Robert Kamphausen

So digital can have real world outcomes. Behaviour change can stretch across commercial and social needs.

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Is Paramount's Tech Transformation Just a Pipe Dream? In the ever-evolving landscape of media, David Ellison’s announcement about transforming Paramount into a tech powerhouse stirred quite the conversation. Including by me: https://lnkd.in/eBsi2xbi But as we dive deeper, several challenges emerge, casting shadows of doubt over this ambitious pivot. #1. Financial Feasibility With Paramount grappling with substantial debt and pressing financial obligations, notably hefty NFL payments, the costs of attracting top tech talent become a significant concern. Can Paramount realistically afford this tech overhaul amidst economic uncertainties and a struggling stock? The talent war isn't won on ambitions alone, especially when competitors like Google offer more stable havens. #2. Creator vs. Coder Paramount’s tech ambition, while necessary, seems at odds with maintaining the creator-friendly environment Ellison dually promised. In an era when interest rates have climbed, balancing tech innovation with creative freedom is a tightrope walk. Remember, even Netflix, once a haven for creators with its blank checks during #ZIRP, is tightening its purse strings. How can Paramount navigate these waters without the cushion of a tech giant's capital or rising stock prices? 3. Building vs. Buying Tech Infrastructure David Ellison’s plan for Paramount involves a substantial commitment to developing in-house tech capabilities, focusing on cloud services, AI, user interfaces, recommendation algorithms, and ad-serving technologies. This approach aims to differentiate Paramount from competitors and enhance user experience. However, the tech sector’s history suggests leveraging established third-party platforms could be more cost-effective and reliable. Giants like Disney have successfully integrated platforms like BamTech, while HBO initially utilized external technology before transitioning. AMC Networks similarly relies on Brightcove for streaming technologies. The pivotal question for Ellison is whether the potential benefits of custom-built solutions justify the investment and risk, especially when patching together proven third-party solutions might yield quicker and more economical results. #InEssence... These challenges are monumental, yet not insurmountable. As we watch Paramount’s narrative unfold, one thing is clear: transitioning into a tech entity is more than just a strategic pivot—it’s a gamble on the future of entertainment itself. Thoughts? #Paramount #StreamingWars #MediaTech

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It's TONIGHT! 6:30 pm at the Northeastern University, we'll host our PVP Entertainment Guild Hilarious Improv Pitching Night! The video game industry is facing challenging times and the layoffs across the board are devastating, but our mission of sharing knowledge and empowering the community stands strong. That's why we decided to put a spin on it and host a fun evening to raise funds for the Trevor Project where anyone can pitch a game project generated on the spot. That's it, no preparation necessary, no NDAs, and no pressure! Only laughs! Get tickets at our event page: https://lnkd.in/g7tBuP6d Frequently Asked Questions: What if I've been recently laid off and/or can't buy tickets? - DM me! We've got Industry Support tickets for those who want to join, but cannot afford them. What if I can't attend the event? - If you can't make it, please consider purchasing a ticket to help us raise money for charity or get one on behalf of someone impacted by layoffs. Do I have to pitch at the event? - No! You can come to just watch and learn, but we bet you'll have a lot of fun if you decide to pitch! #gamesindustry #event #comedy

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It’s fascinating to see how the data reveals a clear evolution of Roblox's audience demographics. This shift highlights the growing sophistication of user-generated content (UGC) and its role in shaping engaging, community-driven experiences. As platforms like Roblox diversify, the power of UGC shines through, from anime battling games meeting niche demands to complex, monetized experiences captivating older audiences. At INTRACT Inc., we're building the tools that empower creators to design, iterate, and perfect UGC faster than ever before. By eliminating feedback delays and enhancing collaboration in 3D environments, INTRACT supports the creators of today—and the games that will define the future. What’s your take on the future of UGC? 🚀 #Roblox #UGC #GamingInnovation #INTRACT

