Android tablet gains in market share does not seem to be translating into dollars for publishers, at least not yetPosted: October 26, 2013
The common wisdom among publishers and digital publishing solution providers has been that when developing new tablet editions one should develop for iOS first, then Android and other platforms. The reason at first was simply that Apple was first with a popular tablet, and their sales dwarfed the competition. But as more Android, and then Kindle Fire, tablets appeared in the market the reason shifted somewhat: publishers were still seeing far more sales, more paid subscriptions from iPad owners than from owners of other tablets.
The theory for why this was true was that Apple had the top end of the market, first adopters, and those with more disposable income. Apple also had a system that allowed for easy purchases – and they also had all those credit cards on file.
But things have changed in the past year or so. Amazon.com launched the Kindle Fire for the holiday season and along with the tablet came a whole infrastructure that resembled Apple’s. Just as iPad owners were used to buying music and movies from iTunes, Kindle Fire owners were used to buying books and other goods from Amazon.com.
Nonetheless, there remains big differences in the way the various platforms are used and the kinds of publications seen inside the app stores. Replica editions are everywhere, but interactive magazines are more often found in Apple’s ecosystem. Many new tablet magazine vendors continue to choose to launch their solutions first for iOS and only later for Android and Windows. TNM’s own survey of digital publishing platform companies shows that close to 25 percent still do not provide solutions that will result in an app for the Google Play store – and close to 75 percent don’t service the Windows environment.
But surely we are starting to see this change, right? With so many new Kindle tablets being sold, with the soon to be released Kindle Fire HDX around the corner, are we seeing, or at least anticipating a change to the market?
Photo by Yutaka Tsutano (used under Creative Commons license)
“What we see is that there is still very much a stickiness to the iOS platform,” Alex Gruntsev, Chief Innovation Officer, NewspaperDirect, said.
Gruntsev said that the iPad reached people who were early adopters. He sees Android tablets, though, as being in the same category as the iPad, but that users remain more price sensitive.
“Amazon is moving the needle now,” said Graham Farrar of zuuka Group, the maker of the iStoryTime apps and bookstore app. “Which is not a surprise to me, if there is one Amazon know how to do is run a store.”
“As the Kindle Fire, and I think the Kindle Fire HDX, will accelerate this (growth),” Farrar said, though “it’s not iOS money yet.”
“When the Kindle Fire was released about 18 months ago I think that spurred additional uses of devices,” said Lynly Schambers, Group Product Marketing Manager, Digital Publishing Suite, Adobe, “because they were that much more affordable and accessible to people.”
“What we’ve seen, when we look at the growth of the Digital Publishing Suite business, we’ve seen the number of downloads really accelerate, especially over the past six to 12 months,” Schambers said.
Mike Haney of Mag+ said he thinks there may be regional differences, as well.
“I have read that there are real regional differences here—where Android is much more common in Europe and other parts of the world, users tend to spend more,” Haney said. “I hear that many of our customers are having good success on the Kindle, where people are more accustomed to buying content, particularly content to read.”
“I don’t know how soon, but the trend seems to be that like app spending everywhere, spending on Android is picking up, not slowing down. Google has done some nice work in improving the layout and features of its app store, and as more of those Android users—who may not have consciously purchased an Android phone, but rather took the least expensive smartphone their carrier offered—”discover” apps on their device, I think we’ll see spending steadily increasing, even if the price per app or per in-app purchase is driven down,” Haney said.
“We are seeing an increase in the number of people that are willing to pay for content, especially when we look at that year over year,” Adobe’s Schambers said. “Just in the past 12 months we’ve seen the number of digital subscriptions, paid for digital subscription increase almost three times over the past 12 months.”
For Gruntsev from NewspaperDirect, he sees a big difference between what readers are willing to pay for on tablets, and online.
“People are not willing to pay for repurposed web content,” Gruntsev said. “The moment they see replica for some reason it triggers comparison to the print.” (And hence a willingness to pay.)
