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寶潔押寶元宇宙,增加品牌互動(dòng)

Aman Kidwai
2022-05-30

寶潔的高管稱,探索元宇宙的主要目的是找到與潛在客戶之間全新的互動(dòng)方式,,并為客戶和零售合作伙伴創(chuàng)造附加價(jià)值。

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已經(jīng)有180年歷史的消費(fèi)品制造商正在元宇宙領(lǐng)域投入大量時(shí)間和資源,,這則消息可能讓人們感到意外。但寶潔公司(Procter & Gamble)的領(lǐng)導(dǎo)者解釋稱,,探索元宇宙的主要目的是找到與潛在客戶之間全新的互動(dòng)方式,,并為客戶和零售合作伙伴創(chuàng)造附加價(jià)值。

在5月24日召開的《財(cái)富》頭腦風(fēng)暴設(shè)計(jì)大會(huì)(Fortune Brainstorm Design)上,,寶潔的首席設(shè)計(jì)官菲爾·鄧肯表示,,“如果消費(fèi)者明顯被某一個(gè)領(lǐng)域吸引”,寶潔將努力“在該領(lǐng)域發(fā)展我們的業(yè)務(wù),,并且顯而易見要贏得消費(fèi)者的青睞,。”

他又補(bǔ)充道:“我們之所以開拓元宇宙領(lǐng)域,,是希望學(xué)習(xí)和理解與消費(fèi)者互動(dòng)的重要性,,并最終給公司創(chuàng)造價(jià)值?!?/p>

除該消費(fèi)品巨頭以外,,有許多《財(cái)富》美國500強(qiáng)公司都在元宇宙中留下了自己的印記。在元宇宙這個(gè)網(wǎng)絡(luò)世界中,,公司和普通人可以維護(hù)自己的虛擬形象,、虛擬空間和其他虛擬存在。寶潔利用元宇宙開展的一個(gè)項(xiàng)目是復(fù)制新冠疫情期間舉辦的一場(chǎng)行業(yè)盛會(huì)“消費(fèi)類電子產(chǎn)品展覽會(huì)”(Consumer Electronics Show)的體驗(yàn)。寶潔還通過類似活動(dòng),,將贊助2020年東京奧運(yùn)會(huì)(2020 Tokyo Olympics)舉辦的品牌激活和體驗(yàn)活動(dòng),,擴(kuò)展到元宇宙領(lǐng)域。

寶潔的新興/沉浸式技術(shù)主管伊萬娜·馬泰說:“新冠疫情讓我們有更現(xiàn)實(shí)的原因?qū)⒃钪嬗?jì)劃付諸實(shí)踐,,并以開放的心態(tài)進(jìn)行嘗試,。”鄧肯稱贊馬泰是他在該項(xiàng)目中的“逆向?qū)煛?,因?yàn)樗]有從其領(lǐng)導(dǎo)的其他設(shè)計(jì)項(xiàng)目中積累這個(gè)領(lǐng)域的經(jīng)驗(yàn),。

寶潔更進(jìn)一步利用職業(yè)游戲平臺(tái),開發(fā)和發(fā)布游戲以及其他虛擬體驗(yàn),。一部游戲改編自寶潔為其佳潔士(Crest)品牌創(chuàng)作的一部卡通片《Cavity Creeps》,。這部卡通片在20世紀(jì)70年代很受歡迎。另外一部游戲中包括歷史性創(chuàng)新者的在線交互版本,,例如吉列(Gillette)品牌的創(chuàng)始人,。寶潔還大力宣傳其可持續(xù)發(fā)展工作,發(fā)布了一個(gè)專注于負(fù)責(zé)任化妝品的新平臺(tái),。

由于這些項(xiàng)目涉及多個(gè)領(lǐng)域,馬泰表示她的團(tuán)隊(duì)擁有豐富多彩的技能和背景,,團(tuán)隊(duì)成員中有游戲設(shè)計(jì)師,、電影制作人和各種編劇等。她解釋說:“這是一個(gè)全新的領(lǐng)域,,所以沒有人是真正的專家,?!?/p>