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Right Click Culture is headed to Gamescom in Cologne! We're headed out there with a large crew this year including Sam Alavi (CEO), Sahil Mehta 🔜 Gamescom (President, Right Click Brands), Tyler Malloy (President, Talent Management), Willy Wright 🔜Gamescom (Sr. Sponsorship Agent), and myself! Excited to connect with new folks & reconnect with familiar faces to bring everyone up to date on what we've been up to over here. Being a part of this industry has been an absolute privilege and looking forward to continuing that journey with friends & colleagues. If you'd like to get some time together with myself or any of my team, please email meetwith@rightclick.gg and we'll make it happen! IYKYK but if you don't.... then here's some high level info on us 📽 Creative Agency: The team behind some heavyweight campaigns such as Amazon Prime Gaming's "Mr. Beast vs Ninja", Bella Poarch's "Level Up" series, and NRG x Rockstar Energy's Sound Series featuring artists such as The Kid Laroi, Don Toliver, That Mexican OT, -- AND, a brand new AAA campaign we are very excited to share with y'all 📈 Brand Partners: We represent some of the best and brightest creators in the games space (amongst other spaces), we pride ourselves in not just being another talent representation agency but an agency full of personailty looking to build meaningful relationships with brands and buyers alike. With over 50 creators totaling 150M+ followers, in-depth gaming focus via talent like Jynxzi, Will Neff, Caroline Kwan, PENTA, Noko, Jack Sather, and many more. 👨‍💻 Creator Management: Our approach to creator management is what sparked the inception of Right Click Culture just 4 years ago, our management company firmly believes that Agents and Managers are different jobs and creators should have access to both. Our full-service management approach starts from content and concept ideation, video/content packaging, proprietary editing technique and many other services 🎵 Music & Artist Management: Our backgrounds come from decades in the music industry, watching how the archaic system of labels and lack luster managers were constantly under-servicing talented and driven musicians/artists. Having only opened our music management arm just under 2 years ago we're tremendously proud of the roster of wonderful artists that choose to call Right Click their home, folks like; bbno$, YNG Martyr, Inverness (producer), Scene Queen, Rei Brown, and many more.

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Twenty years ago, I was studying media production at Quinnipiac University, spending countless hours digitizing Mini DV tapes to edit videos with emerging software. At the time, this technological leap seemed magical. I no longer needed to shoot scenes perfectly and in chronological order, a necessity when making movies with our mom’s VHS camcorder alongside my brother and sister. We didn’t have access to film cameras or knowledge of manually splicing footage, so this was a revolutionary change. The future had arrived. Fast forward to 2024–see what I did there?— and we now have the ability to generate videos instantly without filming anything at all. Just as utilizing nonlinear editing software once felt magical, AI-generated video feels like a dream realized. That being said, I can’t help but feel uneasy about the impact on future generations who will (maybe not?) work in this field. Undoubtedly, we’ll see some of the most exceptional content ever produced, at virtually no monetary cost. But at what cost to creativity and human development? Trying and failing has always been a crucial part of pursuing success. What happens when success is guaranteed? Why try at all? Perhaps I’m being too philosophical, or even too shortsighted. What do you all think?

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Our latest jobs update 👇

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Keep an eye on Rembrand, a digital platform using AI to add virtual product placement into videos. They just raised $23 million from savvy investors like Tom Chavez and others. The concept is relatively simple and has been around for a while, but the company is definitely getting some traction. Rembrand began with YouTube and expanded to LinkedIn, TikTok and Instagram. They’ve also worked with about 20 brands including those under PepsiCo, L'Oréal, and Amazon. The company is led by CEO Omar Tawakol, who has great startup experience. He sold data management platform BlueKai to Oracle in 2014 and voice collaboration platform Voicea to Cisco in 2019. It’s another intriguing use of AI and video, and it gives advertisers another weapon in their arsenal as they monetize content. What other uses of AI advertising have you seen that impresses you?

