Pilates: Harmony between Mind and Body

Pilates highlights that physical health is an essential requirement for happiness. In its 10th Anniversary Videos, Proa Comunicación analyzes Pilates as a lifestyle that creates harmony between the mind and the body, elaborating as to what extent it can help improve our health and well-being.

 

Rafael Villaseca, former CEO of Gas Natural, will participate in the next PROA Comunicación Observatory

Rafael Villaseca, President of the Naturgy Foundation and former CEO of Gas Natural, will participate in a new edition of the PROA Communication Observatory titled ‘What Happens in the Spanish Electricity Sector‘. The Observatory will be held on Wednesday, April 10, 2019 at 09:00 AM at the Boston Consulting Group offices in Madrid (c / Alcalá 95).

Rafael Villaseca is an industrial engineer from the Polytechnic University of Catalonia (UPC) and has an MBA IESE. He was the CEO of Gas Natural Fenosa for thirteen years. He currently chairs the Naturgy Foundation (formerly Gas Natural Fenosa), serves as a director of Cementos Molins and VidaCaixa and is also a member of the Consultative Council of Foment del Treball Nacional and also member of the Spanish Chapter of the Club of Rome.

Among his recognitions, he received the 2010 Best CEO of the Year award by Platts Global Energy Awards, one of the most prestigious awards in the energy sector, which was awarded to him in New York. This award, which recognizes the professional career and the most recent achievements of its recipient, puts value on strategic vision, decision making and leadership, as well as the demonstration of clear vision, judgment and sufficient motivation by managers to pioneer transformation within their respective organizations.

The Observatory PROA Communication is conceived as a forum to welcome distinguished personalities of Spanish public life: politicians, businessmen, social leaders and respected intellectuals, among relevant figures in the entire country

The Observatory was born as an open meeting space, in which genuine, original and intellectual dialogue and discourse are fostered, a place to go to share ideas, not as a platform for scripted talking points and arguments akin to clichés.

10 Keys to Understanding Audiovisual Content Consumption in Spain

The Communication Companies and Markets Investigation Group (GIMEC) of the Faculty of Communication at the University of Navarra has presented a study titled “Identifiying the Drivers of  Consumption for Audiovisual Content of Fiction and Entertainment in the Spanish Market”. Their conclusions have been grouped in the following decalogue, explaining ten keys in understanding audiovisual content consumption in Spain:

 

1. CHANGES IN AUDIOVISUAL CONSUMPTION PATTERNS: Linear TV consumption has decreased while online and mobile viewing is increasing throughout all times of day, both in prime time as well as during day time. Although the peak hour of audiovisual consumption online coincides with that of traditional prime time television, the rest of the day is full of micro-moments suitable for viewing content. The audience recognizes that they see less conventional television due to the time they spend viewing online content. Therefore, audiovisual services on demand compete directly with linear television for viewers’ time. The audience measurement systems are in a process of transformation to better adapt to the new patterns of audiovisual consumption in a multi-device environment, in order to improve the reliability of their data.

Data shows that since 2012, the record year for linear television consumption with an average of 246 minutes spent per person per day, there has been a steady decline until 2018 when viewers spent 216 minutes on average per day (without counting guests), a figure similar to that of 15 years ago, when television penetration was signifacantly lower than today. On the other hand, 63.4% of users recognize that they see less conventional television as a result of the time they spend on online viewing (Source: Kantar media, GIMEC online questionnaire).

 

2. GENERATIONAL DIVISION: A flight of young people from linear television towards other more personalizable and interactive audio-visual platforms has been observed. The younger the audience, the fewer minutes they spend on average. The audience profile of most generalist, traditional television channels is aging and young targets show low a affinity towards them. In addition, there is no evidence of a boomerang effect, that is, the theory that suggests that today’s young audience will return to television as they grow older. It does not appear that the trend in audiovisual consumption is going to reverse itself. If this pattern of consumption is maintained, it is expected that the older audience of the near future will consume content in a very different way to that which older people do today.

