAffiliate links have become one of the most popular-and dare we say most reliable-influencer marketing strategies.At Rakuten Advertising,most successful and revenue-driving programs incorporate affiliate links.The use of affiliate links in influencer marketing campaigns allows for the easy tracking of ROI for a particular influencer.Using an influencer marketing partner allows you to monitor each individuals performance metrics,including the exact revenue generated through their affiliate links.An affiliate link is an ongoing tool that can be used,with relatively low maintenance needed from the brand side.Compared to more traditional methods,affiliate marketing is a cost-effective investment if youre looking to get into the influencer space.In the long run,it offers high rewards at a low cost.When you treat your influencers well and give them the opportunity to share your products while getting a cut of the profits,they are more likely to authentically support your brand.This cultivates loyalty,enhancing the bond between influencers and your brand.Affiliate Links for the win!Short-Term Benefits:Long-Term Benefits:20Influencer Marketing Insights 2023 Consumer Trends:US&CAAt Rakuten Advertising,we analyze data,provide insights,and ensure you outperform your performance marketing goals.Trust us to connect you with authentic influencers who engage your target audience,driving brand awareness and boosting conversions.5 Tips to boost your influencer programExperience the power of influencer marketing with us and fuel your success.Get your goals straight:Communicate these to your influencersKeep it transparent:Ensuring you have the right tracking and reporting tools is criticalPromote authenticity:Consumers value transparency,trustworthiness,and authenticityBuild partnerships through affiliate Using affiliate links lets the influencer know youre in it for the long haulBe collaborative:Influencers are an extension of your brand,let them feel that way 21Influencer Marketing Insights 2023 Consumer Trends:US&CA21Ready to Learn More?Unlock the power of influencer and creator marketing with Rakuten Advertising,where you can efficiently manage influencers and activations,all in one place.But connecting with the right influencers is just the beginning.We ensure your influencer strategy stays competitive and keeps delivering results.Let our experts assist you in selecting the ideal options to best suite your goals,from full-service to self-serve,weve got you covered.Discover diverse and relevant creatorsManage ambassador programsEasily pay incentives and commissionsActivate campaigns quicklyContact us here to learn more about how to make the most of your influencer strategy through our self-serve or fully managed programs.Get started
2023-12-22
21页
5星级
+FIFA WOMENS WORLD CUP AUSTRALIA&NEW ZEALAND 2023TM|SOCIAL MEDIA PROTECTION SERVICE/FULL TOURNAMENT .
2023-12-22
18页
5星级
Rethinking ABM:Outperforming the Market in the World of AIRethinking ABM:Outperforming the Market in.
2023-12-22
48页
5星级
The 2023 State of EmailReportThe 2023 State of Email ReportThe definitive guide to the most importan.
2023-12-22
21页
5星级
Secrets of success:Building brands with emerging media Copyright 2023 The Nielsen Company(US),LLC.Co.
2023-12-22
9页
5星级
The 2023 State of EmailWorkflowsReportThe latest in email workflow data,trends,and best practices,fr.
2023-12-22
33页
5星级
1 2 2 About us About us Work Advance undertakes research,analysis and evaluation to advance our understanding of developments in the world of work.We drive practical improvements in policies,programmes and practices that support inclusive and sustainable growth;productive businesses and better management practices;a skilled,agile and healthy workforce;and stronger more vibrant and cohesive local communities.Through our strong networks,we provide research,policy and consultancy services to a range of partners,including businesses large and small,trade unions,professional bodies,policy-makers and wider practitioners.Work Advance adopts an approach that is client-centred.We aim to secure practical solutions,through blended research and consultancy services,and strong stakeholder engagement and partnership working,which brings value through evidence-based and expert insights of what works.We design and support the delivery of tailored programmes and initiatives to test and trial new innovations,including help with monitoring and evaluation to track results and impact.For further information please visit:www.workadvance.co.uk If you have any questions about this research,please contact:Heather CareyHeather Carey Director,Work Advance T:T: 44(0)7703 735 614 E:E:hcareyworkadvance.co.uk Research supported by:3 Table of Contents Table of Contents 4 Introduction 6 Good careers in Screen and Games 18 Barriers to access and progression 29 Mapping the landscape of support 44 Recommendations for enhancing the industrys approach to EDI 48 References Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 4 4 1.1.IntroductionIntroduction 1.1 Background to the researchYoung people can face significant barriers to achieving their full potential in UK society.Too often,where a young person starts out in life,their ethnic or socio-economic background and their experiences growing up determines their future success how well they do at school,the job they get,their health and even their life expectancy.Disparities in educational and employment outcomes between disadvantaged young people and their peers are well-evidenced and striking.Three quarters of children who have persistently experienced poverty in their early years start school with below average language development(Gascoigne&Gross,2017).By the time they complete their GCSEs,young people from disadvantaged backgrounds are 18 months of learning behind their peers(Cardim-Dias&Sibieta,2022).They are less likely to progress to university(Department for Education,2022)and more likely to be Not in Education,Employment or Training(NEET)for a long period of time(Department for Education,2018).Rates of youth unemployment in the UK are poor in comparison to other developed nations(OECD,2022)and a recent House of Lords Committee concluded that some sectors of the economy are“impenetrable”to young people from disadvantaged backgrounds(House of Lords,2021).There is substantial variation in the picture for different groups of young people.For instance,educational underachievement and rates of unemployment are particularly high amongst young black people and those from Bangladeshi or Pakistani backgrounds(Powell&Francis-Devine,2023).The educational and employment outcomes of those who have experienced the care system are particularly striking,with just 7%of looked-after-children achieving a good pass in English and Maths GCSEs;41%of 19-21 year old care leavers Not in Education,Employment or Training;and a 6,000 average pay gap when they are in work(House of Commons,2022).Despite these being longstanding challenges,on many metrics the picture is worsening,not least given the disproportionate impact of the Covid 19 pandemic on the most vulnerable young people in society(House of Lords,2021;House of Commons,2022).Changing the fortunes of these young people is a critical challenge for the UK.As the economy returns to a growth trajectory,we need much sharper focus on ensuring the related benefits wealth,opportunities,prospects are spread more equitably.This is not just across different places,cities and regions,as is the focus of the Governments Levelling Up agenda,but also amongst people from all backgrounds,promoting social justice.A key concern is how we can better support young people from disadvantaged backgrounds to access good jobs and career opportunities in growing parts of the UK economy.This research funded by the Creative Industries Policy and Evidence Centre(PEC)and Mission 44 looks specifically at the UK Film,TV,Radio and Games Industries,as a part of the economy that might offer exciting careers that enable young people to progress in society and reach their full potential.1.2 Our Aims and Approach The research has sought to explore the definition of good jobs within the Screen Industries;the extent to which disadvantaged young people are able to access these opportunities and progress in work;and the key barriers they face in doing so.This provided a basis to review the institutions and activities currently working to enhance diversity and inclusion and identify scope to enhance the landscape of support.The research progressed around three main strands:1.Rapid evidence assessment:to collate and examine academic and grey literature concerning good career pathways in Screen;5 workforce diversity;and barriers to access and progression in the sector.2.Fieldwork interviews:to provide new insights from young people on their perceptions of work in the Screen Industries;the challenges they face in finding employment and progressing in work in Film,TV and Games and the interventions or levers for promoting access and inclusion.3.Landscape mapping and targeted stakeholder and employer interviews to examine the current landscape of funders,delivery partners,and initiatives across the UK Creative Industries.For this piece of work,we have focussed on young people(aged 16-24)from low-income backgrounds;young people of colour;care experienced young people;and young people excluded from school.Throughout the research we use the DCMS definition of the Screen Industries and the Games Industry.Please refer to Annex A for further details.This report summarises the findings from each stage of the research.In the pages that follow we explore opportunities for good careers in Screen and Games(Chapter 2);examine barriers to access and progression(Chapter 3);map the landscape of support(Chapter 4);and identify opportunities to enhance the approach in future(Chapter 5).Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 6 6 2.2.G Good careerood careers s in in ScreenScreen and Gamesand Games The Screen Industries are one of the UKs greatest success stories.A rapidly growing and innovative part of the economy and,as part of the wider Creative Industries,one of five priority sectors identified by UK Government.This chapter explores where within the sector growth and employment opportunities will be concentrated and which parts of the Film,TV and Games industry are most likely to offer good career paths for underserved young people.2.1 Introduction to the UK Screen and Games IndustriesThe Creative Industries are undoubtedly one of the UKs greatest success stories.Between 2011 and 2019,the sector expanded at more than double the rate of the UK economy(DCMS,2021)and latest estimates suggest Creative sectors have rebounded strongly post-Covid(DCMS,2023).Employment in the Creative Industries has also grown rapidly over the past decade,with the number of jobs in the Creative sector increasing by 650,000 since 2011(DCMS,2021).The Screen Industries are a distinct part of the UK Creative Industries.Encompassing the production,post-production and distribution of film and television programmes;motion picture projection in cinemas;TV and radio broadcasting;and photography,the Screen Industries supported over 278,000 jobs in 2022 a significant and growing part of the UK economy.An aligned sector,which we have also included in this research,is the UK Computer Games Industry a fast-growing part of the Creative Industries,offering a growing number of employment opportunities(42,350 jobs in 2022)and to which young people can often easily relate.Together the UK Screen and Games sectors offer over 320,000 jobs in the UK.FigureFigure.2.12.1:The different parts of the UK Screen and Games IndustriesThe different parts of the UK Screen and Games Industries Film&TV ProductionFilm&TV Production The production of motion pictures,videos,television programmes or television advertisements.101,000 jobs101,000 jobs Post-production activities such as editing,(sub)titling,credits,computer-produced graphics,animation and special effects.16,900 jobs16,900 jobs Film&TV PostFilm&TV Post-ProductionProduction Acquiring distribution rights and distributing film,videos and tv programmes to cinemas,television networks and stations.8,200 jobs8,200 jobs Film&TV DistributionFilm&TV Distribution Motion picture projection in cinemas,in the open air and at cine-clubs.14,500 jobs14,500 jobs Film&TV Exhibition Film&TV Exhibition(Cinema)(Cinema)Radio BroadcastingRadio Broadcasting Creating and broadcasting aural programmes,through radio studios,networks and over the internet.20,000 jobs20,000 jobs TV BroadcastingTV Broadcasting 61,000 jobs61,000 jobs Creating and broadcasting a complete television programme,including through satellite and video-on-demand channels.PhotographyPhotography 56,000 jobs56,000 jobs Computer GamesComputer Games The development and publishing of interactive leisure and entertainment software across any format,including games consoles,the internet and mobile phones.42,500 jobs42,500 jobs A wide range of photography,including portrait,aerial,scenic and wedding photography;developing photographs;and photography for commercials,publishing,fashion,tourism etc.7 2.2 Growth prospects of Film,TV and GamesLooking ahead,the Screen and wider Creative Industries are expected to continue to grow rapidly over the next decade,creating 300,000 additional jobs over the next five years alone(Creative UK/Oxford Economics,2021).The Creative Industries were identified as one of five growth sectors in the Chancellors Spring Budget(HM Treasury,2023)and measures announced,including reforms to the audio-visual tax relief,are expected to support further expansion of the Screen Industries.However,growth will not be felt equally in all parts of the UK Screen sector.Over the past decade,there has been a mixed picture of performance,which if continued,will see strong expansion and job creation in:Film and TV Production(c.25,000 additional jobs by 2030)Film and TV Post-production(c.22,000)TV Broadcasting(c.16,000)Computer Games(c.42,000)While these figures are based on the assumption of the continuation of past trends and hence should be treated with caution,they align with wider research.Research by ScreenSkills,for example,suggests Film and High-End TV(HETV)production could attract up to 2bn in additional production spending per annum by 2025,creating a need for around 20,000 additional workers,on top of the 52,300 workers already employed in this part of the Screen Industries(Nordicity/Saffery Champness,2022).Expansion of film and HETV would also be expected to drive growth across the value chain,including post-production,animation and VFX.Further,research by TIGA suggests that employment in the UK games development industry has been expanding at an annualised rate of 14.7%in recent years,driven by strong consumer demand;inward investment;and the launch of new games consoles by Sony and Microsoft(TIGA,2022).Figure Figure 2.2.2 2:TrendTrend-based projections of jobs growth in Screen and Gamesbased projections of jobs growth in Screen and Games Source:Analysis based on(DCMS,2021)Notes:Trend-based job projections are purely indicative and should be treated with caution.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 8 8 2.3 Skills shortages in Screen and GamesIn addition to growing demand for workers,there is evidence of acute skills shortages in parts of the UK Screen and Games Industry(House of Lords Communications and Digital Committee,2023;BFI,2022;ScreenSkills,2023;UKIE,2023).The Migration Advisory Committee Shortage Occupation List features several roles from the Screen and Games sector.ScreenSkills reports that 87%of employers in the Screen Industries saw recruitment difficulties due to a lack of relevant skills as a problem.36%suggested such recruitment difficulties always or very often limited their business activities(ScreenSkills,2021)and this was echoed through our employer and stakeholder consultations.Research points to a wide range of roles for which Screen employers were finding it difficult to recruit(see Figure 2.3).Evidence submitted to the BFI Skills Review also highlighted additional challenges in props,set decorating,supervising art directors,graphics,sparks,construction,costume supervisors,on-set VFX,grips,and focus pullers(BFI,2022).Figure Figure 2.2.3 3 Job roles that are hard to recruit in UK Screen and GamesJob roles that are hard to recruit in UK Screen and Games Screen employers reporting skill shortages as a problem Source:(ScreenSkills,2021)%employers who found it difficult to recruit 87%Film(Production)Film(Production)Production Coordinator;Production Manager;Hair&make-up artist;Producer;Editor;Line producer;Location assistant;Runner;Costume designer;Storyboard artist;Edit assistant;Accounts assistant;Assistant location manager;Location manager;Production assistant;First&second assistant camera;Camera operator;Art department coordinator;Art director;Assistant art director;Costume assistant;Costume supervisor;Hair&makeup trainee;Production designer;Accommodation coordinator;Assistant stunt coordinator;First assistant director;Assistant production coordinator;Production accountant;Production trainee;Unit production manager;Sales director;Data wrangler;Camera trainee;Digital imaging technician assistant;DoP;Electrician;Grip;Sound assistants/cable runner;Sound recordist Childrens TV(Production)Childrens TV(Production)Production manager;First assistant director;Art director;Camera op;Line producer;Production coordinator Other scripted TV(Production)Other scripted TV(Production)First assistant director;Director;Hair and make-up artist;Location manager;Unit manager;Art department coordinator;Buyer;Camera trainee;Costume designer;Edit assistant;Location assistant;Make-up assistant;Production accountant;Production coordinator;Production manager;Script supervisor.Unscripted TV(Production)Unscripted TV(Production)Editor;Production coordinator;Production manager;Development AP;Series producer;Shooting PD;Development producer;Edit producer;Executive producer;Researcher;Shooting AP HighHigh-End TV(Production)End TV(Production)Production coordinator;Costume designer;First assistant director;Assistant production coordinator;Location manager;Art department coordinator;Costume supervisor;Hair and make-up trainee;Hair and make-up artist;Standby props;Director;Assistant producer;Account assistant;Line producer;Location assistant;Production accountant;Production manager;Production secretary;Unit production manager;Camera trainee;Electrician AnimationAnimation 2D animator;Production manager;2D designer;Background designer;Storyboard artist;2D and 3D rigger;3D animator;Animation editor;Art director;Colour concept artist;Director;FX supervisor;Key animator;Lead FX artist;Line producer;Producer;Real-time developer;Technical artist;Toon boom animator VFXVFX Facial modeller;Real-time engine coder(for virtual production);VFX producer Post Post-productionproduction Colourist;Dubbing mixer;High-end tech ops(MCR pipeline);Post-production producer 3D programmer;Animator;Artist;Back-end programmer;Game designer;Network programmer;Technical artist directors;Technical artist;UI designer Computer GamesComputer Games Source:(ScreenSkills,2021)Notes:Excludes Covid-related roles 9 2.4 Assessing job quality in the Screen IndustriesA key concern for the research is determining which parts of the Screen Industries,and job roles within them,could offer good work and career prospects for young people from disadvantaged backgrounds.Despite strong focus on job quality in the research literature and policy discourse,there is no singular,widely adopted definition.We use as a starting point the definition developed by the PEC Good Work Review,which features six main dimensions(see Figure 2.4)The weight attached to different facets of good work varies between individuals and across the life course.Hence,our work must consider which features are most important for young people from disadvantaged backgrounds.Research for the Youth Futures Foundation,involving considerable consultation with young people,highlights the importance of the following aspects(Youth Futures Foundation,2019;Newton,et al.,2020;Williams,et al.,2021):Pay Young people need jobs that enable them to support themselves,with pay at the Real Living Wage rate or higher.Security a regular,reliable income is vital to promote independence,financial security and long-term planning.This was associated with full-time work,a permanent contract,regular working hours and sick pay.Evidence also suggests that young people should remain in work 6-12 months after starting a job.Starting a business can provide a good career path and enhanced flexibility,where it is a positive,well-informed choice and generates sufficient