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Productivity analytics startup Time is Ltd. wants to be the Google Analytics for company time. Or perhaps a sort of “Apple Screen Time” for companies. Whatever the case, the founders reckon that if you can map how time is spent in a company, enormous productivity gains can be unlocked and money better spent.
It’s now raised a $5.6 million late-seed funding round led by Mike Chalfen, of London-based Chalfen Ventures, with participation from Illuminate Financial Management and existing investor Accel. Acequia Capital and former Seal Software chairman Paul Sallaberry are also contributing to the new round, as is former Seal board member Clark Golestani. Furthermore, Ulf Zetterberg, founder and former CEO of contract discovery and analytics company Seal Software, is joining as president and co-founder.
The venture is the latest from serial entrepreneur Jan Rezab, better known for founding SocialBakers, which was acquired last year.
We are all familiar with inefficient meetings, pestering notifications chat, video conferencing tools and the deluge of emails. Time is Ltd. says it plans to address this by acquiring insights and data platforms such as Microsoft 365, Google Workspace, Zoom, Webex, MS Teams, Slack and more. The data and insights gathered would then help managers to understand and take a new approach to measure productivity, engagement and collaboration, the startup says.
The startup says it has now gathered 400 indicators that companies can choose from. For example, a task set by The Wall Street Journal for Time is Ltd. found the average response time for Slack users versus email was 16.3 minutes, comparing to emails which was 72 minutes.
Chalfen commented: “Measuring hybrid and distributed work patterns is critical for every business. Time Is Ltd.’s platform makes such measurement easily available and actionable for so many different types of organizations that I believe it could make work better for every business in the world.”
Rezab said: “The opportunity to analyze these kinds of collaboration and communication data in a privacy-compliant way alongside existing business metrics is the future of understanding the heartbeat of every company — I believe in 10 years time we will be looking at how we could have ignored insights from these platforms.”
Tomas Cupr, founder and Group CEO of Rohlik Group, the European leader of e-grocery, said: “Alongside our traditional BI approaches using performance data, we use Time is Ltd. to help improve the way we collaborate in our teams and improve the way we work both internally and with our vendors — data that Time is Ltd. provides is a must-have for business leaders.”
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Microsoft will soon launch a dedicated device for game streaming, the company announced today. It’s also working with a number of TV manufacturers to build the Xbox experience right into their internet-connected screens and Microsoft plans to bring cloud gaming to the PC Xbox app later this year, too, with a focus on play-before-you-buy scenarios.
It’s unclear what these new game streaming devices will look like. Microsoft didn’t provide any further details. But chances are we’re talking about either a Chromecast-like streaming stick or a small Apple TV-like box. So far, we also don’t know which TV manufacturers it will partner with.
It’s no secret that Microsoft is bullish about cloud gaming. With Xbox Game Pass Ultimate, it’s already making it possible for its subscribers to play more than 100 console games on Android, streamed from the Azure cloud, for example. In a few weeks, it’ll open cloud gaming in the browser on Edge, Chrome and Safari, to all Xbox Game Pass Ultimate subscribers (it’s currently in limited beta). And it is bringing Game Pass Ultimate to Australia, Brazil, Mexico and Japan later this year, too.
In many ways, Microsoft is unbundling gaming from the hardware — similar to what Google is trying with Stadia (an effort that, so far, has fallen flat for Google) and Amazon with Luna. The major advantage Microsoft has here is a large library of popular games, something that’s mostly missing on competing services, with the exception of Nvidia’s GeForce Now platform — though that one has a different business model since its focus is not on a subscription but on allowing you to play the games you buy in third-party stores like Steam or the Epic store.
What Microsoft clearly wants to do is expand the overall Xbox ecosystem, even if that means it sells fewer dedicated high-powered consoles. The company likens this to the music industry’s transition to cloud-powered services backed by all-you-can-eat subscription models.
“We believe that games, that interactive entertainment, aren’t really about hardware and software. It’s not about pixels. It’s about people. Games bring people together,” said Microsoft’s Xbox head Phil Spencer. “Games build bridges and forge bonds, generating mutual empathy among people all over the world. Joy and community — that’s why we’re here.”
It’s worth noting that Microsoft says it’s not doing away with dedicated hardware, though, and is already working on the next generation of its console hardware — but don’t expect a new Xbox console anytime soon.