寶潔指出,,用戶在這些平臺(tái)上的參與度,即每次訪問平均花費(fèi)的時(shí)間,,同比增加到每次超過20分鐘。

鄧肯表示:“從項(xiàng)目執(zhí)行的第一年到第二年,,人們?cè)谄脚_(tái)上停留的時(shí)間越來越長,,這讓我們有點(diǎn)意外,。這些虛擬平臺(tái)帶來了豐富的用戶互動(dòng),,遠(yuǎn)遠(yuǎn)超過單純宣傳產(chǎn)品價(jià)值定位的效果?!?/p>

然而,,元宇宙對(duì)公司的最終價(jià)值依舊不確定,而且鄧肯甚至承認(rèn),,某些互動(dòng)數(shù)據(jù)可能夸大了這些項(xiàng)目真正創(chuàng)造的品牌價(jià)值。

鄧肯說:“從創(chuàng)造價(jià)值的角度,,目前人們對(duì)這個(gè)領(lǐng)域依舊議論紛紛,,有許多不同的聲音。但我們認(rèn)為這是另外一個(gè)變革性平臺(tái),,最終將真正改變消費(fèi)者與品牌互動(dòng)的方式,。”(財(cái)富中文網(wǎng))

譯者:劉進(jìn)龍

審校:汪皓

已經(jīng)有180年歷史的消費(fèi)品制造商正在元宇宙領(lǐng)域投入大量時(shí)間和資源,,這則消息可能讓人們感到意外,。但寶潔公司(Procter & Gamble)的領(lǐng)導(dǎo)者解釋稱,探索元宇宙的主要目的是找到與潛在客戶之間全新的互動(dòng)方式,,并為客戶和零售合作伙伴創(chuàng)造附加價(jià)值,。

在5月24日召開的《財(cái)富》頭腦風(fēng)暴設(shè)計(jì)大會(huì)(Fortune Brainstorm Design)上,寶潔的首席設(shè)計(jì)官菲爾·鄧肯表示,,“如果消費(fèi)者明顯被某一個(gè)領(lǐng)域吸引”,,寶潔將努力“在該領(lǐng)域發(fā)展我們的業(yè)務(wù),,并且顯而易見要贏得消費(fèi)者的青睞,。”

他又補(bǔ)充道:“我們之所以開拓元宇宙領(lǐng)域,,是希望學(xué)習(xí)和理解與消費(fèi)者互動(dòng)的重要性,,并最終給公司創(chuàng)造價(jià)值,?!?/p>

除該消費(fèi)品巨頭以外,有許多《財(cái)富》美國500強(qiáng)公司都在元宇宙中留下了自己的印記,。在元宇宙這個(gè)網(wǎng)絡(luò)世界中,,公司和普通人可以維護(hù)自己的虛擬形象、虛擬空間和其他虛擬存在,。寶潔利用元宇宙開展的一個(gè)項(xiàng)目是復(fù)制新冠疫情期間舉辦的一場(chǎng)行業(yè)盛會(huì)“消費(fèi)類電子產(chǎn)品展覽會(huì)”(Consumer Electronics Show)的體驗(yàn),。寶潔還通過類似活動(dòng),將贊助2020年東京奧運(yùn)會(huì)(2020 Tokyo Olympics)舉辦的品牌激活和體驗(yàn)活動(dòng),,擴(kuò)展到元宇宙領(lǐng)域,。

寶潔的新興/沉浸式技術(shù)主管伊萬娜·馬泰說:“新冠疫情讓我們有更現(xiàn)實(shí)的原因?qū)⒃钪嬗?jì)劃付諸實(shí)踐,并以開放的心態(tài)進(jìn)行嘗試,?!编嚳戏Q贊馬泰是他在該項(xiàng)目中的“逆向?qū)煛?,因?yàn)樗]有從其領(lǐng)導(dǎo)的其他設(shè)計(jì)項(xiàng)目中積累這個(gè)領(lǐng)域的經(jīng)驗(yàn)。

寶潔更進(jìn)一步利用職業(yè)游戲平臺(tái),,開發(fā)和發(fā)布游戲以及其他虛擬體驗(yàn),。一部游戲改編自寶潔為其佳潔士(Crest)品牌創(chuàng)作的一部卡通片《Cavity Creeps》。這部卡通片在20世紀(jì)70年代很受歡迎,。另外一部游戲中包括歷史性創(chuàng)新者的在線交互版本,,例如吉列(Gillette)品牌的創(chuàng)始人。寶潔還大力宣傳其可持續(xù)發(fā)展工作,,發(fā)布了一個(gè)專注于負(fù)責(zé)任化妝品的新平臺(tái),。