income.Flexibility and autonomy young people seek flexible hours,that they can control,in order to achieve work-life balance.Recognition and support-young people say they want to feel valued in their role and a supportive work environment is key to promoting the retention and progression of disadvantaged young people in work.Professional development and progression with weight given to opportunities to participate in high quality training and benefit from wider career support.This was seen as vital to foster opportunities for progression,in terms of pay,skills and responsibility.A final consideration in the context of empowering young people as change-makers,is whether roles have creative control,so to enhance the diversity of those that determine the stories that get told through creative media.Figure Figure 2.2.4 4:Defining Good Work in the Creative IndustriesDefining Good Work in the Creative Industries Source:(Carey,H;Giles,L;OBrien,D,2023)Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1010 In many respects,the Screen Industries offer good jobs for workers.Average rates of pay outstrip those on offer in other parts of the economy,with full-time employees earning on average 673 per week,compared to the average of 538 across all industries.Workers in the Screen Industries also benefit from considerable autonomy having greater control over the tasks they do,in which order,the way and pace at which they work.Creative roles in the Screen sector can also provide meaning and purpose,offering an opportunity for creative expression,to pursue ones passion and to make a positive difference in the world by telling stories and providing a platform for marginalised voices(Carey,et al.,2023).However,in other regards work in the Screen Industries can be more challenging.This can relate to the very structure of work in the sector,with more than one-third(36%)of workers in the Screen Industries being self-employed double the rate across the economy of(15%).This propensity for contract or freelance work on short-term projects creates insecure work,with more limited rights and benefits,fluctuating income and financial insecurity.While freelance work can present enhanced flexibility,the need to work to production schedules in parts of the sector means Screen workers can have less control over their work hours.Working days can also be extremely long,often beyond contracted hours,with few breaks and long commutes(Swords,et al.,2022).In parts of the Screen sector,there is also evidence of challenging work environments,including a lack of respect and dignity,bullying and harassment.Together these factors can negatively impact the mental health and wellbeing of the Creative workforce,with higher rates of stress,anxiety,and depression(Wilkes,Carey,&Florisson,2020).Finally,investment in training is more limited in Screen,where employers are less likely to have formal processes for nurturing talent and workers are less likely to have participated in training(Carey,et al.,2023).It is important to note,however,that the picture of work can vary considerably within the Screen and Games Industries,and hence it is important to explore job quality at this more granular level.Figure Figure 2.2.5 5:Measures of job quality:Screen Industries vs All IndustriesMeasures of job quality:Screen Industries vs All Industries Notes:1 Mean Score of Happiness,derived from the question:How happy did you feel yesterday?(where nought is not at all happy and 10 is completely happy)2 Mean Score of Anxiety,derived from the question:How anxious did you feel yesterday?(where nought is not at all anxious and 10 is completely anxious)Source:Data drawn from (Carey,H;Giles,L;OBrien,D,2023)11 2.5 Examining job quality within the sectorPay:Pay:Employees in Film and TV Production,Post-Production(inc.Animation and VFX)and Distribution;in TV Broadcasting;and Computer Games all benefit from relatively high annual salaries(DCMS,2022;UKSA,2017).However,this is not the case in other parts of the Screen Industries,and annual earnings in Film&TV Exhibition(cinemas);Photography;and Radio broadcasting are actually below the UK average(26,280).Security:Security:Levels of job security also vary considerably across the Screen and Games Industries.In Film&TV Production freelance work is much more common and a much smaller share of employed staff are on permanent contracts(ONS,2018),echoing wider research reporting greater financial insecurity in Film and TV production and development(Wilkes,et al.,2020).Atypical working is also more prevalent in Film and TV Post-Production(including Animation),albeit research by the UK Screen Alliance suggests permanent employment is more common in VFX than in other parts of the film&TV industry(UKSA,2017).Other parts of the sector also offer greater employment security,notably high pay sectors such as TV broadcasting and Computer Games(Taylor,2022).Autonomy&flexibility:Autonomy&flexibility:while we lack data on autonomy experienced by workers in different parts of the Screen and Games Industries,wider evidence suggests that autonomy afforded to Creative workers tends to increase with age,as might be expected(Carey,et al.,2023).While workers across the Screen Industries are less likely to have formal flexible working arrangements in place,those employed in Film and TV Post-Production;Film and TV Exhibition and Radio Broadcasting are more likely to benefit from such arrangements including Flexi-time,annualised hours,term-time working and job-share.Figure Figure 2.2.6 6a a:Measures of job quality:within the Screen Measures of job quality:within the Screen and Games Industriesand Games Industries Average annual earnings(employees only)%employees on permanent contracts%workers that are self-employed Sources:(DCMS,2022)(ONS,2018)%workers with flexible working arrangements Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1212 Working conditions:Working conditions:work hours can be particularly long in Film&TV Production,where workers are often working to tight production schedules (Swords,Mayne,Boardman,&Ozimek,2022;Carey,H;Giles,L;OBrien,D,2023).In Radio and TV broadcasting;Film and TV Exhibition;and Computer Games,work intensity is more in line with other sectors(ONS,2018)(Taylor,2022).High pressure work environments,as seen in parts of the Screen sector,can drive poor workplace poor workplace practicespractices.Past research points to a lack of dignity and respect,bullying and harassment in parts of UK Screen,particularly pronounced in Production and development and Broadcasting,where over 85%of workers in these sectors reported having witnessed and/or experienced workplace bullying(Wilkes,et al.,2020;Film and TV Charity,2022).While we lack comparable data for the Games Industry,evidence from the UK Games Census suggests a significant minority(22%)of workers in the sector do not believe bullying and harassment is taken seriously in the UK Games Industry.Professional development&progression:Professional development&progression:rates of training in the Screen Industries are amongst the lowest in the economy and are particularly limited in Film and TV Production and Post-Production and Photography,though it is noteworthy that freelance work is more prevalent in these sectors and professional development more limited amongst the self-employed(Carey,H;Giles,L;OBrien,D,2023).Rates of professional development are however more in line with the all-industry average in Radio&TV broadcasting;Film&TV Exhibition;and Computer Games.Sources:(ONS,2018)(Wilkes,et al.,2020)Figure Figure 2.2.6 6b b:Measures of job quality:within the Screen and Games IndustriesMeasures of job quality:within the Screen and Games Industries%workers working 50 hours per week%workers witnessed/experienced bullying or harassment%workers participating in training 13 2.6 Identifying good career pathways in Screen and Games Figure 2.7 provides a summary of our analysis of job quality within the Screen and Games Industries and suggests that the parts most likely to offer good career paths are:Film&TV Post-Production(particularly VFX and Animation);TV Broadcasting;Computer Games;and Film and TV Production,but in the case of the latter,with additional provisions to mitigate risk in some production environments and offer sustained employment opportunities.In the pages that follow we explore some of the career pathways within these sub-sectors.Understanding at greater depth the types of job roles and career pathways on offer within these parts of the Screen and Games Industries will be important in targeting interventions and supporting sustained employment outcomes for disadvantaged young people.In the Screen Industries,ScreenSkills,supported by National Lottery funded awarded by the British Film Institute,has developed detailed job profiles and career maps for different parts of the sector.These provide the basis to understand good career pathways,including more detailed information on job roles,progression pathways and routes into these jobs.In the pages that follow,we provide examples of potential career pathways within Film and TV Production;Post-production,VFX and Animation;and Games.Figure Figure 2.2.7:7:Summary characteristics of different Screen and Games sectorsSummary characteristics of different Screen and Games sectors Notes:Cell highlighting reflects positive performance,above the Screen sector and/or all industry average.Figure 2.7 should be considered as indicative,in some cases using proxies or subjective judgement.For instance,permanent employment contracts are used as a proxy for job security;work intensity and workplace bullying is considered indicative of the work environment.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1414 Film and TV ProductionFilm and TV Production It is not necessary to go to university to get in to Film and TV Production,although the majority(77%)of the workforce are qualified to degree-level.There are a growing range of Apprenticeships available,including for Broadcast Production Assistant;Creative Industries Production Manager;and Junior Content Producer.Many broadcasters and production companies offer work experience,internships and training programmes.PostPost-ProductionProduction It is not essential to go to university to get into post-production greater weight is given to evidence of technical and craft skills.Some post-production companies offer Apprenticeships as a Post-Production Technical Operator or similar.15 AnimationAnimation The vast majority(93%)of those working in Animation are degree qualified.Animation requires a blend of art and technical skills,so courses that combine Art and Design with Physics,Maths or Computer programming provide the basis for a good career.Apprenticeships for Junior Animators and Storyboard Artists are in development,but wider Apprenticeships for some roles in Production,Post-Production and VFX will be relevant.Visual EffectsVisual Effects The VFX workforce is also highly qualified(83%workers hold a degree-level qualification).Some workers have Creative Media degrees,but Physics,Maths and Computer Science are relevant.Apprenticeships are relatively new,though NextGen Skills Academy has supported the development of apprenticeship standards for Junior 2D Artists and Assistant Technical Directors.It is possible to transfer into VFX from data wrangling roles in other sectors and roles that require a blend of STEM and Art in Animation.TV BroadcastingTV Broadcasting It is not essential to go to university to get into TV Broadcasting,unless pursuing a more technical route which may require a degree in Broadcast engineering.TV Broadcasters often offer trainee or Apprenticeship programmes including as a Technical Operator or Software Developer.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1616 Computer GamesComputer Games The Games Industry is highly qualified,with 86%workers holding a degree.A large number of universities and colleges offer Video Games courses and Computer Programming/Science,Physics,Maths,Animation,VFX,Art and Design are also relevant.There are a range of vocational applied general qualifications of relevance such as BTECs,and Diplomas offered by Aim Awards in Games Design and Development.Games Industry Apprenticeships are in development,but Apprenticeships in Creative Digital Media,Visual Effects or Digital Technology with a Games company can provide a viable route in.Employers will look for a portfolio of work or examples of code.SubSub-sectorsector E.g.,pathwayE.g.,pathways s E.g.,entry rolesE.g.,entry roles SubSub-sectorsector E.g.,pathwayE.g.,pathways s E.g.,entry rolesE.g.,entry roles Film&TV Production Development Personal Assistant/Researcher Visual Effects Artist Junior Artist Production Production Assistant/Runner Programmer Data Technician Editorial Researcher/Runner TV Broadcasting Editorial Researcher Craft Art Dept Runner Floor Floor Runner Post-Production Post-production Post-production Assistant/Runner Computer Games Design Level Designer Edit Edit Assistant Programmer Generalist Programmer Animation Animator Junior Animator Story Storyboard Artist Figure Figure 2.82.8:Summary:Summary:14 14 potential pathways to good careers in Screen and Gamespotential pathways to good careers in Screen and Games 17 Good careers in Screen and Games:Key TakeawaysGood careers in Screen and Games:Key Takeaways The Film,TV and Games industries are one of the UKs greatest success stories growing at double the rate of the UK economy prior to the pandemic.As part of the wider Creative Industries,they are one of five priority sectors identified by UK Government.Looking to the future,the sector is expected to expand rapidly.If its impressive growth performance continues,the Film,TV and Games industries could create an additional 84,000 jobs by 2030.However,not all parts of the Screen Industries are expanding at the same pace.Nor will all jobs offer the good pay,job security,flexibility and opportunities for professional development and progression that disadvantaged young people seek.Our analysis suggests the parts of the Screen and Games Industries most likely to offer good career paths could be:Film&TV Post-Production(particularly VFX and Animation);TV Broadcasting;Computer Games;and(in some cases and with additional provisions)Film and TV Production.To support the targeting of interventions,we identify 14 career pathways within these sub-sectors.This includes entry level roles such as production assistants(also referred to as runners),post-production and editorial assistants;junior artists and animators;and data technicians and programmers,that offer progression routes into key creative roles in the Screen and Games industries.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 1818 3.3.B Barriers to arriers to access aaccess and progressionnd progression Having identified potential pathways into good jobs in the UK Screen and Games industries,we now turn to consider the extent to which young people are currently able to secure employment in these roles.Further,in shaping the design of interventions,it is key to understand the barriers those from disadvantaged backgrounds face in getting in and getting on in the Film,TV and Games Industries.3.1 Diversity and inclusion in the UK Screen and Games IndustriesTracking the employment outcomes of the cohorts of young people the research focusses on is challenging.While data exists that allows us to identify young people,people of colour and those from socio-economically disadvantaged backgrounds,the main surveys used to inform Governments labour market statistics do not include questions exploring respondents experience of the care system or exclusion from school.Further,given the Screen industries represent a small share of the UK economy(1%),a very small number of young people working in Screen are surveyed each year.Given this,new primary research could be viewed an important priority.For now,we can explore the representation of younger people in the Screen Industries.Figure 3.1 suggests that the age profile of those working in Screen and Games is generally younger than in other industries,but that this tends to manifest in a higher representation of those aged between 25 and 39.Slightly more than one in ten(11%)workers in Screen and Games are aged under 25:in line with the all industry average.However,the average across the Screen and Games Industry masks significant variation within these sectors.Nearly half(48%)of all workers in Film and TV Exhibition(cinemas)are under the age of 25.In contrast,in all other parts of the sector,the presence of young people aged between 16-24 falls below the all-industry average.This is particularly true in Radio and TV Broadcasting,Film and TV Post Production and Computer Games.This is likely to reflect the fact the majority of the workforce in these sectors are degree-educated,and that it can take time for young people to develop a Creative portfolio,which(as we saw earlier)is often a pre-requisite to access these roles.Figure Figure 3 3.1.1 The age profile of the Screen Industries workforceThe age profile of the Screen Industries workforce Figure Figure 3 3.2.2 Proportion of the workforce aged under 25Proportion of the workforce aged under 25 Source:Annual Population Survey 2020 Source:(ONS,2018)Young people from marginalised backgrounds may face additional challenges in securing and progressing in work.A lack of diversity and inclusion remains a critical challenge for the Screen Industries with disparities in access,pay and progression evident for women,those from working-class backgrounds,disabled people,people of colour and those that are not degree educated.Despite the Screen and Games sectors being heavily concentrated in more ethnically diverse urban centres(particularly in and around London),those whose ethnicity is either Mixed/multiple,Black,Asian,or Other are no more represented in the sector than in other parts of the economy(ONS,2020).In Film and TV Production,those from ethnically diverse backgrounds are underrepresented,comprising just 6%of the workforce,compared to 12ross all industries(ONS,2018).Research suggests a proportionate representation of ethnically diverse talent in Post-production,VFX and Animation,but finds workers from Black,Asian,Mixed/multiple or Other backgrounds tend to be more likely to be working in technical and administrative roles and are under-represented in senior management(UK Screen Alliance,2019).The UKIE Census finds that workers whose ethnicity is either Mixed/multiple,Black,Asian,or Other are also under-represented in UK Games(Taylor,2022).When it comes to socio-economic background*,the Screen Industries are one of the least diverse,and most elite,parts of the UK economy.Just one in four(28%)workers in the Screen Industries are from socio-economically disadvantaged backgrounds compared to 40%of the UK workforce(Carey,H;Giles,L;OBrien,D,2023).Those from working-class backgrounds are also underrepresented in the Games industry,where 61%of jobs are held by those from privileged backgrounds,compared to 37%of the general population(Taylor,2022).What this means is that,while the Screen and Games Industries will create many thousands of good quality,highly-paid jobs in the years ahead,without intervention,these might be out of reach for young people from under-served backgrounds.Figure Figure 3.3.3 3:Ethnicity of workers in different Ethnicity of workers in different departments in Post production,VFX and Animationdepartments in Post production,VFX and Animation Figure Figure 3.3.4 4:Percentage of the workforce that are from socioPercentage of the workforce that are from socio-economically disadvantaged backgrounds economically disadvantaged backgrounds Source:(Carey,H;Giles,L;OBrien,D,2023)based on the Labour Force Survey 2017-2019 Source:(UK Screen Alliance,2019)*Please refer to Annex A for definitions Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2020 3.2 Exploring disadvantage in the Screen and Games IndustriesThe causes of inequality in the Screen Industries are relatively well-documented,and often rooted in the structure,practices,informality,and culture that dominates work in these sectors.Past work undertaken by the PEC has sought to map points of disadvantage across the life-course.While the focus of the PECs work to date has been class-based disadvantage,the findings have wider relevance for other marginalised groups and echo other in-depth studies of workforce diversity and inclusion in the UK Screen Industries.The evidence base points to complex multi-faceted and inter-related barriers,that are rooted in early in life experiences;continue into further education;inhibit transition to work;and undermine opportunity for progression and advancement throughout ones