Behavioural Recruitment’ Is Leading Research Into the Social Age

Total Page:16

File Type:pdf, Size:1020Kb

Behavioural Recruitment’ Is Leading Research Into the Social Age How ‘Behavioural Recruitment’ is leading research into the social age Tom Woodnutt – Founder, Feeling Mutual Hugh Carling – Founder, Liveminds 1 If a participant were a fish… ...then recruiters are fishermen Responsible for sourcing the right participants. ...researchers are chefs They interpret participants’ feedback and serve up well-balanced insights that nourish their clients businesses. ...clients are diners Earnestly paying their bills on time, in return for delicious dishes of research (that help them to grow their bottom line, so to speak). 2 Researchers are preoccupied with method As researchers (or chefs) we are preoccupied with the research method and spend a lot of time thinking about research techniques, to ensure the meals we serve are well balanced and not overcooked. Behavioural science inspires new ways to research Methods informed by behavioural science, have inspired lots of innovation in recent years such as implicit measures and eye-tracking. These methods are powerful because they help researchers minimise the impact of cognitive biases, whereas traditional methods - which rely on direct questioning and ‘claimed behaviour’ - are prone to error. 3 But what about the quality of the ingredients? What about the quality of the participants we recruit? What happens when you apply behavioural science principles to recruitment? Traditional recruitment relies entirely on what people claim Traditional methods of recruitment, can start to look artificial because they rely entirely on what people say rather than what they do. Ultimately your results can’t be right if your recruitment is wrong. In this paper we’ll reveal the results of a detailed study with researchers commissioned by Liveminds, show how Behavioural Recruitment tackles the issues raised in the study and share a case study showing how it works in practice. 4 We have a problem It’s clear that recruitment is a huge concern for the industry. ‘Accessing a quality and representative sample is the single biggest challenge’ And the problem is getting worse. The latest GRIT Report also revealed a ‘General decline in the quality of sample, with falling participation rates’. 5 Research on Recruitment 2018 Liveminds wanted to understand this huge, but rarely discussed problem in more detail, so we commissioned SketchBook Consulting to carry out research benchmarking the views of qualitative researchers on the state of research participant recruitment. The aim of this research was to recognise and understand the challenges faced by researchers, to explore opportunities for improving recruitment methods within the industry, and to improve Liveminds Behavioural Recruitment service. To engage respondents, the survey was promoted on LinkedIn and publicised by key media partners like GreenBook. Click here to download the Research on Recruitment 2018 report 6 Quality of participants is #1 challenge Q: Which, if any, of these do you consider to be challenges facing the qualitative research industry in your market today? Base: All participants - 100 100 qualitative researchers in the UK responded and the findings strongly echoed the GRIT report, with ‘quality of participants’ considered to be the biggest challenge facing the industry today. Although the study focused on qualitative research recruitment, many of the concerns apply equally to quant research - since panels also use databases of repeat respondents. 7 Horror stories… During the Research on Recruitment 2018 study, researchers shared examples of the poor recruitment they’d experienced including: ● The bald man in a shampoo group ● The lady with the cushion under her jumper pretending to be pregnant ● And the man who politely excused himself to go to the toilet, having taken the incentive, never to return These are extreme examples, but the credibility and therefore integrity of what researchers do is threatened if recruitment is not effective. Read more research respondent horror stories 8 Quality matters more than speed and cost 95 93 85 84 78 76 60 37 12 quickly Recruitment is cheap & recruitment criteria Participants are reliable by recruitment partner Participants are articulate Fewer repeat participants Recruitment is completed Participants are motivated Accurate fit between sample Receive regularupdates and accurate on project progress Responsive project management Q: How important do you think each of these factors are for “effective recruitment”? Figures shown are the NET rating 4 or 5 out of 5 for importance Base: All participants - 100 But what is effective recruitment? In terms of participants, most researchers in the study see it as: ● accurate fit between sample & recruitment criteria ● reliability ● motivation Interestingly speed and cost of recruitment – often assumed to be vital today – were deemed relatively less relevant to effectiveness. 