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Hello, everyone, and welcome totoday's webinar - Business ModelsAnd Monetising Digital Work. My nameis Laura, and it's a pleasure to bewith you today for this very timelysession. I would like to start byacknowledging the traditional ownersof countries around Australia,including where you are today. I amcoming to you from Gadigal land inthe Eora nation, and I pay my deeprespects to elders past, present andfuture. If you would like, you couldplease share an acknowledgement ofthe country on which you are inchat. Currently on screen, there's apurple PowerPoint slide with textand video boxes with our guestspeaker and Auslan interpreter. I ama woman in my mid-30s, I'mfair-skinned, blue eyes, and darkbrown hair. Today, I'm wearing ablue shirt and coming to you from mymakeshift home office. Welcome toCreative Connections. In a minute, Iwill introduce you to our excellentguest speaker and host for today'ssession, Peter Tullin, to talk abouta topic that is critical to so manyof us at this time. This webinarseries has been developed to supportyou during this time of intensechange and unprecedented challenges.Now, more than ever, our sectorneeds to come together, support eachother, and think differently abouthow we might cope and adapt to thisnew world we find ourselves in.These regular sessions willhopefully provide you with theresources and support to tackle someof these challenges and share inthese experiences together. Pleaseshare these sessions with anyone youthink might be interested, and allof our past sessions are publishedon our website. Before we start withPeter, I would like to quickly gothrough some of the features andhousekeeping notes for today'ssession. Firstly, live captioning isavailable. If it's not already onyour screen, you can turn it on bypressing the "CC" button in thebottom of your Zoom window. You canalso click this button to pull upthe full transcript, if you'dprefer. We will be running a chatthroughout today's session, and weencourage you to share any ideas,thoughts, resources with each otherthroughout the session. Due toZoom's security settles, you can'tcopy and paste, or hyperlink, fromthe chat. But we will share anyresources with you at the end of thesession. You can access the chat byclicking the "Chat" button at thebottom of the screen. We'll also behaving a Q & A session with Peter atthe end of today's webinar. If youhave a question for Peter, you canadd it to the Q+A box at the bottomof our screen. We'll do our best toget in touch with everybody but, ifyou run out of time, you can send usan email atleadershipprogram@Australiacouncil.-gov.au. We will be recording thissession, and it will be available onour website over the next few days.If you're having any tech issuesthroughout this session, you canraise your hand at the bottom of thescreen, and Francis from our teamwill be in touch to sort it out.Before we start, I wanted to share acouple of opportunities andresources that we have available foryou at Council. Firstly, I want totalk about Future Form, which istimely to today's session. FutureForm is a professional developmentprogram for organisations to rethinkand reimagine, transform, theirbusiness models. As a participant,you will join other organisationsfrom around Australia in a 6-monthprogram to explore, ideate, andevolve your business models. Underthe expert facilitation and guidanceof mentors and coaches. Applicationsare now open, and they close on June26. We've also launched a podcastseries this week, and we've gotAmWrit, the director ofinternational development, to talkabout this. Hi, Amrit, are you withus? >> Thank you for having me. I'mthe director of internationaldevelopment at the Australia Councilfor the Arts. This week, we releasedthe first episode in our intelpodcast series, which profilesinnovative approaches tointernational engagement. Thepodcast, called The Future Is Now,profiles the Austin Fusebox Festivaland Sydney's performance space.After three years of planning andcollaboration, looking to a programof exchange and presentation forAustralian and Asia-Pacific artistsat Fusebox. Their plans had tochange quite dramatically because ofCOVID-19. So, in this podcast, wetalk to Jeff Kahn and Ryan Berry,and they talk about how, a monthout, they changed track and changedFusebox to a virtual edition. Thisvirtual festival starts tomorrow,from the 24th to 26th of April. Youcan find details , andperformance' .au. You canlisten to this podcast and view thetranscript via Australia Council'sSoundCloud page, and we'll share thelink to this in the webinar noteslater. Also, look out for more Intelpodcasts coming up over the next fewmonths. >> Thanks, Amrit. Listen tothe first episode - highly recommendit. It was excellent. Alright. So,it gives me great pleasure now tointroduce our guest for today.Currently on screen is a PowerPointslide to introduce our speaker.There is text and image of a manwearing a suit in front of a paintedbackground. Peter Tullin is theco-founder and managing director ofREMIX and . REMIX isan organisation that tackles the bigideas shaping the future of thecultural and creative industries.REMIX Summits are a conference ofsorts that brings together leadersfrom across industries to shareideas around technology,entrepreneurship, culture, andcreativity. If you haven't already,you can look at the REMIX website.There are heaps of great resourceson there. Now more than ever, oursector is thinking about theirbusiness models and reimagining new,different, and innovative ways tooperate and sustain online duringthese unprecedented times. Whileit's still fresh and painful formany of us, there's also anopportunity for creativity andexploration of digital platforms.Peter will provide an overview ofthese platforms today and thinkabout different ways we mightapproach monetising our digitalwork. It is an opportunity to thinkabout how we might adapt ourpractice and our organisations tothese platforms. Thanks so much,Peter. I'm going to hand over to younow. I think you've got some slides.>> PETER TULLIN: Thank you, Laura.So, yeah, I'll just begin by sharingmy screen quickly... Hopefully youcan see those. I'll just move intothe slideshow... Great. So thereshould be some slides on the screen.Welcome, everybody. I just want tojoin Laura by also paying myrespects to Elders past, present andemerging. I'm here from Geelong,from Wattarang country. It's really,really exciting that 1,000 of youhave signed up. So, yeah, lookingforward to the next 40 minutes orso. First thing to say is - I'vedone my best to barricade my officedoor, but there is a chance Jack andRory - my three 5-year-old boys -might find their way in. Hopefully Iwon't have some co-presenters likethat BBC excerpt, but I'll power onregardless. I'm also joinedvirtually by Simon Conshall, mycolleague over in the UK. Reallykeen that all of you sort of askquestions, share your insights, andhe's co-developed this presentationwith me, so he'll try and respond tosome of those in the chat, and we'llhave a Q&A at the end as well. Tobegin with, I think it's helpfuljust to know where people are comingfrom and the lens that I apply tothis particular topic. I think Kevinand the team asked me because - Iguess I've spent a bit of time inthe trenches in this space. So oneof the things that I did was tofound , which - backin 2009 - was one of the firstwebsites to sell art online. Whichsounds like a very obvious thingnow, but it wasn't something peoplewere really doing back then. And Iguess the key thing for me there iswe went from zero audience, zerorevenue, giving up jobs and, youknow, raising money building a teamand a product to the point where wehad, you know, 250,000 people goingonto that site, buying art anddesign products from hundreds ofmuseums and artists from around theglobe. So it's not easy, but you cando this stuff. And that got me verypassionate about the whole subjectof creative entrepreneurship and newbusiness models and changes that arehappening in the cultural spacebecause of, you