career.The underlying causes of many of these issues lies in disparity in the financial,social and cultural capital of individuals and the structural features,spatial pattens of employment,recruitment and working practices which are distinct to the Screen Industries.In the pages that follow,we provide further detail on the factors that inhibit disadvantaged young people from getting in and getting on in the UK Screen and Games Industries.This draws together evidence from the literature review,stories of lived experience of disadvantage from our fieldwork interviews with young people,and consultations with industry stakeholders and employers.Where relevant,we include quotes from the fieldwork interviews to help bring to life these issues.We use pseudonyms throughout to preserve anonymity and have removed any information that could identify the participant.Figure Figure 3.3.5 5:Barriers to getting in and getting on to the UK Screen and Games IndustryBarriers to getting in and getting on to the UK Screen and Games Industry Sources:(Carey,et al.,2021)EarlyEarly-life barrierslife barriers 1.Access to Culture Cultural experiences available to children can have a lasting impact on future success,yet access to culture is highly unequal(Reeves&de Vries,2019;Davies&Rizk,2018).Research suggests that pupils in high-deprivation schools have fewer opportunities for out-of-classroom education and that some extracurricular activities(particularly music)remain largely the preserve of the wealthy,in part because of the financial cost of participation(Crenna-Jennings,2018;Donnelly,et al.,2019).This was echoed in our fieldwork interviews with young people,where a lack of access to culture meant they had a limited understanding of the Screen and wider Creative sector.This is illustrated by River a research participant who had little experience of the Screen Industries,given they grew up in a household that didnt have a TV license.Further,research suggests that the patterns of cultural consumption of privileged youths are much more closely aligned to those who work in the Creative Industries than youths from socio-economically disadvantaged backgrounds(Carey,et al.,2022).This then affects the accumulation of cultural capital amongst these young people,setting them at a disadvantage later in life,when cultural matching can influence hiring decisions(see point 8 below).2.Participation&achievement in cultural education Alongside well-evidenced educational attainment gaps for disadvantaged students(overall),there exists disparities in cultural education participation and achievement(Crenna-Jennings,2018;Hutchinson,et al.,2020).Ofsted have voiced concerns that lower-attaining students can be filtered into a different pathway and creative subjects“sometimes marginalised”(Hutchinson,et al.,2020).Disadvantaged students are considerably less likely to participate in most creative subjects at GCSE-level,and there also exists significant gaps in attainment(Spielman,2017;Ofsted,2018).Disparities are particularly pronounced for Music(38%relative participation gap;20 months disadvantage gap);Drama(16%and 16 months)and Media,Film and TV studies(9%and 13 months)(Hutchinson,J;Reader,M;Akhal,A).Further,there are significant concerns about the impact of the deprioritisation of creative education in England on the awareness and appetite of young people to pursue creative careers.This was something highlighted by one of the young people we spoke to,who emphasised how this would disadvantage those without the financial means to pay for cultural activities outside of school.3.Careers education and role models A significant barrier to access highlighted by the literature review,fieldwork interviews and consultations is a lack of awareness of the broad range of job roles available in the Screen Industries and how best to go about accessing them.“We never had a TV license at all really.Its probably about six months to a year in the entire life that Ive had a TV license.So very little experience with Film and TV.”RiverRiver“I think when arts programs are being cut,youre not necessarily going to find your interest in that at 11,12,13 unless youre paying for it privately or doing extracurricular activities.”MayaMaya Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2222 Parental influence was a recurring theme.For some young people,having a family member working in the industry was a key determinant for pursuing a similar career.But others suggested parents or wider role models tended to encourage them towards more traditional trade,service or professional roles or to pursue more academic routes.Young people of colour we interviewed also suggested there were cultural factors at play,with parental expectations deterring them from pursuing a creative career.Often this reflected the perception of creative activities as a hobby and creative careers as insecure or unachievable.This wasnt limited to parents.Careers educators are widely reported to lack information on the Screen Industries(ERIC/BFI,2022),with a number of our interviewees suggesting they received unhelpful advice and guidance and were actively steered towards alternative paths.Research suggests that students from disadvantaged backgrounds can also deprioritise career support given a need to focus on basic needs(poverty,trauma,crime,wellbeing)(Hunt,et al.,2021).Further,with key creative and senior roles in the Screen Industries dominated by white males from privileged backgrounds,there are significant concerns that those from marginalised backgrounds may lack visible role models and connections with those who work in the industry.This reinforces the lack of awareness of career opportunities and instils a sense that these jobs are not for people like me(Brook,et al.,2020;Eikhof&Warhurst,2013;ERIC/BFI,2022).This came through strongly in the fieldwork interviews,where the young people we interviewed suggested they do not see themselves reflected in the Screen workforce and questioned the authenticity of industry efforts to enhance diversity and inclusion.PostPost-16 Education16 Education 4.Access&achievement in Higher Education The Screen Industries depend heavily on highly-qualified talent,where over 7 in 10 workers are qualified to degree level or above(Giles,et al.,2020).There is also evidence of credentialism,where higher education,particularly from a prestigious institution,is used as an indicator of a candidates skills and capabilities when hiring,when,in many cases,a degree is not necessary,nor a good signaller of creative talent,technical ability or soft skills(Carey,et al.,2021).Given the significant and persistent gap in the progression rate to higher education(HE)between Free School Meal and non-Free School Meal pupils(19 percentage points)and Looked after Children and other pupils(32 pp),this will pose a significant barrier for young people from disadvantaged backgrounds(Department for Education,2022).“.we are very academic as a family,its straight school kind of thing.Film,TV and Games has never been thought of as a career:its been like a hobby growing up in my household.”AmnaAmna“.I think because I havent met anybody who works in the screen industries,one,and then when you do see people maybe on TV or at awards ceremonies,theyre not necessarily people that you would think maybe have the same background as you or have had the same experiences.It comes across that the industry isnt diverse or inclusive.”AmelieAmelie Further,past research has found that changes to the funding landscape for HE-including the introduction of tuition fees and the removal of government grants for art and design training,have made it harder for those from low-income backgrounds to study creative higher education(Banks&Oakley,2016).This emphasises the importance of university outreach or access schemes,which several of the young people we interviewed suggested had been pivotal in them progressing careers in the Screen Industries.5.Technical education pathways5.Technical education pathways Other interviewees stressed the importance of the Screen Industries being more open to those who havent come through university,recruiting young people from school and further education.Technical education can offer a more inclusive route into professional occupations to those unable to bear the cost of higher education(Battiston,et al.,2020).Indeed,several of the young people we spoke to emphasised the role of their local college in helping them develop skills relevant to the Screen Industries.The link between colleges and employers was seen as particularly valuable in building careers awareness and work readiness.For other young people we interviewed,the opportunity to earn while you learn,through an Apprenticeship,offered a valued route in to the industry.Yet a wide range of research suggests fractured and flawed technical education pathways into the Screen Industries can undermine this potential.There has been a dramatic reduction in the take-up of Arts,Media and Publishing courses in Further Education(FE)(Cultural Learning Alliance,2019).And despite investment in new Apprenticeship Standards and Flexi-Apprenticeships pilots,a range of industry-specific implementation challenges remain,relating to the 12 month minimum term,salary costs,supervisory requirements and parity of esteem with academic routes(Carey,et al.,2019).Further,evidence suggests disadvantaged young people face additional challenges in accessing Apprenticeships,particularly linked to minimum entry requirements and an inability to cope on an Apprenticeship salary(Buzzeo,et al.,2016).6.Work readiness,soft skills&polish6.Work readiness,soft skills&polish Alongside schooling,further and higher education,there is a growing focus on work-readiness and soft skills(such as communication,problem-solving,time management)in aiding a smooth transition from education to the world of work(Giles,et al.,2020).Research has found that educational and socio-economic background influences the soft skills of education leavers,and their polish;and that this in-turn impacts their likelihood of getting in,and getting on,in the Creative Industries(Rivera,2015;Friedman&Laurison,2020).Further,disadvantaged young people have been found to require additional support from staff that understand their distinct circumstances,in order to support work transitions and mitigate the risk of“the reason I ended up really even applying to Oxford was because Oxford did a program at my sixth form college they invited lecturers and speakers every few weeks to come to the college and then theyd give a talk and at the end we had the graduation ceremony at Christ Church.And I was like,Oh,this is quite nice.So I applied.”EdenEden“I was torn between whether I go to university or whether I do an apprenticeship.I did an apprenticeship instead,for a company,because in my head I thought itd be great to just study and qualify,and get paid.”JoveeJovee Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2424 attrition(Buzzeo,et al.,2016).The importance of pastoral care for disadvantaged young people while they learn was also emphasised during our fieldwork interviews as illustrated by Saanvi(below)who had experience of the care system.Transition to WorkTransition to Work 7.Informal recruitment 7.Informal recruitment practicespractices&networks&networks Many employers in the Screen Industries,particularly in Film and TV production and post-production,recruit through informal channels,via personal connections and word of mouth(ScreenSkills,2021;BFI,2022;Carey,et al.,2017).While professional networks are a common source of candidates across many areas of the economy,the project-based,freelance nature of work can mean significant proportions of jobs,and sometimes entire teams of workers,are hired without the use of any formal recruitment practices(Carey,et al.,2017).This can act as a significant barrier to entry for those from less advantaged backgrounds,who tend to have more limited social networks(Hunt,et al.,2021;Brook,et al.,2020;Brook,et al.,2018).Several of our interviewees pointed to the advantages afforded to those with friends or family working in the Screen and Games Industries and felt that not having anyone within their wider network working in the sector significantly impacted their ability to secure a foothold in the industry.8.Cultural matching8.Cultural matching Even when those from minority groups do have sight of and pursue opportunities in the Screen Industries,there is growing evidence of unconscious bias in the recruitment process and cultural matching where those hiring are drawn to candidates that share their tastes,interests and leisure pursuits,reinforcing existing exclusions.This means that success is often more associated with having the right hobbies and interests or dressing in the right way,than anything connected with ability or performance.(Eikhof&Warhurst,2013)(Carey,et al.,2021)(Brook,et al.,2020)(Friedman&Laurison,2020).9.First steps 9.First steps-internships,placements&payinternships,placements&pay One of the most frequently critiqued but still present barriers to entry for many aspiring Film and TV workers is the need to work for low or no pay in order to establish and sustain a career in the Screen Industries.Research for Create London found that 87%of cultural workers surveyed had reported working for free in some way(Brook,et al.,2018)and our stakeholder consultations suggest that while there have been improvements,internships(or similar)and jobs such as runners were often unpaid.Further,even when paid,research suggests that few opportunities offered sufficient pay to offset costs of travel and accommodation,which poses a significant barrier to those without financial backing from parents/guardians or a place to stay“They were really good because I was in care.The teachers made it quite easy for me to come to them and say,Do you know what?Like my social worker,You know what?Im not understanding this.Would it be okay if you guys got me a tutor or something?And that helped a lot because I did really well in my English.I got six and seven,and that was because I got a tutor,so that helped.”SaanviSaanvi“.if you dont have people in those industries like myself,because I dont know anybody that works in any kind of technology or screen industries.So I think its just hard to get your foot in if you dont have those.”.FrankieFrankie with friends or family.This issue is exacerbated by the spatial concentration of the Screen Industries in London and the South East(Allen,et al.,2013)and will be felt more acutely by young people from low-income backgrounds and by young people transitioning from care,who face substantial financial and emotional barriers to relocation(Ellis&Johnston,2020).Indeed,several of the young people we interviewed that had experience of working in the Screen Industries told of the financial struggles they faced meeting travel costs and living expenses,given low pay in entry level roles and delays in getting paid.Others highlighted how project-based,insecure work acted as a substantial barrier for those without the financial backing of family or friends.In work progression and advancementIn work progression and advancement 10.Organisational culture&fit10.Organisational culture&fit Organisational culture can play a considerable role in influencing ones experience of work and sense of belonging and mastering behavioural codes can be vital to getting on at work.Knowledge of this code can act as barrier to those from marginalised backgrounds(Friedman&Laurison,2020)In parts of the Screen Industries,where you went to school or what university you attended has been shown to open doors and help one fit in(Randle,et al.,2015).Further,there is evidence that in parts of the sector,non-standard work environments and a lack of formalised HR processes and accountability can normalise workplace practices and behaviours that would be unacceptable elsewhere(Wilkes,et al.,2020).This includes discrimination,bullying and harassment(as discussed earlier),as well as micro aggressions in the workplace,often characterised as banter about accents or cultural knowledge,which can leave people feeling like they cannot bring their whole self to work(Carey,et al.,2021).This was evident in the narrative of those young people we interviewed working in the Screen Industries,who spoke of how work culture and a lack of the diversity made them feel marginalised,or,as Ivy puts it,as an outsider,instilling a sense that they dont belong in the industry.This contrasts strongly with the supportive work environments that have been shown to support sustained employment outcomes for disadvantaged young people,which feature ongoing moral support,financial aid and nurturing peer communities(Furey&Harris-Evans,2020;Newton,et al.,2020).11.11.Progression pathways&professional Progression pathways&professional developmentdevelopment Some parts of the Screen Industries lack formal job structures and careers pathways.For some workers,progression might be defined not by a change in job title,but by having more creative“the friends that I have who have made it in that industry are people who are funded by their parents in a sense of you have to be able to take three months unpaid or take X amount of time off work to go and interview for this or go and do that And as well the way that she got in was doing a lot of daily type stuff.So its a case of,okay,well I have money this week but I dont know about next week.And thats quite a heavy cross to bear not knowing if youre going to have money from one week to the next.”MayaMaya Everyone with a higher job title were all either white men or white women.And it was quite disheartening because being in a place like that and being the only outsider,it just feels really like,am I meant to be here?”IvyIvy Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2626 control,access to larger budgets or the chance to work with higher profile teams and creatives(Carey,et al.,2017)(Carey,et al.,2021).A lack of professional development or workplace training,often linked to non-standard workplaces,presents additional challenge,particularly for those from low-income backgrounds(BFI,2022).Those from working-class backgrounds are slightly less likely to have participated in training in the past three months.(Carey,et al.,2020).Further,past research suggests those that are marginalised can struggle to speak up and be heard in some Creative work environments and without financial security,workers can find it harder to take risks,which in the Screen Industries can undermine career success(Carey,et al.,2021).12.Leadership role models&sponsorship12.Leadership role models&sponsorship Research suggests that those from diverse backgrounds remain under-represented in key leadership roles in the Screen Industries(Directors UK,2018;UK Screen Alliance,2019).This has important implications for company culture and for the presence of diverse and visible role models in leadership positions.This was evident from our interviews with young people,who questioned what it took to progress into senior positions and felt the lack of diverse talent in leadership roles,within film and TV in particular,undermined the authenticity of industry efforts to enhance diversity and inclusion.Wider evidence suggests that limited social networks and the absence of sponsors,who often provide mentorship,advocacy and advice to enable the success of those from more privileged backgrounds can inhibit progression of marginalised groups.These relationships are often predicated on shared tastes,interests and leisure pursuits and hence disproportionately benefit those who have cultural affinity with those already in senior positions(Friedman&Laurison,2020;Brook,et al.,2020).Given informal hiring practices in the Screen Industries,the lack of networks and sponsorship act as a significant constraint for those from marginalised backgrounds looking to progress in the sector(Buzzeo,et al.,2016;Brook,et al.,2020).3.3 Summary:the barriers to getting in and getting on in Film,TV&Games While we have sought to identify key points of disadvantage over the life course,there are some common themes that emerge at multiple stages,relating to three Cs:Capital;Chances and Confidence:CapitalCapital:the underlying causes of many of these issues lies in disparities in the financial capital(money),social capital(networks)and cultural capital(cultural references or behavioural norms)of young people from disadvantaged backgrounds relative to their counterparts.ChancesChances:a particular premium is placed on these capitals in the Screen Industries,because of their spatial concentration in urban centres;the structure of work in the industry,pay and precarity;work conditions;and workplace practices.Some degree of upfront investment can often be required to develop a portfolio or back a new project,where returns are far from guaranteed.Its a high-risk game,where the stakes are high,pay-outs are rare and the deck is stacked in favour of the privileged.