9 Three systemic factors encourage problems But why are researchers facing so many issues with their recruitment? We believe there are three key systemic factors which increase the risk of low quality participants. Firstly, traditional recruitment relies entirely on what people claim In the past we’ve had to rely entirely on what the participants say, not what they actually do. As Behavioural Science has shown us, memory is highly fallible. 1 in 2 researchers believe that too many participants lie to get recruited As revealed in our research. When you consider GreenBook’s finding that participants primary motivation is 5X more likely to be money than any other factor, the incentive for participants to lie is very clear. 1 in 2 researchers believe some recruiters encourage participants to lie We aren’t saying all recruiters are guilty of this. But we are saying that the current system allows it. There is no transparency in these interactions and recruiters can be under considerable pressure. 10 Secondly, we’re limiting ourselves to the same small pools of participants… …rather than fishing in the vast oceans beyond them. This gives us far less chance of finding people that genuinely match the criteria. Thirdly, participants become more professional and less naturally representative Repeat respondents become increasingly professional, are conditioned to the research process and no longer represent the views of real consumers. Psychologist’s advice is that doing repeat groups will change what participants say in a group. This is because certain types of response become unconsciously reinforced by a prior experience. Participants can also start to second guess the moderator - like the example we heard of a participant who interrupted the moderator to suggest they really should be doing a personification exercise. 11 Professional participants are a problem Q: Overall, do you think “professional participants” are a problem in qualitative research? Base: All participants - 100 Most researchers in the survey think that professional participants are a problem in qualitative research. Although, perhaps worryingly some don’t. More than half of researchers said they had recognised the same people in different projects within the last 12 months. 51 19 30 Q: I recognise the same participants taking part in my qualitative research projects Base: All participants - 100 Agree Neither agree or disagree Disagree 12 The pros and cons of professional participants 76 73 64 64 59 21 17 16 More reliable More motivated Insufficiently motivated Too familiar with research Quicker and easier to find Understand research well More likely to lie when recruitedMore likely to lie in the research Q: Which, if any, of these statements do you think apply to "professional participants”? Base: All participants - 100 Professional participants are too familiar with the research process. Also they’re more likely to lie during recruitment (because they’re more likely to say whatever they need to to get in). Those who don’t see it as a problem may say so because of the practical benefits. They’re seen as easier to find and because they’re so research-literate it’s easier to have a constructive, affirmative discussion. But does it mean they should be there just because they make the research process easier? 13 To us, the solution is simple… Use Facebook’s ocean of people, rather than fishing in the small finite pools of repeat respondents and professional participants. Facebook has over 2.2 billion users around the world, in 190 countries. This is well over 100X the size of even the biggest quantitative panels. 14 Accurate fit based on real behavioural data Cast your line exactly where it’s needed, based on the network’s incomparable behavioural data, rather than relying on what fallible humans have said. Fresh to research The greater reach means that participants are typically fresh to research, so you get the views of real consumers rather than conditioned responses. 15 What Facebook knows about us… On average we spend 55 minutes a day on Facebook reading, watching, sharing, commenting, liking, reacting, clicking and posting, and every single one of those behaviours goes into building Facebook’s understanding of us. In a recent study, Stanford professor Michael Kosinski revealed that a computer model based simply on Facebook likes, knew more about its subjects than their closest friends and family. And also this… ‘Likes’ are just 1 of 98 different data points collected on users, from the TV shows we watch to our international traveling habits. 16 From what we do on Facebook… And 10 million websites with this button… 17 How does Behavioural Recruitment work? Reach Screen Manage Research Pay Clients Via Ad Networks First, we place our hyper-targeted adverts into the News Feed of any user whose demographics, interests and behaviours closely match the project’s criteria. If they want to take part, they click through to take a detailed screener, inside our app. If it’s quant survey, they’ll take it there and then. If it’s qual, we’ll contact all the people who’ve passed the screener, to further qualify them, and choose the best ones for the project. When the research is done, they receive their reward. They are not added to a database to be contacted about future projects.