The data: The “millennial” audience in 2018 watched almost an hour and a half less linear TV per day compared to the general audience, 134 minutes to be precise. In addition, 1 in 3 (almost 75%) noted that they see less television for the time they spend on online viewing. With regards to the youngest audience profile analyzed (14-24 years), almost 98% admitted to viewing online content regularly. Less than 20% of the audience across all Mediaset and Atresmedia channels belong to this target segment; and with regards to the public operator’s main channel (La 1), around 45% of its audience are viewers aged 65 and over (Source: GIMEC Online Questionnaire, 2016, Kantar Media).

 

3. CONTENT AND DEVICES: Within the multiplatform television context, fiction (movies and series) stands out as the most watched type of content online, with the computer as the most utilized viewing device, followed by the smartphone. Although there is no direct relationship between the type of content consumed and the device used, we can conclude that the more attention the content requires, the larger the screen size conceivably preferred. Smaller devices instead tend to be used for content that can be enjoyed in fragments and on-the-go.

The data: Around 90% of users use computers to view content online and almost 74% use smartphones. Almost 60% of respondents admitted to using smart TVs as traditional TVs without taking advantage of the Internet connection. This data is confirmed by the deferred viewing figures provided by Kantar Media, since in 2018 only 6 minutes a day of on demand consumption on smart TV sets. Movies (88.3%) and foreign series (74.3%) are the preferred genres, in addition to the “other” category (82.8%), which includes very diverse content such as YouTube videos or music videos (Source: GIMEC Online Questionnaire, 2016).

 

4. INTERACTIVITY: Using second screens while viewing content is a widespread practice, which reduces the quality of the attention given to a particular medium. At the same time, interactivity enhances the “engagement” of the audience and content viewing at the time of its broadcast. For this, users mostly make use the smart phone. The second screen is always smaller than the main one. Only when the main device is a tablet do they admit to not using a second screen preferentially. An interest in interacting with other people is the main motive that encouragess the use of second screens, especially through messaging applications such as WhatsApp or interacting through social networks. Although technology has evolved radically in recent decades, the needs that people seek to satisfy through the media have not changed substantially, as one of the main motivations is strengthening interpersonal ties.

The data: More than 60% of users regularly use a second screen when viewing online content. They indicate doing so always or often (GIMEC Online Questionnaire, 2016).

 

5. THE AUDIOVISUAL MARKET AND CONTENT OFFERING: The audiovisual content offering has multiplied and audiences have become more fragmented. However, there is a trend towards and globalization in audiovisual entertainment companies. Linear TV channels have added “catch-up TV” services for their own traditional programming (with the consolidation between 2011 and 2013 of platforms such as RTVE à la carte, Atresplayer or Mitele), converged packages of telecommunications companies with audiovisual services and numerous video-on-demand platforms such as Netflix, HBO, Amazon Prime Video or Sky, among others, whose boom in Spain starteed in 2015. All this has caused a continuous increase in investment in television programming globally, although it has stagnated in large markets such as North America or Western Europe. It is possible to describe the situation as an audiovisual oversupply driven by OTT platforms, which have intensified phenomena such as binge watching. Thus, the way of broadcasting and consuming content such as series has changed dramatically, going from premiering individual episodes with a certain periodicity (akin to traditional TV) to the simultaneous release of entire seasons. The marketing system has also been weakened by windows and markets, since these services tend to release their content on their platform at the same time in all countries worldwide. This practice implies a decisive change in the management of audiovisual rights.

The data: In 2017, 145,000 million dollars were invested in television programming worldwide, of which 13 billion corresponded to two of the main OTT platforms: Netflix and Amazon Prime Video (Source: MipTV-mipcom, 2018).

6. THE INDUSTRY AND AUDIOVISUAL PRODUCTION: The increase in investment in television programming translates into a greater activity of audiovisual production. The new audiovisual services become potential customers for producers, who no longer only depend on traditional television operators. Although large companies in audiovisual production and distribution constitute a large part of the production, opportunities can also arise for local producers, who can directly offer their content to international platforms with a global audience and without the need to resort to distributors for each market. In this context the figure of the showrunner gains relevance, a scriptwriter-executive producer who is at the core of the creative-industry process. In addition, new producers of audiovisual content on the internet have been born (Youtubers influencers), which establish strong connections with their followers. Trust in them makes them powerful prescribers, and therefore good agents relevant to brands (advertisers) and their investments in advertising. The proliferation of producers with such a profile has in turn led to the emergence of a new intermediary agent dedicated to content management and representation, called Multichannel Networks (MCN).