“I think authenticity is really important when it comes to promoting diversity and inclusion because theres a lot of brands where you sit back,especially in advertising,you learn about Black washing,whitewash washing,pink wash.You want to make sure that the brand are actually what they say to be but I dont know if you can really fix that unless theres more people in those high positions that are not white.And then you also have to wonder how do you get more people in those high positions?”HarperHarper Confidence:Confidence:many young people from disadvantaged backgrounds may opt out of pursuing opportunities in the Screen Industries because of a sense that these jobs are not for people like me or in anticipation of(very real)obstacles they may face in securing and progressing in work in the sector.So,if young people from disadvantaged backgrounds are to benefit from the opportunities created in the UK Screen and Games industries in the years ahead,significant and sustained action will be needed to address disadvantage across the life course.This will need to include both interventions that directly address the barriers faced by individuals;and that seek to drive systemic change addressing employer practices and industry norms that lie at the root of inequality.Our assessment of the barriers and our discussions with disadvantaged young people point to a range of potential levers for supporting access and progression in good jobs in the Screen Industries:Early life:Early life:creative learning,resources and extra-curricular clubs in schools;better information and advice on careers;employer inspiration activities;and positive diverse role models speaking with students in schools,colleges and universities;PostPost-16 Education:16 Education:Further and Higher Education outreach schemes,scholarships and bursaries;strengthening vocational pathways,including through Apprenticeships;short courses and mentoring to enhance soft skills;work experience,traineeships and placements;Transition to work:Transition to work:paid internships/industry placement schemes;flexible financial support;project-based funding schemes;resources for employers to promote inclusive workplaces;Progression in work:Progression in work:ongoing mentoring and support to enable young people to thrive in work;and flexible funding,training and professional development opportunities to enable progression.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 2828 Barriers to access and progression:Key TakeawaysBarriers to access and progression:Key Takeaways Young people,people of colour and those from socio-economically disadvantaged backgrounds are currently significantly underrepresented in many parts of the Screen and Games Industries.In Post-Production(inc.Animation and VFX)and Computer Games,just 6%of the workforce are under the age of 25,compared to 12ross all industries.In Film and TV Production,ethnically-diverse talent comprise 6%of the workforce half the average across all sectors.In the Screen Industries,just 28%of workers are from socio-economically disadvantaged backgrounds compared to 40%of the wider workforce.While this partially reflects the time it can take to develop a creative portfolio and establish a career in these roles,the research identifies significant barriers faced by disadvantaged young people:twelve points of disadvantage that start early in life,continue in education,inhibit transition to work,and undermine career progression.The underlying causes of many of these issues lies in disparity in the financial,social and cultural capital of individuals and the structural features spatial pattens of employment,recruitment and working practices which are distinct to the Screen Industries.For disadvantaged young people to access and thrive in good jobs in the Screen and Games Industries significant and sustained action will be needed,including interventions that address individual barriers and that drive systemic change.The research identifies a range of priorities for action,including:enhanced opportunities for creative learning;better careers information and positive role models;university outreach and bursaries;apprenticeships and short courses;work experience and paid internships;flexible financial support;ongoing mentoring and support;and resources for employers.4.4.Mapping the landscape of supportMapping the landscape of support Given the significant barriers faced by disadvantaged young people in getting in and getting on in the Screen and Games Industries,significant action will be needed by Government,Industry and wider stakeholders to promote access and progression in work.This chapter presents the findings from our mapping of the complex landscape of support in the Screen Industries,exploring both the organisations and interventions that aim to enhance diversity and inclusion in the sector.4.1 Key organisations leading on diversity and inclusion in the Screen Industries The landscape mapping identified over 70 different organisations currently delivering diversity and inclusion(D&I)interventions in the Screen Industries.These organisations ranged from trade bodies and associations,to charities,not for profits,educators and social enterprises,through to the Public Service Broadcasters and some of the largest commercial businesses working in the sector.Many of these organisations are referenced in the detail that follows in this chapter.This section highlights some of the organisations most active in D&I initiatives across the Screen Industries.British Film Institute(BFI)British Film Institute(BFI)Founded in 1933,the BFI is the UKs lead organisation for film and the moving image.A registered charity governed by Royal Charter,it aims to build a diverse and accessible screen culture that benefits all of society and contributes to a prosperous UK economy.Since 2017 the BFIs Future Film Skills Programme,funded by the National Lottery and delivered primarily by ScreenSkills,has invested over 20 million in helping to support the development of a skilled and representative workforce across all Screen Industries.However,the BFI National Lottery funding is intended for good cause and is not able to meet the scale of investment required to keep pace with the current and expected future levels of production activity.Instead,National Lottery can help ensure a joined-up approach is taken to improve accessibility to work in the sector and build a workforce that genuinely reflects UK society.The BFI has published a new overarching 10-year National Lottery funding strategy.This strategy will run from April 2023 to the BFIs centenary in 2033 and sets out what the BFI wants to achieve as a distributor of funding over this period.The BFI will continue to inform and empower investment in skills and training and help co-ordinate a strategic approach to addressing the skills issues impacting the industry.This includes via their investment in new local Skills Clusters for production across the UK,providing on-the-ground local level training and development opportunities to help underrepresented individuals train for,and progress in,a career in screen production locally.The implications of the new funding strategy will be significant for many of the interventions identified in this report.ScreenSkillsScreenSkills ScreenSkills is the industry-led skills body for the Screen Industries film,television(including childrens,unscripted and high-end),VFX,animation and games.In a fragmented industry where many key workers are freelance,ScreenSkills provides targeted interventions to retain and build the skilled workforce which underpins the UKs screen success.Much of ScreenSkills funding comes from the industry via the Film/High-end TV/Childrens TV/Television/Animation Skills Funds,along with some BFI National Lottery Good Cause Funding for Skills Bursaries.ScreenSkills supports talent at every level,from new entrants to programmes for mid-career professionals and executives and across the industry,from production accounting to exhibition and grips to writers.It provides or is developing services to support the finding,nurturing and Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3030 retention of award-winning talent including careers information,apprenticeships,mentoring,bursaries,training,and quality marking educational institutions.Into FilmInto Film Launched in 2013,Into Film is the UKs leading charity for film in education.It supports educators to unlock the power of film to deliver transformative learning outcomes for children and young people aged 5-19 in class,extra-curricular settings and in cinemas.Working with educators,it created a programme that features the UKs only school-specific film streaming service(Into Film ),as well as teaching resources and training,careers information,cinema screenings and a network of extra-curricular film clubs.The core Into Film offering is free for UK state schools thanks to funding from the National Lottery(through the BFI),Cinema First and Northern Ireland Screen.UK Interactive Entertainment(Ukie)UK Interactive Entertainment(Ukie)Ukie is the trade body for the UK games and interactive entertainment industry.Founded in 1989,Ukie represents over 2,000 games businesses and works to ensure that the UK is the best place in the world to make,sell and play video games.It works across a wide range of initiatives and activities,from education to policy,from events to investment,helping support the UK games industry.Very active in relation to diversity and inclusion,in 2020 Ukie launched#RaiseTheGame,a pledge to improve equality,diversity,and inclusivity in the industry.Games companies committing to#RaiseTheGame pledge to make meaningful change and implement initiatives to diversify their workforce,create inclusive and welcoming workplaces,and reflect diversity in all aspects of their business.British Academy of Film and Television Arts British Academy of Film and Television Arts BAFTA is an independent arts charity.In addition to Awards ceremonies,BAFTA has a year-round,international programme of learning events and initiatives that offers access to the worlds most inspiring talent through workshops,masterclasses,lectures,scholarships and mentoring in the UK,USA and Asia.BAFTA relies on income from membership subscriptions,individual donations,trusts,foundations and corporate partnerships to support their ongoing outreach work.Creative UKCreative UK Creative UK is a not-for-profit organisation that promotes the development of creative companies,which in turn support business across games,film,creative and digital media as well as production services.The company works in partnership with the British Film Institute and was created in 2021 through the merging of Creative England and the Creative Industries Federation.In July 2021,Creative UK launched The UK Creative Industries,the first report of its kind,exploring the power and potential of the UKs creative industries to regenerate places,rebuild the economy,drive innovation and create jobs in all parts of the UK.Creative ScotlandCreative Scotland Creative Scotland is the public body that supports the arts,screen and creative industries across all parts of Scotland.It distributes funding from two primary sources-the Scottish Government and the National Lottery.This funding supports a portfolio of organisations across Scotland,helps with the development of individuals,the funding of ideas,new work and projects,and delivers specific activity with partners.Screen ScotlandScreen Scotland Screen Scotland is part of Creative Scotland and supports Scotlands film and TV industry with funding from Scottish Government and The National Lottery.Screen Scotland works to develop and grow Scotlands screen sector through boosting production,supporting screen businesses,providing training and development,and improving Scotlands screen infrastructure including studio facilities.Creative WalesCreative Wales Creative Wales are a Welsh Government agency set up in 2020 to support the development of the Creative Industries in Wales.This includes Film and TV,Music,Games,Animation,Createch,R&D and Publishing.Their team helps to connect people and businesses,provides knowledge and resources,including information on training opportunities and advice on funding.Ffilm Cymru WalesFfilm Cymru Wales Ffilm Cymru Wales is the development agency for Welsh film.It is dedicated to advancing and sustaining a strong film industry for Wales by providing funding and training to emerging and established Welsh filmmakers,offering exciting cinematic experiences to audiences across Wales,and developing new skills and career paths through a range of training programmes.Northern Ireland ScreenNorthern Ireland Screen Northern Ireland Screen is the national screen agency for Northern Ireland,committed to maximising the economic,cultural and educational value of the Screen Industries for the benefit of Northern Ireland.This goal is pursued through three overarching objectives:1.That Northern Ireland will have the strongest screen industry outside of London in the UK and Ireland;2.That this industry will be supported by vibrant and diverse cultural voices;3.And that the sector will be underpinned by the most successful screen and digital technologies education provision in Europe ensuring that the education is within reach and of value to the most socially disadvantaged.These work with a variety of wider industry bodies,such as Animation UK,the British Screen Forum,Pact,TIGA and the UK Screen Alliance.In addition to national organisations,there is a patchwork of wider stakeholders in cities and regions across the UK providing support to the Screen Industries.Some areas have well established regional film agencies such Screen Yorkshire and Screen South with varying degrees of involvement in D&I initiatives.Major cities such as Manchester,Birmingham,Bristol,and Leeds are experiencing a boom in screen related activity,driven by the allocation and relocation of Public Service Broadcasters(PSB)resources outside of London.Work to diversify the Screen Industries in these cities is largely driven by the PSBs themselves,though a number of independent consultants,social enterprises and not-for-profits have founded recently to service the ever-increasing need for talent.London remains the most fragmented landscape,incorporating Film London,educational institutions,trade bodies,Borough Councils,creative businesses themselves and many social enterprises/not-for-profits.Recent work by the Greater London Authority(GLA)through the Mayors Fund for London programme has sought to bring many of these actors together in a joined-up approach to support the Screen Industries in the Capital.Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3232 4.2 interventions to enhance diversity and inclusion in the Creative IndustriesThe mapping exercise identified a staggering 197 interventions aimed at enhancing diversity and inclusion across the Creative Industries.As shown in Figure 4.1,118 of these interventions included a specific focus on one or more Screen Industries.Film and TV appear to be particularly well served by the high number of D&I interventions currently available,whereas games,VFX,and animation much less so.Delivered by more than 70 different organisations,the majority were small in scale,impacting less than 25 people per year.Of course,the quality of interventions is undeniably more important than the quantity.Further,the considerable number of interventions can,in itself,act as a barrier to both creative businesses and individual beneficiaries accessing the right support at the right time.Sector focusSector focus No.of interventions Creative industries totalCreative industries total 197197 Screen industries totalScreen industries total 118118 Focused specifically on:Film and TV 46 TV 21 Film 12 All screen industries 8 Games 16 VFX,Animation,and Games 3 Film,TV,and Animation 1 Film,TV,VFX,and Animation 1 Film,TV,and Games 1 Film,TV,and VFX 1 Figure 4.2 highlights the relevance of each of the interventions identified across the Creative industries,44 directly target young people from disadvantaged backgrounds and the Screen Industries.Of those,seven were targeted specifically at young people from low-income backgrounds,11 at young people of colour and 26 were targeted at both groups.The highest number of interventions(70)were targeted at the Screen Industries but not specifically at young people from disadvantaged backgrounds,though they would likely benefit indirectly from these interventions.Already being delivered by organisations with in-depth knowledge of the Screen Industries,many of these interventions could likely be adapted to increase the focus on and benefit to young people from underserved backgrounds.Another 35 interventions were targeted directly at young people from disadvantaged backgrounds but were not focused on the Screen Industries.While organisations delivering these interventions may lack experience of working in Screen,the expertise developed through supporting young people from disadvantaged backgrounds,could in many cases,be transferred to the Screen Industries.The majority of interventions(122)were available UK wide,though it should be noted that whilst many were technically open to anyone in the UK,the relevant educational setting or workplace were based in major cities,usually London,and did not necessarily offer travel or cost of living support.Instances such as these clearly limit the opportunity for young people from underserved backgrounds Figure Figure 4.14.1:Interventions by sectorInterventions by sector Figure Figure 4.24.2:RelevanRelevancece of interventions to young people from of interventions to young people from disadvantaged backgrounds and the disadvantaged backgrounds and the S Screen creen I Industriesndustries to participate.A number of interventions(29)had a specific national focus,related to one of the devolved nations.Another 46 interventions were only provided at a local level,usually a large city,and most commonly London.Analysis across life stages(as used to explore points of disadvantage in the previous chapter)reveals that most interventions were aimed at the transition to work stage,with 107 interventions(see Figure 4.3),followed by in-work progression and advancement,with 92.The early life stage recorded the fewest interventions,totalling just 29.Transition to work also recorded the highest number of interventions targeting young people from disadvantaged backgrounds(55).Despite the high number of in-work progression and advancement interventions,just 35%were aimed at young people from disadvantaged backgrounds.This is notably lower than the equivalent figures for transition to work(51%)and post-16 education(49%)and potentially signifies an area of greater need.Just six early life stage interventions were targeted towards those from disadvantaged backgrounds.In the pages that follow,we look in greater depth at the picture of support and key interventions at different life stages,identifying potential areas for future focus.It is important to note that this does not include all interventions identified through the landscape mapping.2955107926275532020406080100120Early LifePost-16 EducationTransition to WorkIn-work Progress&AdvancementAll InterventionsInterventions targeting disadvantageFigure Figure 4.34.3:Interventions across life stagesInterventions across life stages Source:findings from the landscape mapping.Interventions targeting more than one life stage are double counted in the chart Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3434 Interventions:Interventions:EarlyEarly-lifelife Despite there being just 29 early life interventions,significantly lower compared to other life stages,many of those interventions are well established,clearly defined and relatively large scale.Unsurprisingly,the majority(20)focus on outreach,aiming to increase awareness and interest in the Screen Industries both in schools and in clubs outside of school.The early life interventions generally have at least one of the three following objectives:Increase awareness of the broad range of career pathways available in the Screen Industries;Build belief and confidence that these roles are open to everyone;Support the development of cultural capital through screen-related activities and experiences.One of the largest,UK-wide and longest-running schemes in the Screen Industries is Into Film,which though not specifically targeting young people from disadvantaged backgrounds,is run in schools with a higher-than-average take-up of free school meals.Launched in the same year was Ukies Digital Schoolhouse,which now delivers play-based learning via computing workshops in 89 primary schools across the UK.In Screen,this is complemented by wider extra-curricular clubs,such as those run by the London Film School,which works with primary and secondary schools,colleges and community groups to provide free and subsidised learning opportunities for young people from all backgrounds delivered in class,online or in a blended capacity.In post-production,Access VFX has been a more recent addition to the landscape.Several organisations supporting the games industry have also launched early life interventions including Ukie,intogames,and the British Games Institute(BGI).Established in 2014,Into Film is a large-scale programme comprised of a range of interventions:-Film for Learning embedding film-based learning in primary schools by upskilling teachers.In 2021-2022,2,600 educators were trained through webinars,3,300 teaching resources were downloaded,and 81,000 pupils reached through educators using the learning platform.