Recommended publications
  • Von Altraverse Bis ZDF
    Von Altraverse bis ZDF Quartalsbericht zur deutschen Medienwirtschaft Januar bis März 2019 Teil 3: Übernahmen, Beteiligungen und Gemeinschaftsfirmen Von Gert Hautsch 18. April 2019 Die Übersicht zu den Käufen und Verkäufen von Medienunternehmen erfolgt in alphabetischer Reihenfolge nach dem Erwerber. Die führenden Medienkonzerne werden getrennt aufgeführt, ansonsten ist das kaufende Unternehmen bzw. der dahinter stehende Konzern maßgeblich. Axel Springer SE, Berlin Die Stepstone GmbH, Düsseldorf, hat die Stu- Bertelsmann hat sich am Venture-Capital- dydrive GmbH, Berlin, gekauft. Fonds Partech Africa beteiligt. Springer hat die CeleraOne GmbH, Berlin, ge- Die RTL Radio Center Berlin GmbH hat ihre kauft. Beteiligung an der Skyline Medien GmbH, Berlin, Betreiberin des Radiosenders „93,6 Springer und die Börse Stuttgart GmbH grün- JAM FM“, von 10,0 auf 49,9 Prozent erhöht. den ein Gemeinschaftsunternehmen (30/70 Prozent) zum Onlinehandel mit Kryptowäh- Die RTL Group SA, Luxemburg, hat den Video- rungen. produzenten Freecaster, Naninne (B), ge- kauft. Bertelsmann hat sich am Investmentfonds Blossom Capital, London, beteiligt. Bauer Media Group KG, Hamburg RTL Hrvatska, Zagreb, hat von der Telegram Bauer Media UK hat die britischen Sender Ce- Media Grupa doo, Zagreb, das Internetportal lador Radio, London, und Lincs FM Group, „net.hr“ gekauft. Lincoln, gekauft. Bertelsmann India Investments hat sich an der Bauer Media UK hat von der News Corp., Lon- Agrostar Ltd., Pune (IND), beteiligt. don, die Wireless Group mit 15 lokalen Ra- diostationen in England gekauft. Penguin Random House hat die Little Tiger Group, London, gekauft. Bauer Media UK hat die Lokalradioanbieter UKRD Group Ltd., Redruth (GB), und First Gruner+Jahr und Bauer Media haben das Ge- Radio Sales Ltd., London, sowie drei briti- meinschaftsunternehmen DMV Der Medien- sche DAB-Lokalradiosender gekauft.
    [Show full text]
  • Customer Engagement Summit 2016
    OFFICIAL CUSTOMER EVENT ENGAGEMENT GUIDE SUMMIT 2016 TUESDAY, 8 NOVEMBER 2016 WESTMINSTER PARK PLAZA, LONDON TECHNOLOGY THE GREAT ENABLER PLATINUM GOLD ORGANISED BY: CustomerEngagementSummit.com @EngageCustomer #EngageSummits Find out more: www.verint.com/customer-engagement THE TEAM WELCOME Steve Hurst Editorial Director E: [email protected] T: 01932 506 304 Nick Rust WELCOME Sales Director E: [email protected] T: 01932 506 301 James Cottee Sponsorship Sales E: [email protected] T: 01932 506 309 Claire O’Brien Sponsorship Sales E: [email protected] T: 01932 506 308 Robert Cox A warm welcome to our fifth Customer Engagement Sponsorship Sales E: [email protected] Summit, now firmly established as Europe’s premier T: 01932 302 110 and most highly regarded customer and employee Katie Donaldson Marketing Executive engagement conference. E: [email protected] T: 01932 506 302 Our flagship Summit has gained a reputation for delivering leading-edge world class case-study led content in a business-like yet informal atmosphere which is conducive to delegate, speaker Claire Poole and sponsor networking. It’s a place both to learn and to do business. The overarching theme of Conference Producer this year’s Summit is ‘Technology the Great Enabler’ as we continue to recognise the critical E: [email protected] role that new technologies and innovations are playing in the fields of customer and employee T: 01932 506 300 engagement. Dan Keen We have several new elements to further improve this year’s Summit – not least our move to Delegate Sales E: [email protected] this new bigger venue, the iconic London Westminster Bridge Park Plaza Hotel following on T: 01932 506 306 from four hugely successful Summits at the London Victoria Park Plaza.