The data: Most budgets of new Video On demand services are not intended for original content creation, but rather for the acquisition of content already produced. For example, Netflix devotes almost three quarters of its budget to buy third-party content, and Amazon 90%. Of the investment in original production, most of it goes to fiction, but more and more to entertainment programs, especially content classified as factual. For example, in 2017, Netflix premiered 84 titles of non-scripted entertainment programs of its own production (Source: MipTV-mipcom, 2018).

 

7. THE BUSINESS MODEL: The television subscription model is growing at the same time pay-per-view models decrease in prevalence, surpassing open television in revenues. There is evidence of an increase in the consumption of paid content in Spain, including the youngest sector of the population. In turn, the decrease in linear television consumption has not been accompanied by a proportional reduction in advertising revenues, although there has been stagnation, a circumstance in which external factors related to the economic context have also been affected. However, television continues to stand out as the destination of most media advertising investment. The large private television operators reap almost all television revenues for advertising.

The data: In 2017, paid television (2,152.69 million euros) exceeded the advertising revenue of free-to-air television (1,831.43 million) ), a trend that began a year earlier. In any case, of the 5,355 million in advertising investments in the media, 40% are destined for television.  85% of this figure is paid to Mediaset Spain and Atresmedia. One in every three households pays to view content (around 35%), with an audience close to 20 million viewers (Source: CNMC, 2018).

8. PERCEPTION OF QUALITY: The ability to entertain is the aspect that audiences associate to the largest extent to programming quality. The determining factor, one which audience gratification depends on above all is the quality of content offered, more important than the quantity of content offered or technical issues. The perception of television quality has not changed substantially in recent years, despite the growth of supply and technological improvements. The perceived quality of the news is what affects in a more decisive way the assessment made by the audience of television channels. With regards to fictional series, the aspects that most influence the perception of quality are the dialogue, the plot, the characters and the actors. In the case of entertainment programs, presenters and sets stand out. Both with fiction and entertainment TV,  artistic staff occupy a decisive place in the perception of quality, revealing the existence of a certain star system in Spanish television.

The data: The perceived quality of TV in Spain fell from 3.32 out of 5 in 2008 to 3.17 in 2016. The figures vary depending on the educational level and age of the audience. For example, in 2016 the perceived quality was 3.35 out of 5 for those who only had primary education, but dropped to 3.14 for those who had secondary education, to 2.92 if they held a diploma and 2.82 for respondents who were university graduates. That same year, those over 65 rated TV quality at 3.34 out of 5, while those between 25 and 44 years -the least satisfied age group- gave a score of 2.86 (Source: GIMEC, Telephone survey).

9. TECHNOLOGICAL INNOVATION AND TELEVISION: Technology stands out as a disruptive and decisive factor in the configuration of the new model of audiovisual entertainment. Thus, the application of Artificial Intelligence and Big Data to improve the personalization of services, the user experience and the accessibility of the content are key. However, users still do not perceive that the automatic recommendations of these systems are fully satisfactory, since they show greater confidence in personal recommendations. Automatic recommendations are more effective when the content catalog is broad and the user is faithful to the platform. In any case, recommendations based on algorithms are revealed as a powerful marketing strategy. In the near future, Augmented Reality and Virtual Reality will also play a relevant role in TV, just as it gained relevance in other sectors such as videogames or e-sports.

10. CHALLENGES OF THE TELEVISION SECTOR: TV operators are immersed in a process of strategic restructuring and redefinition of their product offering, their business model and their identity. They have become global audiovisual entertainment companies with the aim of offering each content on the appropriate screen and reaching each target at the appropriate time and device. They also face notable uncertainties from the incursion of technological giants in the audiovisual sector such as Apple, Google, Facebook or Amazon. In this context, traditional television operators have begun to develop integration strategies and alliances, creating joint platforms to compete from a position of greater strength with new agents. For example, this is the case in Spain with the “Loves” TV service. An exhaustive knowledge of the audience stands out as a key factor to guarantee the success of audiovisual products, and one of the main axes around which the television companies should pivot in terms of thier activities and development. In any case, and despite the revolution that the sector is experiencing, TV retains its prominent position and influence in the media landscape. It continues to be the familiar medium of reference in a multi-screen ecosystem of which it is a part of, especially relevant for content such as live event streaming.

