product management

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Verified Expert Brand Designer: Studio Rodrigo

Ritik Dholakia worked as a startup product manager before he co-founded Studio Rodrigo, a branding and product design agency based in NYC. Unlike traditional branding firms, Studio Rodrigo is proud of its product design chops, especially when it comes to helping early-stage startups build version one of their product. It’s not an easy balancing act since most companies eventually want to bring their product design talent in-house, but it turns out, Studio Rodrigo can help with that too. Learn more about the studio in our Q&A with founder Ritik Dholakia.

Studio Rodrigo’s unique approach:

“Studio Rodrigo listened to all of our goals and dreams, concerns and uncertainties, and created a brand identity, website, and marketing materials that were true to our vision but better than anything we could have imagined.” Tze Chun, NYC, Founder, Uprise Art

“Basically, we’re a full-stack product design team. We have people who can do brand identity from a pure graphic design and visual communications standpoint, and who can also connect the dots between design and technology, business, and customer needs. We don’t have a traditional agency model with a project and account management overhead. You work directly with our designers.”

On Studio Rodrigo’s ideal client:

“We like working with clients that are solving big, meaty, challenging problems. We’ve got a smart team that likes to wrap their heads around the kinds of technologies that are pushing industries forward. For us, that’s currently technologies like machine learning and artificial intelligence.”

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Below, you’ll find the rest of the founder reviews, the full interview, and more details like pricing and fee structures. This profile is part of our ongoing series covering startup brand designers and agencies with whom founders love to work, based on this survey and our own research. The survey is open indefinitely, so please fill it out if you haven’t already. 


Interview with Studio Rodrigo Co-founder Ritik Dholakia

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Yvonne Leow: First things first, how did you get into brand design and product development?

Ritik Dholakia: I’ve been in digital design and product development for about 20 years now. I actually started my career as a product manager at a startup. I worked for two venture-backed startups as the first product manager. I was part of the Series A team, managing product development, acquiring initial customers, and building market traction.

The first startup was an enterprise software platform for customers doing triple bottom line reporting. The second one was one of the earliest social networking platforms, pre-Facebook, and around the same time as Friendster, LinkedIn, and Spoke.

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We’ll talk even more Kubernetes at TC Sessions: Enterprise with Microsoft’s Brendan Burns and Google’s Tim Hockin

You can’t go to an enterprise conference these days without talking containers — and specifically the Kubernetes container management system. It’s no surprise then, that we’ll do the same at our inaugural TC Sessions: Enterprise event on September 5 in San Francisco. As we already announced last week, Kubernetes co-founder Craig McLuckie and Aparna Sinha, Google’s director of product management for Kubernetes, will join us to talk about the past, present and future of containers in the enterprise.

In addition, we can now announce that two other Kubernetes co-founders will join us: Google principal software engineer Tim Hockin, who currently works on Kubernetes and the Google Container Engine, and Microsoft distinguished engineer Brendan Burns, who was the lead engineer for Kubernetes during his time at Google.

With this, we’ll have three of the four Kubernetes co-founders onstage to talk about the five-year-old project.

Before joining the Kuberntes efforts, Hockin worked on internal Google projects like Borg and Omega, as well as the Linux kernel. On the Kubernetes project, he worked on core features and early design decisions involving networking, storage, node, multi-cluster, resource isolation and cluster sharing.

While his colleagues Craig McLuckie and Joe Beda decided to parlay their work on Kubernetes into a startup, Heptio, which they then successfully sold to VMware for about $550 million, Burns took a different route and joined the Microsoft Azure team three years ago.

I can’t think of a better group of experts to talk about the role that Kubernetes is playing in reshaping how enterprise build software.

If you want a bit of a preview, here is my conversation with McLuckie, Hockin and Microsoft’s Gabe Monroy about the history of the Kubernetes project.

Early-Bird tickets are now on sale for $249; students can grab a ticket for just $75. Book your tickets here before prices go up.