    [Show full text]
  • Annual Report 2018
    Channel Four Television Corporation Report and Financial Statements 2018 Incorporating the Statement of Media Content Policy Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 Channel 4 Annual Report 2018 Contents OVERVIEW FINANCIAL REPORT AND STATEMENTS Chair’s Statement 4 Strategic Report Chief Executive’s Statement 8 Financial review and highlights 156 The heart of what we do 13 Our principal activities 159 Remit 38 Key performance indicators 160 At a glance 40 People and corporate annualreport.channel4.com social responsibility 162 STATEMENT OF MEDIA CONTENT POLICY Risk management 164 Strategic and financial outlook 2018 programme highlights 42 and Viability statement 167 4 All the UK 46 Please contact us via our website (channel4.com/corporate) if you’d like this in an alternative Governance format such as Braille, large print or audio. Remit performance The Channel 4 Board 168 Investing in content 48 © Channel Four Television Corporation copyright 2019 Printed in the UK by CPI Colour on Report of the Members 172 Innovation 56 FSC® certified paper. CPI Colour’s Corporate governance 174 The text of this document may be reproduced free environmental management Young people 64 of charge in any format or medium provided that it is Audit Committee Report 179 system is certified to ISO 14001, reproduced accurately and not in a misleading context. Inclusion and diversity 70 and is accredited to FSC® chain of Members’ Remuneration Report 183 The material must be acknowledged as Channel Four custody scheme. CPI Colour is a Supporting creative businesses 78 ® Television Corporation copyright and the document certified CarbonNeutral company Talent 84 Consolidated financial statements title specified.
    [Show full text]
  • Tracy Saven Editor A​ Vid, Premiere
    Agent: Bhavinee Mistry [email protected] 020 7199 3852 Tracy Saven Editor ​Avid, Premiere Factual Entertainment The Real Housewives of Cheshire, Series 10 Monkey Kingdom ITVBe 60 min Reality Reality series following a group of women residing in one of the UK's most affluent areas, the glamorous Golden Triangle of Cheshire. Series Edit Producer: Helen Roberts, Edit Producer: Lesley Duncanson Love Squad Workerbee MTV 30 min Reality A fixed Rig, Dating show where each week Charlotte Dawson will help an unlucky-in-love singleton find The One. It's time to ditch those dating apps and hand control of their love life to their "love squad" made up of their nearest, dearest and Charlotte. Series Edit Producer: Andy Gill, Edit Producer: Amanda Barnes Sun, Sea and Selling Houses Ricochet Channel 4 60 min Entertainment Every year, thousands of Brits flock to Spain lured by the promise of blue skies and dream homes at rock bottom prices. Helping sell them that dream are two families of British estate agents, the Garners from Birmingham and the Rodriguez family from Liverpool. We'll follow both families - at work and at home - as they attempt to sell sun-starved Brits their perfect Spanish getaway. Executive Producer: Sandy Watson, Edit Producer: Harryet Bellwood-Howard Time for School 2x 12 min Observational Documentary Sixth Sense Media Cbeebies A heart-warming pre-school observational documentary series following the lives of Reception children at two contrasting primary schools as they start school for the very first time. Executive Producer: Sallyann Keizer, Series Producer: Ruth Mills, Edit Producer: David Taylor Christmas with Mariah Crook Productions Channel 5 60 min Factual Entertainment A look at how Mariah became the Queen of Christmas.