know, new audiencetrends, new technology trends. So weset up something called REMIXSummits, which has been runningabout five or six years now. Peopleare tuning in from all over theworld, so we do them in places likeLondon, New York, Sydney and otherplaces. But perhaps more relevantnow is knowing I only had 40minutes, the other thing I wanted toflag up was something called REMIXAcademy, which we launched thisweek, which is 500 talks from somepretty amazing people that we've hadat REMIX over the years. But there'salso about 10 hours of free webinarsthat we've put together aroundthings like digital business models,experienced economy, et cetera, thatgo into this stuff in a lot moredetail. I'll do my best to give youa whistlestop tour, but you canbrowse that at your leisure at theREMIX website or remix. Academy.We're pretty privileged that some ofthe speakers included incredibledigital luminaries like the chiefcreative officer at Facebook, peoplefrom Twitter, LinkedIn, Google, aswell as amazing pioneers in thecultural sector doing amazing stuffin this space. So I will shamelesslytry to sort of share their insightswith you throughout the talk. Thenthe final thing we do is we try andapply a lot of that theory and thosetrends in practice. We work with alot of cultural organisations, wedevelop the strategy and vision forsomething called Apneax, the firstco-working space in a museum inAustralia. We've recently beenworking with the amazing team at theState Library of Victoria on theirredevelopment, and developedStartSpace, a hub for early-stageentrepreneurs, whether they'resocial or creative entrepreneurs. Sowe do a lot of stuff in this space.Moving into the kind of subject athand - you know, digital's not easy.It was interesting - Tandi, in hertalk on Wednesday, shared a poll. Alot of people are still quite earlyin this space. I'm trying not toassume too much knowledge. Obviouslyeverybody's thinking digital at themoment because we're in thisincredibly challenging and difficultsituation. So there's not a hugeamount of optimism at the moment,and we're just responding tocircumstances that we've foundourselves in, which are prettyheartbreaking. But I do believedigital should be more central toour thinking, full stop. You know,not just for the next 2-3 months orhowever long lockdown lasts. I thinkwhat's really clear - you'll see inthe examples - there's a bigconnection between online andoffline. They're really kind ofblurring now. Some of the bestexamples are where people havedriven audiences through onlineactivity, and then obviouslymonetised those. It's a horribleword in the physical space, andobviously you need to be thinkingabout how those two things fittogether. I'll talk about lots ofmodels that people are doing reallywell in this space, but for mostpeople, it's not going to be thesort of panacea to all yourproblems. It will be an element ofthe money that you make within awider funding mix. Some people arefortunate enough to make this stufftheir day job. For others, it's partof an overall income mix. It's nevergoing to entirely replace thingslike public funding, for example.But you should be thinking aboutmedium-to-long-term anyway. Some ofthe research we're already seeingabout COVID-19 shows we're going toneed to think about this moreanyway. If you look at research inthe US around sporting events -there's talk that 72% of audienceswon't feel comfortable coming outuntil there's a vaccine. Another 13%want social distancing in placebefore they'd consider it. Thesethings will change as people adaptand get used to the situation. Sothe figures won't stay exactly thesame. But certainly we're notlooking at short-term situationshere. I'll also talk about the oddbig example. I don't apologise forthat. 'Cause the idea is I think theprinciples are applicable atwhatever scale that you're working.It's about the model and about thequality of the idea. As I say, as Imove into the talk, share your ownideas and your insights. There'slots of people experimenting in thisspace. There's incredible knowledgeand insights within 1,000 or sopeople that are watching. And shareyour failures as well, becausenobody's a complete expert in thisspace. A lot of this is also aboutadopting things like that sort ofstart-up approach of leanmethodology, doing things quicklyand on little resources, andio whereyou fail, that's OK - the thingsthat you learn from, as long as youfail fast and move on, that can be areally good thing. So there's alittle bit of context. I want tostart by getting people tounderstand the sort of digitalbusiness model - it's got to be partof your bigger thinking. And givenwe've got plenty of time at hand -there's two books that I'd reallyrecommend. One's by Simon Sinek,called Start With Why. The other'scalled The Curve by Nicholas Lovell.To start with Sinek - his theory isabout getting people to understandwhy they exist, and everythingbegins from there. Because whatyou've got to find is the people whobelieve what you believe. Andactually, a lot of people reallystruggle to understand why they dowhat they do. They can say WHAT theydo but, in a world of Mission Creekwhere we do lots of stuff, it maynot be the right things that we do.We can sort of say how we do it,although we might not fullyunderstand what makes it special.But you always start with WHY. AndI'll talk about that in the contextof some digital business models now.Because that's really, reallyimportant. You need to understandwhy you're doing something. Becausethen, obviously, that will influencehow you're doing it and what you'redoing. That may significantly changeif you really understand your reasonfor being. 'Cause all of this isabout building audiences and gettingpeople to align with your view ofthe world. So an example of this,and a big shift in a digitalbusiness model, is Time Out. If youlook to the left of the screen wherethere's a graph that shows,basically, on the right-hand side ofthe graph, in red, this talks aboutthe numbers of users. This is largenumbers of people on the right-handside of the graph. On the left-handside of the graph, this isengagement. Often this means a lotless users, but these are the veryengaged people. And what NicholasLovell talks about is - you actuallyneed to think about free andlow-cost and things that you canprovide, because that's whatbasically builds your curve, willbuild your audience. And when youhave that audience, what you need toreally find is the superfans.Because what they will give you isyour kind of high-value transactionthat will make you the money. So agreat example of this is Time Out.Time Out, like a lot of mediaorganisations, have never had morefollowers, people that are lookingat their content, both through theirfree online content, social,website, mobile through their app.Their magazine's now free. So theyhave 242 million people a month thatcome into contact with Time Out insome way. But also, like a lot ofmedia organisations, never have theymade less money. But they've gotthis big funnel - this big audiencethat's coming in. And actually, whatthey discovered about three or fouryears ago was where actually theywere going to make their money wasactually offline. So it's thisconnection between kind of onlineand offline. And their team inPortugal applied for a tender andthey developed the Time Out Market.And the Time Out Market is acurated, physical space where theybring together the best of emergingand established restaurants, bars,cultural activity in Lisbon inPortugal. And in the space of two orthree years, it's become the No. 1tourist attraction in Portugal - 3.6million visitors. But that onemarket produces 18% of all of TimeOut's revenue. So what does thatmean in terms of what Simon Sinek'ssaying in purpose? What Time Outrealised is they are experts athelping people enjoy their city.They've got this knowledge, thisexpertise they share in this space.And therefore, when they reallyunderstood THAT was their, you know,unique selling point, their purpose,why they existed, they thendeveloped a series of models thattook Annaiance. They