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Google today launched the second beta of Android 12. The first beta, which launched at Google’s I/O conference in May, introduced us to the first glimpses of Google’s new “Material You” design system, though many of the promised new features and design tweaks weren’t part of this first beta yet. With this new beta, Google is bringing more of these to its testers (you can sign up for the beta here), including its new privacy dashboard that makes it easier for users to see which apps recently used a phone’s microphone, camera and location.
Other new features available in the beta are the addition of microphone and camera indicators that show users if an app is using those, as well as new Quick Setting toggles to disable app access to them. When access is toggled off, apps will receive blank audio and camera feeds. Related to this, Google is also bringing a clipboard read notification to Android that shows readers when an app is reading from the clipboard.
Also new in beta 2 is a new Internet Panel that makes it easier for you to switch between internet providers, Wi-Fi networks, etc.
With this release, Google is now one release away from reaching platform stability in August. As the company notes, now would be a good time for developers to finish their compatibility testing and release compatible versions of their apps, SDK and libraries. Given the current monthly release cadence, we’ll likely see a final release of Android 12 in September.
Like before, you’ll need a compatible device to try out the beta. Unlike with some the earlier preview releases, this list includes a lot of non-Google devices, with Sharp joining the beta program today, for example. You can find a full list of supported devices — and instructions for how to get started on non-Google devices — here.
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Even as NFT sales dip below their most speculative highs, startups aiming to tap into their potential are still scoring big funding rounds from investors who believe there’s much more to crypto collectibles than the past few months of hype.
Mythical Games, an NFT games startup based out of Los Angeles, has banked a $75 million raise from new and existing investors betting on the startup’s aim to expand the ambitions of their first title and locate a substantial platform opportunity amid helping developers build blockchain-based gaming experiences.
The round was led by WestCap. Existing investors were joined by 01 Advisors and Gary Vaynerchuk’s VaynerFund in the Series B funding. The startup has raised a whopping $120 million to date.
The company has been building a title called Blankos Block Party that seems to be Fall Guys meets Roblox meets Funko Pop. The PC game capitalizes on a number of big social gaming trends around user-created content, while adding in a marketplace where users can buy avatar figures and accessories crafted by a variety of artists and designers that Mythical has partnered with. Users can buy or sell the limited run or open edition items through their marketplace. Unlike some other NFT platforms, the goods live on a private blockchain so they can’t be re-sold on public marketplace platforms like OpenSea.
Mythical Games is part of a growing movement to bring blockchain-based game mechanics mainstream while leaving behind elements of crypto platforms that are seen as less ready for primetime. Users can purchase avatars on the platform with cryptocurrency through BitPay but they can also pay with a credit card. Users don’t need to walk through the mechanics of setting up a wallet or writing down a seed phrase either.
While the company has big hopes for Blankos as it onboards more users, the bigger investor opportunity is likely in the game engine that the team is building. The startup’s “Mythical Economic Engine” is being designed to help budding game builders create NFT-based marketplaces that won’t get them in any regulatory trouble, marrying compliance across geographies and tools that help creators comply with anti-money laundering laws and know-your-customer frameworks.
“With any new market like [NFTs], it goes through all these different cycles,” Mythical Games CEO John Linden tells TechCrunch. “We think this will actually change gaming for the long haul. The more we talk to game studios, we’re finding more and more potential use cases.”
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At its Worldwide Developers Conference, Apple announced a significant update to RealityKit, its suite of technologies that allow developers to get started building AR (augmented reality) experiences. With the launch of RealityKit 2, Apple says developers will have more visual, audio and animation control when working on their AR experiences. But the most notable part of the update is how Apple’s new Object Capture API will allow developers to create 3D models in minutes using only an iPhone.
Apple noted during its developer address that one of the most difficult parts of making great AR apps was the process of creating 3D models. These could take hours and thousands of dollars.
With Apple’s new tools, developers will be able take a series of pictures using just an iPhone (or iPad, DSLR or even a drone, if they prefer) to capture 2D images of an object from all angles, including the bottom.
Then, using the Object Capture API on macOS Monterey, it only takes a few lines of code to generate the 3D model, Apple explained.