    [Show full text]
  • Performing Right Society Limited Distribution Rules
    PERFORMING RIGHT SOCIETY LIMITED DISTRIBUTION RULES PRS distribution policy rules Contents INTRODUCTION...................................................................................... 12 Scope of the PRS Distribution Policy ................................................................................ 12 General distribution policy principles ............................................................................. 12 Policy review and decision-making processes ............................................................. 13 DISTRIBUTION CYCLES AND CONCEPTS ................................................. 15 Standard distribution cycles and frequency .................................................................. 15 Distribution basis ..................................................................................................................... 15 Distribution sections ............................................................................................................... 16 Non-licence revenue ............................................................................................................... 16 Administration recovery rates ............................................................................................ 16 Donation to the PRS Foundation and Members Benevolent Fund ........................ 17 Weightings .................................................................................................................................. 17 Points and point values .........................................................................................................
    [Show full text]
  • October 2015 in Partnership with in Partnership With
    October 2015 In partnership with In partnership with pOFC DTVE CIA Oct15.indd 1 25/09/2015 17:00 SNI2175_SNI-MIPCOMpXX DTVE CIA Oct15.indd 2015-Trade 1 Ads_DigitalTVEurope_216mmx303mm_1.indd 1 11/09/20159/9/15 4:59 17:56 PM Digital TV Europe October 2015 October 2015 Contents In partnership with In partnership with pOFC DTVE CIA Oct15.indd 1 25/09/2015 17:00 4K Initiative of the Year 4 Cloud TV Innovation of the Year 8 Social TV Innovation of the Year 12 Industry Innovation of the Year 14 Best New Channel Launch 16 MCN of the Year 18 Best International TV Networks Group 20 Channel of the Year 22 TV Technology Award (content discovery) 24 TV Technology Award (second-screen experience) 28 TV Technology Award (service-enabling technology) 32 Multiscreen TV Award 36 Pay TV Service of the Year 38 Best Content Distributor 42 International Production Company of the Year 44 Best Series Launch of the Year 46 Champagne Multiscreen TV Award Social TV Innovation of the Associate Sponsors Reception Sponsor Sponsor Year Category Sponsor EUROPE EUROPE p01 Contents DTVE CIA Oct15v2st.indd 1 25/09/2015 21:13 This month > Editor’s note Digital TV Europe October 2015 Issue no 321 Rewarding initiative Published By: Informa Telecoms & Media Maple House 149 Tottenham Court Road Content Innovation Awards is a new initiative from Digital TV London W1T 7AD The Europe in partnership with our sister publication Television Busi- Tel: +44 (0) 20 7017 5000 ness International (TBI), that is designed to celebrate some of the great innova- Fax: +44 (0) 20 7017 4953 tions from content providers, distributors and technology companies that are Website: www.digitaltveurope.net helping transform the way we produce, distribute and consume TV.
    [Show full text]
  • Bonny John Filmmaker / Creative Consultant
    Bonny John Filmmaker / Creative consultant Bonny is an experienced Filmmaker and Creative Project Manager, with a demonstrated history of working in the public relations and communications industry. Skilled in Fiction Directing, Broadcasting, Commercial Video, Advertising, and Camerawork - He has a strong program and project management profession with a Bachelor's degree focused in Film and Television production. Bonny has been a Filmmaker for over 9 years. Through this he is continually discovering better and innovative ways to communicate stories and ideas. He has worked with many well known brands such as Cadbury's, Emirates, Carlsberg and Qatar airways. Within the U.K, he has achieved a Royal Television Award for best online promotional and have been nominated nationally for the Cream awards by the Drum network. Also with a background in Art & Design - he has a keen eye in the layout and presentation of style, texture and images. As an artist the work that Bonny was commissioned has been displayed at the Tate Britain, London. Work History 2012 - 2017 Co-Founder - Derecho Studios Coventry, United Kingdom As the Co-Founder and Creative Director of Derecho Studios, He had shared responsibility for the business development, creative execution and brand management. He worked with clients in the U.K and in the U.S. 2012 - 2013 Previewer - Sheffield Documentary Festival Sheffield, United Kingdom Docfest shows moving, poignant, inspiring, documentaries. Real stories about real people. His role was to primarily select content that would best suit the vision and the theme of Doc/Fest for the season. 2014 - 2016 Video Producer / Creative - Bauer Media Birmingham, United Kingdom In the UK Bauer reaches over 25 million consumers through 107 influential brands.