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Videos lead brand creative growth with 3x increase since 2017

James Winter
Contributor

James Winter is currently the VP of Marketing at Brandfolder, a leading digital asset management solution; prior to joining Brandfolder, James was the Director of Marketing at AspireIQ where he grew the marketing team from zero to seven.

As brands pursue audiences online, they are producing more creative content than ever — particularly around Instagram.

In the past twelve months, Brandfolder‘s Brand Index (check out the full Brand Index Report at the end of this article) tracked an 80% increase in videos and other creative material targeted for the platform.

With the Instagram community being a highly engaged group, brands rely on rich, visual content to connect to them. With the proliferation of new Instagram features, like video, Stories, multi-photo carousels, and IGTV, each subset requires its own content, further inflating the need for more brand creative.

The growth in brand creative isn’t just due to audience demands, however. The shelf life of brand assets has fallen as more brands compete with other content (and each other) for user attention.

In 2016-2017, the average asset shelf life was 395 days. From 2017-2018, it was 280 days, with varying lifespans across file type and industry. That’s a 29% decrease in lifespan. Over the next few years, we predict this number will continue to decrease.

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Check out the full Brandfolder Brand Index Report at the end of this article.

Which means, as brands are becoming increasingly dynamic and getting serious about personalization, the need for brand creative, more frequently, will continue to skyrocket in order to stay current and relevant.

To bring this to life, think about the last professional sports game you watched. You noticed one team on the field was wearing a throwback jersey with an old school logo. At a different game, they were back to wearing their normal jerseys with the most current logo.

Later in the season, however, the team is wearing pink jerseys for Breast Cancer awareness. This is a prime example of a dynamic brand expressing their creativity while adapting to varying circumstances, events, and audiences. All of this necessitates fluid brand creative.

But what exactly is brand creative? In the broadest sense, it refers to the all-encompassing collection of online and offline creative assets that a business uses to represent its brand. When we refer to brand creative, we refer to assets of all types–like videos, social media posts, product photography, lifestyle imagery, sales materials, logos, fonts, 3d renderings, and much more.

At Brandfolder, we are focused on delivering intelligence about our customer’s brand creative. We house and manage millions of creative assets from companies of all sizes–anyone from small-scale mom-and-pop shops to large-scale Fortune 10 companies.

And within this massive creative data set, our data science team extracts actionable insights through asset scoring algorithms, prediction formulas, collections, classification tools, and uniqueness analysis, to name a few.

Through these analyses mentioned above, our data science team created the Brand Index– a collection of high-level brand creative trends that CMOs, brand managers, agency professionals, and designers should use to guide their strategic campaigns and deliverables. It was built on discoveries from tens of thousands of creative assets stored in our digital asset management platform from more than 6,000 brands between 2016-2019.

Some brands house asset counts as low as 60, while others house as many as 38,000 assets or more. Specific information analyzed within the Brand Index includes amounts of assets, file formats, asset orientation, asset shelf life, event-based interactions with assets, and more. This information was then combined with the customer’s industry and anonymized to remove any identifying and brand-specific information.

In the Brand Index, companies can learn things like why and how brands’ digital footprints are growing exponentially. From 2017-2018, total asset count on a by-brand basis skyrocketed by 81%. And, it’s on track to continue climbing.

data index final pg 3 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

A major factor for this digital asset boom could be the increasing demand for rich and personalized media on multiple channels, putting an even greater emphasis on the need for a robust digital asset management platform.

Additionally, as CMOs and design directors are putting more time and effort into their brand creative, the need for understanding which assets perform better, when and where, will continue to rise. Brands are already taking advantage of optimizing their creative content based on rich insights.

Thus, by integrating testing data with a platform that provides asset-specific performance insights, brands will have the competitive edge they need to continue retaining and building equity in the minds of their consumers.

Our findings also show that companies should take note of the shift in file type and how brand creative needs to become increasingly dynamic in order to keep delighting their customers. Rich media files used for engaging and dynamic advertising are on the rise–with video being a key player.