For Haney from Mag+ he still puts the emphasis on the need to think of the new digital publications fresh.
“Our advice is unequivocally that you need to think of your presence on a tablet or smartphone app as a new product, not just a version of an existing product,” Haney said. “It is a unique ecosystem, with unique usage patterns and unique user needs.”
“If you run a monthly magazine and your publisher asks you to make a book, you wouldn’t just slap a hard cover on the July issue and call it done, would you?”
Haney also says that publishers need to understand that on tablet devices, as elsewhere, they are competing for the attention of the user. “Your replica that you clearly put no effort into is not going to lure me away from Zite or Facebook. ut if you give me a compelling bundle of content that is engaging and easy to consume and fits what I do with that device — Atlantic Weekly being a great example — then you will become part of my app habit.”
Chris Llewellyn, president and CEO of FIPP – the worldwide magazine media association, gives five of the many reasons you should attend the FIPP Congress from 23-25 September 2013 in Rome, Italy.
Register to attend today at www.fippcongress.com.
1. Learn and build long-lasting international relationships:
I went to my first FIPP congress in 1987 in Paris as a bright, thrusting young executive, as the research director for Emap in London, working on new project developments. I met really clever people from around the world talking about case studies and magazine industry trends, and I discovered two things. One was that the presentations themselves really opened your eyes. For a national publisher suddenly to realize that there was a bigger world out there was very exciting. The second thing was unexpected – I realized that the congress was a great networking event. I met people there that I’ve stayed in touch with for a long, long time.
2. Meet influencers. Do business:
The FIPP World Magazine Congress is the place where the industry’s most important people gather, and the programme addresses the hottest topics in the magazine media industry, bearing in mind that the reason FIPP exists is to keep members informed so they can create better businesses. At the World Magazine Congress there will also be conversations that lead to business opportunities. When I was running around the world with FHM, I went to the congress in Hamburg in 1999, and my colleague Simon Greaves and I did seven deals. That element of doing business has always been there. The beauty of the congress is that it’s the decision-makers who go. You’re not talking to people who have to go back and get permission. I fully expect that more deals will be done.
3. Consider the hottest industry trends:
I’ve noticed a significant shift in the last six to nine months, in that the way the consumer is demanding digital content is moving faster than some publishers expected it to move. The analogue world, the print world, still has opportunities and magazines are still being launched. But the trend that I don’t think all publishers have realized is the speed of change – the consumer wants content in a digital form. Furthermore, the Congress will also host a commercial exhibition, where you will learn from and be able to engage with leading industry service providers from around the world (note: the exhibition area is already sold out!).
4. Learn with and from B2B publishers:
B2B publishers saw the digital train coming. Consumer publishers have got a lot to learn from the B2B experience. That’s why at the Rome conference we’ve introduced more sessions to allow more B2B experiences to be discussed. The message I want to get over is, our digital future is no longer in the future – it’s our digital present. If you’re not experimenting with digital now, you’re too late.
5. It’s Rome!
Rome is a tremendously popular destination. I go around the world speaking to people, and they’re very excited about going there. The social side of the conference will be set against the background of the eternal city. What’s there not to like?
To learn more about the speakers, programme, sponsors and exhibitors and glamorous Congress opening and closing gala dinners – or to register – go to www.fippcongress.com. Or contact FIPP’s event manager Claire Jones for more information on this unforgettable event.
Conde Nast is the first magazine publisher to collaborate with Amazon on this type of service, a move that will simplify and eventually save money on its subscription process and give it access to a huge new customer base. Currently, subscriptions involve direct mail and stacks of magazine insert cards.
Amazon will allow consumers to purchase, manage and renew their subscriptions for seven of its top titles under a new “all access” plan that gives them both print and digital editions of select magazines using their Amazon accounts.
For the time being, readers can still subscribe using the old paper-based method, but the idea is that Amazon will eventually handle all Conde Nast’s magazine subscriptions if the arrangement is successful.