Image Credits: Apple
To begin, developers would start a new photogrammetry session in RealityKit that points to the folder where they’ve captured the images. Then, they would call the process function to generate the 3D model at the desired level of detail. Object Capture allows developers to generate the USDZ files optimized for AR Quick Look — the system that lets developers add virtual, 3D objects in apps or websites on iPhone and iPad. The 3D models can also be added to AR scenes in Reality Composer in Xcode.
Apple said developers like Wayfair, Etsy and others are using Object Capture to create 3D models of real-world objects — an indication that online shopping is about to get a big AR upgrade.
Wayfair, for example, is using Object Capture to develop tools for their manufacturers so they can create a virtual representation of their merchandise. This will allow Wayfair customers to be able to preview more products in AR than they could today.
Image Credits: Apple (screenshot of Wayfair tool))
In addition, Apple noted developers including Maxon and Unity are using Object Capture for creating 3D content within 3D content creation apps, such as Cinema 4D and Unity MARS.
Other updates in RealityKit 2 include custom shaders that give developers more control over the rendering pipeline to fine tune the look and feel of AR objects; dynamic loading for assets; the ability to build your own Entity Component System to organize the assets in your AR scene; and the ability to create player-controlled characters so users can jump, scale and explore AR worlds in RealityKit-based games.
One developer, Mikko Haapoja of Shopify, has been trying out the new technology (see below) and shared some real-world tests where he shot objects using an iPhone 12 Max via Twitter.
Developers who want to test it for themselves can leverage Apple’s sample app and install Monterey on their Mac to try it out. They can use the Qlone camera app or any other image capturing application they want to download from the App Store to take the photos they need for Object Capture, Apple says. In the fall, the Qlone Mac companion app will leverage the Object Capture API as well.
Apple says there are over 14,000 ARKit apps on the App Store today, which have been built by over 9,000 different developers. With the more than 1 billion AR-enabled iPhones and iPads being used globally, it notes that Apple offers the world’s largest AR platform.
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Last month, Apple announced it would soon add lossless audio streaming and Spatial Audio with support for Dolby Atmos to its Apple Music subscription at no extra charge. That upgrade has now gone live, Apple announced this morning — though many noticed the additions actually rolled out yesterday, following the WWDC keynote.
The entire Apple Music catalog of 75+ million songs will support lossless audio.
The lossless tier begins at CD quality — 16 bit at 44.1 kHz, and goes up to 24 bit at 48 kHz, Apple previously said. Audiophiles can also opt for the high-resolution lossless that goes up to 24 bit at 192 kHz. Apple has said you’ll need to use an external, USB digital-to-analog converter to take advantage of the latter — simply plugging in a pair of headphones to an iPhone won’t work.
Apple Music subscribers will be able to enable the new lossless option under Settings > Music > Audio quality. Here, you’ll be able to choose the different resolutions you want to use for different connections, including Wi-Fi, cellular and download.
When you make your selection in Settings, iOS warns that lossless files will use “significantly more space” on your device, as 10 GB of storage would allow you to store approximately 3,000 songs at high quality, 1,000 songs with lossless or 200 songs with high-res lossless.
Image Credits: Apple
Meanwhile, Spatial Audio will be enabled by default on hardware that supports Dolby Atmos, like Apple’s AirPods and Beats headphones with an H1 or W1 chip. The latest iPhone, iPad and Mac models also support Dolby Atmos. Spatial Audio on Apple Music will also be “coming soon” to Android devices, Apple said.
To kick off the launch, Apple Music is today rolling out new playlists designed to showcase Spatial Audio. These include:
Apple is also adding a special guide to Spatial Audio on Apple Music, which will help music listeners hear the difference. This will include tracks from artists like Marvin Gaye and The Weeknd, among others. And Apple will air a roundtable conversation about Spatial Audio featuring top sound engineers and experts, hosted by Zane Lowe at 9 a.m. PT today on Apple Music.
Because songs have to be remastered for Dolby Atmos specifically, these guides and playlists will help music fans experience the new format without having to hunt around. Apple says it’s working with artists and labels to add more new releases and the best catalog tracks in Spatial Audio. To help on this front, Apple notes there are various initiatives underway — including doubling the number of Dolby-enabled studios in major markets, offering educational programs and providing resources to independent artists.
Apple also said it will build music-authoring tools directly into Logic Pro. Later this year, the company plans to release an update to Logic Pro that will allow any musician to create and mix their songs in Spatial Audio for Apple Music.