Videos have become the go-to file format supporting a variety of marketing and business goals like sales, retention, upsell opportunities, customer experience, education, thought leadership, and more. JPGs still tend to be a brand favorite, however, gone are the days that these JPGs only live in one place. Asset versatility and responsiveness are critical for the increase of digital channels. Which leads me to my next point: brand identity.

Most brands now have at least four logo orientation and color variations that contribute to consistency and cohesion across their growing portfolio of channels. The brands that are succeeding in the marketplace have animated logos and other engaging asset types that they can switch out on any channel with the snap of a finger.

And as mentioned earlier, if the average shelf life of an asset differs by file type with a current average being 280 days or less, which file formats should brands continue to invest in order to maximize their ROI?

But, what does asset shelf life really mean? Asset shelf life is defined as the number of days between when an asset was created and its latest event date (the last time it was accessed, viewed, downloaded, distributed, etc.). An asset is just like a living, breathing creature. It moves from creation through purpose and finally reaches retirement or its, sometimes timely, archival.

Not all assets are created equal, however. With the creation of AI & ML technologies, brands are getting smarter about their content’s performance. High-performing brands are quicker to remove underperforming content from their arsenal and generate new brand creative to keep things fresh.

And with video on the rise, that also takes a big chunk of change out of marketing and creative budgets. Thankfully, but not ironically, we’re seeing that the asset types that take a larger investment also have longer shelf lives.

Companies should invest in a management solution for more expensive assets to ensure they are generating the maximum reach and profitability throughout their lives.

As brands look to scale their identities and creative asset production, as well as their distribution and delivery strategies, companies should take advantage of the Brandfolder Brand Index in order to ensure they aren’t left behind with the constantly evolving landscape.

Read the full Brandfolder Brand Index below:

 

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Transitioning from engineering to product with Adobe’s Anjul Bhambhri

Many roles inside of startups and tech companies are clear: marketers market, salespeople sell, engineers engineer. Then there are the roles like “product manager” that seem obvious on the surface (product managers “product,” right?) but in reality are very fuzzy roles that can be highly variable across different companies.

A few weeks ago, TechCrunch editor Jordan Crook interviewed J Crowley, who is head of product for Airbnb Lux and was formerly at Foursquare. Crowley came up in the consumer product world without a technical background, and he spoke to overcoming some of his own insecurities to become a leading product thinker in the Valley.

This week, I wanted to offer another perspective on product from Anjul Bhambhri, who is Vice President, Platform Engineering at Adobe, where she and her team conceived Adobe’s new Experience Platform for real-time customer experience management.

Across Bhambhri’s more than two decade career straddling the line between software engineering and product, she has worked on deeply technical, enterprise projects at Sybase and Informix as startups, big data infrastructure at IBM, and now at Adobe.

We discuss the challenges and opportunities of moving from an engineering career into product (and management more generally) as well as the ways she thinks about building compelling products that are sold B2B.

This conversation has been condensed and edited for clarity

Scaling out product after product

Danny Crichton: Anjul, thanks for joining us. One of the major initiatives that we’ve been doing as part of Extra Crunch is to interview experts in their fields, talking about how they go about doing their job, and how you think about the decisions that come up on a day-to-day basis in the work that you do. So to start, I would love to talk a little about your background.

Anjul Bhambhri: Very nice to meet you, and happy to share my journey, Danny. I have been in the software industry now for really almost 30 years. I’m an electrical engineer, and basically, my entire career has been in data, databases, and big data analytics.

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Is your event strategy paying off? How to calculate your event ROI

Sarah Shewey
Contributor

Sarah Shewey is the Founder & CEO of Happily, a platform that rapidly assembles experiences for the fastest growing brands in the world with the largest network of freelance event producers. She is also the co-founder of TEDActive, the founder of EXP, a co-founder of The Margin, and the board president of dublab.

Events have increasingly become an important channel in the marketing mix, despite how notoriously “impossible” it is to measure the ROI, or return on investment. When people show up to your event, they are willingly giving you their attention for hours on end – not trying to avoid attention-grabbing ads.