For Amazon, it marks a new step into handling content, following forays into film and lending books. It gives the online retailer a chance to offer subscriptions to its more than 200 million customers and cross-sell goods to Conde Nast subscribers with the easy ‘one-click’ purchasing system.
“It’s part of the Amazon initiative to improve its overall content portfolio,” said R.J. Hottovy, an analyst at Morningstar. “It’s a matter of getting more people to Amazon. It entices them to make more purchases elsewhere on Amazon, which should have some revenue and margin improvement opportunities.”
But it is just one piece of Amazon’s ever-growing business, and likely not the lynchpin of any grand new strategy.
“It’s a pretty small agreement in the grand scheme of things for Amazon,” said Aaron Kessler at Raymond James. “But it’s definitely a positive if Amazon can become the backbone for more digital subscriptions.”
Analysts said it would make sense for Amazon to target other publishers’ subscription services, but the company declined to give details about its plans.
An obvious target would The Washington Post, which Amazon Chief Executive Jeff Bezos bought for $250 million earlier this month.
Conde Nast will offer readers a combined $6 introductory rate for six months of both the online and print versions of one of the following magazines: Vogue, Glamour, Bon Appetit, Lucky, Golf Digest, Vanity Fair and Wired.
It plans to add its other 11 consumer titles, including the New Yorker, later in the year.
Readers can still subscribe the old way through Conde Nast, and can also subscribe online through existing partner Apple Inc.
It will introduce Conde Nast to new readers through Amazon’s massive customer base.
“We are using the partnership with Amazon to make purchasing and renewing subscriptions as easy as humanly possible,” Bob Sauerberg, president of Conde Nast, said in an interview last Wednesday.
“We want to go from selling print subscriptions to selling access to all our content,” he added, referring to the introductory offer that allows readers to get online and print subscriptions bundled together for individual titles.
Currently, online readers count for only about 4 percent of Conde Nast’s total circulation of about 18.5 million copies, according to the Alliance for Audited Media. That suggests the glossy magazine as a physical object is not likely to disappear any time soon.
“Magazines have real deep value in both formats,” said Russ Grandinetti, vice president of Kindle Content at Amazon. “A lot of consumers want to keep one foot in both camps.”
Sauerberg and Grandinetti started to talk about a potential partnership over breakfast during the magazine trade organization MPA’s annual conference last year.
“For years we have worked hard at trying to make buying anything really easy,” Grandinetti said. “Even though people really love magazines, I would not say they love the process of maintaining their subscription.”
Increasing digital copies is a key part of the magazine’s industry future success as more people choose to read on smartphones and tablets, while advertisers are placing more dollars toward digital displays at the expense of print.
At the same time, mobile device makers have a huge appetite for media content, including magazines, newspapers and TV shows to spur people to buy tablets and smartphones.
Bezos’ move to buy The Washington Post ignited speculation that he would transform the paper into a streaming news service delivered to tablets, computers and phones. Grandinetti would not comment on any plans involving the Post, adding that the paper is solely under Bezos’ ownership.
Even as tech companies court publishers, media companies have had an uneasy relationship with Silicon Valley since watching the music industry dwindle as people flocked to buy songs on iTunes for much less than the price of a CD.
For example, Time Inc, a division of Time Warner Inc, the largest magazine publisher in the United States, was one of the last holdouts to join Apple’s newsstand. The standoff was because the world’s largest technology company did not want to share subscriber data with the publisher of Sports Illustrated and People.
Subscriber information is critical to magazine publishers, who use it to give advertisers a better picture about their readers.
Conde Nast is usually one of the first to wade into the water with innovations. For instance, it was the first to offer subscriptions through Apple’s newsstand with the New Yorker.
“We really try and connect with the tech companies on the West Coast,” Sauerberg said. “We know what we’re good at and they know what they are good at.”
In the agreement with Amazon, Sauerberg said Amazon is providing the same consumer data Conde Nast would get when a reader subscribes directly through the company.
