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Honey, we cloned our office!

Of digital twins and metaverse

Have you also not yet bought a house in a metaverse and are constantly wondering what NFT’s are? The new terms are piling up and so we want to take a closer look at one of these modern advances – digital twins. No, a digital twin is not a futuristic version of the Arnold Schwarzenegger film “Twins“, nor is it a virtual conversion of the Erich Kästner classic “Das doppelte Lottchen“. It is a digital copy of a real place or object embedded in rich data that can be updated to reflect changes in its physical counterpart.

“A digital twin is a digital image of a real place or object. These digital twins are typically captured using either sophisticated camera systems or mobile apps for iOS and Android. Once captured, the dimensionally accurate 3D digital models can be quickly updated to reflect changes to their physical counterpart.”

James Morris-Manuel, EMEA Managing Director at Matterport

Digital twins are indispensable in the construction of metaverses. They can import true-to-scale real spaces into this virtual mirror world. In future metaverses, there will be billions of digital twins and could fundamentally change the way businesses and consumers experience, stay in and perceive the physical environment in buildings.

Looking to the future, the various metaverses will require digital replicas of physical spaces where people can better understand, analyse, engage with and experience the built environment. As more and more buildings and spaces are brought online around the world and people increasingly visit virtual places, digital twins have an important role to play in contributing to the mirror world and providing a path to economic prosperity.

Meta – what?

The term “metaverse” was first used in the science fiction novel “Snow Crash“. In the book published in 1992 by Neal Stephenson, the metaverse describes a virtual reality in which people interact with each other as three-dimensional avatars. The whole thing is somewhat reminiscent of today’s online role-playing games with several players. However, there is no game, no high score, no fixed goal. But the Metaverse can be the platform for several games and is built more as a digital alternative to the physical world. A similar concept was popularised by the Steven Spielberg film adaptation of the book “Ready Player One“.

Our in-house metaverse expert Isabell explains exactly what the term metaverse is all about:

Metaverse refers to real-time rendered, unlimited, permanent 3D spaces in which users can move freely as avatars. It comprises various collective 3D spaces in which one can explore, design, play, work and socialise – without being in the same physical space. It is important to understand that there is not THE metaverse, but many different metaverses and thus several virtual worlds, but they cannot be connected at the core. Some of them are very well known, like Roblox, which is currently considered the most successful metaverse with its 219 million users. Other famous virtual worlds that are also considered metaverses are Decentraland, The Sandbox & Horizon World (Meta).

In the end, the ultimate characteristic of a Metaverse is to be decentralisation. There will be no big platform like Amazon, Google or Facebook that controls the market, but will function in a decentralised way. Everyone will have control over their own data and will be able to understand quite transparently what happens with it.

Fun Facts:

  1. There is no connection from one metaverse to the next.
  2. The metaverse can never be ended or paused. It runs on and on.
  3. The Metaverse is live and takes place in real time.
  4. In March 2022, the first Metaverse Fashion Week took place in Decentraland.
  5. Each metaverse has its own economy. One can invest, buy, sell and get paid for work within the Metaverse.
  6. Celebrities have their own virtual spaces in a Metaverse: Paris Hilton owns her own island called Paris World in Roblox and Snoop Doog is building himself a Snoopverse in Sandbox
  7. Footballer Kevin Prince Boateng got married in a Metaverse – on the moon!

Our Office 2.0

As the trend of bringing the built world online continues, businesses large and small are discovering the optimisation benefits of digitising their buildings and spaces. With the help of our clients Matterport Capture app and Axis mobile smartphone mount, we created a digital twin of our office. We explain how the whole thing works and what advantages digital twins bring with them here!


“Einfach herunterladen und loslegen. Mit einem kostenlosen Abonnement kann jeder sein Zuhause, Büro oder Hotel mit jedem kompatiblen Android- oder iOS-Gerät digitalisieren. Besser kann der Einstieg in Matterport nicht sein.” 

RJ Pittman, the chairman and chief executive of Matterport

First we downloaded the free Matterport Capture app, connected our agency smartphone to the Axis mobile mount and set up the tripod at our chosen starting point. The display now shows you how to position your phone and from then on everything works by itself. Once the first angle has been captured, you only have to reposition the tripod so that in the end you can really digitise every corner. Finally, you upload your scan and Matterport quickly develops a digital twin of your personal favourite spot. Sounds simple, but it is!

The Dollhouse view of our office at Albrechtstraße 14, Berlin

Digital twins make work easier

Digital twins can be used in a variety of ways, no matter what industry, from real estate companies to construction, retail and tourism to insurance and facility management.

Especially in the real estate sector, the demand for digital twins boomed during the pandemic. When the lockdown prevented potential buyers from viewing properties in person, real estate agents used digital twins to create virtual tours that allowed buyers to view properties without being on site. Commercial real estate companies are now also using digital twins to help clients plan and optimize return-to-work initiatives. In construction, engineers can visit sites at the click of a button to plan difficult or potentially invasive construction work remotely. This speeds up construction time through faster project management. The tourism industry can also benefit from digital twin technology. Virtual replicas of hotels and holiday homes allow holiday makers to view their future accommodation before they travel – true to the motto: check-out before check-in. The same applies to museums, galleries or historical sites: digital twins of this kind allow visitors to explore cultural assets virtually without ever having to enter them. Shopping is also optimized by digital twins – they create a better shopping experience, better coordinate on-site and online purchases and thus increase customer loyalty. From a virtual fitting of clothes, to visualizing your own home for online furniture purchases, to viewing a new shop before it opens, it’s all there.