The 2019 Oscars: the Communication and Rectification of an Academy Intoxicated of Itself

Not necessarily everything that entails the Oscars has a cinematographic notion. Success stories, failures, discourses of protest or on injustices are a necessary part of the entire Oscars Gala. Its 91st edition was destined to make history, but it turned its gaze to champion a seemingly obsolete stagnation, although firmly rooted in the worn structure of an Academy Awards as predictable as it is indecipherable. Clumsy is the effort which tried to change this.

Five milestones showed a willingness to change by the Academy – or rather tried to show. However, the start of the communication campaign was, without a doubt, unsuccessful, rétro-planning doomed to fail from the very first decision making steps. In the middle of summer, on August 8, the Academy announced the creation of a new category that joined an already inflated but obligatory lineup of awards, the prize for the best popular film, a deviation from the conventional to connect more with an audience that had dwindled in the last five years. But precisely the same audience that had endowed the Oscars with its prominence was also the one to disapprove of an addition more fitting for the MTV Awards, and on September 6 the organization backtracked on its decision. Its first great announcement, also its first rectification. It’s already August and September, and such news simmers in the public discourse just several months before the Gala. A cycle of action and reaction, resulting in an uneasy audience late in the summer.

Fluctuation in the Oscars’ viewership in recent years

The second feat was the appointment of comedian Kevin Hart as host. Two days later, on December 7, a homophobic joke he posted on Twitter in 2015 ended his presenter status, leaving the Academy significantly damaged. Weeks of rumors, threats of rectification by comedian, ended up delaying a Gala that finally was decided with a format absent of a particular host.

The third feat was announcing that, of the five nominees for Best Original Song, only two would be played (‘Shallow’, from A star is born and ‘All the stars’, from Black Panther), which sparked another controversy that had to be resolved by announcing, just a week later, that in the end all songs would be performed on stage. Despite the rectification, logistical problems prevented Kendrick Lamar and SZA from playing ‘All the Stars’.

The fourth milestone concerned actors and actresses, doing away with the tradition of delivering this year’s cast awards by last year’s winners. Judging by the history, it was unfair to deprive Gary Oldman, Allison Janney, Frances McDormand and Sam Rockwell the honor of delivering the awards they themselves won a year earlier. Once again, this was amended, although such rectification was delayed until the 20th of February.

The fifth and most absurd was the idea that, with the intention to lighten the Gala, four categories would not be televised: Cinematography, Film Editing, Live Action Short and Makeup and Hairstyling. In the most objective analysis, regardless of what the four categories chosen were, the angry protest of various pundits and heavyweights eager to make the headlines by criticizing this decision would have sufficed to knock this ruling down. However, it was even better because the four categories were of such significance that it inspired Cuarón, winner of the Oscar for Best Director, to sharply criticize the organization, stating: “In the history of cinema, there are masterpieces without sound, without color, without plot, without actors or without music, there hasn’t been a single film in existence without photography and without montage.” Eight days before the ceremony, the Academy is again rectified for the fifth time under pressure from illustrious figures such as Martin Scorsese, Robert De Niro, Brad Pitt, George Clooney and Quentin Tarantino, among others.

Thus, with five incredible exploits of communication and subsequent rectification, the Gala itself almost seemed like the least of it all. In fact, there can’t possibly be a thrill-inducing chronicle to a ceremony condemned to be, per sé, eternally boring. However, the excitement that comes with each statuette is always in crescendo, and, as is every year, the musical pieces do serve their purpose … but it is never enough. Truly remarkable was the interpretation of ‘Shallow’, the winning song of the night which presented Bradley Cooper as a notable prelude to one of the greatest stars: Lady Gaga. Paradoxically, he embodied the Oscar spirit perfectly; one of excitement and euphoria despite such certainty.

And as a certainty, love.  Love for the classic, for the simple, for a pleasant, emotional yet modest Christmas home. Love for America, love for Green Book. Peter Farelly, director of the motion picture awarded with the illustrious prize, said: “it is about loving each other despite our differences and discovering the truth about who we are … because we are the same people”. And indeed, the Academy is still made up of the same people, still rigid and inflexible, and while this continues, will deprive everyone of the chance to witness for the umpteenth consecutive year, the best film of the year being awarded deservingly.  This year, by a marked difference, that film was Roma.