Amazon is taking a cut of the subscription revenue, although both companies declined to provide details. In other arrangements, Amazon typically takes 30 percent.
You know you can blog with Tumblr or WordPress, or self-publish a book on Kindle or iBooks. But what’s next for the publisher who wants to sell a mobile-native magazine, or the blogger who’s sick of messing with plugins?
Here are six startups that offer new options to creators. Three of them — Periodical, 29th Street Publishing and Creatavist — let you create and sell mobile-friendly magazines, ebooks and newsletters; the other three — Postach.io, Ghost and Glipho — aim to let you blog in a new way.
All of the companies featured here launched in the past few months (or, in Ghost’s case, will launch later this summer), so they’re still working out some quirks and rolling out new features. What they have in common, though, is that they’re all trying to make writing and publishing easier and better. Check them out and let us know what you think (and which startups we should add to our list).
Periodical: Create and sell digital magazines
What you can do with it: Periodical, which allows users to create and sell publications — magazines, newsletters and so on — for a variety of platforms including Apple’s Newsstand, embraces Craig Mod’s model of subcompact publishing: the idea that digital publishing should be simple and that the works created should be very easy to read on smartphones and tablets. Cofounder Sean Stevens told me that most users of the platform use The Magazine, originally created by Instapaper founder Marco Arment, as a model.
What we like: It’s easy and relatively inexpensive to sell content through your own branded app.
Background and funding: Periodical, which is six months old, is one of the startups in Los Angeles-based incubator Launchpad LA, through which it’s received $100,000 in seed funding. Cofounders David Mancherje, Shahruz Shaukat and Stevens previously worked together at comedy podcast network Earwolf.
Platforms supported: Users create their publication — which can include text, photos and videos — on Periodical’s site, set the price and then publish it on the web or as an iOS app; the platform also supports delivery to Kindle. Android support is coming soon.
Number of users: N/A.
Cost: Free to create a web-only publication; $29/year for Kindle delivery; $99/year to create a custom-branded iOS app (the pricing will be the same for Android). In addition, Periodical takes a cut of a publication’s subscription revenue: 20 percent for subscriptions through the web, Kindle and Android, and 9 percent for subscriptions through Apple’s Newsstand (on top of the 30 percent fee that Apple charges).
Availability: In beta; get on the invite list here.
What’s next: Android support; more discovery features; a marketplace for Periodical titles.
Atavist’s Creatavist: Publish multimedia stories
What you can do with it: Create multimedia stories and publish them as apps, ebooks and for the web.
What we like: You can create a one-time project and push it out to the world. You don’t have to commit to publishing regularly or on a set schedule.
Background and funding: Creatavist, which launched in April, is the software that Atavist originally developed in order to publish its own e-singles. Atavist has raised $1.5 million in its first funding round and an undisclosed amount in a second round from Scott Rudin and Barry Diller’s IAC. (Atavist is providing the technology for Diller and Rudin’s yet-to-launch digital publishing house.)
Platforms supported: Web, iOS. Users can also export their works as ebooks and upload them to digital bookstores like Kindle.
Number of users: N/A, but companies working with Creatavist so far include NPR and corporations like the Four Seasons. Atavist CEO Evan Ratliff told me that a lot of photographers are also using the platform.
Cost: Free to create one story and publish it on the web and in Creatavist’s iOS app; $10 per month to create unlimited stories and publish them on the web and in Creatavist’s iOS app. An option to publish stories through your own branded iOS app and on the web is coming soon, with pricing starting at $250 per month.
Availability: Available now.
What’s next: Within the month, users will be able to sell their works through Creatavist’s app (right now, they can only give them away for free). Atavist will take a cut of the sales; that amount has yet to be determined.
29th Street Publishing: Publish mobile magazines
What you can do with it: Publish and sell web and iOS magazines as individual apps. 29th Street Publishing, like Periodical, embraces the subcompact publishing model.