About Matterport: Matterport, Inc (Nasdaq: MTTR) is leading the digital transformation of the built world. Its pioneering geospatial platform transforms buildings into data to make virtually any space more valuable and accessible. Its technology enables anyone with a smartphone to create a digital twin of any physical space. For this reason, digital twins will be an important foundation for building the Metaverse. Matterport has been building a strong, scalable, global business for over a decade. By early 2022, over 500,000 customers in 177 countries have more than six million rooms online with Matterport, covering billions of square feet of space – the equivalent of 5x NYC. Learn more at and view the digital twin gallery.

Author: Lisa – PR & Social Media Consultant

Our clients show solidarity!   

Looking at Eastern Europe it is obvious that we all are speechless and overwhelmed. The current situation and the suffering associated with it makes many people very concerned and makes us feel helpless. Millions of people have already fled from Ukraine to escape the war – and now need support. Throughout Europe peace demonstrations are being held, shelters are being organized, and relief supplies are being collected and transported – there are countless ways to help the people from Ukraine. We at Public Link have decided that we want to get involved individually and are actively doing so. You can follow us on how we do this on our social networks Instagram and LinkedIn

Our clients are also doing their part to support the people in Ukraine and their families in Germany. Energy food manufacturer Clif Bar is working with its long-time partner Convoy of Hope to provide emergency aid and support their relief efforts on the ground. Finnish sneaker brand Rens is donating 100 percent of all proceeds from the sale of “Ocean Blue Sneakers” to charitable relief organizations for two months. MEININGER Hotels is providing some hotel rooms for refugees in Berlin.

Also the vegan fashion label Alife & Kickin shows solidarity – how exactly they support Ukraine, Lisa Schwebel from Alife & Kickin tells us in a short interview:

Alife & Kickin® is a fair and vegan street and sportswear brand with a focus on style, functionality and sustainability. The eco-friendly fashion label, which has banned all animal products from its collections since 2013, is officially PETA Approved Vegan.

PL: Dear Lisa, nice of you to take time for us. Please introduce yourself and your job briefly.

Lisa Schwebel: I’m Lisa, I work as a freelancer at Alife & Kickin and I’m mainly responsible for [the production and campaign planning of] image shoots. Currently I’m also taking over the social media account. 

PL: February 24, 2022 will probably remain one of the shock markers in all of our memories. Are you affected by the current situation and how do you deal with it? 

Lisa: Our production was not affected by this. However, it must be said that emotionally, of course, it was a standstill. I also paused the social media activities for a time, but for the reason that I helped to pack boxes at the Avus rest stop outside Berlin and was not actively working for Alife & Kickin at all. Also our CEO Nick has completely extended and renovated two apartments so that he can take in refugees, besides the usual madness.

PL: How did you get active together as a company? 

Lisa: As a company, we donated 600 winter jackets worth about €50,000 – a 12h action. [It only took one phone call and] via express, a freight forwarder came to the Avus in Berlin and there we loaded the jackets with the Berlin designers Marina Hörmanseder and Ewa Herzog directly to Ukraine.

PL: Do you have any opportunities within the company to get involved?

Lisa: Internally, we called for donations for the expansion of the two apartments of Nick. So everyone could participate in different ways: I remotely sent an IKEA gift card, others helped clean the apartments on site, or filled the fridge.

PL: What has the response been like? 

Lisa: One apartment is now occupied. We found a family through a private contact who have now moved in: a mother with twins (3.5 years old) and grandparents to boot. Nick’s family is also taking care of registration, daycare places etc. at the moment. 

The mother also has the possibility to start with us, she probably will. At the moment she is still arriving. Last weekend we all went to the zoo together to give the kids a little normality. 

For the other apartment (approx. 40qm) we are still looking for refugees. Unfortunately, the authorities in Saxony are not behind with the placement, which is a pity, because everything is completely ready for occupancy, the refrigerator is filled, etc.. 

Also the Truck with the donations from the Avus rest stop (including our jackets) arrived in Ukraine.

PL: What was your experience? Can you give any tips to other companies who also want to get involved?

Lisa: It was our private gut decision to help and to do and give what we can. If other companies decide to donate, there are a lot of fundraisers regionally and across Europe on many different platforms. Just do it and make it happen. 

We were lucky because of our short communication channels that it was super fast. One call and the jackets were ready to ship, which is actually an advantage with our company size. 

PL: Dear Lisa, thank you very much for your answers and for your commitment! 

In Berlin and all over Germany there are countless possibilities to help the people from Ukraine and we would like to give you a small overview so that you can become active yourself!