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Facebook has been making plenty of one-off virtual reality studio acquisitions lately, but today the company announced that they’re buying something with wider ambitions — a Roblox-like game creation platform.
Facebook shared that they’re buying Unit 2 Games, which builds a platform called Crayta. Like some other platforms out there, it builds on top of the Unreal Engine and gives users a more simple creation interface teamed with discovery and community features. Crayta has cornered its own niche pushing monetization paths like Battle Pass seasons, giving the platform a more Fortnite-like vibe as well.
Unit 2 has been around for just over three years, and Crayta launched just last July. Its audience has likely been limited by the studio’s deal to exclusively launch on Google’s cloud-streaming platform Stadia, though it’s also available on the Epic Games Store as of March.
The title feels designed for the lightweight nature of cloud-gaming platforms, with users able to share access to games just by linking other users, and Facebook seems keen to use Crayta to push forward their own efforts in the gaming sphere.
“Crayta has maximized current cloud-streaming technology to make game creation more accessible and easy to use. We plan to integrate Crayta’s creation toolset into Facebook Gaming’s cloud platform to instantly deliver new experiences on Facebook,” Facebook Gaming VP Vivek Sharma wrote in an announcement post.
The entire team will be coming on as part of the acquisition, though financial terms of the deal weren’t shared.
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Twitch announced today that it will release major updates to its Emotes this month to celebrate its 10th anniversary. These new features will include Animated Emotes, Follower Emotes and a Library for Emotes.
Since the origin of the livestreaming platform for gamers, Emotes — Twitch’s version of emojis — have been a key component of Twitch culture. They’re micro memes, and images like Kappa, TriHard and PogChamp have come to carry meaning in the greater gaming world, even off the Twitch platform.
“Emotes are a language that transcends countries,” said Ivan Santana, senior director of Community Product at Twitch. “Anywhere you are in the world, they mean the same thing for us.”
The Amazon-owned platform regularly adds new global Emotes, which can be used on any streamer’s channel. Individual creators can make custom Emotes for their own community, which paying subscribers can use across the platform. But the ability to add animated gifs as Emotes is something that the community has been asking for since Santana can remember.
“I’ve been at Twitch for four years, and it’s something people have been asking for since before I joined,” Santana told TechCrunch. “It’s certainly been a very, very long time.”
Streamers who lack animation skills need not worry. While the more tech-savvy among us can upload custom gifs, Twitch will provide six templates for streamers to choose from, which can animate their existing Emotes. These animations include Shake, Rave, Roll, Spin, Slide In and Slide Out. Viewers who are sensitive to animations will be able to turn off the feature in their Chat Settings.
Image Credits: Twitch
Twitch is also beta testing Follower Emotes, which will be available to select Partners and Affiliates. This feature creates a fun, free incentive for viewers to hit the follow button on a channel they might be checking out for the first time. When viewers follow a channel, they’ll be notified when the creator is streaming, which can lead to an eventual subscription. Twitch takes 50% of streamers’ subscription money, creating a valuable revenue stream for the company.
In Q1 of 2021, Twitch viewership hit an all-time high, growing 16.5% since the previous quarter. Twitch viewers watched 6.34 billion hours of content in Q1, making up 72.3% of the market share. That’s double the total hours watched on Twitch in Q1 of 2020. Facebook Gaming and YouTube Gaming earned 12.1% and 15.6% of viewership in the sector, respectively.
“For a long time, creators have been asking for better ways to attract and welcome new viewers into their channel,” said Santana. “The idea is generally to create a lot of excitement around that community, and more feelings ultimately of community.”
Creators with beta access will be able to upload up to five Emotes for their followers, but unlike Subscriber Emotes, followers won’t be able to use these across other channels. There’s no guarantee that Follower Emotes will be here to stay — Santana says it’s a feature Twitch is “experimenting” with — but if all goes well, the feature will roll out more widely later in the year.
Finally, the Library function will make it easier for creators to swap Emotes in and out of subscription tiers without having to delete and reupload them each time. This builds upon an upgrade that launched in January, which centralized channel-specific icons into an Emotes tab on the Creator Dashboard. As usual, new Emotes have to be approved by Twitch before they’re put into use. The Library will roll out soon to all Partners and Affiliates, staggered over a few months to account for an expected increase in volume of new Emotes.