actually had afree transaction with them into apaying one. Another example of thisis Kickstarter. It's a slightlyolder example, but I think it reallyillustrates the point about forsuperfans and their value. This isthe story of Double Fine Adventure,which eventually became a gamecalled Broken Age. Tim shafer issomebody in the computer-gamesworld. He was famous in the '80s and'90s for making iconic games likeMonkey Island, Day Of The Tentacle,these click-and-point adventures.His problem led to the Kickstarterplatform. He would take these ideasto publishers and they said, "We'venow discovered shooting people, sowe're not interested in what youdo." He believed there was anaudience still there for these, youknow, adventure games. So he decidedto launch a Kickstarter campaign.And he sought to raise 400$,000, buthe got $3.3 million. So it was thefirst big campaign on Kickstarterthat really brought it to sort ofpublic prominence. And the story ofthat campaign was analysed byNicholas Lovell in his book calledThe Curve. And it's fascinating,'cause it shows the value ofactually free, or low-cost, content,and how that creates superfans. Sothere were 90,000 backers. And thelowest tier you could buy was adigital copy of the game. That was$15. And actually, that was thelargest number of people. So over50% of the customers bought the $15tier. That gave the campaigntraction. It gave it reach. Becausethey shared it. But they're not themost important of the curve in termsof finance. So the over 50% thatbought the digital game anddownloaded the game only provided20% of the revenue. But 14% of thebackers - a much lower number -backed at the $100 tier. That was aphysical copy of the game and aphysical copy of the documentarythey made around the Kickstarterprocess and creating the game. Butthey provided 33% of the revenue.Even though it's a much lower numberof people. And then if you take allthe way along the curve of peoplespending $100 right up to, you know,four people who spent $10,000 onhaving lunch with Tim - who lookslike an interesting guy - you cansee there he's discussing his gamewith one of the Muppets - not sureif he paid $10,000, but hey, somepeople did. People who spent $100 ormore were responsible for over 50%of the revenue. And had you had asingle pricing point and said, "It'sjust $15 - that's the price." Thatcampaign would only have made 40% ofits total, versus this idea ofvariable pricing, where you'recatering to the superfans. Andmusic's a great example of anindustry that's really sufferedbecause of single pricing. Charging$10 for something when they mightpay $100. And you could probably saythe same thing about a lot ofcultural organisations dash why dowe sell one-size-fits-allmemberships when the internet givesus this incredible data andanalytical tools to find thesesuperfans? The final example I'llgive is much smaller - it's aboutabindividual. It's somebody -- anindividual. It's somebody calledTilly Wongs. Tilly is the creator ofTilli and the Buttons. She's a greatexample of somebody who was not adigital native. She managed anindependent cinema office in the UK.But her passion and hobby at thetime was she wanted to basically getpeople inspired about making theirown clothes. This is a kind of craftexample - she was somebody who didsewing and designed patterns. Andher hobby basically - she startedblogging about it. Her insight wasshe wanted to translate into plainEnglish the kind of old-sketchdiagrams that people used to do intoher commentary, colour photos,selling tips, and encouragement -all aimed at millennials whobasically hadn't really been taughtto sew. That wasn't - it was ayounger generation that didn't dothat - they found they didn'tunderstand it. So she produced thisblog to get people into sewing. Overa period of time, it became reallypopular. She wasn't digitallytrained, wasn't a digital native.She designed learning programs atthe independent cinema office, soshe put that insight to good use.But this blog suddenly - over aperiod of time - had 24 millionviewers. It was extraordinary. Andbecause what she did was very visualand she was sharing her patterns,over a period of time, she got500,000 followers on Pinterest and120,000 on Instagram. And that gother noticed as somebody who wasdoing something new in this craftand sewing space. She eventually goton to The Great British Sewing Bee.She wrote a book that became a bestisler. But all of -- bestseller. Butall of her initial stuff, she wasgiving away for free. What sherealised is, actually, she's part ofthis curve. She has these users thatare engaged, this community thatshe's built. They come onto hersite, and she sells digital sewingpatterns. She now does onlinetraining on her website. So she'sgot a series of products that arehigh-value but also, because they'reon her website, they're quite highmargin. She makes most of it - shedesigns a pattern and then sells itdigitally, only for ?6.50 or ?14.50as a maximum, for a physical versionof it. Most of that money is goingto her. She now employs a small teamand works with other makers whopresent her online training - she'screated a platform where she canalso share the money that shegenerates with other creatives. So Ithink they're two interestingmodels. And a lot of the questionsto Tandi about, "What's thatconnection between free and pay?"That could be one of the answers.The other thing you might want tothink about is some of the businessmodels. Again, I don't want toassume too much knowledge, but thenext slide looks at six differentbusiness models that I'll quicklytalk you through. One is free - thisis the classic model used by peoplelike Google and Facebook. We consumetheir content for free, but it'sbasically paid for by other peoplethrough advertising. And there aresome examples - you can go and checkthese out, and I'll talk about oneor two as I go through thepresentation - but this is a siteyou can go -- a slide you can goback to, because there are lots ofexamples. One is The Dots, a sitefor craeves in the UK, which has300,000 people that use it.Creatives join for free and use theplatform, then brands pay to connectwith those creatives because theywant to hire the talent or work withthose creatives in a variety ofdifferent ways. Then you have thingslike freemium, where you get acertain amount of free access -classic examples being Spotify,LinkedIn, YouTube. But that freeaccess might be limited, say, by theamount of time you can use it or thedepth of engagement - you might onlyget access to a certain type ofcontent. It might be limited -LinkedIn might only allow a certainnumber of searches, or there mightbe some barriers to enjoying itfully, like advertising. But if youpay a subscription, you pay them abit more, then you can access thefull content. And examples of thatin the cultural sector are thingslike Smartify - an app, the world'smost downloaded museum app. You cango into galleries, use your phoneand it will recognise an image inthe gallery and it gives youinformation around it. It's free touse, but it will have things likein-app purchases. Or even thingingslike a podcast - it gives thecontent away for free, but thenmonetises it through you going to alive event, for example, and payinga ticket price there. Another modelis what we call subscription -probably best popularised by Netflix- but if you look at things like theBFY Player, the British FilmInstitute - they have a subscriptionstreaming platform where you canbasically as access their contenteach month. There are some modelsnow that are trying to be, forexample in Netflix, for culturalcontent from different organisationslike marquee. TV, putting it in thesame place for performing arts, orDigital Theatre does it fortheatrical organisations, orBroadway HD does it for musicals.Then you have e-commerce, or themarketplace model. ObviouslyAmazon's a really well-known exampleof that. But there are now aplethora of websites that allow youto sell art online or music or craftor individuals that are sellingthrough their own websites. So I'lltalk about some of those