-Into Film Clubs provide opportunities for 5-19 year olds to watch,discuss,review and make films in both school and out of school settings.5,871 clubs ran in 2021-22-Into Film the UKs first free streaming service designed specifically for schools and educational settings.Every film comes complete with curriculum-linked educational resources for all ages and abilities.-Film of the month filmmaking competition that ensures young people aged 5-19 have a place to submit their films,have their voices heard and their stories told.Into FilmInto Film Access:VFX is an industry-led intervention comprised of 40 leading companies,industry bodies and educational establishments in the VFX,animation and games industries.Access:VFX works to address the lack of diversity in those industries through educational events and online resources aimed at primary school age children and above.In addition,their recently launched X-VFX platform offers a space where practitioners of colour can network,and the next generation can tap into for inspiration.Access VFXAccess VFX Sponsored by Ukie,intogames works to improve access to games education for those from underrepresented groups,normalise vocational routes into the sector and create a talent pipeline from secondary school into work.Key to this is the Games Club Pilot,building a national network of afterschool clubs at key stage 3,that deliver games skills and industry careers enrichment to young people currently underrepresented in the sector.IntogamesIntogames As illustrated in the examples above,employers and sector bodies in the Screen Industries are taking steps to improve outreach and engage with young people of all ages from diverse backgrounds.Digitally-enabled tools and online resources provide an opportunity to do this,however there is increasing recognition that online engagement is not enough on its own,particularly when trying to connect with different diverse groups,which may be hard to reach and/or have limited access to digital technologies.In such a context there is no replacement for face-to-face support through a range of outreach services and personal guidance embedded in the local community(Giles,et al.,2023).This requires enhanced collaboration between local government,schools,colleges,and employers.One early life intervention attempting to do this is the Discover!Creative Careers Programme.Across the wider Creative Industries,various creative sector organisations offer innovative and impactful early life interventions.For instance,Speakers for Schools is a large-scale programme facilitating school talks and work experience opportunities;Saatchi&Saatchis recently launched Upriser programme matchmakes creative companies with local UK state secondary schools;and Apps for Good provide free tech innovation courses and education content to schools.Potential areas for future focus Despite a wide range of interventions,many of them well-funded and well-established,there is more work to do to address inequalities in access to culture and to promote awareness of careers in the Screen and Games Industries.Any additional initiatives must complement existing interventions.One opportunity would be to engage networks of industry champions or ambassadors from diverse backgrounds,who can bring careers of the future to life,and act as visible role models to instil belief and appetite amongst disadvantaged young people to pursue careers in Film.TV and Games.The British Games Institutes annual Games Careers Week brings together nearly 40,000 people across 32 online events,with the aim of changing the diversity profile of the UK games workforce.Another BGI initiative,Pixelheads provides after-school and weekend clubs in schools,libraries,hospitals,and online.The clubs develop childrens understanding of games design,art,narrative and coding with gentle introductions to development techniques and accessible technologies.BGI Games Careers Week and PixelheadsBGI Games Careers Week and Pixelheads The Creative Careers Programme was originally a partnership between the Creative UK,Creative&Cultural Skills and ScreenSkills.An integrated industry-led programme of activity,it continues to works to enhance the routes into the sector.Its flagship event,Discover!Creative Careers Week acts as a call to arms for the Creative Industries to open their doors,physically and online,to introduce students from all backgrounds to the various job roles that exist.This years hybrid event scheduled for November 2023 will see employers lead interactive workshops,tours and talks giving students the hands-on careers experiences proven to make a difference to future decision-making.Key CCP activities have included:400 work experience opportunities supported via a partnership with Speakers for Schools 317 employers engaged as speakers reaching over 72,000 students website for Discover!Creative Careers launched as a key tool and resource for young people along with teachers,parents and guardians to find information about creative careers 250 Enterprise Advisers enlisted to provide support to school leadership 28,000 students participated in immersive employer-led opportunities engagement of over 1,000 creative employers and leaders.the participation of over 120,000 students in recent online Discover!Creative Careers activities.Discover!Creative Careers ProgrammeDiscover!Creative Careers Programme Founded in 2010,Speakers for Schools brings together eminent figures from FTSE 100s,and creative and arts leaders to CEOs and tenured professors,creating a free network of school talks and work experience placements for state school pupils.Speakers for Schools facilitates over 2,500 engagements and placements a year,having reached over a third of all secondary schools and colleges across the UK.Speakers for SchoolsSpeakers for Schools Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3636 InterventionsInterventions:Post:Post-16 Education16 Education A review of existing interventions aimed at school-leavers reveals a variety of initiatives that seek to address barriers to post-16 education:55 in total.These interventions included:outreach activities,providing information and guidance on career pathways into the Screen industries;financial support for formal education often in the form of bursaries;opportunities to earn while you learn,including initiatives combining class-based learning with work experience,through short courses and Apprenticeships;and educational providers working in close partnership with employers to strengthen technical education pathways into the industry.Scholarships,bursaries,and free training programmes supporting post-16 education specifically related to the Screen Industries are being provided by the National Film and Television School through its AccessNFTS programme,as well as by organisations such as BAFTA,Channel 4,the BBC,Pact,and the London Screen Academy.A key focus of activity has been enabling young people to access careers in the Screen Industries through non-academic routes.The take-up of Apprenticeships in the Screen Industries is extremely low,largely due to implementation challenges associated with the project-based nature of Film and TV production.However,in 2021 ScreenSkills,in partnership with Netflix and Warner Bros,launched their Flexi-Apprenticeship pilot.A similar model is also being delivered by Sgil Cymru:CRIW is a 12-month apprenticeship programme servicing major film and TV productions in North Wales.As with the ScreenSkills approach,the apprentices are employed by Sgil Cymru who manage their placements and training.There are also wider efforts to strengthen vocational pathways into the industry.One well-established example is the NextGen Skills Academy,launched in 2014 to develop new qualifications aligned to the needs of Animation and VFX and delivering training through a network of providers.NextGen Skills Academy,works closely with industry to develop vetted qualifications and new routes to enter the VFX,Games and Animation industries for students across England.NextGen students study at industry selected colleges for AIM Qualifications Level 3 Diploma/Extended Diploma in Games,Animation and VFX Skills qualification,which sets them up for University,Higher Apprenticeships or starting their career.NextGen developed its programme with major companies in the industries,such as Blue Zoo,Imaginarium,Framestore,Centroid,Ubisoft Reflections,Microsoft,Sony Interactive Entertainment Europe and MPC.In addition,funding from the GLA through its Mayors Skills Academies Programme has enabled NextGen to provide short courses,bootcamps,employment advice,and further training to prepare Londoners for work in the Games,Animation and VFX sectors.NextGen Skills AcademyNextGen Skills Academy In 2021 ScreenSkills,in partnership with Netflix and Warner Bros.,launched their pilot programme for Flexi-Job Apprenticeships,supported by the Department for Culture,Media and Sport.This innovative pilot served as a precursor to the Governments formal flexi-job apprenticeship scheme,designed to flex apprenticeship delivery for occupations operating atypical working patterns to help address the minimum 12-month employment barrier for productions.In this instance,ScreenSkills employed apprentices,organised their training and arranged for them to do industry placements with the participating host employers Netflix and Warner Bros.In 2022,ScreenSkills launched a second flexi-job apprenticeship,this time in partnership with Prime Video,Sky,Banijay UK,Lime Pictures,and Content Ventures.FlexiFlexi-Apprenticeship PilotsApprenticeship Pilots AccessNFTS,by the National Film and Television school,aims to find,inform and inspire a new generation of film,TV and games talent,including virtual open days;training courses;free masterclasses;online bite-sized courses;and pop-up events across the UK.Helping those from underrepresented groups or disadvantaged backgrounds is an explicit priority,with NFTS working in partnership with other organisations such as the BFI,Ghetto Film School,the Bucks Skills Hub and London Screen Academy.Access NFTSAccess NFTS NextGen has recently extended its offer in London through the NextGen Creative Skills Hub,which has an explicit focus on reaching under-represented groups.Also in London,the Creative Skills Academy is a partnership between Film London,Capital City College Group,Middlesex University and London Higher which aims to encourage under-represented groups to consider a career in the Screen Industries,providing free skills training,employment packages and financial support;and A New Directions Creative Works provides free six-week training programmes,work experience,live briefs and masterclasses for young Londoners not in full time employment,education or training.Elsewhere in the UK,ScreenWorks helps young people in Northern Ireland aged 14-19 learn more about careers in the Screen Industries,while Screen Yorkshires Connected Campus of ten universities provides students with access to bootcamps,masterclasses,set/studio visits,industry workshops,visiting speakers and pitch reviews,all developed by industry leaders.A sister version of the Connected Campus,specifically for colleges,was launched in January 2021 encouraged and supported by the broadcasters based in the region,including Channel 4,the BBC and ITV.Indeed,skills bootcamps have been run in the Screen Industries for some time,often funded by ScreenSkills and there is scope in future for Screen-focussed Skills Bootcamps being commissioned by the Department for Education.The BFI also has its long-established BFI Film Academy,which features a range of support for young people.Potential areas for future focus It is clear that much work is already in train and the need to strengthen technical pathways,including through Apprenticeships,remains vital.While excellent initiatives have emerged in recent years,they remain relatively few,often small scale,and concentrated in London.There is scope therefore to roll-out or replicate good practice in other parts of the UK.The joined-up approach being forged in London,which aims to strengthen the local institutional ecosystem,bringing together employers,educators,local government and not-for-profits to support young people from disadvantaged backgrounds in an integrated way,better coordinating skills,careers and employment support for those who need it most,could offer a blueprint for other regions,cities and nations.The BFIs new local Skills Clusters may also offer valuable learnings in supporting underrepresented talent to progress into a career in screen.Further,the majority of interventions identified in post-16 education do not prepare individuals for the type of freelance working pervasive in the Screen Industries.Hence,there is a need for further investment in initiatives that prepare disadvantaged young people for freelance work and enable them to redress imbalances in financial and social capital through financial support and activities that help them penetrate networks that can prove vital in securing employment and commercial opportunities.The BFI Film Academy offers training and resources across the UK to give those aged 16 to 25 the opportunity to learn more about film and filmmaking and consider it a viable career choice.These include industry focused short courses offered across the UK,specialist courses to develop specific technical skills,as well as a range of events for young filmmakers online and across the UK.Since 2017,around 5,900 young people have participated in Film Academy programmes.There is also a strong diversity lens to the programme:in 2019/20,around 77%of courses are outside London,25%of the participants were from BAME communities,and 19%in receipt of free school meals.While courses can be chargeable,fees may be waived in support of those in financial need.Bursaries for travel and childcare are also available.BFI BFI FilmFilm AcademyAcademy ScreenWorks,funded by the Department for Communities via Northern Ireland Screen and delivered by Into Film,helps young people in Northern Ireland aged 14-19 learn more about careers in the Screen Industries through hands-on work experience.The programme offers access to industry professionals on 3-5 day work placements across five screen sectors-Film,Television,Animation,Gaming and Visual Effects.All ScreenWorks programmes are free,and a travel bursary is available to assist young people in travelling from different cities and towns.Screen WorksScreen Works Improving young peoples access and progression in work in Film,TV and Games,Final Report,November 2023 3838 Interventions:Transition to WorkInterventions:Transition to Work Transition to work is the stage with the most diversity and inclusion interventions:107 in total,more than half of which are in Screen.Typically run by industry trade bodies,social enterprises,or not-for-profits,working in partnership with Screen businesses,schemes at this stage were much more varied than in others,including:short term training,typified by 6-to-12-week programmes often including some work experience;internships,offering short-term paid placements with Screen businesses,but developed and managed by an independent third party;and advocacy programmes,working to promote the importance of diversifying entry routes into the industry and often providing best practice guidance to make that happen.ScreenSkills deliver interventions across all life stages though focuses on the post-16 education and transition to work stages.Some examples include Trainee Finder,an entry-level placement scheme,and the social mobility initiative First Break.The Public Service Broadcasters provide a number of transition to work interventions,many offering entry-routes and opportunities for young people from disadvantaged backgrounds.Alongside the increased use of Apprenticeships,training schemes and paid placements/internships are now commonplace,with Channel 4s 4Skills talent hub and Content Creatives and BBCs Writersroom each offering a mix of paid placements,coupled with training and wider support.There is a plethora of transition to work interventions delivered by social enterprises.Three of the most well-established,focusing on young people from disadvantaged backgrounds are Creative Access,MAMA Youth,and the Creative Mentor Network.As with many of the interventions highlighted in previous sections,though notionally available across the UK,many organisations are London based,as are the majority of opportunities.First Break offers young people from socio-economically disadvantaged backgrounds accessible non-jargon-led industry information,events,hands-on training,paid work shadowing,and one-to-one career development.In 2021/22 four First Break programmes were delivered in partnership with HETV productions,with a total of 100 participants.ScreenSkills ScreenSkills First BreakFirst Break Trainee Finder is an entry-level placement scheme placing trainees on film,childrens live-action TV,high-end TV and animation productions.Funded through a levied industry skills fund,contributing productions can claim funding from ScreenSkills for the duration of the trainees time.In addition to placements,they are trained in health and safety,finance for freelancers,carbon literacy,branding,and networking.They go to industry masterclasses to improve employability and have the opportunity to find a mentor.In 2021/22,407 placements were supported across more than 190 productions,targets of 20% from Black,Asian and minority ethnic groups and 60% based outside of London were achieved and exceeded in many cases.ScreenSkills Trainee FinderScreenSkills Trainee Finder Channel 4s 4Skills talent hub includes initiatives such as the Production Training Scheme,which offers opportunities to those currently underrepresented in the TV industry,including disadvantaged young people.Participants are placed in paid roles with production companies,whilst receiving monthly training,boot camps and access to commissioning
2023-12-22
54页
5星级
Issue#008Fall 2023Middle ClassThe AmericanChapter 3The ShrinkingClass“The most perfect political com.
2023-12-22
13页
5星级