A well produced experience provides a great way to reach outside of your existing networks, build a pipeline of new customers, transform existing customers into superfans, and position your brand as a thought leader. In 2017, only 7% of marketers said that events were their most important marketing channel. Last year, that number rose to 41% according to a survey done by Bizzabo.

As the founder of Happily, the largest network of event producers in the United States, I’ve had backstage access to thousands of events – some wildly successful like TED and others that didn’t ever get traction in building an engaged community.

What has defined the successful ones?

The experiential marketing industry has long struggled to measure success in a meaningful way. They propose all the same KPIs (key performance indicators), but rarely do those KPIs provide a benchmark to determine if an event is successful or give marketers the ability to tell what worked and what didn’t. They especially fall down when customers aren’t won until months after an event.

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Q&A with J Crowley, Head of Product at Airbnb Lux, on what makes a great PM

The role of Product Manager can mean very different things at various companies. Should a product manager be technical? Scientific? Opinionated?

J Crowley has run product at three big-name companies. At Foursquare, he led the rebuild of Swarm after a rocky initial launch and eventually became Head of Product. He then moved on to Blue Apron as Head of Product, overseeing growth and monetization. This was right before Blue Apron went public, which ushered in a turbulent time for the company but one that yielded a wealth of life lessons for Crowley.

Now, he serves as Head of Product for Airbnb Lux.

I hopped on the phone with J to talk about what makes a great product manager, some of the lessons he’s learned, and how he’s made difficult decisions and communicated that to his team.

Editor’s Note: This interview has been edited for length and clarity.

Jordan: How did you get into the tech world in the first place? You used to work in TV, right?

J Crowley: I worked in the television industry for about 10 years. Many years at NBC for a bunch of different departments. Started in the Page Program, and worked on everything from late night comedy, to sports, news, election coverage, digital programming.

I ended up leaving NBC to start my own company, which was a small digital studio here in New York City. We made hundreds of digital shorts and web series. It was probably the most challenging, but most fun three years of my career.

I eventually packed it up to join Foursquare as their Director of Business Development in 2010. There, I helped them grow their brand by securing hundreds of media partnerships with major publishers, sports leagues, TV networks, musicians, etc. That was actually my first job in tech. It wasn’t a product role. It was business development.

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Meet Projector, collaborative design software for the Instagram age

Mark Suster of Upfront Ventures bonded with Trevor O’Brien in prison. The pair, Suster was quick to clarify, were on site at a correctional facility in 2017 to teach inmates about entrepreneurship as part of a workshop hosted by Defy Ventures, a nonprofit organization focused on addressing the issue of mass incarceration.

They hit it off, sharing perspectives on life and work, Suster recounted to TechCrunch. So when O’Brien, a former director of product management at Twitter, mentioned he was in the early days of building a startup, Suster listened.

Less than two years later, O’Brien is ready to talk about the idea that captured the attention of the Bird, FabFitFun and Ring investor. It’s called Projector.

It’s the brainchild of a product veteran (O’Brien) and a gaming industry engineer turned Twitter’s vice president of engineering (Projector co-founder Jeremy Gordon), a combination that has given way to an experiential and well-designed platform. Projector is browser-based, real-time collaborative design software tailored for creative teams that feels and looks like a mix of PowerPoint, Google Docs and Instagram . Though it’s still months away from a full-scale public launch, the team recently began inviting potential users to test the product for bugs.

We want to reimagine visual communication in the workplace by building these easier to use tools and giving creative powers to the non-designers who have great stories to tell and who want to make a difference,” O’Brien told TechCrunch. “They want change to happen and they need to be empowered with the right kinds of tools.”

Today, Projector is a lean team of 13 employees based in downtown San Francisco. They’ve kept quiet since late 2016 despite closing two rounds of venture capital funding. The first, a $4 million seed round, was led by Upfront’s Suster, as you may have guessed. The second, a $9 million Series A, was led by Mayfield in 2018. Hunter Walk of Homebrew, Jess Verrilli of #Angels and Nancy Duarte of Duarte, Inc. are also investors in the business, among others.