    [Show full text]
  • The Box Plus Network Offers 5 Further Music TV Stations
    4 SALES PORTFOLIO UK Television A cool, cutting edge offer Channel 4 - Sophisticated programming featuring cutting ABC1 edge shows, quality movies, domestic and international series 6,3% ADULTS to make people think about things in new, different ways. E4 - The perfect channel to reach a young, upmarket target. ADULTS Wide offer of U.S. imports, feature films, entertainment 3,9% 16-34 y.o. shows, and original scripted series. More4 - Clever, brilliant adult entertainment: magazines for ABC1 the discerning viewer, arts and lifestyle content, 0,9% ADULTS documentaries, and TV series. Film4 - Leading movie channel thanks to a rich selection of ADULTS 1,3% contemporary, independent, foreign, and cult productions. Source: BARB/Advantedge, Audience share %, Total day. Year 2020 8610 4 SALES PORTFOLIO UK Television A cool, cutting edge offer 4Seven - Showcasing Channel 4’s most popular and talked- 0,3% ADULTS about programmes from the last seven days: more chances to see the shows you can't afford to miss. ADULTS 4Music - UK’s #1 music channel with a cool mix of clips, juicy 1,0% 16-34 y.o. gossip features, live events and original series. (Total) The Box Plus Network offers 5 further music TV stations. UKTV – Owned by BBC Studios, UKTV operates 7 free-to-air ADULTS 4,6% and pay channels offering a broad range of quality (Total) programming across entertainment, lifestyle, factual. WOMEN Discovery – Leading real life TV channels dealing with 1,4% +16 y.o. lifestyle and Home & Gardening, with a huge appeal for (Total) young, upmarket women. Source: BARB/Advantedge, Audience share %, Total day.
    [Show full text]
  • Distribution Rules
    PERFORMING RIGHT SOCIETY LIMITED DISTRIBUTION RULES Broadcast revenue BROADCAST REVENUE Key concepts The following concepts help ensure the way we distribute revenue to members is fair, accurate and transparent. ● Commercial licensee blanket revenues that cover more than one radio or TV station are divided between the stations using a two step process. Each station is allocated a fixed minimum amount per station. Any remaining money is divided between the stations in proportion to their relative music consumption. ● Works performed on broadcast sections are paid based on their total duration on that service multiplied by the calculated FPV for that service for that period. ● No distinctions are made between music used in programmes, commercials, station/channel idents, jingles or trailers. ● All audiovisual broadcasts are subject to time of day weightings and feature in separate distribution sections. ● We make no distinction in licensing or distribution terms between traditional terrestrial broadcasters and cable or satellite broadcasters that we license directly. (Retransmissions of such services in other countries are licensed by local societies and are subject to different administration recovery rates) In a few instances, where we have licensed foreign language services broadcast from the UK but targeted at non-English speaking countries, for example Phoenix TV and Japan TV, we simply pass the licence revenue to the relevant society to distribute as they are better placed to identify the repertoire used. Broadcast sampling We aim for a census or pay-per-play based distribution. We only use sample data where it is not cost effective or feasible to obtain and process full census information.