later. Thenthere's a share economy - this isthe idea - again, probablypopularised most by Airbnb orWeWork. Airbnb allowing you to rentother people's apartments or houses,and We Work doing that with officespaces. We worked with Acmi whereyou can go into a co-working spacein the same way. The final area I'lltalk more in-depth about isdonations - things like Kickstarter,Patreon or GoFundMe that does it forindividuals. A whole number ofbusinesses are using donations,creative businesses, as a key partof their business model. So,starting with donations -Kickstarter's a good place to start.This is an area you shoulddefinitely get involved in.Kickstarter alone is now worth closeto 8 billion that's been donated.Huge amount of money that's comethrough that area. It's growing atclose to 20% a year. This is a bigand growing market. It's one of thebest tools out there if you want toreally align with an audience,'cause it's a great market research,it's a great way to build audiencesand to find out whether your ideasare going to get traction. Andobviously what's fantastic aboutKickstarter it's about getting acreative product out in the worldwhere you don't have the resourcesto do it. So you're building anaudience to do that. About a thirdof backers are repeat-pledge. So ifyou find a model that works, you canbuild a lot of audience in throughthe platform. The success rate'sabout 38%, so it's not necessarily aslam-dunk. And people don't - thereare some big projects like the one Italked about before, but the averageis about $15,000. So, you know,they're not huge amounts of money.Another option I'll talk about -I'll talk about specific examples ina moment - another option isIndiegogo. It's smaller thanKickstarter. About $2.5 billionraised so far from their figures in2019. But they have flexiblefunding. Whereas Kickstarter - youonly get your money if you'resuccessful with the campaign -Indiegogo has more flexible fundingwhich means you can keep what youget and you may have to modify,obviously, the product or what youdo if you don't get all of the moneyor you may use it to find money fromelsewhere. But you don't lose themoney if you don't raise the 100%target. I also wanted to mentionPozible, an Australian example. It'sspecifically focused really aroundcreative products as well. And about$76 million has been raised on thatplatform so far. There are alsoother options like the AustralianCultural Fund as well. All of thoseplatforms charge about 5% of themoney, and there's normally paymenttransaction fees as well. But what'smore important is how people areusing it. I think a great example isMini Museum. Hans, which you can seein the image in the middle of theslide, is a sort of - you know,eclectic collector type person. Hetook that hobby, that interest thathe'd grown up with, and he decided,"Why can't anybody have their ownmuseum?" He was the curator. Hebrought together a series ofinteresting objects that raise froma piece of -- range from a piece ofa Steve Jobs turtleneck to a pieceof foil from the command module inApollo 11. And this has been really,really successful. It turns out lotsof people want to collect and havetheir own Mini Museum. So he'sraised over $6 million to date fromover 16,000 backers across fiveeditions. And I mentioned the repeatpledgers - so people come back andback to do this. His prices rangefrom $199 to $450. It'slimited-edition, so obviouslythere's an incentive to buy it, orit might run out. Another one is anartist in the UK called StuartSemple. Stuart's got an interestingstory in that he had gotten intoatea bit of an online dispute with thewell-known artist Anish Kapoor.Anish Kapoor had bought the rightsto a black paint called vanterblack.If you're not into your paints,vanterblack is the blackest ordarkest colour in the world,supposed larksly, absorbing 99.96%of light that hits it. But Anish hadbought the rights and had decidedthat only he was going to use it.This had annoyed Stuart Semple and agroup of other artists saying, "Whyshould you keep this amazing thingfor yourself?" So he decideddeveloping his paint. Originally hedid a black paint, then black 2.0.By the time he got to black 3.0, hefelt like he'd perfected the newblackest black in the world. So hedecided to put that out to aKickstarter campaign with this groupof artists and other people that hadbecome part of this campaign. Andthe result was extraordinary - hehad over 10,000 people back thiscampaign, raising over $900,000. Butthere was a condition - if youbought the paint as one of theseries of rewards on the campaign,you had to guarantee that you wouldnot share it, or give it, to eitherAnish Kapoor or anybody associatedwith Anish Kapoor. I'm not going tomove on to Patreon, which has grownhugely in the last few years. It'ssomewhere between reward andphilanthropy. As you see withKickstarter, a lot of it's not justabout creative donations, but peoplewant something in return for helpingmake it happen. Patreon is a bitabout saying, "Yes, I probably wantsomething, because obviously Ibelieve in your creative product" orthey believe in the creator. Butthey're also wanting to just givethat creator money so they can goout and explore their ideas and todo things. And I think that's alsofinding its way into business moregenerally. So The Guardian's a greatexample. The Guardian, as you'reprobably aware if you read itscontent - and I pledge to TheGuardian - is a bit like Time Out -never been more read, never madeless money. And basically, theysaid, "Well, look, we believe we'reproviding fearless, independentjournalism at a time when the worldreally needs it - and if you believein that, the traditional businessmodel for media doesn't stack up.You need to help us to do that." Sothey put out the call for people tobecome regular donors or to doone-off donations. Now, 650,000people regularly donate to TheGuardian. And last year, for thefirst time in over 20 years, theGuardian made a profit. So TheGuardian is a great example of abrand or an organisation that peoplebelieve in and think passionatelyabout and has made donations a keypart of its business model reallysuccessfully. I think the arts cando that in a similar way. And thejoy of something like Patreon isPatreon's about recurring donations.It's not that one had off thing.Every month, it might be smallamounts, but somebody contributes toyour creative product. And what theinternet is fantastic at doing, andPatreon's a great example of that,is connecting fans and creators tofund content development that maynot happen any other way. I'll comeback to Patreon in terms ofpodcasting, but it's had a hugegrowth in terms of the amount ofmoney that's now been donated. Sothey've had 1 billion this year paidout to creators since 2013. Sothere's significant money goingthrough it. Small pledges - about$12 is the active pledge. The numberof active Patreons is now over 1million people, and the number ofcreators is 20,000. In 2019 alone,Patreon said they were expecting togive out over $500 million. Thebiggest categories are YouTubecreators, which is really where itsort of grew from. Podcasters areNo. 