“As Twitch has scaled, we now have millions of communities across many different cultures across the world,” Santana said. “We can hand over more of the controls of our Emote language to our community, and let them sort of evolve in a way that we never could imagine that ultimately serves them in their unique ways.”
Twitch teased that there’s more in the works to celebrate the platform’s 10th anniversary, including an official 10-Year celebration.
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Even as remote software uptake has boomed during the pandemic, certain workflows have gotten prioritized for specialized toolsets while other team members have been left piecemealing their productivity. Employees designing the copy that directs users and encapsulates company messaging have been particularly forgotten at times, say the founders of Ditto, a young startup building software focused on finding a “single source of truth” for copy.
The startup was in Y Combinator’s winter 2020 batch (we selected it as one of our favorites from the class); now Ditto’s founders tell TechCrunch the team has raised a $1.5 million seed round from investors including Greycroft, Y Combinator, Soma Capital, Decent Capital, Twenty Two VC, Holly Liu and Scott Tong, among others.
While copy workflows are often very messy when it comes to design and implementation, even the most-organized teams are often left scouring through meandering email threads, screenshot dumps and slack DMs with disparate teams. The founders behind Ditto hope that their software can give copy teams the home they deserve to keep everything organized and synced across projects and applications, ensuring that language is actually finalized and ready to ship when the time comes.
The company’s founders Jessica Ouyang and Jolena Ma were Stanford roommates who saw a lingering opportunity to build a toolset that prioritized copy as its own vertical.
“It’s so easy to couple text with where it lives, like you may think of it as part of the design so a lot of writers have to manage it inside toolsets for design or you may already think of it as part of development so writers end up having to go into the codebase and figure out how to code or manage JSON even though they’re content designers,” Ouyang tells TechCrunch.
Out of the gate, Ditto has been built for Figma, meaning users can easily export text blocks from designs in the app and rework them inside the Ditto web app, pushing updates without having to dig through the designs themselves. The founders say they are currently working on building out integrations for Sketch and Adobe XD as well. Inside the Ditto web app users can access change logs and update the status of particular pieces of text inside a project so that approvals are always certain.
“We find there’s a lot more opportunity to integrate into all of the places where copy is being worked on,” Ma tells us. “We have a lot more we’re hoping to do with our developer integrations and just integrating to all of those places where copy lives, places like A/B testing, internationalization, localization and other workflows.”
Copy development has plenty of stakeholders and the team is looking to experiment with pricing tiers that address that. For now they split up users into editors and commenters paying $15 and $10 monthly (priced annually), respectively, on the startup’s Teams plan. Ditto has a free tier for teams of two, as well as pricing designed for larger enterprise clients.
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If Instagram’s photo tagging feature was spun out into its own app, you’d have the viral sensation Poparazzi, now the No. 1 app on the App Store. The new social networking app, from the same folks behind TTYL and others, lets you create a social profile that only your friends can post photos to — in other words, making your friends your own “paparazzi.” To its credit, the new app has perfectly executed on a series of choices designed to fuel day-one growth — from its prelaunch TikTok hype cycle to drive App Store preorders to its postlaunch social buzz, including favorable tweets by its backers. But the app has also traded user privacy in some cases to amplify network effects in its bid for the Top Charts, which is a risky move in terms of its long-term staying power.
The company positions Poparazzi as a sort of anti-Instagram, rebelling against today’s social feeds filled with edited photos, too many selfies and “seemingly effortless perfection.” People’s real lives are made up of many unperfect moments that are worthy of being captured and shared, too, a company blog post explains.
This manifesto hits the right notes at the right time. User demand for less performative social media has been steadily growing for years — particularly as younger, Gen Z users wake up to the manipulations by tech giants. We’ve already seen a number of startups try to siphon users away from Instagram using similar rallying cries, including Minutiae, Vero, Dayflash, Oggl and, more recently, the once-buzzy Dispo and the under-the-radar Herd.
Even Facebook has woken up to consumer demand on this front, with its plan to roll out new features that allow Facebook and Instagram users to remove the Like counts from their posts and their feeds.
Poparazzi hasn’t necessarily innovated in terms of its core idea — after all, tagging users in photos has existed for years. In fact, it was one of the first viral effects introduced by Facebook in its earlier days.