The result was a crushing simplicity, both demolishing and empty. A dullness that lasted just over three hours compared to four last year, one of the galas with the smallest audience in recent history. Viewership data shows moderate improvement (29.6 million compared to 26.5 last year), enough to stop the bleeding from recent years and to bolster an Academy already drunk off itself. The price? Reputational bankruptcy perhaps, after five rectifications and after denying the grand prize to Roma due to a supposed ineligibility of the film. Farelly, Green Book and inflexibility; supporting actor, original script and film, in short, controversial aftermath.

The Green Book’s cast & crew receive the Oscar for Best Picture

Timeline of the Oscars’ Audience Revival Efforts 

August 8 – Creation of Best Popular Film category announced

September 6 – Academy confirms it will not move forward with new category

December 5 – The Academy announces Kevin Hart’s selection as the Oscars’ host

December 7 – Kevin Hart renounces hosting the Gala amid controversy after his homophobic tweets in 2015 were made public

January 24 – The Academy announces that only two of the 5 songs nominated for Best Song will be performed at the ceremony.

January 31 – The Academy announces that all songs nominated for Best Song will be played at the Gala.

February 5 – The Academy decides to break the tradition of giving the winners of the previous year the honor of presenting the new awardees with the award.  Allison Janney “It breaks my heart.”

February 11 – The Academy announces that to limit the Gala’s total duration, the categories of Cinematography, Film Editing, Live Action Short and Makeup and Hairstyling will be awarded during commercial breaks and not broadcast live.

February 16 – The Academy rectifies and confirms after receiving a joint communiqué (signed by Martin Scorsese, Quentin Tarantino, George Clooney, Brad Pitt and Robert De Niro, among others), that the four categories initially omitted will finally be broadcast live.

February 20 – The Academy rectifies and confirms once more that the four actors and actresses awarded last year will present the awards for Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress.

February 24 – ‘Green Book’ is distinguished with the award of Best Picture.



Álvaro Ramos Izquierdo
Senior Communications Consultant, aficionado of the eminently artistic essence of film and, nonetheless, a mythomaniac of the Oscars.

Proa Comunicación collaborates in the organization of the III Madrid SnowZone Championship for journalists

Madrid SnowZone, one of the largest covered snow tracks in the world and the only one in Spain, held the 3rd Madrid SnowZone Championship for journalists on Sunday 22nd April. The third edition has consolidated an essential sports event for the media, which counted on the representation of more than 50 journalists. A total of 26 media enrolled in the event, among which Telecinco, BRAND, RTVE, Cadena SER, Europa Press, Servimedia, Hearst, RNE, Expansión, Esdiario, EFE, Unika FM, Crossing, Tricksnowboard, Cinco días, Cadena Iberian Radio, Nevasport and Travesía.

Pablo Egea (MARCA), in the ski competition, and Carlos Marinho (Unika FM), in the modality of snowboard, were the winners of some tests in which the traditional giant mini slalom was replaced by a small ski / snow circuit cross – in which the participants could measure themselves in timed descends – that served to honor the medal of Regino Hernández. On behalf of the RFEDI, Laro Herrero, 10 times champion of Spain and member of the Olympic team in Sochi 2014 and Pyeongchang 2018 attended. Borja Fadón (Esdiario) and Ismael Díaz (RTVE) completed the podium in the skiing modality. Jorge Gala Díez (RTVE) and Sebastián Méndez (Tricksnowboard) did it in snow. In addition, all the winners received medals, feeling elite athletes on an unforgettable day.