AMERICAN PARENTS AMERICAN PARENTS VIEWS ON MOVIE VIEWS ON MOVIE RATINGSRATINGSMOTION PICTURE ASSOCIATIONCLASSIFICATION AND RATING ADMINISTRATIONINTRO|STUDY OVERVIEWBACKGROUND,OBJECTIVES&METHODOLOGYINTROEXECUTIVE SUMMARYSECTION IPERCEPTIONS OF THE FILM RATING SYSTEMSECTION IICONTENT CONCERNS AND EVALUATIONAPPENDIXSECTION IIIRATINGS IN PRACTICECONTENTSCONTENTS34BACKGROUND&OBJECTIVESBACKGROUND&OBJECTIVESCARA aims to ensure that their ratings framework reflects the views of parents regarding the presence of profane language,sex,nudity,violence,drug use,smoking,and other subjects that may be a source of concern for parents.Please note that this research makes no assumptions about the rating system as it currently exists;rather,it seeks to understand parents perceptions from an objective standpoint.The Classification and Rating Administration(CARA),a division of the Motion Picture Association(MPA),commissioned PSB Insights to conduct research to develop a comprehensive,quantitative view of U.S.parents perceptions,attitudes and expectations regarding movie content and the film rating system.5MPA MOVIE RATING EXPLAINEDMPA MOVIE RATING EXPLAINEDRatings are determined by the Classification and Rating Administration(CARA),via a board comprised of an independent group of parents.Every film is assigned a rating(G,PG,PG-13,R,NC-17)that indicates its level of content so parents may decide if the movie is suitable for their childrenThis language provides a more detailed explanation to parents of what the specific rating meansThis language is unique to each film and conveys the elements that caused its rating6MPA MOVIE RATINGSMPA MOVIE RATINGSNothing that would offend parents for viewing by childrenParents urged to give“parental guidance.”May contain some material parents might not like for their young childrenParents are urged to be cautious.Some material may be inappropriate for pre-teenagersContains some adult material.Parents are urged to learn more about the film before taking their young children with themClearly adult.Children are not admittedRATING BOX.FILL IN RATING REASINS HERERATING BOX.FILL IN RATING REASINS HERERATING BOX.FILL IN RATING REASINS HERERATING BOX.FILL IN RATING REASINS HEREADULTS ONLY71%3tt%#%METHODOLOGYMETHODOLOGY:20min.online survey,including an interactive rating scenarioSeptember 22nd October 10th,2022:United States:N=1,500 parents of children aged 5-16,where both parent and child have watched a movie in the past 6 months,either in theater or in-home(any platform)Nationally representative sample based on parental age,gender,race/ethnicity,and regionNatural fallout of household size and composition,including distribution of age/gender of childNatural fallout of specific in-home movie consumption platformNo sensitive industry(advertising,market research)BaseTotal Parents(1,500)QuestionWithin the past 6 months,how many times have you personally seen a movie at a theater or at home?Within the past 6 months.how many times has your child seen a movie at a theater or at home?MOVIE VIEWERSHIP INCIDENCE|PAST 6 MONTHSIn-HomeOnlyIn-Home&TheaterParents of Children 5-16Children 5-16(reported by parents)Theater Only89EXECUTIVE SUMMARYEXECUTIVE SUMMARYCompared to parents of older children,parents of children aged 5-6 are the most likely to find the ratings helpful.Parents in the South Atlantic region are the most likely to agree that the ratings are accurate vs.parents in other U.S.regions.Streaming services and movie trailers or previews are the next most used sources of information.A majority of parents felt that the movies they had seen in the past year had the appropriate rating.Even more find that the process meets their expectations.10EXECUTIVE SUMMARYEXECUTIVE SUMMARYappearing in movies their children would see.Conversely,a majority of parents find most content types tested appropriate for an R rating,although the“N-word”generates the least consensus.On average,particularly in the South Atlantic,When tasked to evaluate movie descriptions as a rater would,with Violence type,graphicality and quantity play an important role in how strong the rating should be.For example,11EXECUTIVE SUMMARYEXECUTIVE SUMMARYIn terms of their views on In the context of strong language tested,When applying ratings to movie descriptions as a rater would,Compared to all other strong language tested,however,1213RatingRating Descriptors*Extremely familiarVery familiarSomewhat familiarSlightly familiarNot at all familiar*Top 2 Box total based on sum of extremely/very familiar including decimals.Individual values may not add exactly due to rounding.BaseTotal Parents(1,500)QuestionBefore seeing the image,how familiar were you with each of the following?(Rating/Rating Descriptors)FAMILIARITY WITH THE MPA RATING AND RATING DESCRIPTORSBase:Total Parents14The Ratings are helpfulThe Rating Descriptorsare helpfulThe Ratings areaccurateThe Rating Descriptorsare accuratePERCEPTIONS OF THE MPA RATING AND RATING DESCRIPTORSBase:Total ParentsA find ratings and the rating descriptors and*Top 2 Box total based on sum of agree strongly/somewhat including decimals.Individual values may not add exactly due to rounding.BaseTotal Parents(1,500)QuestionHow much do you agree or disagree with each of the following statements?Agree stronglyAgree somewhatNeither agree nor disagreeDisagree somewhatDisagree strongly*among parents of children aged 5-615WestPacificSouthWest South CentralMidwestEast North CentralSouthSouth AtlanticNortheastMiddle AtlanticNortheastNew England*SouthEast South CentralWestMountainMidwestWest North CentralParents in East South Central are less likely to be“extremely familiar”with ratings(vs.50%total parents)BaseTotal Parents(1,500);New England(48);Middle Atlantic(219);West North Central(111);East North Central(243);West South Central(162);East South Central(90);South Atlantic(294);Pacific(183);Mountain(150)*Caution:small base size(50)QuestionHow much do you agree or disagree with each of the following statements?(“The Ratings are accurate”)ACCURACY OF RATINGS|BY REGIONTOP 2 BOX(%AGREE SOMEWHAT/STRONGLY)“THE RATINGS ARE ACCURATE”Base:Total ParentsLowestHighest16SOURCES OF INFORMATION FOR THE MPA RATING AND RATING DESCRIPTORSBase:Total Parentswhen considering a movie for their child to see;most learn via online sources,streaming services or movie trailersBaseTotal Parents(1,500)QuestionWhen you are considering a movie for your child to see,where do you currently get the following information for a movie?(Rating/Rating Descriptors)95ppee%Search on a search engine363%Movie review website or app321%Website of the movie29&%Movie ticket website or app24 %Other websites or apps9%9VVQQ%Netflix site or app46%Amazon,Hulu or HBO Max site or app417%Another website or streaming site or app5%4IIEE44(&!$!%5%5%9%9Amount of Sexual ContentAmount of ViolenceAmount of Profane LanguageAmount of Drug UseAmount of SmokingThe current rating system does a,andBaseTotal Parents(1,500)QuestionsHow much do you agree or disagree that the current rating system does a good job of advising you onAnd which of the following content areas do you feel the current rating system does the best job of advising you on?PERCEPTIONS OF THE CURRENT MPA RATING SYSTEMBase:Total Parents(%Agree Somewhat/Strongly)(%Agree Somewhat/Strongly)1881seTotal Parents(1,500);Parents who have seen a movie that did not have the appropriate movie rating(292)QuestionsIn the past 12 months,have you seen any movies that you feel did not have the appropriate movie rating?How many movies have you seen in the past 12 months?How many of those do you feel did not have the appropriate movie rating?What are some reasons why you think they did not have an appropriate movie rating?Movie with an ratingMovie with an rating.but among the few who felt otherwise,roughly 1 in every 4 movies they saw were not rated appropriately Sexual contentLanguage and other themesViolenceUnspecifiedDrug contentREASONS FOR LACK OF APPROPRIATE MOVIE RATINGBase:Parents who have seen a movie that did not have the appropriate movie ratingFor movies that parents felt were not rated appropriately,of parents felt that the movies they had seen in the past year had the appropriate movie rating“Its such a dark movie overall and the violence is partially shown and mostly implied but pervasive.I admit its a rough one to rate but I would not want my 10-year-old watching,even though there is little to no blood-Dad of 10 year-old daughter,Middle Atlantic“”19BaseTotal Parents(1,500)QuestionsHow familiar were you with the approval process that places movie trailers/previews before compatible feature movies?How does the current process compare to what you would want it to be?Extremely familiarVery familiarSomewhat familiarSlightly familiarNot at all familiarIts exactly what I wantIts similar to what I wantIts not quite what I wantIts not at all what I wantMPA APPROVAL PROCESS FOR TRAILERS&PREVIEWS BEFORE COMPATIBLE FEATURESBase:Total Parentsamong frequent theatergoers20BaseTotal Parents(1,500);Parents who report having seen trailers/previews that were incompatible with feature movie(282)QuestionsIn the past 12 months,have you seen any movie trailers/previews that seemed incompatible with the feature movie they were preceding?How many trailers/previews have you seen at a movie theater in the past 12 months?How many trailers/previews did you see that you feel did not seem compatible with the feature movie they were preceding?.still,among the few who report having seen incompatible trailers or previews,most(about in trailers)were with the movie they precededtrailer/previewtrailer/preview81%of parents say trailers or previews they have seen in the past 12 months were compatible with the movie they were precedingMost parents report that the AVG.#OF TRAILERS/PREVIEWS SEEN|PAST 12 MONTHSBase:Parents who report having seen incompatible trailers/previews2122Graphic sex scenesAverage Result Within This ListSexual assaultUnderage partyingFull male nudityDisturbing/scary imagesFull female nudityMarijuana use by an adult Use of hard drugsHorror violenceSuicideUse of the F-wordUse of the N-wordRealistic violenceRacially-motivated violenceCrude languageUnderage marijuana useVapingGraphic violenceOff-color humorGun violenceTobacco use by an adultPartial nudityWar/battle violenceNon-graphic sex scenesUse of the S-wordBrief nudityAction/fantasy violenceAlcohol abuseUse of the A-wordUnderage tobacco useToilet humorSuggestive sexual innuendoCartoon violenceBaseTotal Parents(1,500)QuestionThinking specifically about the movies that your child would see,how concerned are you with each of the following types of content appearing in movies they would see?American parents are most concerned about CONTENT CONCERNSINDIVIDUAL CONTENT TYPESTOP 2 BOX(%VERY/EXTREMELY CONCERNED)Base:Total ParentsSexual Content SubstanceUseViolenceSmokingProfaneLanguageAverage Resultaround content in movies that their children would see23Full male nudityUnderage partyingFull female nudityAlcohol abuseSexual assaultHorror violenceGraphic sex scenesDisturbing/scary imagesUse of the N-wordCrude languageUse of hard drugsNon-graphic sex scenesSuicideRealistic violenceUnderage marijuana useSuggestive sexual innuendoRacially-motivated violenceVapingUnderage tobacco useOff-color humorUse of the F-wordUse of the S-wordBrief nudityTobacco use by an adultPartial nudityUse of the A-wordGraphic violenceWar/battle violenceGun violenceCartoon violenceToilet humorMarijuana use by an adultAction/fantasy violenceAmong content types tested,American parents are most likely to consider 55TSSRRPPPGEC88865CCDEFFHHFISTYb%CONTENT APPROPRIATENESS(PG-13 RATING)INDIVIDUAL CONTENT TYPES Base:Total Parents1%Somewhat Inappropriate/Not Appropriate At All Content types ranked by%Somewhat Inappropriate/Not Appropriate At All2%Somewhat Appropriate/AppropriateBaseTotal Parents(1,500)QuestionBased on your experience with the PG-13 rating,how appropriate do you think each of the following types of content would be in the PG-13 rating?74rqqppggcbbYXXVUU$&(014569BBB%Sexual Content SubstanceUseViolenceSmokingProfaneLanguageAverage ResultLess AppropriateMore AppropriateSomewhat Inappropriate/Not Appropriate At All1Somewhat Appropriate/Appropriate2Somewhat Inappropriate/Not Appropriate At All1Somewhat Appropriate/Appropriate224Use of the N-wordTobacco use by an adultUnderage tobacco useCrude languageFull male nudityGun violenceSexual assaultMarijuana use by an adultUnderage marijuana usePartial nuditySuicideUse of the A-wordFull female nudityUse of the F-wordRacially-motivated violenceUse of the S-wordUnderage partyingDisturbing/scary imagesUse of hard drugsNon-graphic sex scenesGraphic sex scenesGraphic violenceOff-color humorSuggestive sexual innuendoVapingBrief nudityCartoon violenceRealistic violenceHorror violenceAlcohol abuseWar/battle violenceToilet humorAction/fantasy violenceWhile parents find most of the listed content types appropriate for an R rating,24$#! suuuvvvvvvvvwwxy%CONTENT APPROPRIATENESS(R RATING)INDIVIDUAL CONTENT TYPES Base:Total Parents1%Somewhat Inappropriate/Not Appropriate At All2%Somewhat Appropriate/Appropriate Content types ranked by%Somewhat Appropriate/AppropriateBaseTotal Parents(1,500)QuestionBased on your experience with the R rating,how appropriate do you think each of the following types of content would be in the R rating?437765332111(&%Tabbdeefghhipqqq%Sexual Content SubstanceUseViolenceSmokingProfaneLanguageAverage ResultLess AppropriateMore AppropriateSomewhat Inappropriate/Not Appropriate At All1Somewhat Appropriate/Appropriate2Somewhat Inappropriate/Not Appropriate At All1Somewhat Appropriate/Appropriate225Parents in the particularly in the South Atlantic,than those in other regionsNewEngland*MiddleAtlanticWest North CentralEast North CentralWest South CentralEast South CentralSouthAtlanticPacificMountain61XXWXeadcaUQSSIWaUVPBPPESISTQDACE8H9IFEA4996CAGCA%More concern( 5pt vs.Total)Less concern(-5pt vs.Total)CONTENT CONCERNS|BY REGIONAVERAGE ACROSS CONTENT TYPESTOP 2 BOX(%VERY/EXTREMELY CONCERNED)Base:Total ParentsBaseTotal Parents(1,500);New England(48);Middle Atlantic(219);West North Central(111);East North Central(243);West South Central(162);East South Central(90);South Atlantic(294);Pacific(183);Mountain(150)*Caution:small base size(50)QuestionThinking specifically about the movies that your child would see,how concerned are you with each of the following types of content appearing in movies they would see?26Crap!Damn!Jesus Christ!A variation on the F-word(e.g.,freaking,friggin)Someone showing the middle fingerA-wordS-wordGoddamn!F-wordN-wordBaseTotal Parents(1,500)QuestionWhich rating or ratings do you feel would be appropriate for a movie that contained the following words/expressions?APPROPRIATE RATING FOR STRONG LANGUAGE|Ranked by PG-13Base:Total Parentsof parents selected PG or lower as an appropriate rating for“Crap!”At some still feel the“N-word”is inappropriate even for R-rated content(compared to 96-99%for all other strong language tested)2728RATINGS IN PRACTICE:EXERCISE EXPLAINEDAn illustration of the online interactive exerciseMovie Description Movie Description(Please assume the below movie was available to see)In this superIn this super-hero movie:hero movie:There are several sequences of sword and/or knife violence.It is shown on-screen,but is not bloody and/or graphic.The language in this movie includes one use of the F-Word.This movie contains one brief scene of sex but no nudity shown.Over a series of screens,parents evaluated 16 hypothetical movies,with descriptions detailing the movies genre,violence,language and sexual content/nudity.Respondents evaluated each hypothetical movie description and assigned it a movie rating G through NC-17,where a 1-to 100-point scale corresponded to stronger intensity within each ratings level.WeakMiddleStrongWeakMiddleStrongWeakMiddleStrongResults were analyzed to estimate a ratings score and measure the impact of each attribute mentioned in the descriptions.29There is one scene ofThere are several sequences ofThere is frequent and pervasive Sexual assault,including rapeTorture and mutilationSelf-harm and/or suicideGun violenceAssault weapons violenceDomestic violenceSword and/or knife violenceNot shown on-screen,but it is mentioned or discussedNot shown on-screen,but aftermath is shownShown on-screen,but not bloody and/or graphicShown on-screen,and is somewhat bloodyShown on-screen,and is graphic and/or bloodyMotivated by race(Motivation was not shown)Artwork depicting a nude figure(painting,sculpture etc.)Brief nudity(e.g.,womans bare breasts)One brief scene of sex but no nudity shownOne scene of sex with nudityOne scene of oral sexFull frontal nudityStrong sexual content and nudity throughoutExplicit scenes of sexual intercourseOne use of the F-WordTwo uses of the F-WordThree uses of the F-WordFive uses of the F-WordTen uses of the F-Word25 or more uses of the F-WordDocumentary or movie depicting real eventsSuperhero movieRomantic comedyAnimated movieAction movieMovie(genre was not shown)CATEGORIES AND ATTRIBUTES TESTED30Base:Total ParentsParents rate violence types widely,from BaseTotal Parents(1,500)QuestionPlease indicate on the above scale where you would rate this movie based on the below descriptions?Model Assumptions Movie genre not shown.All other attributes off.Ratings ScoreNumerical values reflect the average given to an attribute on a 1-to-100 point scale,corresponding to ratings G through NC-17.A higher number reflects stronger intensity within each ratings level.Violence motivated by race receives a slightly stronger ratings score than that withoutNC-17RPG-13PGGSword/knifeviolenceDomestic violenceAssault weaponsviolenceGun violenceSelf-harm and/orsuicideTorture andmutilationSexual assault,inclrapeMovie genre did not have a strong effect on parents rating scores.Parents do give minor allowances to the superhero genre31Sword/knifeviolenceDomestic violenceAssault weaponsviolenceGun violenceSelf-harm/suicideTorture andmutilationSexual assault,incl.rapeShown graphic and/or bloodyShown somewhat bloodyShown not bloody and/or graphicOffOff-screen,screen,but aftermath shownOffOff-screen,screen,but mentioned or discussedBase:Total ParentsNC-17RPG-13PGGBaseTotal Parents(1,500)QuestionPlease indicate on the above scale where you would rate this movie based on the below descriptions?Model Assumptions Movie genre not shown.All other attributes off.Analysis Note:This chart illustrates the interaction between two attributes.When dots are clustered tightly together,small differences in rating scores or changes in order are immaterial and should be given less weight in analysis.Observations should focus on dots spread over a wider range.32Sword/knifeViolenceDomestic violenceAssault weaponsviolenceGun violenceSelf-harm/suicideTorture andmutilationSexual assault,incl.rapeBase:Total ParentsParents are generally more tolerant of sword/knife violence compared to other violence types,but give it higher scores once it is frequent and pervasiveFrequent and pervasive Several sequences ofOne scene of NC-17RPG-13PGGBaseTotal Parents(1,500)QuestionPlease indicate on the above scale where you would rate this movie based on the below descriptions?Model Assumptions Movie genre not shown.All other attributes off.Analysis NoteThis chart illustrates the interaction between two attributes.When dots are clustered tightly together,small differences in rating scores or changes in order are immaterial and should be given less weight in analysis.Observations should focus on dots spread over a wider range.33Artwork depictinga nude figureOne brief scene ofsex but no nudityshownBrief nudity (e.g.,womans barebreasts)One scene of sexwith nudityFull frontal nudity One scene of oralsexStrong sexualcontent andnuditythroughoutExplicit scenes ofsexual intercourseBase:Total Parentsincluding those of oral sex,Score intensity grows when both sex and nudity are shownThese are the(R rating)of allattributes testedNC-17RPG-13PGGBaseTotal Parents(1,500)QuestionPlease indicate on the above scale where you would rate this movie based on the below descriptions?Model Assumptions Movie genre not shown.All other attributes off.Ratings ScoreNumerical values reflect the average given to an attribute on a 1-to-100 point scale,corresponding to ratings G through NC-17.A higher number reflects stronger intensity within each ratings level.34One use of the F-WordTwo uses of theF-WordThree uses of theF-WordFive uses of the F-WordTen uses of theF-Word25 or more uses of theF-WordBase:Total ParentsAt five uses of the“F-word,”parents are evenly split between PG-13 and RBaseTotal Parents(1,500)QuestionPlease indicate on the above scale where you would rate this movie based on the below descriptions?Model Assumptions Movie genre not shown.All other attributes off.Ratings ScoreNumerical values reflect the average given to an attribute on a 1-to-100 point scale,corresponding to ratings G through NC-17.A higher number reflects stronger intensity within each ratings level.NC-17RPG-13PGGselected PG-13selected R3536SAMPLESAMPLE COMPOSITIONCOMPOSITIONMale 50male 50-242%-34225-4443E-5425U-647e 1%New England3%Middle Atlantic15$%West North Central7st North Central166%West South Central11st South Central6%South Atlantic20%Pacific12%Mountain10%White/Caucasian67%Black or African-American9%Hispanic/Latino15%Asian/Other9%Secondary school/high school or lower24%Some college/university32chelors degree/university degree31%Graduate education(Masters,Ph.D.,etc.)13%Employed full-time(30 hours per week)65%Employed part-time(less than 30 hours per week)9%Stay-at-home parent or caretaker15%Student1%Unemployed/not working7%Retired3%High($100K and over)26%Mid($60K-$99K)26%Low($59K or under)47%Parents of 1 Child43%Parents of 2 Children37%Parents of 3 Children217AS SHOWN IN THE ONLINE SURVEY38AS SHOWN IN THE ONLINE SURVEY39AS SHOWN IN THE ONLINE SURVEY
2023-12-22
39页
5星级
Table of contentsCopyright 2023 The Nielsen Company(US),LLC.2Introduction3The Hispanic opportunity4T.
2023-12-22
20页
5星级
1 Copyright 2023 The Nielsen Company(US),LLC.State ofData-driven personalization:The future of strea.
2023-12-22
20页
5星级
The Future Laboratory and Microsoft:The Future of Digital MarketingFor the digital marketing industr.