What we like: 29th Street Publishing isn’t open to everyone, but because the company closely vets the publishers it works with, you know as a reader that you are getting high-quality content. And the vetting process forces publishers to come up with concrete publication plans. 29th Street also provides publishers with a custom-built iOS analytics platform.
Background and funding: The NYC-based 29th Street Publishing was cofounded by former Six Apart employees David Jacobs and Natalie Podrazik. Editorial director Blake Eskin was previously web editor at The New Yorker.
Platforms supported: iOS.
Number of users: 29th Street Publishing chooses which publishers to work with. Among the 12 publications currently available are The Awl’s Weekend Companion, New York Review of Books editor Ann Kjellberg’s Little Star Weekly, and Maura Johnston’s Maura Magazine.
Cost: 29th Street helps develop, design and build magazine apps for free and then takes a revenue share of subscriptions. It also licenses its CMS, app and analytics platform to companies that don’t want to do a revenue share or that want to put out a free magazine (like ProPublica).
Availability: It’s not open to everyone; see above. “For us to work with someone, we want to make sure that their work makes sense for our platform, that they have an audience (or they have a clearly defined potential audience), and that we believe that they are going to make good on their commitment to subscribers,” cofounder and CEO Jacobs told me. “Over time, we’re going to open the platform up much more broadly, but we’re being selective for now as we focus on the product.”
What’s next: Maura Magazine will launch a web version this month, and Android versions of some titles are coming this fall. 29th Street even plans to experiment with print.
Ghost: Open-source, crowdfunded blogging platform
What you’ll be able to do with it: Publish a blog in a simple and elegant, open-source platform that provides more control over content than Tumblr but is simpler than WordPress. “It differentiates from Tumblr in being open source — which means you own your data, and you can control every part of the program (neither of which you can do with Tumblr),” founder John O’Nolan, a former WordPress exec, told me. “It differentiates from WordPress in being for bloggers. WordPress is a big complicated content management system that can power all sorts of websites. Ghost is just for blogs.”
What we like: The platform looks beautiful and has a one-stop dashboard that combines your blog’s traffic and performance data in one place.
Background and funding: Founded by former WordPress exec John O’Nolan, Ghost raised £196,362 (USD $298,627) in a successful Kickstarter campaign this spring (far beyond its £25,000 goal). Ghost will operate as a nonprofit software foundation.
Platforms supported: Web; responsive design will work on all devices.
Number of users: Ghost hasn’t launched yet, but 5,236 people backed its Kickstarter campaign.
Cost: Free; a paid hosted service will be available later this year.
Availability: Ghost should be available by the end of the summer.
Postach.io: Blog via Evernote
What you can do with it: Publish notes created in Evernote to a personal blog. “People who use Evernote are very passionate about Evernote,” cofounder Shawn Adrian told me, noting that the company’s seen a bunch of users switch over from Tumblr.
What we like: The fact that you can make a “curated” blog with all types of content — recipes, articles and so on — that you’ve saved to Evernote.
Background and funding: Two-month-old Postach.io is based in Nanaimo, British Columbia. Cofounders Shawn Adrian and Gavin Vickery previously built QuoteRobot, which is proposal and invoice-creating software for web designers, and Adrian describes that as their “bread and butter app.” They’ve received $200,000 in funding from Vancouver’s Full Stack Ventures. Evernote reached out after seeing Postach.io on Hacker News, and it’s a contestant in the 2013 Evernote Devcup.
Platforms supported: Web. Users tag notes for Postach.io — which can include text, audio, video, images and links, as well as Evernote Food posts and web clips — in Evernote and they’re automatically published to a blog. Users can also import their Tumblr to their Postach.io blog.
Number of users: 3,500.
Cost: Free, with a premium version planned.
Availability: In beta, available to anyone.
What’s next: Tighter integration with Evernote, pro themes, more sharing and discovery features, a premium version. Adrian said that the company is also talking with Evernote about referral fees when Postach.io users upgrade to Evernote Premium.