SKI

1. Pablo Egea (MARCA) 1ª manga: 16,54 2ª manga: 16,1 TOTAL: 32,64
2. Borja Fadón (Esdiario) 1ª manga: 16,92 2ª manga: 16,28 TOTAL: 33,2
3. Ismael Díaz (RTVE) 1ª manga: 17,97 2ª manga: 17,08 TOTAL: 35,05

SNOW

1. Carlos Marinho (UnikaFM) 1ª manga: 20,91 2ª manga: 19,74 TOTAL: 40,65
2. Jorge Gala (RTVE) 1ª manga: 22,03 2ª manga: 20,9 TOTAL: 42,93
3. Sebastián Méndez (Tricksnowboard) 1ª manga: 22,85 2ª manga: 21,69 TOTAL: 44,54

The technical management of the championship was carried out by the Tecalp club, a Madrid high level skiing team that managed the refereeing, the chrono and the clinic. In addition, Tecalp will give a competition training for the first three classifieds of skiing, while Toto Chamarro, teacher and rider of Team Madrid SnowZone, will give a master class of freestyle for the first three classifieds of snow on the indoor track of Xanadu.

The winners of the two modalities received a weekend trip to Boí Taull with a ski pass for 2 people thanks to esquiades.com, the website for ski, adventure and relaxation offers in Andorra, the Pyrenees, the Sierra Nevada, the Alps, etc. In addition, they will have the opportunity to receive a masterclass from the National Snow Sports Team, and they have an annual pass for Madrid SnowZone. On the other hand, the second and third of each modality received as a prize a masterclass of the Tecalp Club (skiing mode), and Toto Chamarro (snow), guinness railing 2008 record, plus an annual pass for Madrid SnowZone.

The runners up received an RS Roslain Sport watch, while the third ones were awarded an RS Roslain Sport bracelet. In addition to the three winners of each modality, this edition had a special award in recognition of the best female score, Carolina del Río (Nevasport), which received an RS Roslain Sport watch, a masterclass with Tecalp and an annual Madrid SnowZone pass .

All the participants of the Championship received a welcome pack (in wetbag format) that included: thermal shirt, bracelet balance RS Roslain Sport, liquid wax for skis Nzero 100% ecological (best ecological product of the world of snow at the ISPO 2017 fair), cream ladival urban flow FPS50 and 4 passes of 2h with equipment for Madrid SnowZone. In addition, among all the participants, an experience pack with two Cardinal glasses, a Salomon ski boots of the 2019 season, some Burton snowboard boots of the 2019 season, some snowboard bindings of the SP brand -model Fastec Core- were offered. for The White Days, and an annual pass for Madrid SnowZone.

Javier Villar, general director of Madrid SnowZone, wanted to highlight the transformation of the track to host this edition: “to consolidate the Championship as a benchmark among journalists we thought it necessary to modify the circuit and surprise the more than 50 registered who wanted to join us ” For its part, María González, marketing director of Madrid SnowZone, said that “one more year, the sponsors have been key so that we can reward the participants as they deserved. This year we have been able to win more prizes. “

Jaume Giró highlights the value of reputation in Actualidad Económica

Jaume Giró, president of the ‘Think-Tank’ Corporate Excellence, highlight in Economic News the importance of reputation in corporations. “In these years of the new century, where digital communication has burst forth and with it this jungle of information, it is often difficult to distinguish good information. In these times when fake news appear with more notoriety than ever, many people give credibility to things that do not deserve confidence. That’s why two issues are so important. The first is to manage the brand well, the reputation of a company, because it is the brand that sets us apart from other competitors in a market where products and services tend to be almost the same whatever the sector, banking, energy services and journalism, for example. The second is that the professional who is in charge of these matters must be able to intelligently read the social context, “explains Giró. “Beyond the economic sense of the operation, there is always a reading within society. It’s not just about economic profitability “, rivets.

In the same vein Angel Alloza, CEO of Corporate Excelllence, says that “in the past, this differentiation was in the ability to launch products and services objectively superior to those of the competition, which led to the proliferation of a large number of product brands. Today, however, the process of building a corporate brand is much more complex, because it is not based on rational attributes or benefits, but is differentiated from deeper elements of identity: who are you as a company, how are you, why you exist and do what you do. “

 

Cantabria prepares to host the World Snowshoe Championship

El Campeonato del Mundo de Raquetas de Nieve tendrá lugar por primera vez en España entre el 2 y el 4 de marzo. El teleférico de Fuente Dé, situado en la comarca de Liébana dentro del Parque Nacional de los Picos de Europa, será testigo de un espectáculo único en un paraje donde se realizan numerosas competiciones deportivas tanto estivales como invernales. Read more