2023-12-22
40页
5星级
BlueprintAI for PersonalizationSponsored By2|AI for Personalization Blueprint 3 Why Artificial Intelligence Is a Must for Personalization5 A Quick Introduction to AI for Personalization What Is AI?5 Machine Learning and the Core Types of AI 79 How to Find AI Use Cases in Personalization Top AI Use Cases in Personalization 10 Top Personalization Use Cases by Industry 1113 Top Companies using AI for Personalization How Bundesliga creates fan engagement with Amazon Personalize 13 Yelloh transforms into a modern mobile retailer with personalized communications 14 ResMed uses Amazon SageMaker to personalize sleep therapy for millions 1516 Top AI Tools for Personalization Amazon Personalize 16 Amazon SageMaker 18 Airship 19 Dynamic Yield 19 Mutiny 19 Persado 19 Rasa.io 20 Sailthru 2021 Why Personalization of the Future Depends on AI About Marketing AI Institute 22 About Amazon Web Services(AWS)22 Table of Contents3|AI for Personalization Blueprint It has never been more important for your brand to master the art and science of personalization.The vast majority of B2C and B2B consumers expect sophisticated personalization from brands.A full 86%of B2B consumers expect you to understand their personal preferences,says Gartner.And 71%of B2C consumers expect the same.Not to mention,they expect you to act on it to deliver highly personalized experiences.Theres just one(very big)problem:Of the companies doing personalization,most still personalize based on simple pre-defined rules.(“If you are X,you will see Y.”)Pre-defined rules used to work well enough in the early days of digital experiences.Back then,you didnt have much user data to work with.You could tell what someone clicked on or visited or boughtand that was about it.Limited data meant limited personalization options.So,limited rules werent a problem.Today,this couldnt be further from the truth.Companies have a flood of data on users from a huge number of sources.Consumer interactions take place across more touchpoints than ever.And we have a breathtaking number of ways to personalize content and products based on this data.These conditions make pre-defined rules woefully inadequate for modern personalization.In fact,pre-defined rules have a few fatal flaws that can actively work against you:Why Artificial Intelligence Is a Must for Personalization1.Theyre static.Pre-defined rules dont change.They dont respond to new data.They dont adapt to evolving consumer needs and behaviors.If your customers change,pre-defined rules dont.As a result,they often create an outdated and ineffective customer experience.For instance,you might use static,pre-defined rules to display your latest content first on your website.Thats a one-size-fits-all approach that completely fails to take into account a customers content preferences or display content based on their consumption habits.2.They cant get full value out of your data.Most companies have a wealth of data that can create better personalization.But its hard to leverage this data with pre-defined rules.Every new data source used requires more rules to create better personalization.Few teams have the bandwidth to create rules indefinitely to improve their personalization.3.They dont scale.Every pre-defined rule is manually built and manually maintained.Every pre-defined rule created introduces more complexity,conflicts,and complications.The more complexity,the higher cost of resources and time to manage personalization.That makes it impossible to effectively scale a pre-defined rules-based approach.These flaws are why top brands are turning to AI for personalization.AI has many ways to overcome the limitations of pre-defined personalization rules.It operates in a fundamentally different way than pre-defined rules.With pre-defined rules,you manually define and create the personalization rules.With AI,you specify your personalization goal,and it figures out which rules to follow to achieve it.86%of B2B consumers expect you to understand their personal preferences.71%of B2C consumers expect the same.4|AI for Personalization Blueprint AI dynamically and automatically personalizes content and products.It also can adapt and improve on its own over time in response to changing data and behaviors in real time.AI uses massive amounts of your data from different sources to provide recommendations.If you have a large amount of high-quality,accurate data,it can rapidly improve your performance.AI scales as your personalization program grows since it doesnt rely on manual,pre-defined rules.What AI is and what it is capable of doing.What AI use cases are available for personalization,and how to find your brands specific use cases.What AI tools and technologies can create real business outcomes for you.That means:In fact,AI can:Segment users based on their particular dynamic behaviors and interactions.Deliver highly personalized digital experiences exactly tailored to individuals.That includes personalizing based on needs,wants,and behaviors learned over time.Increase customer engagement and satisfaction with truly intelligent content and product recommendations,which ultimately increases revenue for your business.Not to mention,you dont have to build your own AI models with leading solutions.Instead,you can use out-of-the-box AI personalization to see return-on-investment(ROI)fast.According to McKinsey,organizations that have implemented personalization see a 10-15%increase in revenue.That benefit is even bigger in direct-to-consumer businesses,with personalization providing up to a 25%lift in revenue for these types of companies.Maybe thats why Gartner predicts 80%of all customer contact will take place via AI by 2030.And its definitely why you should consider using AI in your personalization efforts.The good news is:Thats never been easier to do.Powerful AI is now accessible to professionals in marketing,sales,and more.Enterprise developers who dont have AI experience can also deploy the technology.You and your team can now operationalize AI at scale while mitigating the risks that can arise when building and deploying AI models.AI also makes it possible to do effective omnichannel personalization at a 1-to-1 level.That means you can personalize the entire user journey across different devices,allowing you to connect deeper,make more relevant recommendations,and capture the users attention,loyalty,and engagement.And the best part?At no point do you need a degree in data science or machine learning to do it.You just need to understand the following:The rest of this guide shows you how through actionable advice,recommendations on use cases and tools to use,and real-world examples of AI personalization using AWS offerings,including Amazon Personalize.Why Artificial Intelligence Is a Must for PersonalizationOrganizations that have implemented personalization see a 10-15%increase in revenue.5|AI for Personalization Blueprint To grasp whats possible with AI,you need to understand the technology.But dont worry.You dont need to get a Ph.D.in the subject to do that.All you need is a simple,useful definition of AI.That will allow you to see how its differentand much smarterthan the technology you use today.Lets dive in.What Is AI?If you ask 10 experts to define“AI,”youll get 10 different definitions given the complexity of the subject.Our favorite is a simple one:AI is the science of making machines smart.By“being smart,”these machines,in turn,enhance human knowledge and capabilities.So,what does“being smart”actually mean?AI is smart because it can determine its own pathways to achieving an overall goal.To illustrate what we mean,lets look at the traditional software you use today.That software can only do what you tell it to do.You give it rules and instructions.It follows those rules and executes those instructions to the letter.Lets look at an example:Say you want to recommend new products,services,or content to users that visit your website.Heres what that typically looks like:1.You manually segment users into broad categories.You base these categories on a few simple factors.For instance,the users job title,industry,and whether or not theyve taken an action on your site.2.You then create a set of static personalization rules.Those rules match products and content to users depending on their category.These rules are basic.But despite that,they get complicated quickly.Lets say your users can select one of five job titles and one of four industries.Thats 20 different possible combinations of title and industry alone.3.You set your static personalization rules live.Then,you monitor performance across all your different categories.As you analyze performance,you make manual changes to rules based on the data.These changes take a lot of time and effort.This type of personalization is probably better than no personalization.But its not very sophisticated.Its highly labor intensive.And its really inefficient.Every step of the way,youre in charge of giving the machine instructions and telling the machine what to do.And it follows them without deviation.Its like having an army of hard-working interns who follow your instructions literally.They dont offer new ideas.They dont innovate new approaches.They just follow commands.This is a huge missed opportunity to create a deeper connection with customers,build a meaningful experience,and build trust and loyalty with consumers by showing them you understand their needs and preferences.A Quick Introduction to AI for PersonalizationAI is“the science of making machines smart.”6|AI for Personalization Blueprint A Quick Introduction to AI for PersonalizationThankfully,AI-powered personalization is fundamentally different from traditional personalization.Lets stick with our example from above.With AI,we can fundamentally transform whats possible with personalization:1.AI can segment users for you based on a much larger range of attributes and signals.It can learn about your catalog of products and content.It can learn about how users interact with those catalogs.It can segment users dynamically based on their attributes,preferences,and behaviors.And it can segment them into complicated categories without extra work.2.AI can then personalize content,services,and products to users in real time based on a legion of factors and attributes.And AI doesnt just personalize based on individual factors.It can also personalize in different ways for the same individual based on channel(ads,email,social,etc.).3.AI can adapt personalization to changing customer interactions automatically.You dont need to manually update or change rules.You dont need to stay on top of mountains of data.AI does it all for you.Just one example:AI is perfect for brands that experience seasonality since it can adjust recommendations based on spikes in,for instance,hotel bookings for certain destinations based on the weather in a given location.Now,thats impressive on its own.But heres the real AI secret sauce:AI learns each time it tries to achieve your personalization goals,such as:Optimizing for users with no interaction history.Increasing overall engagement and average order values.Boosting time spent on page.Increasing time spent viewing video content.Surfacing new items to improve upsell and cross-sell opportunities.And more.In fact,each time you use AI for personalization,it learns more about what your customers like best.For example,lets say you have a new user who consumes your streaming content across devices.Over time,AI learns that this user likes watching TV on mobile devices and full movies at home.AI then automatically adjusts recommendations for each channel based on that.In another example,lets say you are a hotel chain that wants to increase customer lifetime value.You can use AI to offer highly personalized property and room recommendations to customers.As AI learns more about your customers behavior,it can use that information to personalize upsells and cross-sells while the customer is staying at a property.In every case,AI isnt following the playbook from the last time you personalized an experience for a customer.Its learning from past engagements and improving its recommendations using a new and improved playbook.Thats why AI is so powerful:It has the ability to unlock exponential performance gains over time the more you use it.AI is like having an army of geniuses at the top of their game working independently for you 24/7.Traditional software using traditional personalization approaches simply cant compete.And neither can companies using traditional software and approaches.In fact,more than half(60%)of consumers say they will likely become repeat buyers after a personalized shopping experience with a retailer,according to Twilio.7|AI for Personalization Blueprint A Quick Introduction to AI for PersonalizationMachine Learning and the Core Types of AIWeve established why AI is much differentand much betterthan traditional personalization.Now,lets define a few final ways of thinking about AI that are important to fully grasp the subject.The term“artificial intelligence”is a category of technology,not a single tool.Its a broad suite of techniques that leverage smart machines in different ways.These tools rely on“machine learning”to work their magic.Machine learning is the primary subset of artificial intelligence technology.Its how AI tools achieve goals on their own and learn from their efforts.There are a couple of steps to make a machine smart.First,humans have to train the machine.We show the machine data,then train it to recognize patterns in that data.Using those patterns,the machine learns how to achieve goals.Once fully trained,it can recognize those patterns and achieve those goals in the wild.It can also then train itself on what it learns rather than returning to its human teachers.Now,machine learning isnt the only term youll hear in discussions of AI.Youll also hear terms like:Deep learning Reinforcement learning Neural networks Topic modeling Robotics And many,many moreThese terms can be useful to learn.But you dont need to know all the jargon to understand how and where to apply AI in your business or to see real business value from the technology.In fact,you only need to know that there are four core applications of AI:Language,Vision,Speech,and Vertical-Focused.Language AI.This is the ability of machines to understand and generate written and spoken words.Language AI technologies and terms you may encounter include:Machine translation.Sentiment analysis.Natural language generation.Text analysis and summarization.Natural language processing.An example of Language AI in your everyday life is Gmails Smart Compose feature.You type an email,and Gmail predicts how to complete your next sentence.Vision AI.This is the ability of machines to analyze and understand data from still images and videos.In essence,vision AI seeks to automate tasks that the human visual system can naturally do.Vision AI technologies and terms you may encounter include:Object recognition.Emotion generation.Image generation.Optical Character Recognition(OCR).Video generation.An example of Vision AI in your everyday life is the facial recognition that unlocks your iPhone.Vision AI determines if the face it is seeing is yours and,if it is,grants you access to the device.Speech AI.This is the ability of AI to recognize,process,and emulate human voices and speech.Speech AI technologies and terms include:Voice recognition.Speech-to-speech translation.Dialogue modeling.Machine learning is the primary subset of artificial intelligence technology.Its how AI tools achieve goals on their own and learn from their efforts.8|AI for Personalization Blueprint A Quick Introduction to AI for PersonalizationAn example of Speech AI is when transcription software recognizes which speakers are saying which words,allowing AI to label their conversation appropriately.Vertical-Focused AI.Vertical-focused AI is artificial intelligence designed to perform advanced predictive functions for specific use cases,industries,or verticals.Examples of vertical-focused AI include:Personalization.Anomaly detection.Forecasting.Fraud detection.Pattern recognition.An example of Vertical-Focused AI is Amazon product recommendations.Amazon learns from what youve bought in the past on its site,as well as what other users like you are interested in,and recommends other products you are likely to want to buy.While there are literally hundreds of use cases for AI-powered personalization,they all fall under one or more of these four core applications.Now,lets find one or more use cases for your work and business.Amazon learns from what youve bought in the past on its site,as well as what other users like you are interested in,and recommends other products you are likely to want to buy.9|AI for Personalization Blueprint Finding AI use cases doesnt need to be rocket science.And you dont have to personalize everything with AI all at once.To start,all you have to do is figure out how AI can help improve your personalization efforts.To do that,youll want to start by looking at what you and your team do every day,week,month,quarter,etc.Also,list out what business objectives you and your team are trying to accomplish over these time frames.For each of the tasks or objectives on this list,ask yourself the three questions below.Is it data-driven?Are you using a lot of data to make any decisions related to personalization?Or do you have access to a lot of data you could use to make personalization decisions?If data is used(or exists)to help you perform a task,it may be a good candidate for using AI to do it better and faster.Were not talking about straightforward,rules-based decisioning.Were instead focused on decisioning that requires better data analysis.Keep in mind:Youll want to look at areas where you generate a lot of data because AI often needs lots of data to function.That could include data from different locations,business units,catalogs,interaction data from your website(views,clicks,etc.),item metadata(details on new articles,products,etc.),user metadata(age,location,subscription details,etc.),or customer sources.Is it repetitive?Do you do the same thing over and over again to accomplish the task?Is there a process to accomplish the business objective that you can define steps for?AI excels at augmenting or automating tasks that have standardized,repeatable steps.You also dont need to automate an entire repetitive task with AI.You can look at making individual steps of the process better and faster using AI.Is it making a prediction?Does your task involve trying to predict something?If youre doing personalization,you better believe it does.Personalization is all about making predictions.Predictions about what users want to see,consume,buy,and do.And AI is uniquely suited to making predictions that are delivered in real time.Look for predictions you try to makeor would like to makeminute-by-minute.You dont have to answer“yes”to all three questions to have an AI use case.Answer“yes”to one or two questions,and the task is a likely use case for AI.Answer“yes”to all three questions,and it definitely is.How to Find AI Use Cases in PersonalizationAll you have to do is figure out how AI can supercharge select tasks you do all the time.10|AI for Personalization Blueprint How to Find AI Use Cases in PersonalizationFor more ideas,look at this list of common use cases for AI in personalization that top brands are using:Personalize a homepage.You can match content,services,products,promotions,images,artwork,sections,categories,and results on pages to a users preferences and behavior.Personalize product and content recommendations.You can match products to a users needs,increasing sales,as well as cross-sell and upsell opportunities.You can also serve users individualized content recommendations that increase content consumption.Personalize recommendations based on business goals.You can rank recommendations based on the metrics you need to hit,like revenue,watch time,etc.Personalize recommendations to account for business rules.You can use your own business rules to automatically augment recommendations.For instance,you can do things like filter out recently watched items or make sure to highlight premium content if a user is in a particular subscription tier.Personalize marketing assets.You can tailor ads,emails,push notifications,and more to individual user behavior.Make product discovery intelligent.You can serve up smarter search results so customers find what they want faster.AI can also analyze product metadata to provide smarter product recommendations to users from your catalog.Recommend new items or recommend items that are trending.You can recommend specific items that are gaining popularity among users at the fastest pace.Create contextualized recommendations.Provide recommendations based on specific contextual factors,such as device type,location,time of day,etc.Personalize descriptions and reviews.You can analyze and use unstructured text to increase the relevance of these assets.You can also maximize the value of your data by unlocking information trapped in product descriptions,reviews,or other unstructured text to generate more relevant recommendations.Additionally,you can also use AI to intelligently segment users after youve implemented it for personalization.You can segment users based on advanced similarity models that account for many factors outside of just attributes and behaviors.And you can learn what products,categories,and brands user segments prefer based on past interactions,affiliations,and topics of interest.Top AI Use Cases in PersonalizationSolutions like Amazon Personalize offer pre-built recommenders that make your work easier.Pre-built recommenders make it faster and easier to launch AI-powered personalization.They do that by offering a pre-made personalization“recipe”that you can easily launch.You simply select the recommenders for your use cases,and Amazon Personalize does the heavy lifting of using AI to generate recommendations that you access through an easy-to-use API.These recommenders learn from your users historical activity,as well as their real-time interactions with items in your catalog,in order to adjust to changing user preferences and deliver immediate value to your end users and business.Amazon Personalize offers pre-built recommenders in retail and in media and entertainment.In retail,you can select from pre-built recommender options like:Most Viewed Best Sellers Frequently Bought Together Customers Who Viewed X Also Viewed Recommended For YouIn media and entertainment,you can select from options like:Most Popular Because You Watched X More Like X Top Picks Trending NowAmazon Personalize then uses AI to generate these types of recommendations for users via API calls.To do that,you follow a simple four-step process with Personalize:Add your data.Create a solution.