2. Illustrators are No. 3.Authors are No. 4. It's authors thatare using techniques like giving outa chapter at a time in return forthat backing. Again, they chargeabout 5% as a basic level, plus theprocessing level - about 2% or 3%for most platforms. If you payslightly more, so as you start toget more Paterians, you can get theadvantage of other benefits - theability to sell merchandise, giveyour followers special offers, forexample. People that have used thosehigher platforms have found reallygood results. Special offers givingaccess to benefits such as uniquecontent - some Paterians haveincreased their earnings by as muchas twa-88%. Moving -- 288%. Movingon now to individual donations. Thisis a big growth area - individualsraising money for charities, butalso individuals, includingcreatives raising money for theirwork. The big player in this spaceis Facebook, increasingly. You mayhave seen Facebook fundraisers whenyou've been on Facebook - it cameout of the ice-bucket challenge youmight remember a few years ago - ahorrible moment of vierality thatspread around the world where peoplewereration money through the IceBucket Challenge. Facebook realisedthey didn't have something tocollect that money. They set uppersonal fundraisers where you canraise money for a personal cause -that could be your creative activity- or you can raise money fornot-for-profits. In the first threeyears of Facebook Fundraisers, theyraised $1 billion. So pretty largeamount of money. But the secondbillion took less than a year. Soit's growing really quickly. Justunder half the people who give saidthey'd been inspired by social mediato do that. So obviously it'ssomething that commands a lot of ourattention. So not surprisingly, thisis driving a lot of new users. Ifyou're a not-for-profit, obviouslyyou can set up to have a fundraiseron Facebook. But where a lot of themoney's coming from is gettingindividuals and using their networksto raise money for thosenot-for-profits. So I could set up afundraiser and then connect that toa not-for-profit of my choice. Forindividuals, Facebook charges a 5%fee. Non-profits get 100%. So it'spretty good there. The final area ofattention in terms of individualswould be GoFundMe. Again, this hasbecome a really big platform forindividuals to use. They've raised$9 billion from 120 million donors.This is very much about smallamounts of money adding up to a lot.It's a particularly successfulplatform because it doesn't chargefees to people that are using it tofundraise. They rely on actually thedonors to give to GoFundMe as wellthrough virtual tips. But a lot ofartists, creative organisations, arestarting to use this platform aswell. So, on screen, you can see anexample for the Actors' &Entertainers' Benevolent Fund, wherethey've raised nearly $70,000 inrelation to COVID-19. And on theplatform, Australia is actually thethird-most-generous in terms ofdonations per capita. So, a generouscountry in terms of online giving.Then a really new area in terms ofnew adventures with your crowd iscrowd equity. I wanted to mentionthis one because, as I mentionedwith things like crowdfunding, a lotof it's about getting reward. Andactually, a number of platformsrealise that, actually, people mightwant to get more involved than justgiving a donation in order to buy aproduct - they would be prepared toinvest their money to help grow thatorganisation as a small shareholder.And to give them the money to reallysort of take things to the nextlevel. And the classic example ofthis was a craft brewery in the UKcalled Brewdog. They had the bestline ever for crowd equity wherethey said, "Look, you've probablysat in a bar and wished you were ashareholder in a brewery. Now youcan be." And they raised $50 millionfrom 50 small investors, and they'renow the No. 1 craft beer in the UK.Now, this is starting to translateinto the cultural and the creativesector. So, for example, that I mentioned earlier havelaunched something . Australian platform,they have 610,000 members betweenPozible and Virtual, their crowdequity platform. Some of the earlyprojects were not to do withculture. For example - amazingprojects like Seabin, which hasraised nearly $2 million now from1,800 investors - that is a productthat takes rubbish out of theoceans. Or Shoebar, which is a --Shebar - a ridesharing service forwomen driven by women, hopes to givethem a much fairer deal thanplatforms like Uber. That broke thecrowd equity record, raising $3million. But now it's starting touse the culture. GiggedIn's a greatexample here. GiggedIn is an appthat allows people to experiencelive music. You basically pay amonthly subscription. You getcredits. You can use those creditsto, you know, access gigs. And theidea is 50% of gigs in Australia gounsold - so they want to helpartists, promoters, venues, and fillthose venues. Obviously hard inCOVID-19, but it's a digitalplatform that allows them to dothat. And they raised over $400,000.Podcasts, very quickly now, as Imove to the final few examples...Podcasts - there's a load of statson the left. You can ignore them,because the key ones are as follows- these are US stats but, basically,over 50% of the US population hasFinau listened to a podcast. 32%listen monthly. That's a huge growthfrom 10% about a decade ago. Weeklypodcast listeners consume about 6.5hours of content, so they're verydedicated. It's a really good agespread - pretty much every age groupis listening to podcasts. Andthere's a lot of competition, though- 550,000 active pod kstzs. But thegrowth means there's more and more-- podcasts. But the growth meansthere's more and more ad revenue.It's still not easy to make money,but some are making greatinnovations. One is Honour eastly,who's set up something called theStarving Artist podcast. Obviouslyworth checking out at thisparticular time. She found a niche,a need, that isn't necessarilyobvious in terms of creating thevery biggest podcast, but suddenly,by putting this out there andfinding an audience and presentingit in a format that worked forpeople, she actually made it intothe top 10 of iTunes in Australiawithin what's now Apple Podcasts.She debuted at No. 1 within the Artcategory. But the podcast alonewasn't enough to, you know,basically support her as a creative.So she's got a Patreon account.She's got 36 Patreons. That providesa certain amount of money. She alsouses things like sponsorships - shemanaged to get some sponsorship fromEtsy, which has lots of creatives onits platform - a very obvious link.She also uses public funding. She'shad funding from people likeCreative Victoria, for example. Shebuilt a profile and a platform inthis space that then allowed her toget more conventional broadcastdeals. She's worked with the ABC ona podcast. And one of her otherpassions is she's suffered frommental health - she's reallyinterested in ways that podcastingcan support people who are trying todeal with some of those issues. Soshe's set up something called theBig Feels Club, a related entity. Iworked with Honour because she waspart of an accelerated creativeindustries that we worked with onthe State Library and Acmi andCreative Victoria - it's apaid-subscription model. Big Feelshas about 155 patrons, generating$2,000 a month - again, not enoughto live on itself, but part of abigger funding mix. The otherexample I'd give is Nate, whoproduces a beautiful podcast calledThe Memory Palace, part of theRadiotopia podcast network. Hebasically does very short-formhistorical stories. There's a lot ofhistorical podcasts out there. He'sa writer and a historian. He's ahistory buff, he reckons history isabout great storytelling. He doesthese 8- or 10-minute podcasts thatpeople consume in short bites. Hegets money from Radiotopia as apodcast member - he gets part ofmembership donations, and alsomonetises through live events. I'mgoing to move now on to video,because this has become a big area.Why is it important? 82% of alltraffic is predicted to be video by2022. 69% prefer video to text. Only20% of people apparently finishreading online articles, which isterrifying. Partly, this is becausewe've only now apparently got anonline attention span of eightseconds, and it's dropping. So,video's a good way of engagingpeople quickly. Facebook and YouTubeare the obvious leaders in thisspace. What's good for us in thecreative sector is 43% are watchingperformances, and conferences, andthat type of activity. 