Help on arrival:

Support large aid organizations:

Organize emergency shelter:


Peacefully protest:

Attention recording! Step by step to the perfect branded podcast

Especially in the pandemic, the already increasingly popular medium podcast became an absolute hype. So it’s no wonder that companies are now also integrating the communication medium into their marketing mix as an ideal branding tool – and in a far more sophisticated way than via the classic pre-roll.
From a PR perspective in particular, the podcast is an excellent medium for sharing brand messages, exciting insights and valuable tips with the target this works, we explain step by step using the example of our client, the vacation home online marketplace FeWo-direkt, with whom we created the podcast “Mit Kind und Koffer”

Step 1 – Determine topic and target group

The first consideration was the target audience. Do we make a podcast for the media or rather for consumers? Depending on the decision, this will affect the entire approach to the production, starting with the partners, the interviewees and the content topics, up to the accompanying marketing and PR measures. We decided on the target group “families who like to spend their holidays in a vacation home”.


1. The target group should be defined in advance. The sharper the definition, the easier all further steps and the identification of topics will be.

Step 2 – Find competent partners & snappy formats

For the technical implementation and production, we addressed the digital city magazine “MitVergnügen”, whose employees have already been producing such successful podcasts as “Hotel Matze”, “Familienrat”, “Beziehungsrat”, “Heute in 5 Jahren – der Zukunftspodcast” for several years.  When it came to the topic of travel, MitVergnügen was able to demonstrate expertise with their brand extension “Reisevergnügen”. 

Together, we proceeded to define the format and decided on casual conversations between the editor-in-chief of Reisevergnügen, Charlott Tornow, and the book author & family expert Nora Imlau.


1. Loose conversations are better suited for podcasts than stiff interviews.

2. Competent partners with technical know-how and production experience are essential.

Step 3 – Searching for a title, creating guidelines and getting to know the interviewees

After an intensive brainstorming session, we decided on the podcast title “Mit Kind und Koffer” (With child and suitcase). Afterwards, we were able to mutually determine the topics for the individual episodes. For the beginning, we limited ourselves to a season with four episodes. Each episode was supposed to have a clear structure, deal with a specific topic and feature a conversation between host Charlotte and Nora Imlau. The client was able to specify the topics they wanted. In the end, we agreed on a more general first episode, followed by conversations about vacations with babies and toddlers, vacations with teenagers and vacations with grandparents.

Rough guidelines for the 20-to 30-minute conversations were prepared. That way, all participants knew in advance what was going to be discussed without the conversations seeming too scripted and thus inauthentic later on. 


1. The podcast title should be short and meaningful at the same time, so that it is immediately clear what it’s all about.

2. Conversation guidelines with questions and bullet points for the answers make it easier to record and prevent people from getting bogged down or the conversation coming to a dead stop. In addition, the customer can name the topics that are most important to him in advance.

3. With a pre-announcement of the podcast via social media, potential listeners can be invited to send questions. In this way, you create the first interested followers.

4. The interviewees should not only be suitable in terms of content, it is also ideal if they already have a certain level of recognition (influencers, authors, journalists, scientists…) in order to bring along their followers as potential listeners.

5. Preliminary interviews are important so that the interviewees can get used to each other and get to know one another. Later on, the episodes will seem much more natural.

Step 4 – Compose music, design the logo and get some good technology. 

In the next step, we had MitVergnügen compose a title melody that would fit the theme and tenor of the podcast. The logo was developed on the basis of a brand photo of the client.  Due to the lockdown, it was unfortunately not possible for Nora Imlau to travel to the podcast studio in Berlin. Normally, however, this makes sense for the atmosphere of the conversation and for technical reasons. To save time, the recordings of the four episodes were scheduled for two consecutive days. 


1. An own title melody gives the podcast a recognition value. GEMA-free music is possible, but quickly sounds arbitrary.

2. For the title picture/logo, simple graphics or icons are better than photos. Company logos should not be used.

3. When branding, both visually and in terms of content, it is best to act as restrained as possible.

4. Everyone should have the same technical requirements; a professional recording studio is not a must, but it makes post-production work easier.

5. It’s recommended to record 10 minutes longer in order to have enough material for post-production and to cut less successful parts.

Step 5 – Postproduction and setting up the channel

After the recording was completed, the episodes went into post-production at MitVergnügen. A teaser was produced, the lead-in for the episodes was recorded, the misspeaks and filler words were cut from the conversations, and the acoustic artifacts were removed. Finally, the client was able to approve the finished episodes before publication. This prevented misinformation in the content. Afterwards, the MitVergnügen employees set up the channel on Spotify and Apple Podcasts.


1. Every podcast needs a short, approximately 2-minute teaser that sets the direction and content.

2. Rough mistakes or too many “uhms” can be cut out in post-production.

3. Setting up a new channel takes about two days. What can be heard on Spotify and Apple Podcast will automatically run on other podcast platforms later.

Step 6 – The episodes are published and accompanied by media activities

In a two-week rhythm, the pre-produced episodes were launched live on Fridays and accompanied with social media activities – both by MitVergnügen and Reisevergnügen as well as with influencer and media cooperations via FeWo-direkt. A press release was also written for the first episode. Since podcasts are a long-lived medium and the content is still quite relevant today, references to the podcast are made in all external communication (e.g. boilerplates, emails, etc.). 