    [Show full text]
  • Channel 4 Financial Report & Statements 2014 6.Pdf
    99 100 Channel 4 Annual Report 2014 STRATEGic REPORT Financial highlights Income statement highlights by segment Fifth consecutive year of financial sustainability Advertising – Corporation revenue increased by £30 million to £938 million in 2014 & Operating – Channel 4 returned to a financial surplus position in 2014 after two sponsorship Other Total surplus/ years of investment, and in line with our three year strategy revenue revenue revenue (deficit) – Cash reserves remain above £220 million for fifth year in a row 2014 £m £m £m £m while the launch of the Growth Fund further diversified our 4Broadcast 843 17 860 (20) investment portfolio – Channel 4 portfolio viewing share was broadly stable despite a 4Rights 27 51 78 24 highly competitive environment with growth in our portfolio share of 16–34s and digital channels, specifically E4 Other – 1 1 – – A content reserve has been established in 2014 to support our aim Eliminations (1) – (1) – to achieve a long-term financial break-even position and ensure surpluses generated are re-invested into our creative ambition. Total 869 69 938 4 We have allocated £30 million of retained earnings from surpluses generated since 2010 to set up the content reserve Advertising & Operating sponsorship Other Total surplus/ Year of major creative success and achievement revenue revenue revenue (deficit) – Record number of awards in 2014 including Channel of the Year 2013 £m £m £m £m – Originated content spend increased, maintaining an average above £430 million between 2012 and 2014 4Broadcast 825 17 842
    [Show full text]
  • Oncuer Plus Operation
    Operation Residential/Commercial Generator Sets OnCuer Plus Generator Management System for Kohlerr Residential/Light Commercial Generator Sets equipped with the following controllers: RDC/DC RDC2/DC2 VSC TP-6928 1/14 Table of Contents Safety Precautions and Instructions......................................................... 5 Introduction ............................................................................... 7 Service Assistance ......................................................................... 8 Section 1 System Information and Installation............................................... 9 1.1 Kohler OnCue Plus.................................................... 9 1.1.1 Mobile Apps.................................................. 9 1.1.2 PIM and LCM................................................. 9 1.2 Connect and Monitor Multiple Generator Sets............................. 10 1.3 Kohler OnCue Plus Server.............................................. 10 1.4 Terms of Service....................................................... 10 1.5 System Requirements.................................................. 10 1.6 Internet Configuration and Security (Firewalls)............................. 10 1.7 OnCue Plus System Kits................................................ 10 1.7.1 RDC2/DC2/VSC Controller...................................... 10 1.7.2 RDC2 with APM............................................... 12 1.7.3 RDC/DC Controller............................................ 13 1.8 Controller Firmware Download and Installation...........................
    [Show full text]
  • CV Stefan Tamas
    STEFAN TAMAS MOTION GRAPHICS DESIGNER EXPERIENCE Jun 2018 - Feb 2020 Big Group - Marketing Agency Samsung | Mastercard | The North Face | Hyundai Been part in a great range of projects, from 3D work to kinetic typography. I created visuals for mediums spanning from The Piccadilly Lights screen to presentations and social media. Oct 2016 - June 2018 The Box Plus Network - Broadcasting Media & Digital 4Music | The Box | Box Upfront | Box Hits | Kiss | Magic | Kerrang! I worked within a fast paced design team. Aftereffects and Cinema4D were my day to day tools as the majority of my work consisted in branding channels, shows, continuity and OSP. One of the biggest projects we worked on was the 4Music rebrand, where we developed the Idents, OSP, endboards and the social media assets of the channel. Jan 2016 - Jun 2016 Fall Of The Wall - DRTV Agency EDUCATION 2012 - 2015 Graphic Design and Multimedia - University of Worcester, UK 2008 - 2012 Mathematics and Computer Science - Ana Ipatescu College, Romania APPLICATIONS Cinema 4D / Aftereffects / Premiere / Illustrator ABOUT ME - problem solver - self driven - great communication skills - hardworking and dedicated I am passionate about 3D as a medium. I like thinking that a picture is worth a thousand words, and because of that i think of motion design as a way of conveying a complex range of messages through beautiful and easily digestible visuals. I am always devoting time for my self-improvement and exploration, both in core software skills and techniques, as well as on the workflow related side, aiming for better efficiency and response time. CONTACT tel: +44 07702 063861 mail: [email protected] portfolio: www.stefantamas.com instagram: @stefan_tamas28.
    [Show full text]