97% ofconsumers are happy to share videoof great content - it's great forgrowing reach. When you get intoareas like livestreaming, this hassix tiles the engagement oftraditional video. I'll talk aboutlivestreaming as well. Creators arethis generation's storytellers. Theycan tell product stories inparticular for brands - this isabout the money bit - in a wayno-one else can. The audience truststhem and looks to them for advicearound the newest products,services, brands, et cetera. To makemoney on YouTube, there are somebarriers. You need to have 4,000watch hours, 1,000 subscribers, inthe last 365 days. And they makemoney in a few different ways todemystify the YouTube star. One isads. It's worth saying not all adsare born equal. So if an ad isshowing during your video, you get acut of it. But if your content ishighly relevant to a particularadvertiser that's prepared to paymore, you can actually make moneywith less subscribers than somebodywith more subscribers. (PHONE RINGS)Sorry, I'm going to turn off mytimer because I'm going to have tofinish in a moment. There we go...Sorry about that. So you canbasically make money from youradvertising. You can do what'scalled placing affiliate links - ifyou're talking about particularproducts somewhere in your video,you can put a link on there, andwhen somebody clicks on it and itbuys it from Amazon or wherever itis, you will actually get a clip ofthat. You can sell merchandise onyour YouTube page - YouTube workswith products like T-Spring, andwhen one of those is sold off yourpage, you get a cut of that money.You can promote brands - you can dothat directly yourselve - if you'reworking, as in the case of Honour,with Etsy, you can work with Etsyand they'll pay you directly forthat. YouTube has Famebit, wherebrands are interested in accessingpeople on YouTube and getting peopleto promote their products, basicallyput opportunities on thatmarketplace, and you can pitch forit as a YouTube creator. And YouTubetakes 10% of commission on that. Andif you are part of - as you probablyknow now, if you can subscribe toYouTube and pay a premium, then youdon't see adverts - basically, whatthat means is you'll also get a cutof the subscription fee paid foranybody who watches your videos. Andyou can also now start to createyour own YouTube memberships foryour subscribers. A bit likePatreon, you can basically say,"Right, for X amount a month, youcan basically access exclusivecontent on my site," and you cangive your members things likebadges, emojis, which they can useto interact with you on the YouTubeplatform. And YouTube's also findinga seventh area, something calledYouTube Giving - similar to Facebookand what they're doing in thisspace. I'm aware that I'm startingto run out of time. I want to leavea bit of time for questions. Ihaven't quite made it through all myslides. As I say, I go into thisstuff in a lot more detail on theREMIX Academy site anyway, this freewebinar. Maybe this might be a goodplace to stop for any questions thatpeople have. Or I can keep going,Laura. Your call...! >> No, I thinkthat's great. Thanks so much, Peter.There's so much content in there,and - wow, so useful to get someinsight into all of those platforms.So, yeah, I recommend heading to theREMIX Academy site if there's moreon there. We have had some questionscome through in the Q&A. If you'vegot a question for Peter, can youadd it into the Q&A box? We mightstart with this question from Shep,a question we hear quite a bit -with so much free content online atthe moment, how do we now compete?>> PETER TULLIN: Yeah, this isprobably the million-dollar questionin terms of making money fromcontent. I think the curve showsthat giving stuff away doesn'tnecessarily need to be a bad thingif you've got a strategy about whereyou're going to make money from thataudience. Look, a lot of it's aboutthe added value you can provide tothose people that can becomesuperfans of what you do. I wouldtake somebody like Honour and TheStarving Artist podcast. Had she nothave had a very successful freeproduct, would she have built anaudience that she could then go toto ask to be Patreon donors? Youknow, I think there are sort of -and a lot of platforms have thisin-built. If you look at - I wasgoing to talk a little bit aboutonline learning later. So a lot ofthe platforms like Corsera in theuniversity world provide freecontent, but if you want the extratew condition and credentials, youneed to pay for that. But byproviding free content, thatplatform builds a really bigaudience. Obviously this is in-builtinto a platform like YouTube. Again,you're consuming the content free -people build subscribers. Then theycan do offline things like liveshows or do deals with brands. Butit's quite a complicated mix. It isobviously complicated by the factthat lots of people are giving stuffaway. We obviously have a lot ofcultural organisations that arefunded by public funding and they'regiving their stuff away online inthe same way as they would give itaway offline, because that's theparticular model that they work to.Where I think some of the realinnovation in this space ishappening is with individuals. Andoften what's exciting is where thosetwo things can come together. So ifyou look at influencers - a greatexample is - if you know the FieldMuseum in Chicago, they were prettysmart in that they have signed up astheir first-ever chief curiositycorrespondent a YouTuber calledEmily Grasserley. She has a reallygreat podcast - sorry, YouTubechannel - which has got about half amillion subscribers. And theyrealised the, actually, she was theright voice, the right messenger, toget across what they were doing. Sothe Field YouTube presence now comesthrough in two ways. There's Emily'schannel, which has the Field Museumbranding on there but it's actuallyquite minor, relative to herparticular kind of podcast, and thenthere's the Field Museum's ownYouTube channel. I mentioned - Emilyhas, like, 500,000-plus subscribers.The Field Museum has 3,500subscribers. So she's the oneactually driving the traffic and theinterest in what they're doing. Butthey've been smart enough to say,"You're an influencer. How do weteam up and do that together?" Soshe's building their audience. Imentioned Nate from Memory Palace.He was recently the artist inresidence at the met Museum. He wentin and basically spent a year there.For him, it was an amazingplayground where he got to play withthe Met's content and develop newcontent, which obviously wascreating new audiences for The Met.As long as you can build anaudience, you can find creative waysto monetise it. For individualcreatives, it's an interesting spaceto be in, but you probably need tobe prepared to look at fivedifferent ways of making money. Veryfew of these people are overnightsuccesses, that's the other thing.You've got to learn your craft. It'snever easy. CultureLabel, in myexperience, wasn't an overnightsuccess. You need to be strategic.Where does the free bit fit in witheverything else? If you're doingfree for free's sake, you'll buildan audience, which is fine if allyou want is eyeballs. Obviously it'shard to make money at the moment -it might be easier in the offlinespace. Secret Cinema build immersiveworlds where people experience theworld of the movie and it'sinteractive and immersive. SecretCinema, again, with Tiny back in theday about 10 years ago - they hadthis brand or idea that was built toleverage social media. Secret Cinema- tell no-one. Of course, peoplewould go into these amazing worldsthey built, and of course the firstthing they would do is telleverybody through social media -"I've just seen an incrediblere-creation of the universe of BladeRunner." Suddenly, they had 250,000social followers. Now, audiences fortheir shows will rival the audiencethat goes to something likeGlastonbury. That audience ishighly, highly engaged. They canthen take it online. In thelockdown, they've developedsomething called Secret Sofa. SecretSofa, once a week, on a Friday,everybody gets together, watches afilm at the same time and, throughthe week, you get clues as to whatthe movie is, and they give you awhole pack which is how you mightwant to dress up, music playlists...It's the kind of Secret Cinemaexperience recut for an onlineaudience. And it's sponsored byArgenda - it's got various differentways to monetise - ?10, but 1,000people signed up to the first one.It's because they're people thatfollow Secret Cinema, so they'llfollow them wherever they go. >>Thanks, Peter. Thank you. If youdon't mind, maybe we'll ask one morequick question, and then maybefinish off the rest of your slides.I know that a lot of people are kindof interested