1. With a new podcast, it makes sense to put a few episodes live right at the start of the season – two or three. After that, further episodes should be published at weekly intervals. This creates better loyalty among listeners and ensures that they remember the podcast.

2. Podcasts grow slowly. The first episode will always have the most listeners. But the more often and longer you feed the podcast with new episodes, the better for the numbers.

3. Social media accompaniment is important. The more influencers with a wide reach link to the podcast via “swipe-up”, the better. It’s best to promote each episode individually. The budget for social media support should be similar to the budget for the entire podcast production.

Our conclusion – let’s do it again!

Podcasts offer many possibilities – also for PR. However, one should not expect huge media attention; podcasts mainly pay off in terms of brand awareness. Although the number of podcasts is continuously increasing and the competition is growing, brands can definitely still occupy certain niches. However, branding should be used very discreetly and with a lot of sensitivity. For “Mit Kind und Koffer” FeWo-direkt has taken a kind of pioneering position in the industry. So there are no more obstacles to a further season of the podcast. We are already looking forward to it!

What’s next after the pandemic, Marina Burdorf?

Billion-dollar losses, layoffs, bankruptcies. The impact of the pandemic on the entertainment and event industry has been a frequent topic of controversial dispute in recent weeks and months. Often, there has only been a fine line between general social responsibility and justified concerns of members within the industry. In the meantime, we are in the second year of the pandemic and the advancing vaccination campaigns worldwide are fuelling hopes that we are nearing the end. Time to look ahead, because we, too, can hardly wait to work with our clients again to implement communication concepts that go beyond digital alone. What will the events of the future look like? In what form will communication take place? What role will sustainability play? 

Public Link spoke with three partners and event experts who venture an outlook on the future of the event industry. 

As Head of Human Resources at the marketing and event agency “B2M”, Marina Burdorf has many years of experience in the industry and knows about the emotional significance of interpersonal gatherings. Nevertheless, she also assumes that hybrid events will be the format of the future. 

Emotions are missing in front of the screen

For more than a year, we have been in a strange and at the same time challenging situation that has had a lasting impact on the entire culture and event industry. It is an unprecedented situation, and thus there is a lack of experience – for organizers, for event participants, for cultural operators, but also for politicians. 

Currently, there is a trend towards digital events in order to maintain the activation of the community. Opportunities are being seized to build up communities, reach them even beyond the regional borders, and network them with one another. Different communities are growing together digitally in this way. 

But even if there are opportunities, something is still missing – all the things that actually characterize events: getting to know like-minded people, switching off from everyday life, the “once in a lifetime” feeling. These emotions don’t come up in front of the screen. Especially not if you already spend a lot of your time in front of the computer during home office hours. 

In my opinion, the hybrid event format will become increasingly important. It also has the potential to combine two wonderful formats and make the most of both, thus extending the live event experience.

Hybrid events offer the best of both worlds

Events are not just a leisure activity; they add a significant contribution to the economy as a whole. Unfortunately, this is often forgotten – even though 1.5 million people work in the event and culture industry and many are currently experiencing sales losses of up to 100 percent. Cultural life thrives on the lifeblood of exactly these people, which is why we must pay increasing attention to supporting them. 

Well-differentiated pilot projects and the update for the Corona Warning App 2.0, which will allow event registration, are raising hope.

B2M creative:
The internationally active agency for field marketing, performance advertising and community marketing counts numerous brands from the sports, food and technology sectors among its clients. The aim is to jointly implement cross-media and sustainable marketing concepts in order to build the brand responsibly in various ways.

© Pexels - Pablo Heimplatz

What’s next after the pandemic, Alexander Vogel?

Billion-dollar losses, layoffs, bankruptcies. The impact of the pandemic on the entertainment and event industry has been a frequent topic of controversial dispute in recent weeks and months. Often, there has only been a fine line between general social responsibility and justified concerns of members of the industry. In the meantime, we are in the second year of the pandemic and the advancing vaccination campaigns worldwide are fuelling hopes that the end of the tunnel is at hand. Time to look ahead, because we, too, can hardly wait to work with our clients again to implement communication concepts that go beyond digital alone. What will the events of the future look like? In what form will communication take place? What role will sustainability play?  

Public Link spoke with three partners and event experts who venture an outlook on the future of the event industry. 

Alexander Vogel, managing director of the Berlin communications agency “26zehn,” expects a greater awareness of ecological issues and is convinced that the hybridization of events will play a key role in the future. Together with his agency, we managed the last event before the outbreak of the pandemic in spring 2020. It is therefore only right that he is also the first person we talk to about the time after Covid.

We can agree that 2020 was a gloomy year for the event industry. Nevertheless, every crisis also brings new opportunities, and so the current pandemic is creating the necessary pressure to rethink. As a creative agency with a focus on events & live communication, we want to take advantage of that and have already positioned ourselves more broadly as an agency before the pandemic. 