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Today I want to tell a story. I've been holding onto it for a specific circumstance, but in case that doesn't happen, forgive the rough edges. For the longest time, I wanted to be a games journalist. I've known how to play games and deconstruct their mechanics ever since I spent many school summer holidays playing the same Playstation games over and over. I would be the kid that would read games magazines, mostly for the cheat codes, on occasion spotting an article about the next Pokemon game that I just had to tell my friends about. I was never taught or told that being a "critic" or "journalist" was a career, let alone in games. Media Studies wasn't even a subject my high school taught until sixth form options, so I'd have to get by with learning how to deconstruct the written word - often Shakespeare or "Of Mice and Men" - in English Literature class. Jump forward to 2014/5. I was in University, with the freedom to learn about "the media" and online video (YouTube) as I had experienced through college. Despite being on a TV Production course, and though we students all knew the influence social media was going to play in our careers, games were still part of my plan. Through friendships and unsuccessfully trying out for the Student Union's monthly news series as a "games correspondent", I was able to work on a project with a criminology student who also liked games. He ran his own YouTube channel, as I had done under many brands and guises over the years, but he was more consistent. I came on board as his camera operator during EGX Rezzed and we made a few interview videos together. One of which I want to bring to the attention of Hyper Luminal Games. Yes, happy birthday Hyper Luminal! 🎉 We've both changed since this video about Big Crown Showdown! Congrats on releasing Pine Hearts - a wholesome cosy game that is a love letter to the simple life in Scotland. I can't wait to play the full thing - Melissa kindly showed me it at WASD this year, it really was charming! Things have a weird way of coming back around. I don't believe in karma, but I've been watching the work of many studios that I admire and wondered where I fit, thinking maybe there are some answers in my previous work. So, this little story is tale of never forgetting your roots, and celebrating them where you can! Also, if I may be a bit cheeky: If you ever have the availability Hyper Luminal, I would love the chance to join your team! I can assure you my on-screen presence and ability to manage events & communities is far better than what I could manage 10 years ago. I'm happy to work on a relocation plan up to Dundee, be that to work for the core studio under Melissa's expert & bubbly guidance, or having the opportunity to scout for Little Nook's next great wholesome story to share. Here's to both our next chapters! Video:

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WBD has a$30.68b market cap. Studios & DTC revenue is 55% of total. That implies a ~$17b valuation for the Studios & DTC business. Comcast can buy that, but so can many others.

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How do I hire the best C and VP level candidates in Games & Entertainment? How do I get positions that pay million dollar plus salaries? Find the answers on the latest Deconstructor of Fun podcast (link in comment below) where I share my experiences of having led on some of the top searches in the world of Technology, Entertainment and Games. Was delightful to speak with Michail Katkoff, thank you for having Mission One on the show. We love the entertainment sector and hope this contribution helps companies make better hiring decisions, and individuals get the jobs that they want. Would love to hear feedback (what you agreed with, disagreed with, would like to hear more on etc), feel free to comment or DM me. #games #executive #hiring #entertainment #growth #csuite #podcasts

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Roblox will give 𝟐𝟓% 𝐦𝐨𝐫𝐞 𝐑𝐨𝐛𝐮𝐱 for non-mobile purchases — that'll tip the scales from app store (Google, Apple) to retailer (Walmart, Target, Amazon), and put more money in the hands of players & creators: The 30% transaction fee on mobile platforms, often called the 'app store tax,' has long been protested by developers. At times, this can mean a legal fight, as with Epic Games v. Apple in 2020. But lawyers need not be involved. After all, the 'tax' only applies to purchases made through mobile systems — find ways for spend to come through other avenues, and you're golden. Hence why so many games with virtual currencies have been encouraging players to purchase gift cards online or at retail stores... a plan Roblox is now doubling down on. 𝐊𝐞𝐲 𝐓𝐚𝐤𝐞𝐚𝐰𝐚𝐲𝐬: 1️⃣ A win for retailers... ...and, not just for extra purchases. Sure, they'll get some margin on gift card sales, but, more importantly, this will drive major foot traffic to their stores & websites, causing tons of extra purchases (who ever just buys 1 item?) It's for this reason that retailers are the more agreeable partner — the value they gain lies beyond the gift card's price. Where app stores must take from a set pie, retailers can grow it and take from the difference. That's a winning formula. 2️⃣ Most of Roblox Traffic is Mobile While this is a major change, do remember, it will largely apply to a minority. Last we heard, 78% of sessions occur on phones, meaning even with incentive to pay otherwise, many will still purchase through them. Will +25% affect some? Sure. But given so much spending is mid session, it's a habit that needs to be built — and that's why deals which give exclusive items with gift cards, like the recent Walmart x Paramount Spongebob one, will be huge in causing the shift. Because 'more' & 'better' can be trumped by convenience. Exclusivity can't. 3️⃣ The Roblox Tax Cuts If you think about it, that's what's happening: the government (platform) is leaving more disposable income for citizens (players), which they hope will be spent on small businesses (creators). I except to see the normal accelerated growth we do IRL, but am curious how far the resemblance could go — eg, do creators start raising prices? In either case, we've seen as developer pay-outs go up (now $800+ million the last 12 months) the quality of work rises with it... So if there's any incredible projects in the next few months: we'll know why.

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