(User recommendations,similar items,personalized ranking,etc.)Tune the recommendations according to different preferences,business rules,and business metrics.Access recommendations,contextualize them,and analyze performance.Its as simple as that.You Dont Have to Build It All Yourself:Use-Case Optimized Recommenders11|AI for Personalization Blueprint How to Find AI Use Cases in PersonalizationTop Personalization Use Cases by IndustryAnother way to look at AI use cases for personalization is to draw inspiration for use cases by industry.Retail Recommend products,upsells,and cross-sells in real time,as well as popular or similar items based on a users past interactions.Increase average order value by promoting items likely to increase order size.Personalize search results and recommendations to increase click-through rates,reduce cart abandonments,and increase customer loyalty.Media,Entertainment,and Sports Cross-promote content recommendations between media properties.Make more accurate content recommendations based on more user attributes and behaviors.Create highly personalized pre-roll,mid-roll,and post-roll ad placements in audio and video content.Create“Just for You”personalized content recommendations based on user preferences,as well as highlight new or trending content,movies,and shows.The AWS Magic Movie Machine lets you experience how AI can personalize content for media and entertainment companies.In this short,interactive game,you are looking for movie recommendations that match your personal interests.See firsthand how Amazon Personalize learns what you like and then tunes your recommendations in real time.See AI in Action for Media and EntertainmentFinancial Services Automatically categorize transactions to deliver the right financial product at the right time to users.Intelligently segment users to personalize financial advice and information.Personalize content and offers to encourage users to complete financial transactions.Accelerate digital transformation by unifying financial records across disparate systems.Professional Services Tailor content recommendations to individual user preferences on professional services sites.Personalize messaging across channels to prompt users to engage and take action.Make content recommendations to improve engagement in membership communities.Manufacturing Personalize product recommendations to equipment buyers in specific industries and use cases.Personalize user experiences with websites and apps that support product lines.Proactively recommend content and products based on common replacement or upgrade timelines.Healthcare Recommend relevant health content to users to increase time-on-page and boost engagement.Create personalized experiences that take into account unique health data,issues,and behaviors.Personalize provider communications and notifications to increase patient response rates and patient retention.12|AI for Personalization Blueprint How to Find AI Use Cases in PersonalizationTravel and Hospitality Serve users the most relevant photos and reviews to increase bookings.Create more dynamic menus,provide better delivery options,and develop a portfolio of ancillary offers.Recommend experiences based on activity or destination preferences,seasonality,and trending destinations.Software and Internet Personalize communications to re-engage with past or dormant customers.Personalize individual user experiences to specific account details,plans,and upgrade needs.Use intelligent product search to increase subscriber rates and upsell existing subscribers.SaaS Solution Providers Create personalized retention offers based on a users past engagement.Target users with highly personalized time-sensitive promotions to boost monthly recurring revenue(MRR)and annual recurring revenue(ARR).Create personalized trial and onboarding experiences to get users to time-to-value faster.13|AI for Personalization Blueprint You have a foundational understanding of AI.You haveor know how to finduse cases for AI.Now,lets look at how real brands are using real AI technology to do transformative personalization at scale.How Bundesliga creates fan engagement with Amazon PersonalizeFootball is more than a sport.Its a way of life.Bundesliga,Germanys premier football league,knows that all too well.Fans of Bundesligas 36 clubs are rabid about watching matches,buying merchandise,following their favorite teams and players online,consuming content,reading articles,and engaging with the leagues app.Personalizing the fan experience to stoke passions and increase engagement is Bundesligas mission.And it would be complex enough if each fan loved just one team.But the average Bundesliga fan follows four clubs out of the 36.That creates thousands and thousands of possible individual fan profiles to cater to across multiple platforms,channels,and content types.Thats why Bundesliga turned to AI from Amazon Personalize to create an individualized,regionalized,and personalized experience for each and every fan.The league deployed Amazon Personalize to generate individualized content for millions of active users in the Bundesliga Official App.Using Personalize,the app now recommends individualized content and notifications for each fan based on a dizzying array of personal preferences and behaviors.Bundesliga chose Amazon Personalize because the AI made it easy to quickly deploy personalized recommendations at scalewithout having to invest a ton of time and resources into building a custom solution.It also offers plenty of customization features for Bundesligas needs and works well with the other cloud and data services theyre using.As a result of deploying Personalize,Bundesliga saw major improvements across core metrics.Each fan read 68%more articles on average per week.The average number of sessions per fan each week rose by 24%.And,on average,fans spent 18%more time in the app.Now thats something to applaud.Top Companies Using AI for PersonalizationEach fan read 68%more articles on average per week.The average number of sessions per fan each week rose by 24%.And,on average,fans spent 18%more time in the app.14|AI for Personalization Blueprint Top Companies Using AI for PersonalizationYelloh transforms into a modern mobile retailer with personalized communicationsYelloh delivers frozen foods directly to more than 1.5 million people annually,resulting in 7.5 million transactions each year.Delivering trusted quality isnt anything new for Yelloh.The company used to be Schwans Home Delivery,a company trusted by consumers for more than 70 years to deliver high-quality food right to their doors.The new name reflects the transition from trusted,old-school delivery company to modern,mobile retailer.But that transition wasnt always easy.As the company transitioned to a mobile-first retail approach,it struggled to create the types of meaningful,personalized customer connections via mobile that would make a real impact.Thats because it required building a connected experience at scale by automating,delivering,and analyzing millions of interactionsa feat the company just wasnt equipped to accomplish on its own.Because of that,the companys mobile retail operations were as much as 50%inefficient.That was before Yelloh adopted Amazon Personalize.Using Amazon Personalize and two other key AWS services,Yelloh was able to quickly deploy more intelligent product recommendations for customers and dramatically increase mobile retail operational efficiency.With Personalize,Yelloh customers can now receive suggestions on new food items they might like,based on their previous orders and purchases from buyers similar to them.Personalize also made it easy for Yelloh to quickly take personalized recommendations like these from conception to deployment nationwide.By coupling Personalize with Amazon Pinpoint and Amazon Connect,the company was also able to send 100,000 messages to customers letting them know a delivery truck was near them,based on their personal preferences and location.As a result,the company received delivery commitments worth an extra$100 million in revenue and saved another$50 million by optimizing delivery routes based on customer responses and preferences.That wasnt just good for profits.It was good for the planet.Yellohs vehicle fleet is on pace to drive 10 million miles less per year due to better delivery routing.As a result,the company received delivery commitments worth an extra$100 million in revenue and saved another$50 million by optimizing delivery routes based on customer responses and preferences.15|AI for Personalization Blueprint Top Companies Using AI for PersonalizationResMed uses Amazon SageMaker to personalize sleep therapy for millionsDigital health technology company ResMed had an ambitious goal:Help improve 250 million lives per year by 2025.And if anyone should know about helping millions,its ResMed.The company provides continuous positive airway pressure(CPAP)devices and masks for people with sleep apnea,chronic obstructive pulmonary disease,and other sleep disorders.The equipment is cloud-connected,so it collects data on patients sleep patterns and shares that data with patients through ResMeds myAir patient app.The app uses AI to provide patients with recommendations and coaching that produce better outcomes.There was just one problem.ResMeds previous AI capabilities couldnt process enough data to deliver truly personalized recommendations for millions of patients.In fact,it couldnt securely process and use the huge volumes of patient sleep data it would need to in order to hit its 2025 goal of helping 250 million people per yearroughly double the people they were helping at the time.It needed a way to streamline and scale its AI operationsand fast.To do that,the company turned to Amazon SageMaker.SageMaker is a fully managed service that gives data scientists and ML practitioners all the tools they need to build,train,and deploy custom models quickly.Thanks to those capabilities,ResMed was able to quickly build a centralized,standardized AI solution that scaled globally and connected with the companys existing data storage solutions.In fact,leveraging SageMaker and AWS Data Lab,which offers joint engineering support for AWS customers,ResMed was able to roll out a prototype in two months and foundational capabilities in six months.Today,ResMed uses SageMaker to run pre-processing,post-processing,and model evaluation workloads,as well as for training models and pipelines.The result?ResMeds models now deliver predictions and personalized recommendationsup to two million per daythat have supercharged how patients use the myAir app.In the past,all myAir users would receive very similar messages from the app.But now,the app provides personalized interactions with millions of patients based on their individual contextualized data,such as the device they use and their waking hours.AI-powered personalization isnt just better at achieving ResMeds goal.Its better at helping patients live their best lives.ResMeds models now deliver predictions and personalized recommendationsup to two million per daythat have supercharged how patients use the myAir app.16|AI for Personalization Blueprint Ready to try out AI for yourself?AI for personalization comes in many forms.It includes not just tools but also AI recommendation engines that provide recommendations via API calls,which make it easy to integrate AI into your existing tech stack or ecosystem.Here are eight of the leading AI solutions for personalization that you should try today.Amazon Personalize Amazon Personalize empowers you to quickly build and deploy an array of personalized recommendations and intelligent user segmentation at scale.It uses the same proven machine learning technology that A has used for over 20 years on its own website.Amazon Personalize is an API AI service that allows you to host machine learning models for recommendations and user personalization.These models can be tailored to your individual needs,and the solution is designed to easily integrate personalized recommendations into your existing websites,applications,email marketing systems,and more.That gives anyone the ability to use AI to deliver the right customer experience at the right time and in the right place.Not to mention,Amazon Personalize customers pay only for what they use,with no minimum fees or upfront commitment.With Personalize,you can:Quickly implement a customized personalization engine in daysnot monthswith no AI expertise required.Personalize pages,items,products,and content based on real time user preferences and behaviors,as well as catalog metadata.You can also augment recommendations to adapt to your own business rules.Create contextualized recommendations.Provide recommendations based on specific contextual factors,such as device type,location,time of day,etc.Or recommend specific items that are gaining popularity among users at the fastest pace.Create quality recommendations for fresh items,products,and/or content using metadata when data on users is scarce.This solves“cold start”problems by allowing you to make recommendations for new items even if a user doesnt have any interaction history or when new items are added to your catalog.Drive meaningful engagement by personalizing every touchpoint in the customer journey and tune personalization using advanced 1:1 targeting.That includes personalizing marketing assets like ads and emails to each and every user for maximum impact.Make product discovery intelligent.You can serve up smarter search results so customers find what they want faster.AI can also analyze product metadata to provide smarter product recommendations to users from your catalog.Personalize descriptions and reviews.You can analyze and use unstructured text to increase the relevance of these assets.You can also maximize the value of your data by unlocking information trapped in product descriptions,reviews,or other unstructured text to generate more relevant recommendations.Unify your data to create meaningful customer experiences across the entire user journey.Top AI Tools for Personalization17|AI for Personalization Blueprint Top AI Tools for PersonalizationTop companies across industries use Amazon Personalize to:1.Optimize recommendations.Automate creating and maintaining personalized recommendations.2.Target customers more accurately.Apply AI to run more effective prospecting campaigns by segmenting users based on preferences such as product,category,and brand.3.Maximize the value of data.Analyze unstructured text and use the information contained in it to generate better recommendations.4.Promote items using business goals.Customize your recommendations by promoting specific items based on business goals while still ensuring the highest relevance possible.One major benefit of Personalize is thatno matter what you use it foryou can get to market and achieve ROI quickly.You can stand up a proof-of-concept(POC)in just a few days.This is a marked difference from launching an in-house personalization solution,which can take a lot of time and resources.(Not to mention,companies often underestimate how hard it is to find and attract the talent and technical skill sets needed to train,deliver,and maintain a sophisticated personalization system.)And dont forget:Amazon Personalize also comes with pre-built recommenders in select industries.These are pre-made personalization models for different use cases that you can deploy without building on your own.So,whos a good fit for Amazon Personalize?Youre probably a great fit for the solution if you:Have a large number of users that can be segmented based on preferences or item attributes.Have a large catalog of items and usersmore than 50 users,50 items,and 1,500 interactions.Recommend items to known users.Recommend items to new users.Does that sound like you?Learn more about Amazon Personalize here and get started for free.GET STARTED18|AI for Personalization Blueprint Top AI Tools for PersonalizationAmazon SageMaker If you want to create your own ML models,Amazon SageMaker provides you with all the tools youll need in one place.Amazon SageMaker is a fully managed service that helps your data scientists and ML practitioners build,train,and deploy machine learning models quickly.For recommendation engines,Amazon SageMaker offers built-in algorithms such as factorization machines and hundreds of pre-trained models,as well as the option to develop your own algorithms.Like Personalize,SageMaker is also built on Amazons two decades of experience developing real-world AI applications,including product recommendations and personalization.SageMaker enables high-performance,low-cost machine learning at scale in a number of ways.With it,you can:Enable more people to innovate with machine learning through a choice of toolsintegrated development environments(IDEs)for data scientists and no-code interfaces for business analysts.Access,label,and process large amounts of structured data(tabular data)and unstructured data(photo,video,geospatial,and audio)for machine learning.Reduce training time from hours to minutes with optimized infrastructure.Boost team productivity up to 10 times with purpose-built tools.Automate and standardize machine learning practices and governance across your organization to support transparency and make it easier to audit practices.Through features like Canvas,SageMaker also gives you the ability to generate accurate AI-powered predictionswithout code.With Canvas,business analysts can use a visual interface to generate these predictions on their own without any previous AI experience or having to write any type of code.In just a few clicks,you can import data,select what you want to predict,automatically prepare the data,and build an AI model to start making predictions.That means anyone on your team can use Canvas to build predictive personalization models that move your business forward.Ready to start building your own personalization models?Learn more about Amazon SageMaker.LEARN MORE19|AI for Personalization Blueprint 1 C-suite Series:The 2021 CEO Study2 The State of Marketing Budget and Strategy in 20223 Leadership Vision for 2021:Chief Marketing OfficerTop AI Tools for PersonalizationAirship offers a suite of tools that helps brands create better personalized mobile experiences through smarter push notifications,content,and analytics.Core to Airships personalization features is its Mobile Data Hub product.And Mobile Data Hub relies on predictive AI to enable truly personalized mobile experiences.With Mobile Data Hubs AI,you can predict the optimal send time to reach customers based on their behavior.You can also predict which customers are most likely to churn.The result is a smarter,AI-powered mobile experience that customers love.Dynamic Yield is an experience platform that uses deep learning(an advanced type of AI)to personalize your customer experience to each individual consumer.The platforms AI-powered product recommendations suggest the most relevant offers for each individual based on shopping behavior.Thanks to the AIs self-learning capabilities,Dynamic Yields platform also continuously optimizes and improves its recommendations using customer data.And its pre-configured models make it easy to get up and running quickly.Mutiny is a no-code AI solution that allows you to personalize your website by just pointing and clicking.This makes it quick and easy to roll out personalization changes and experiments without developers.You can use these capabilities to better personalize your website for individual visitors.You can also create personalized landing pages for account-based marketing(ABM)campaigns.And you can even personalize landing pages for paid ads at scale,so every ad has its own page.20|AI for Personalization Blueprint Top AI Tools for PersonalizationAI platform Persado allows you to automatically personalize each and every message to an individual users preferences.Persados AI actually knows what type of language a user prefers.Then,it adjusts your content to make it maximally appealing to that individual.And it does it at scale across your entire audience.That means each message you send across content,copy,and ads is the exact right message with the highest chance of motivating a user to take action.With rasa.io,you can send personalized smart newsletters that are tailored to each and every prospects individual content preferences.Using AI,rasa.io evaluates how each user engages with content in your email newsletter.Then it customizes future newsletters to deliver more of the content an individual prefers,making it more likely theyll open and engage with your email.That means you can automatically nurture your newsletter subscribers with value-driven content personalized on a one-to-one basis.Sailthru is a cross-channel personalization solution that uses AI in a variety of contexts to tailor engagements across web,mobile,SMS,email,and more.With AI from Sailthru,you can:Predict when consumers are most likely to visit your site or buy from you,then proactively engage with them to maximize the likelihood of conversion.Deliver messages at the exact times when consumers are most likely to open,click,and engage with them.Use consumer behavioral data to make predictions that help you increase the number of customers you acquire and decrease the costs to acquire them.Hyper-personalize content and products to customers based on their interests and behaviors.21|AI for Personalization Blueprint Youve seen first-hand how AI for personalization can transform businesses across many industries.Now,its up to you to capitalize on the opportunity to use AI for personalization.If you dont,you face an existential threat from competitors who do.Thats because consumers reward the levels of personalization that are only possible with AI.According to Twilios 2022 State of Personalization report,a full 62%of consumers say a brand will lose their loyalty if it delivers an un-personalized experience,up from 45%who said this in 2021.This represents a huge competitive advantage for brands that do personalization rightbecause not enough are.Today,Twilio also finds that only 35%of companies feel theyre achieving omnichannel personalization.And only 47tually personalize communications based on real time customer behavior.You dont have to be one of the companies left behind.Using the contents of this blueprint,you can quickly,easily,and profitably start using AI for personalization right now.The only question left to answer is:What are you waiting for?Why Personalization of the Future Depends on AIConsumers reward the levels of personalization that are only possible with AI.22|AI for Personalization Blueprint About Marketing AI InstituteMarketing AI Institute is a media,event,and education company founded in 2016 that makes AI approachable and actionable for marketers and business leaders.The Institute owns and operates the Marketing Artificial Intelligence Conference(MAICON)and AI for Writers Summit,hosts The Marketing AI Show podcast,runs the AI Academy for Marketers featuring dozens of on-demand courses,and published Marketing Artificial Intelligence:AI,Marketing,and the Future of Business(Matt Holt Books,2022).Learn more at .About Amazon Web Services(AWS)Amazon Web Services(AWS)is the worlds most comprehensive and broadly adopted cloud platform,offering over 200 fully featured services from data centers globally.Millions of customers including the fastest-growing startups,largest enterprises,and leading government agencies are using AWS to lower costs,become more agile,and innovate faster.To learn more about AWS,visit .
2023-12-22
22页
5星级
罗兰贝格：预见2026：中国行业趋势报告（90页）.pdf
智源研究院：2026十大AI技术趋势报告（34页）.pdf
中国互联网协会：智能体应用发展报告（2025）（124页）.pdf
三个皮匠报告：2025银发经济生态：中国与全球实践白皮书（150页）.pdf
三个皮匠报告：2025中国商业航天市场洞察报告-中国商业航天新格局全景洞察（25页）.pdf
国声智库：全球AI创造力发展报告2025（77页）.pdf
中国电子技术标准化研究院：2025知识图谱与大模型融合实践案例集（354页）.pdf
三个皮匠报告：2025中国情绪消费市场洞察报告（24页）.pdf
中国银行：2026中国高净值人群财富管理白皮书（66页）.pdf
亿欧智库：2025全球人工智能技术应用洞察报告（43页）.pdf
0731-84720580
商务合作：really158d
友链申请 (QQ)：1737380874
最新报告
中英对照
全文搜索
报告精选
PDF上传翻译
多格式文档互转
入驻&报告售卖
会员权益
机构报告
券商研报
财报库
专题合集
英文报告
数据图表
会议报告
其他资源
研报
新质生产力
DeepSeek
低空经济
大模型
AI Agent
AI Infra
具身智能
自动驾驶
宠物
银发经济
人形机器人
企业出海
算力
微短剧
薪酬
白皮书
创新药
行业分析
个股研究
年报财报
IPO招股书
会议纪要
宏观策略
政策法规
其他
人工智能
信息科技
互联网
消费经济
汽车交通
电商零售
传媒娱乐
医疗健康
投资金融
能源环境
地产建筑
传统产业
英文报告
其它
行业聚焦
芯片产业
热点概念
全球咨询智库
人工智能
500强
新质生产力
会议峰会
新能源汽车
企业年报
互联网
公司研究
行业综观
消费教育
科技通信
医药健康
人力资源
投资金融
汽车产业
物流地产
电子商务
传统产业
传媒营销
其它
十五五规划系列报告合集（共48套打包）
2026低空经济/低空产业报告合集（共47套打包）
AI、科技与通信
广告、传媒与营销
消费、零售与支付
HR、文化与旅游
金融、保险与投资
能源、环境与工业
医疗制药与大健康
物流、地产与建筑
其他行业
AI ▪ 科技 ▪ 通信
数字化
金融财经
智能制造
电商传媒
地产建筑
医疗医学
能源化工
其他行业
收藏
下载
2026-02-02
AI查数
行业数据
政策法规
商业模式
产业链
竞争格局
市场规模
产业概述
其它
2026年
AI读财报
年报
一季报
半年报
三季报
IPO招股书
社会责任报告
A股
IPO申报
港股
美股&全球
新三板
微信扫码登录
手机快捷登录
账号登录