Tailwind for greener digital events

Fortunately, the pandemic hit us at a time when large parts of the world were already connected with high-speed internet and had the technological capabilities available to bridge physical distance and work remotely effectively. Technology is becoming more powerful and the options for meeting are currently more plentiful than ever before. 

But the focus here is not only on the resources of time and effectiveness, but above all on the environment and our footprint. If we’re honest, it’s been clear to us for a long time that flying halfway around the world for a meeting, a symposium or a short visit to a trade fair is neither effective nor timely. Hopefully, this will continue to be limited in the future as we continue to focus on digital and hybrid solutions. The realignment of values that is currently taking place is accelerating the discovery of innovative approaches to solutions and the development of sustainable information and communication technologies. Wise use of technology is more important than ever. In this context, the hybridization of events will certainly play a key role. The combination of live events and digital interaction is already enabling completely new formats. 

Key elements: Hybridization, digital events and precise planning 

For us as an agency, one of the key factors for the successful organization of an event – in addition to compliance with hygiene standards, which is now a standard part of our work, and the development of creative event concepts, smart security and prevention concepts – will also be the precise planning of the event after the actual event. This refers to professional, targeted data management, which represents clear added value for both the organizing brands and the event attendees. In future tenders and pitches, this additional aspect will play a key role alongside the actual development of creative overall concepts, customized staging and individual event design.

Making digital options an asset and rethinking time scales 

Less physical presence also means more space. By relying on less space for digital event concepts, multiple events could be held simultaneously at one location. In addition, it would be conceivable to hold individual events over a longer period of time in order to generate adequate visitor numbers again while meeting hygiene standards. Numerous agencies and companies are also taking advantage of the currently available space in their business premises to set up professionally equipped studios and produce more of their own formats. 

But we shouldn’t kid ourselves: virtual interactions cannot ultimately replace human ones, not in real life and not in live communication either. Instead, the focus is more than ever on the quality of the encounter. The desire for closeness and overcoming distance enjoys top priority. Networking on the sidelines and spontaneous exchanges are still an inherent need. We are currently making this challenge our mission. We are looking forward to the future, while also returning to classic event formats. 

Alexander Vogel is Managing Director at 26zehn”. The communications agency from Berlin is known for its cross-media expertise and clear philosophy: according to the agency, every project starts with a white sheet of paper, 26 letters and ten numbers. Its clients include WallDecaux, ADAC, XING and the Bayer Group.

Winning the algorithm: Here’s why today’s brands need video content

When you do your job for a long time, you rarely get that thrilling feeling of doing something for the first time. But after 4+ years as a social media consultant and over 2 years at Public Link, that’s actually how I feel typing these words right now. Because this is the first article of my very own column – from now on, I’ll be sharing my thoughts on current developments and exciting phenomena from the social media world. Enjoy!

Let’s start with a topic that’s not brand new, but has generated an unbelievable transformation of the social media universe: videos. Or rather: Social Binge Watching. The hours of “being stuck” in various social media apps. There is a reason why the video-only platform TikTok is also booming in Germany now, why Instagram is focusing on Reels and even LinkedIn is relying on videos as the format of choice. 

The reasons behind are easily explained: Videos capture the viewer’s attention in the shortest amount of time. A narrative told visually through movement, sound and emotions. Easy, passive media consumption at its best. And the longer the viewer engages with a piece of content, the more likely it is that the algorithm will expose this content to an even wider audience. So there’s hardly an algorithm left that hasn’t learned that videos perform best.

I would have liked to avoid using the C-word, but unfortunately I can’t get around it when it comes to video content. Covid has played a particular role in the huge success of this format. The big players all saw an increase in usage. So creators, brands and companies had to come up with something quickly to win over the audiences additional time. A new wave of live workouts, banana bread recipe videos and DIY Ikea upcycling hacks were born – just to name a few of the many trends. 

As a result, brands and creators are now facing a new challenge, as consumers expectations go far beyond mere product placements on their social feed. More than ever, the audience wants to see creativity and get to know the values and people behind a brand. Content with added value is king – to gain new followers, increase awareness or even generate sales. 

For some, videos are already their bread and butter, for others it’s still unchartered territory. But if you want to bet on the winning horse in social media, you need video content. And if you want to stay one step ahead in the race, you need a strong strategy. 

Which products or services should be presented? What story do you want to tell? Can you add value to the video? How regularly can the format be offered? Questions upon questions, all of which need to be answered in the strategy. Not to be forgotten: determining the specifications of the different formats on the various platforms – sometimes it’s simply not enough to produce one video for all channels. It really needs to be planned and cropped to be platform specific.

And now, probably the most helpful insight: not every video has to be an expensive production by a professional video team. A newer smartphone is completely sufficient thanks to good camera quality and intuitive apps.  

Too long, didn’t read: Videos are here to stay. Trial and error is the motto. Especially in social media, not everything always has to be perfect – the more authentic, the better. 