in seeing those lastfew, if you don't mind... >> PETERTULLIN: I'm happy to Carrow on. Idon't know if you've got to bring astop to it at any point. >> We arerunning out of time, but if we doone more question and get throughthose last slides, that would begreat. This question is for Peter,carrying on from what you've beentalking about, so we can kind ofquickly touch on it. With so muchcontent now available, how do wecreate more noise in this alreadyvery noisy landscape, and how can webe heard? How can our work cutthrough? >> PETER TULLIN: Yeah, soone thing is - often, we rely on ourown website or whatever it is tosort of share the message. What Ireally learned through CultureLabelis - go where the audience is. It'smuch easier to go where people arealready hanging out and then find away to have a conversation with themthan it is just to kind ofbroadcast. The internet is brilliantbecause it's this 2-way thing. Youknow, so I talked about, you know,Tilly and Tilli and the Buttonsearlier - it's a great example. Yes,she had her blog, but she was goingon and using things like Pinterestand Instagram because she realisedthe beauty of what she did was veryvisual. So by sharing her designs,having conversations, she found itwas those platforms that really grewher presence. Then she could takethat audience onto her own websitewhere, actually, she could then sellthem a whole range of things on theback of sort of going elsewhere tofind that audience. So I thinkthat's really important - and thinkreally hard about the customerjourney. Because the other bit aboutthis is - what do customers reallyneed that they're not getting there?What gap are you filling? How areyou doing something better thansomebody else is doing? Becauseobviously there's a myriad ofdifferent audiences in the onlinespace. But you really need to deeplyunderstand the trends. The way anentrepreneur would look at this -it's applying the same kind oftechniques - is to go, "OK, what arethe consumer trends that are outthere? What are the technologytrends? What's unique about me, myideas, my networks, my spaces?"Whatever it is that you've got - howdo you plug that into what audiencesare doing anyway? You don't want tobe going against the grain, againstthe curve. You want to be ridingthose trends and inserting what youdo into those trends. I think someof the best examples that I've talkare where people are doing that. --talked about are where people aredoing that. Obviously what's greatabout this is - you know, it's nottrue that you can do this stuff fornothing. It does require someresources, which might just be yourtime - it doesn't have to cost hugeamounts of money - but one of theseminars that we have on the REMIXAcademy is all around how you creategreat video content for free or forvery little. There are so many toolsand software out there that actuallycost very little now that give you areally professional result. So youcan start experimenting and you canjust get things out there. Obviouslybecause you get all this amazingdata and analytics from theinternet, you can are fine fromthere and move on if it's notworking and try something else if itis. There are some inspirationalexamples out there of what we cando. The great thing about COVID-19is we're all forced to do thisstuff. I think there'll be amazingnew voices and people coming out ofthe cultural sector. I'll bet you itoften won't be the usualspokespeople that we've put forward.When you think about something likeTwitch, where the average age is 21- you've got to find the right voicefor something like that. They're notgoing to be interested in what I'vegot to say or how I do it. It'sabout finding the - I talked aboutit Emily at the Field Museum - shewas a secret weapon for thatorganisation. >> Great. Thanks,Peter. I'm really excited to seewhat people come up with. Alright.So if you don't mind, if maybe wecan just carry on with the last ofyour slides? Would that be OK? >>PETER TULLIN: Yeah, no problem. I'vegot as long as people need from myside. I'll obviously make sure Ishare those slides with peopleafterwards. >> Thank you. >> PETERTULLIN: Can you still see my slideson screen, Laura? Great. OK. Imentioned Twitch - I'll go on toTwitch briefly. This is really aboutlivestreaming more generally.There's an online-to-offlineconnection again. 67% of people whowatched a livestream said they wenton to purchase a ticket to a similartype of live event. This is fromVimeo - they do livestreaming, soyou can take that with a pinch ofsalt. Direct monetisation is reallygood on livestreams. 45% of peoplesay they would pay for a livestreamby favourite performer, speaker, etcetera. Interestingly - and again, Isay this comes from Vimeo - 87%would prefer to watch online if itmeant they got morebehind-the-scenes content. So whatwe see - sometimes, it's anassumption that everything we doshould be physical in the culturalspace. But obviously some audiencesprefer to consume content online.There are things you could do onlineyou could never do offline, or nextto an offline experience. The begthing about that - millennials aged14 to 25 watch more online videothan TV. So this is where they hangout anyway. Twitch is not thebiggest video platform, but in thelivestreaming space, it's the one tokind of watch for creatives. And youprobably know Twitch becauseprimarily people use this to watchgames. Odd concept, I know, but it'shugely popular. But really, it'smore about the engaged reaction withthe people that are streaming andplaying those games. Think aboutyour superfans again. Also, Twitchis changing. Because it's gettingbigger, people are using it forother stuff. In December 2019,Twitch viewers watched 81 millionhours of something called JustChatting - conversationlivestreaming and part of Twitch.This is more people than watchedtheir No. 1 game on Twitch, Leagueof Legends, or things like Fortnite.Non-game streaming activity ispredicted to be their biggestcategory in 2020. A lot of comediansand musicians are now starting touse Twitch as a platform for theirlivestreaming. And part of thereason is it's set up forlivestreaming - that was its origins- but also there are less barriersto coming in and making money. Sotheir threshold for doing stuff andwhere you can start to collect cashis less than something like YouTube.So you need, still, 500 totalminutes' broadcast in the last 30days. You need seven uniquebroadcast days in the last 30 days.You need to have an average of threeconcurrent viewers or more over thelast 30 days, and you need 50followers. But it's a bit less thanwhat you would be asked for byYouTube. But their monetisationtools are great. They have a virtualcurrency called Bits that can bechanged into cash. I could be doinga livestream now and if you give mea "Cheers!" I will collect amicrotransaction for that - it mightonly be a few cents, but the idea isthat they add up. If somebodysubscribes to my channel, I willcollect 50% of that. Twitch get theother 50%. And they offer differenttypes of subscription levels, from$4.99 up to $25. Again, superfansmight come in at $25 and that'sworth a lot more to me. I can alsomonetise the ads. Again, I'll get acut of ads for non-subscribers. Youcan also use platforms like StreamLabs to sell merchandise and otherthings to those fans. Some of thethings we talked about on YouTube.Then YouTube's obviously big in thisspace as well. Their bigmonetisation tools, beyond the onesthat are talked about, on livestreamis something called SuperChat. Asyou can see from the image on theslide there, there's somebody givinga livestream, and a bit like onZoom, people can ask questions. Ifyou're a superfan, you might have aparticular icon next to your name,an emoji or whatever, that I knowyou're a superfan. I might want toanswer your questions because I knowyou're a paying subscriber to mychannel. Or you can do what's calledSuperChat - pay to have your chat orquestion pinned to the top. It mightbe a comment on what I'm saying, aquestion, or whatever it is. Again,I know that that's a SuperChat one.I'll say, "I better