O’Brien leads Projector as chief executive officer alongside co-founder and chief technology officer Gordon. Years ago, O’Brien was pursuing a PhD in computer graphics and information visualization at Brown University when he was recruited to Google’s competitive associate product manager program. He dropped out of Brown and began a career in tech that would include stints at YouTube, Twitter, Coda and, finally, his very own business.

O’Brien and Gordon crossed paths at Twitter in 2013 and quickly realized a shared history in the gaming industry. O’Brien had spent one year as an engineer at a games startup called Mad Doc Software, while Gordon had served as the chief technology officer at Sega Studios. Gordon left Twitter in 2014 and joined Redpoint Ventures as an entrepreneur-in-residence before O’Brien pitched him on an idea that would become Projector.

Projector co-founders Jeremy Gordon (left), Twitter’s former vice president of engineering, and Trevor O’Brien, Twitter’s former director of product management

“We knew we wanted to create a creative platform but we didn’t want to create another creative platform for purely self-expression, we wanted to do something that was a bit more purposeful,” O’Brien said. “At the end of the day, we just wanted to see good ideas succeed. And with all of those good ideas, succeeding typically starts with them being presented well to their audience.”

Initially, Projector is targeting employees within creative organizations and marketing firms, who are frequently tasked with creating visually compelling presentations. The tool suite is free for now and will be until it’s been sufficiently tested for bugs and has fully found its footing. O’Brien says he’s not sure just yet how the team will monetize Projector, but predicts they’ll adopt Slack’s per user monthly subscription pricing model.

As original and user-friendly as it may be, Projector is up against great competition right out of the gate. In the startup landscape, it’s got Canva, a graphic design platform valued at $2.5 billion earlier this week with a $70 million financing. On the old-guard, it’s got Adobe, which sells a widely used suite of visual communication and graphic design tools. Not to mention Prezi, Figma and, of course, Microsoft’s PowerPoint, which is total crap but still used by millions of people.

There are many tools scratching at the surface, but there’s not one visual communications tool that wins them all,” Suster said of his investment in Projector.

Projector is still in its very early days. The company currently has just two integrations: Unsplash for free stock images and Giphy for GIFs. O’Brien would eventually like to incorporate iconography, typography and sound to liven up Projector’s visual presentation capabilities.

The ultimate goal, aside from generally improving workplace storytelling, is to make crafting presentations fun, because shouldn’t a corporate slideshow or even a startup’s pitch be as entertaining as scrolling through your Instagram feed?

“We wanted to try to create something that doesn’t feel like work,” O’Brien said.

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Uber, Lyft and the challenge of transportation startup profits

How much does transportation cost you?

In most cities, bus or subway fare might set you back $3 or so. A tank of gas, maybe $30 or $40 depending on your car. An hour of street parking? Sometimes it’s free, sometimes it’s a few bucks. And you can usually snag an economy seat on a round-trip U.S. domestic flight for less than $300.

These numbers probably ring true for most people. There’s just one problem: Everything you know about the cost of transportation is wrong.

Despite a massive infusion of venture capital into the transportation sector over the past few years, mobility startups are starting to learn what every transportation business has known for generations: transportation profits are elusive, and the system is mainly held together by subsidies. Will this be the first generation of transportation businesses to escape history?

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Should you hire an in-house designer or a contractor?

Editor’s note: This post is a part of our latest initiative to demystify design and find the best brand designers and agencies in the world who work with early-stage companies — nominate a talented brand designer you’ve worked with.

During a decade as the manager of the in-house design team at open-source technology company Red Hat, Chris Grams learned that brand design is best when informed by a company’s culture and community.

He felt a natural push toward an open, collaborative attitude, distinct from how many companies approached design at that time. It was the early 2000s, and most companies saw their interactions with customers as a one-way street. In open source, it was an intersection.

“You almost break down the company and the community of people who surround the brand,” says Grams, currently head of marketing at Tidelift, an open-source software management firm, and author of The Ad-Free Brand. “Now it feels like pretty standard operating procedure for the best brands that have the best relationship with their communities.”