Last but not least, my 8 hottest tips:

  • It’s better to have one channel with regular content than to have too many irons in the fire.
  • Every video needs a story. A dramaturgical composition. A common thread. Whatever you want to call it.
  • To-Do: Take a picture in the same video setting. In most formats, you can select an additional photo as a thumbnail, which is definitely more professional than selecting a sequence from the video itself.
  • It’s worth spending a little money on useful apps. This will save you a lot of frustration and time, and you’ll get a variety of ready-made templates that can be easily personalized.
  • Rivals never rest. So better to start yesterday than tomorrow.
  • Truly enjoy video production. Or find someone in the company who is on fire for it. The passion is obvious in a video.
  • Spend time on social media yourself and watch videos for inspiration, to know what is state of the art at the moment.
  • Keep at it. Videos should not follow a one-and-done strategy. It can only get better with every video.

…and if support to develop or implement a video strategy is needed, you surely know where to find our contact details. 🙂

Author: Milena Reismann – Head of Social Media

© Ferdinand Christ

Public Link in conversation with Head of Marketing & Sales Ferdinand Christ

The media industry is in a transitional phase. The Corona crisis is accelerating the digitization of our everyday lives, and mass media have been fighting for readership and viewer numbers not just since the pandemic. How does this development affect the special interest magazine sector?

Pulse Publishing is one of the largest special interest publishers in Germany. 12 magazines are published in print and digital under the umbrella of the leading marketer for a young and trend-oriented target group. The topics range from sports and travel to fashion and culture. According to the editors, they attach great importance to presenting their stories authentically and thus mirroring the lifestyle of the readers. In this interview, Ferdinand Christ, Head of Marketing & Sales at Pulse Publishing, shares his thoughts on how the media industry is changing and what he would like to see from agencies and companies in the future. 

PL: Ferdinand, your titles are primarily tailored to a modern and dynamic target group. How have you perceived the media consumption habits of your readers in recent years? 

Ferdinand Christ: Consumption behavior in the media has shifted extremely in the direction of social media and influencers in recent years. But you can see that social media is not necessarily social media. Some platforms gain, some decline rapidly, and only a few remain consistent. Nevertheless, our trend magazines are still popular and the sites remain well frequented. 

PL: As a publishing house, how have you responded to these developments? Did new formats or channels emerge or become more relevant in recent years? 

Ferdinand: As an independent medium and a publisher focused mainly on online platforms, we can respond to topics and innovations in a much more targeted way. “Service” is in pole position for us. But current features, news and stories also form other cornerstones with which we can successfully hold our own. 

PL: Many of your competitors have had a tough time financially in recent months – some titles no longer exist. In the midst of media change and the pandemic, what ways do you see to keep media houses solid?  

Ferdinand: The media – whether print or online – are having a harder time than ever. Many of our competitors have been able to just about keep their heads above water through savings, but these are very short-term funds that most of them have at their disposal. So I think it’s good that there are opportunities, for example through crowdfunding campaigns or government aid, to be able to continue pursuing your vision. We all have one goal – to share our passion and get more people involved in sports, to support and inform them. 

PL: What’s your take on paid journalism – potential option for funding, or rather exclusively advertising and brand deals? 

Ferdinand: That’ s a very difficult question! Paid journalism is definitely a potential funding option within a conditional framework. However, it should definitely not be too promotional and should also offer space for criticism. Classic brand deals and advertising still exist, but nowhere near what they were five years ago, for example. It is therefore important to constantly create new marketing formats in these areas. 

PL: How has working with PR agencies and brand managers changed in the past few years? 

Ferdinand: The expectation of many PR agencies and brands is that we, as media, share a press release selflessly and immediately through our channels. As soon as it comes to financial cooperation, on the other hand, responses are rare – and that’s a damn shame, because there are an enormous number of approaches that would offer the brands or products added media value. Unfortunately, for those responsible, this is often not even an option. 

Whether it’s with a large corporation, a small shop or a traditional PR agency, partnerships must be fair in both directions.

PL: What would you like to see in terms of the development of the industry? 

Ferdinand: From minute one, we have helped to build up sports in particular, communicated it, and offered a platform – and at the same time we have also helped to build up the surrounding brands. More people should remember this before they once again waste their tight marketing budgets on giveaways and influencers.

PL: Thank you for answering our questions!

Harry & Meghan: A PR perspective on the big royal interview

The interview of the year is still on everyone’s lips: When US talk show host Oprah Winfrey sat down with Prince Harry and Duchess Meghan for some explosive revelations about the royal family’s treatment of the former actress – from harassment to accusations of racism – the world watched in shock.

The publics’ reaction: mixed. Malicious tongues claim that Meghan in particular can’t let go of fame and does everything she can to stay in the limelight and earn a penny or two.

Those who are of this opinion, however, get new fodder with the latest news, as: The Sussexes are said to have signed huge deals with giant tech companies shortly before the big interview. These include Netflix with a triple-digit deal and Spotify with a double-digit million deal.

There is no doubt that the allegations from the interview are troubling to say the least. What is doubtful, however, is the timing. One might even argue that the royal couple’s accusations should have been made public immediately – so why wait?

As “old hands” in the business, Prince Harry and Duchess Meghan know exactly how to deal with the media and what information to use best, when and how. So it doesn’t come as a shock that the couple would use the momentum to cash in. For Meghan in particular, as a former actress, a deal with the steaming giant Netflix is more than beneficial – with it, documentary series and various other TV formats are virtually in the pipeline.