answer that one- that person's paying for my timeand my attention." There are otherlivestreaming platforms. Obviouslywe're on Zoom today. Zoom, you cando simple things like put in aPayPal plug-in that allows you to -I could ask somebody for a donation.Obviously we've talked about thingslike Facebook. Facebook's thebiggest platform that people areconsuming video, alongside YouTube.It's in there because obviously, youknow, you can pin things likedonations next to it. But it'sslightly less about monetising thatvideo or that livestream like twipor YouTube. Obviously it's a popularway for people to consume video. Ifyou want real control over yourlivestream, where maybe you want itto appear within your website,rather than have the video aroundit, something like video is a goodoption for that - Vimeo will hostyour livestream, but you controleverything that appears around thatvideo. Then obviously there areother platforms, many that dolivestreaming, that are very popular- things like Twitter does it,Instagram does it through itsStories feature - 250 million peopleon that. There's now LinkedIn Live.Even things like Skype or MicrosoftTeams or Houseparty, as lots of usare now doing in lockdown. Butthey're slightly less focused onmonetisation, so I've not focused onthem as much. Then there'se-learning. Again, massive growtharea. $250 billion industry, peoplereckon, by 2025. Growing at nearly10% a year. Four quick examples -platforms that I would say areinteresting here. One isMasterclass. As you can see from theexamples I'm showing on screen, thisis things - it's verycelebrity-driven. So, MartinScorsese teaching filmmaking or HansZimmer teaching film scoring. Now, Ithink this is quite an interestingmodel. They want to be the sort ofNetflix of the e-learning industry.You've probably seen their ads onFacebook. It's received a lot offunding. One of the es do is they get funding sothey can operate for a period oftime to build an audience withoutmaking a lot of money becausethey've got money in the bank to dothat. If you've got an idea, you canget people to invest money in thatidea, meaning you can start the ideaoff - maybe hire some people to payfor marketing, get the right skills,without having immediately made anymoney. And Masterclass is a goodexample of this. The reason Imention it is 80% of theirparticipants - this is their firstexperience of online learning. Sothey've done an amazing thing inthat they're basically getting thisstuff out to people that are tryingonline learning for the first timebecause it's so celebrity-driven. Tothe point that their subjects are asdiverse - it's not all creative likeI've got there - it's tennis tipsfrom Serena Williams, cooking advicefrom Gordon Ramsay, or vocaltraining from Christina Aguilera. Ilook at this as a modern version - Iremember my dad - he's into golf.He'd have Nick Faldo Teaches Golf onVHS. This is like the modern versionof that. The business model's reallyinteresting. They do pay thosecelebrities a little bit to make thevideo, but it's all about theprofit-share. So they get 30% ofanything that's made. So that's agreat thing about the internet.You've got a great idea, you couldsay to some people, "Give me sometime to record some e-learning, andI will give you a share of theprofit that we make." Another greatexample which is a really big playeris Edemy. Udemy have 150,000courses. A lot of competition. Butit's used by millions of people. Andas a creative, you can create acourse. If you think you can teachsomebody something to do with yourcreative practice, you produce aseries of videos. They work best ifthey're interactive and there'sother learning materials aroundthem. But Udemy democratiseslearning. Anybody can go on thereand put a course on there. Obviouslyyou then try and sell it to yournetworks, but also there's audienceson Udemy that will find you as well.And you will get 50% of the revenuefor the course that you sell toanybody. But if you sell that coursedirectly, say, through your ownwebsite or to your own socialfollowing, and you generate thecustomer, you get 97% of therevenue. So it's actually a reallygood platform to host your learningmaterials. But Udemy's pretty broad.There's teaching about everything.Whereas Skill Share - the good sideis it's much more creative-focused.So you'll see some examples Mr Therethat I'm looking at on screen aroundcraft or painting - people thathave, you know, 20,000, 30,000students that have used or followedtheir courses - so, big numbers.Skill Share, for example, has578,000 followers in the fine artssection. Nearly 800,000 in the musicsection. 1 million in the creativewriting section. So, big numbers ofpeople that are going on there touse these courses. But themonetisation for the creative is notquite as good. So their model is nota pay-per-course. It's asubscription. And if your course isviewed by a paying subscriber, youwill get a percentage of your views,basically, from Skill Share. So theysay that new teachers - if youupload a course - might be earning$300 a month. So, certainly notgoing to be your day job. Morepopular, established teachers - thelikes of which you can see on theslide - can earn up to $5,000. Andthen the final example in this one Iwanted to give is around the kind ofcultural sector more specifically.My 3-year-old and 5-year-old are nowwatching Jams for Juniors onlinethrough the Melbourne SymphonyOrchestra. Through YouTube, it'sreally nicely done. It's aninteractive experience for kids. Andit's entirely free. But it's paidfor by a sponsor. So the MelbourneSymphony Orchestra offer it forpeople, but it's supported byEmirates. But again, they do reallygreat online learning becausethere's a kind of colouring bookaround it. We made a shaker theother day to do our accompanimentsto Tchaikovsky's The Nutcracker, sothey show you how to build DIYinstruments. Final couple of slides.One is personalisation. I think thisis tailor-made for arts and culture.This is about, again, our superfansand no matter how big your following- can you produce something verytailored and personal online inresponse to what your audience want?I thought a really good example ofthis was the singer Tanya Batts. Shereached out to 5,000 Facebookfollowers and said, "Right. Name acover of your choice. I will recordthat cover for a pay-what-you-canfee." She could have done anythingfor those followers, but it wasabout just going out to people andsaying, "Well, what do you want?"Laura's looking at me now saying Ithink we've reached the end of theroad. I had another slide to go, butyou can watch it on the Academy inyour own time. >> Thanks so much,Peter. So much great content. I wishwe had longer, but we've alreadygone over time, so it's probablytime to wrap it up for today. I justwant to acknowledge all of thosequestions that have come through,and I'm sorry that we didn't get theopportunity to answer all of themwith you today. We will try and getto those after the session. And Iwant to say thanks so much, Peter.Gosh, that was such a really usefuland practical session that I thinkso many people will be able to applyespecially during these wild times.Thank you so much for your timeputting that together. And thankyou, everybody, for joining us. Whata great session to end the week! Wewill be publishing the recording onour website, so stay tuned for thatif you couldn't make it all the waythrough. Next week, we have threewebinars. We've got two on Wednesdayand then one on Friday. We've gotPenny Miles from Circus Oz and DrAmanda Tattersall on Wednesday, andthe Google Creative Lab on Friday.If you haven't already registered,you can do that on our website.That's it, I think. If you've gotany questions, queries, concerns,you can send us an email atleadershipprogram@AustraliaCouncil.-gov.au. Otherwise, have a lovelyweekend, everybody, and thanks somuch, Peter. >> PETER TULLIN:Thanks, everybody. Thanks forbringing us together, Laura. >>Pleasure. Thank you for using RedBee Media's Live RemoteBroadcastingService. ................
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