Glipho: Blog with built-in social features
What you can do with it: Create a blog, then publicize that blog through Glipho’s built-in social network. Users rank and highlight content, some of which is spotlighted on Glipho’s homepage. SEO tools are built in, and users can follow writers and topics they’re interested in.
What we like: The curation and recommendations provide a service for readers as well as writers.
Background and funding: The London-based Glipho launched its public beta in March and has 6 employees in the U.K. and one in the U.S.; it’s hiring three more employees in the U.S. to open a Boston-based office. Founder and CEO Roger Planes previously developed software and websites for journalists. The company has raised $750,000 in a seed round.
Platforms supported: Web; import existing blogs from Tumblr, WordPress and Blogger. Glipho has an Android app and is awaiting approval from Apple on an iOS app.
Number of users: N/A, but Glipho says it has users from 120 different countries who have published or imported over 150,000 blog posts.
Availability: Available now.
What’s next: Mobile app improvements and release of Glipho’s API.
Magazine companies have been one of the most successful segments of publishing to take advantage of the digital space. Very early on they have been able to leverage their strong brands across a wide spectrum, including paywalls, dedicated apps, and inclusion into Zinio. Advertisers are increasingly spending more money on digital properties, and by 2017 analysts expect almost 3.8 billion dollars will be spent. The big news coming out of the annual Price Waterhouse and Cooper report on digital advertising, has overall spending to dramatically increase to $3.8 billion in 2017, when it will represent a quarter of overall advertising, from $2.4 billion in 2012. Customers who actually purchase the digital content will also increase from $275 million in 2012 to $1.4 billion in 2017. North America and Britain are poised to generate 20% of their overall revenue from digital properties. This mainly stems from their investment in a proper dedicated infrastructure, while the rest of Europe will only see a modest 10% increase by 2017. Westerners have had a proven track record of expressing a willingness to pay for digital content, whether it be accessing the HTML5 edition or taking out a subscription on the Apple Newsstand. The shift to digital advertising is almost proportionate to the rate the decline of the print industry. In 2008, a record 9.8 billion was spent and then fell to $7.9 billion in 2012, and it is expected to diminish further to $6.4 billion in 2017. Statistically younger people tend to embrace digital media over the printed editions, due to the versatility of being connected to your smartphone or tablet. This demographic represents the core buyers of tomorrow and they in turn influence their own children within twenty years. Companies such as Glossi are spearheading the next generation of magazines, who are adopting a DIY approach. Anyone can take pictures, generate internet content, or write their own articles and offer them to any social or website platform. Currently, magazine companies do not operate their digital properties as autonomous entities and they are heavily reliant on their printed editions for their articles. Likely this trend in the industry will not change by 2017, due to the failures of The Daily. One of the largest barriers of digital advertising in magazines is the lack of a unified standard. This applies not only to metrics, with being able to monitor your data, but also the wide array of platforms. There are different requirements to deliver your media to Blackberry, Android, iOS, Windows 8, HTML5, Zinio, PressReader, Apple Newsstand, or any other 3rd party. All of these options have the entire industry in a state of confusion over what ecosystem to support and where the money is best spent. Do you continue with online advertising on their main website? Do you invest with Amazon, Google and Apple to spread your message via in-app advertising? Do you continue to spend money on the printed edition? There are many options to consider, with no definitive status quo. by Michael Kozlowski source
Vjoon, a leading maker of cross-media publishing platforms and a global Adobe Digital Publishing Suite (DPS) reseller, announced on July 26th that vjoon K4 now supports the new interface to Adobe DPS Folio Producer services. This constitutes an unprecedented level of integration that boosts efficiency by enabling tablet publishers to upload their Folio files after planning, managing and organizing digital content in vjoon K4. This allows publishers to fully exploit the Adobe Folio Producer’s extensive feature set and eliminates the need for using Adobe Content Bundler, along with all its limitations.