After the general debate on whether the royals intentions were pure or purely money driven, all eyes turned to Buckingham Palace. Would the Queen issue a statement in response or keep quiet over the allegations? 

It is said Queen Elizabeth at first refused to sign an official statement. But on Tuesday evening (March 9), Buckingham Palace did release a message from the British royal family. A statement that was to the point, straightforward and yet laced with one or two digs.

From a PR perspective, we don’t think the Palace could have reacted any differently. Though brief, the couple’s accusations were addressed with earnestness and further rumors of a divided family were quashed with the final words, “Harry, Meghan and Archie will always be much loved members of my family”. 

Click here for the Queen’s statement: 

Time will tell how and if the royal family will overcome this current crisis and whether Harry & Meghan will exploit the power of the media in the future. In any case, we think both parties have played their parts well in terms of PR. 

The world is a very serious place right now, but this made us laugh in context of the Royal Interview:


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Alex Mittag

Agencies need boldness for the future now! – Public Link in conversation with brand strategist Alexandra Mittag

A deep-rooted loyalty of the community makes brands and companies more crisis-resistant, especially in these times – to achieve this, however, they need a future-proof brand management and strategy as well as an engaging brand communication. That is where our longtime partner and brand strategist Alexandra Mittag comes into play. In the interview she explains why agencies should avoid panicked acquisition of new customers in times of crisis and gives tips and suggestions for the future of the agency industry. 

PL: Dear Alex, it’s great to have you with us. Please introduce yourself and your job briefly.

Alex: I worked in communication agencies for years, supporting numerous branded companies and social organizations, and then went into business on my own in 2014. Since then I have been helping agencies and companies with brand management and developing sustainable brand strategies and brand communication together with them.

PL: Although brand management is one of their core areas of expertise, many agencies fail when it comes to their own brand. How do you explain this discrepancy?

Alex: On the one hand, ongoing client projects have the highest priority, only a few agencies manage to spend time continuously dealing with themselves, and on the other hand they lack the concept. Many use their expertise profitably for their clients, but have no plan for themselves. They rely too much on recommendations and existing networks when acquiring new clients. This inhibits growth and can lead to a panic reaction in times of crisis. 

PL: Why is now the ideal time for agencies to work on their own brand?

Alex: This is the perfect time for optimists. Because they believe they can lead their agency through the crisis into a new reality. And that’s exactly what is needed now, courage for the future! 

In view of the far-reaching changes, the crisis is initiating a fundamental process of renewal. It requires a new quality of entrepreneurial foresight and a new willingness to outline visions that are tied into a present that has been taken off its hinges. Those who are prepared to do so can rewrite their own history. 

PL: The debate surrounding Scholz&Friends – dealing with applicants and employees – has really stirred up the agency industry this year. What factors do you think agencies should focus on compared to the past in order to create a positive image for themselves and the industry in general?

Alex: I am convinced that future success is a question of future culture. So the question is not what agencies can do to polish their image, but rather how the whole industry can be culturally transformed to have a right to exist in the future. Gone are the days when 10 percent of the executives made up 90 percent of the salaries, and titles set the tone. 

Agencies have to empower their employees, have to build and expand expertise from within, have to develop a culture of participation. This unleashes creative power and innovation potential, and encourages employees to share risks and opportunities. 

PL: Thanks for this very interesting interview Alex!

Renato Leo, Founder MAZE Management

Public Link in conversation with Agency Owner und Influencer Manager Renato Leo

Whether it be TikTok, Instagram or LinkedIn – influencer marketing has only become more popular with Corona, according to a study by Duff & Phelps. However, the use of familiar faces as ambassadors and advertising figures of a brand is nothing new: Since the beginning of advertising, stars & starlets have been used in the traditional media as so-called testimonials. Despite its profitability, influencer marketing is becoming a challenge for every advertiser due to the increasing number of channels, messages and complex, cross-channel campaigns, paired with the decreasing attention span. Luckily, we have Renato Leo in the office. 

Our newest member of the office family and valued partner Renato founded his agency MAZE Management in 2014 to support and promote emerging talents in the field of social media. As a former journalist, Renato knows exactly how messaging must look to be credible and effective and has a trained eye for exciting content creation and storytelling. We asked him what influencer management actually means, what a good cooperation should look like and where he sees the future of the industry.

PL: Hey Renato, thanks for taking the time to talk. Please introduce yourself and your agency MAZE Management.

Renato Leo: Today, we see MAZE as a talent management for social media creators, whom we support in storytelling conception, image building, positioning, marketing and content monetization. Our network includes a selected pool of photographers and videographers, who can be accessed by our talents at any time. Currently we have ten influencers from various fields under exclusive contract, with a focus on creators with a TV background. Among others we manage former Germany’s Next Topmodel participants or actors of “Gute Zeiten, schlechte Zeiten”. 

PL: Where did you come up with the idea to build up a management for Influencer and what are the characteristics of good management?