由于這些項(xiàng)目涉及多個(gè)領(lǐng)域,馬泰表示她的團(tuán)隊(duì)擁有豐富多彩的技能和背景,,團(tuán)隊(duì)成員中有游戲設(shè)計(jì)師,、電影制作人和各種編劇等。她解釋說:“這是一個(gè)全新的領(lǐng)域,,所以沒有人是真正的專家,。”

寶潔指出,,用戶在這些平臺(tái)上的參與度,,即每次訪問平均花費(fèi)的時(shí)間,同比增加到每次超過20分鐘,。

鄧肯表示:“從項(xiàng)目執(zhí)行的第一年到第二年,,人們?cè)谄脚_(tái)上停留的時(shí)間越來越長,這讓我們有點(diǎn)意外,。這些虛擬平臺(tái)帶來了豐富的用戶互動(dòng),,遠(yuǎn)遠(yuǎn)超過單純宣傳產(chǎn)品價(jià)值定位的效果?!?/p>

然而,,元宇宙對(duì)公司的最終價(jià)值依舊不確定,而且鄧肯甚至承認(rèn),,某些互動(dòng)數(shù)據(jù)可能夸大了這些項(xiàng)目真正創(chuàng)造的品牌價(jià)值,。

鄧肯說:“從創(chuàng)造價(jià)值的角度,目前人們對(duì)這個(gè)領(lǐng)域依舊議論紛紛,,有許多不同的聲音,。但我們認(rèn)為這是另外一個(gè)變革性平臺(tái),最終將真正改變消費(fèi)者與品牌互動(dòng)的方式,?!保ㄘ?cái)富中文網(wǎng))

譯者:劉進(jìn)龍

審校:汪皓

It may be surprising that a 180-year-old maker of consumer products for the physical world is spending significant time and resources on the metaverse. But as leaders from Procter & Gamble explain, the main purpose of their exploration is to find new ways to interact with prospective customers and add value for them and retail partners.

At the Fortune Brainstorm Design conference on May 24, Phil Duncan, chief design officer at Procter & Gamble, said “any time that there's a place where consumers are gravitating toward,” P&G is looking “to grow our businesses and, obviously, win the hearts and minds of consumers.”

“We're stepping into this environment to learn and understand how engagement really matters with consumers and ultimately create value,” he later added.

The consumer goods giant is one of many Fortune 500 companies making its mark in the metaverse, an online world where companies and people can maintain avatars, spaces, and other virtual presences. One project P&G has used the metaverse for is to replicate the experience of the Consumer Electronics Show (CES), a premier industry event, during the pandemic. The company made a similar push to put brand activations and experiences from its 2020 Tokyo Olympics sponsorship into the metaverse.

“The pandemic situation made it a bit more real for us to put it in practice and have a big, open mind to try them,” said Ioana Matei, head of emerging/immersive technologies at Procter & Gamble. Duncan credited Matei as his “reverse mentor” for this project, due to his lack of experience in this arena in other design initiatives he’s led.

P&G has gone deeper from there, using professional gaming platforms to develop and launch games and other virtual experiences. One features a refreshed version of the Cavity Creeps, a cartoon for its Crest brand that was popular in the 1970s. Another includes online, interactive versions of historic innovators, such as the founders of Gillette. The company also has promoted its sustainability efforts and launched a new platform focused on responsible beauty.

Because of the multi-faceted nature of these projects, Matai said her team possesses a wide range of skills and backgrounds, from game designers to filmmakers and other kinds of storytellers. “This is a new space, so no one is really an expert,” she explained.

P&G said it has seen engagement on these platforms, in the form of average time spent during a visit, increase year-over-year to over 20 minutes per session.

“As we went from year one to year two of executing this, people stay even longer. So that was a bit of a shock to us,” Duncan said. “It just provided really rich engagements that went well beyond us pitching the product proposition.”

The eventual value to the business, however, is still not certain, and Duncan even admits that some of the engagement numbers might inflate the appearance of the actual brand value of these initiatives.

“The value-building aspect of this [has] a lot of noise, a lot of talk about it right now,” Duncan said. “But again, we see this as another transformative platform that's going to really change the way consumers engage with brands eventually.”

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