“The new interface to the Folio Producer is a tremendous asset for customers because it integrates publishing systems such as vjoon K4 with the Adobe Digital Publishing Suite far more efficiently than anything that came before,” said Zeke Koch, Senior Director of Product Management for Digital Publishing at Adobe. “With recently released groundbreaking new features and automated functions, publishers now have access to one of the most innovative and efficient tablet publishing workflows on the market today.”
“vjoon customers such as Condé Nast, Credit Suisse, National Geographic and Red Bull are among the first and most successful users of the Adobe Digital Publishing Suite worldwide,” says Andreas Schrader, CEO of vjoon. “In a joint effort with Adobe, we have now developed the tools our customers need to continue optimizing their publishing workflows, thereby freeing up time and resources that they can devote to creating premium-quality print and digital publications.”
From day one, vjoon played a big part in developing this interface, so it benefited from the valuable experience gained with vjoon K4 customers’ many successful tablet publications. As a result, customers can now make full use of Adobe Folio Producer’s functionality. For example, push notifications, which let users determine when subscribers are alerted to a new edition, can now be used for integrated publications. Publishers can also pinpoint through vjoon K4 precisely which content of the published edition readers can share with friends and business partners via Web Viewer.
vjoon K4’s extended set of automated functions are a boon to the tablet publishing workflow. vjoon K4 uploads all content to Adobe Folio Producer, directly and automatically at the touch of a button. Automated functions also enable agencies to deliver individual ads in the required format, allowing the publisher to integrate them with their content and then upload them along with the layout for the entire magazine.
As the company recently announced, the new version of vjoon K4 also supports Adobe Creative Suite® 6. This release is available now and being tested by many integration partners.
For further information please see www.vjoon.com.
A fixture on the publishing market since 1990, vjoon is a leading developer of workflow solutions based on Adobe® Creative Suite®. vjoon rapidly integrates all Adobe innovations into its solutions and consistently develops its products to meet market needs. vjoon’s flagship product vjoon K4™ is one of the most innovative cross-media publishing platforms available in the market and lets you deliver your valuable content to any output channel – print, online, mobile, tablet. Based on the time- and cost-saving Unified Publishing Process vjoon K4 provides the tools that allow your team to publish anywhere, smoothly and efficiently – whether you produce magazines, newspapers, sales materials, annual reports or books. Renowned customers worldwide and in configurations from 10 to more than 1,200 concurrent users benefit from this sophisticated solution. Headquartered in greater Hamburg, Germany, vjoon partners with a global network of more than 30 qualified integrators to deliver premium system integration and support services to its customers.
WoodWing evangelist Victor Cardoso wrote this article:
“Publishing to the iPad and other tablet devices has been a welcome boon to the publishing industry. It’s established that customers are willing to pay for quality content in a portable, electronic form. And yet, the iPad — which has been the most successful tablet device — represents only 67 million devices worldwide. The iPhone, introduced earlier and available at a lower price point with carrier subsidies, has almost three times as many users with a 175 million device footprint.
The good news is that WoodWing’s Digital Publishing Tools, in conjunction with Adobe DPS, offers quick and easy creation of iPhone content with the option of creating universal apps — those that work on both iPhone and iPad.
As an example of how lucrative iPhone publishing can be, I offer up a business case of a particular WoodWing customer: Mainichi Newspapers, publishers of the popular TAP-i daily newspaper in Japan. With their iPad edition, TAP-i received a respectable 70,000 daily readers. But — hold on to your hats — with the recent inclusion of an iPhone edition, TAP-i readership swelled to over 200,000 readers daily. That’s not to say that every iPhone edition will receive similar success, but it certainly goes to show the potential inherent in the smartphone form factor.
For information on how to get started with an iPhone edition in your WoodWing Enterprise installation, check out our recent webinar,Adding iPhones to Your Digital Publishing Strategy, available on our YouTube channel.”
source: Victor Cardoso from WoodWing