Renato Leo: Around 2016 I received more and more requests from influencers if I would consider taking over their management. Two years later, Maze had already grown so much that I was completely focused on the agency, which was one of the best decisions of my life. I really enjoy working with the talents, building and marketing them. I believe that is what good management is all about: Not relying on rapid monetization, but on the consistent and sustainable development of talents. 

PL: How does one become a talent at MAZE and what are the most important criteria in selecting your talents?

Renato Leo: All our talents are characterized by a high affinity to social media. It doesn’t really matter whether one primarily utilizes Instagram or multiple platforms.  Much more important is the quality of the content and a high quality can only be guaranteed if the creator is one hundred percent on the job. Of course we also take a close look at the statistics of the talents. If someone wants to be accepted there are several criteria to be met. These include not only a high reach and commitment, but also a following, at least 50 percent of which comes from German-speaking countries. From time to time, we receive applications from people with a six-figure number of followers, most of whom come from Brazil, the USA or elsewhere. An advertising partner with Germany as a target market would immediately turn away. 

PL: Do you specialize in a particular industry or segment at MAZE? Where do you still want to go?

Renato Leo: There are some managers who only take care of Let’s Gamer or YouTuber, which can make sense, but that’s not what we do. We feel very comfortable as an agency for influencers, who became known through a TV show or are full-time active in the film/TV business. At the moment we are looking very closely at the market for professional athletes, because there is a lot of potential in this area. In the meantime, we are also planning to set up a marketing unit that develops and rolls out campaigns for brands, which is a logical further development of MAZE. 

PL: According to which principles do you choose the appropriate brands and projects? What makes a good cooperation for both sides?

Renato Leo: In one word: Brandfit. The brand and the product have to fit the Influencer. When an inquiry reaches us, we take a very close look at the company and the products we want our talents to promote. We also let our talents test the products in advance and check the campaign concept. So there are a few parameters that have to be met before a cooperation can be established. When we started placing the first jobs six years ago, many companies were still looking at the pure channel size and less at whether an influencer and its community could really get the products across credibly. A lot of money was burned. A cooperation is only successful if the brand sees their targets fulfilled and the talent has been able to monetize the content in an authentic way – ideally, this will result in a long-term partnership. 

PL: At Public Link we are big fans of best practice examples. Is there a MAZE campaign that you especially like to remember?

Renato Leo: Just recently we implemented a campaign with KFC Germany that was a great success for all parties involved and even caused a sensation at their US headquarters. The cooperation came about by a lucky coincidence. Timur Ülker, who is an actor for “Gute Zeiten, schlechte Zeiten” and a passionate musician, sent me one of his recently produced songs to ask me for my opinion. In a text passage it was about him and his friends having a stop at a fast food chain after a party. I suggested changing this passage, offering the song to KFC and building a cooperation based on it. Not only was the song extremely well received by KFC – they even commissioned us to produce a new song to celebrate the 130th birthday of KFC founder Colonel Sanders. We joined forces with Timur’s good friend and well-known German rapper Eko Fresh and within a week the “birthday song” was finished, which then became the heart of the Colonel Sanders jubilee in Germany and was featured on a special landing page on the KFC homepage and on Instagram. 

PL: How do you think the influencer market will develop? Are there new trends that you find particularly thrilling?

Renato Leo: This professionalism will continue to advance. This is already ensured by the platforms alone with new innovations that allow influencers to create exciting and relevant content. The TikTok hype and also Instagram with reels have strengthened this development in 2020. Especially the brilliant catch-up of TikTok has surprised many. In addition, podcasts are likely to become increasingly important for advertisers. This is also shown by the recent acquisitions of streaming services such as Spotify, which bought up podcast agencies for insane sums of money and signed up star podcasters exclusively. Over the past two years, many bloggers have created their own podcast, and podcasters have become influencers. There is still quite a lot to happen in Germany.

PL: What is your personal opinion about younger platforms such as TikTok? Is this where the future of influencer marketing is headed?

Renato Leo: The TikTok creators did a lot of things right and recognized the right opportunities in the Corona crisis to attract new users. The further development from the Lipsync app for kids to an entertainment platform for young people has been extremely successful. Most creators, whether YouTuber or Instragrammer, have quickly picked up the new TikTok hype and used it for their own purposes. Our talents are all represented on TikTok as well because it is another pillar: on the one hand, to create exciting content, on the other hand, of course, to be relevant for advertising partners. In any case, TikTok is a great addition for social media creators. 

But for brands, TikTok is still a difficult platform at the moment. For brand awareness campaigns, the platform is great, since you can achieve high reach with the right concept. However, TikTok cannot generate direct sales like Instagram – at least not yet. I’m sure that Bytedance will come up with a solution for this in the near future to catch up with Instagram & Co. 

PL: And finally: Can brands or products still be successful today without influencer marketing?

Renato Leo: As soon as a brand or product is intended to appeal to a broad mass, there is no way around influencer marketing. In the beauty, food, sports and fashion industries, influencers have become an integral part of the marketing mix that can significantly drive growth and sales. And compared to Asia, where influencers are the most important advertising media, we are still in the early stages of influencer marketing in Europe.  

PL: Thanks for the great talk Renato!