This shift has a large influence on the question of when you should hire an in-house designer versus a contractor to do your branding design.

Three reasons to go in-house

After leaving Red Hat in 2009, Grams helped start New Kind, a branding agency that provides contract design services mostly to tech companies. This new vantage point allowed him to see drawbacks and advantages for companies in outsourcing design versus bringing it in-house.

One of the key benefits of in-housing is the designer’s intimacy with the deeply held values and culture of the company, which makes their branding work feel more authentic.

“The internal agency’s power really reveals itself when people are deeply part of the mission of the company,” says Grams. “It comes through in the work. You get an amazing work product.”

The second benefit, especially for tech companies, is the depth of understanding in-house designers can develop about the company’s products and services. And the third is that a dedicated in-house designer can be directed as needed to respond to pressing priorities.

“You can have them stop on a dime,” says Grams. “Say a competitor comes out with a big launch and you need to have something out within 24 hours. You can work on it right away.”

These are real benefits, but they may not outweigh the advantages of contracting out your design to a high-quality agency.

The benefits of using an agency

A major benefit of an agency is that you can hire people with a level of expertise and variety of skills that would be out of reach for an in-house team. When Grams was at New Kind, for example, “we had a combined 30 years of experience with open-source branding work,” he says.

An agency can also provide the bandwidth to take on non-priority tasks such as a rebrand or a special series that in-house teams are often too work-strapped to take on.

Hiring an agency also has advantages in terms of flexibility and cost. The ability to customize the timing and amount of design work to your needs can be less expensive over time, even if each working hour is more expensive.

“You can ramp down and ramp up with an agency,” says Grams. “It’s impossible to do that with people… You’re paying that extra margin to have that flexibility.”

There’s a lot to think about, but Grams advises prioritizing the need for your design to be authentic to your culture… or not.

“I think the biggest thing is the power of your culture, frankly,” says Grams. “If you have a company where culture is not an asset, I would not build an in-house design team… But if you’re building a mission-driven organization or an organization where culture is super important, that’s where I would take an extra-long look at building an internal agency.”

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Google starts pulling unvetted Android apps that access call logs and SMS messages

Google is removing apps from Google Play that request permission to access call logs and SMS text message data but haven’t been manually vetted by Google staff.

The search and mobile giant said it is part of a move to cut down on apps that have access to sensitive calling and texting data.

Google said in October that Android apps will no longer be allowed to use the legacy permissions as part of a wider push for developers to use newer, more secure and privacy minded APIs. Many apps request access to call logs and texting data to verify two-factor authentication codes, for social sharing, or to replace the phone dialer. But Google acknowledged that this level of access can and has been abused by developers who misuse the permissions to gather sensitive data — or mishandle it altogether.

“Our new policy is designed to ensure that apps asking for these permissions need full and ongoing access to the sensitive data in order to accomplish the app’s primary use case, and that users will understand why this data would be required for the app to function,” wrote Paul Bankhead, Google’s director of product management for Google Play.

Any developer wanting to retain the ability to ask a user’s permission for calling and texting data has to fill out a permissions declaration.

Google will review the app and why it needs to retain access, and will weigh in several considerations, including why the developer is requesting access, the user benefit of the feature that’s requesting access and the risks associated with having access to call and texting data.

Bankhead conceded that under the new policy, some use cases will “no longer be allowed,” rendering some apps obsolete.

So far, tens of thousands of developers have already submitted new versions of their apps either removing the need to access call and texting permissions, Google said, or have submitted a permissions declaration.

Developers with a submitted declaration have until March 9 to receive approval or remove the permissions. In the meantime, Google has a full list of permitted use cases for the call log and text message permissions, as well as alternatives.

The last two years alone has seen several high-profile cases of Android apps or other services leaking or exposing call and text data. In late 2017, popular Android keyboard ai.type exposed a massive database of 31 million users, including 374 million phone numbers.

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