Instead, Poparazzi hit the top of the charts by carefully executing on growth strategies that ensured a rocket ship-style launch.
@poparazziappcomment it! ##greenscreen ##poparazziapp ##positivity ##foryoupage♬ Milkshake – BBY Kodie
The company began gathering prelaunch buzz by driving demand via TikTok — a platform that’s already helped mint App Store hits like the mobile game High Heels. TikTok’s powers are still often underestimated, even though its potential to send apps up the Top Charts have successfully boosted downloads for a number of mobile businesses, including TikTok sister app CapCut and e-commerce app Shein, for example.
And Poparazzi didn’t just build demand on TikTok — it actually captured it by pointing users to its App Store preorders page via the link in its bio. By the time launch day rolled around, it had a gaggle of Gen Z users ready and willing to give Poparazzi a try.
The app launches with a clever onboarding screen that uses haptics to buzz and vibrate your phone while the intro video plays. This is unusual enough that users will talk and post about how cool it was — another potential means of generating organic growth through word-of-mouth.
After getting you riled up with excitement, Poparazzi eases you into its bigger data grab.
First, it signs up and authenticates users through a phone number. Despite Apple’s App Store policy, which requires it, there is no privacy-focused option to use “Sign In with Apple,” which allows users to protect their identity. That would have limited Poparazzi’s growth potential versus its phone number and address book access approach.
It then presents you with a screen where it asks for permission to access your Camera (an obvious necessity) and Contacts (wait, all of them?), and permission to send you Notifications. This is where things start to get more dicey. The app, like Clubhouse once did, demands a full address book upload. This is unnecessary in terms of an app’s usability, as there are plenty of other ways to add friends on social media — like by scanning each other’s QR code, typing in a username directly or performing a search.
But gaining access to someone’s full Contacts database lets Poparazzi skip having to build out features for the privacy-minded. It can simply match your stored phone numbers with those it has on file from user signups and create an instant friend graph.
As you complete each permission, Poparazzi rewards you with green checkmarks. In fact, even if you deny the permission being asked, the green check appears. This may confuse users as to whether they’ve accidently given the app access.
While you can “deny” the Address Book upload — a request met with a tsk tsk of a pop-up message — Poparazzi literally only works with friends, it warns you — you can’t avoid being found by other Poparazzi users who have your phone number stored in their phone.
When users sign up, the app matches their address book to the phone number it has on file and then — boom! — new users are instantly following the existing users. And if any other friends have signed up before you, they’ll be following you as soon as you log in the first time.
In other words, there’s no manual curation of a “friend graph” here. The expectation is that your address book is your friend graph, and Poparazzi is just duplicating it.
Of course, this isn’t always an accurate presentation of reality.
Many younger people, and particularly women, have the phone numbers of abusers, stalkers and exes stored in their phone’s Contacts. By doing so, they can leverage the phone’s built-in tools to block the unwanted calls and texts from that person. But because Poparazzi automatically matches people by phone number, abusers could gain immediate access to the user profiles of the people they’re trying to harass or hurt.
Sure, this is an edge case. But it’s a nontrivial one.
It’s a well-documented problem, too — and one that had plagued Clubhouse, which similarly required full address book uploads during its early growth phase. It’s a terrible strategy to become the norm, and one that does not appear to have created a lasting near-term lock-in for Clubhouse. It’s also not a new tactic. Mobile social network Path tried address book uploads nearly a decade ago and almost everyone at the time agreed this was not a good idea.
As carefully designed as Poparazzi is — (it’s even got a blue icon — a color that denotes trustworthiness!) — it’s likely the company intentionally chose the trade-off. It’s forgoing some aspects of user privacy and safety in favor of the network effects that come from having an instant friend graph.
The rest of the app then pushes you to grow that friend graph further and engage with other users. Your profile will remain bare unless you can convince someone to upload photos of you. A SnapKit integration lets you beg for photo tags over on Snapchat. And if you can’t get enough of your friends to tag you in photos, then you may find yourself drawn to the setting “Allow Pops from Everyone,” instead of just “People You Approve.”
There’s no world in which letting “everyone” upload photos to a social media profile doesn’t invite abuse at some point, but Poparazzi is clearly hedging its bets here. It likely knows it won’t have to deal with the fallout of these choices until further down the road — after it’s filled out its network with millions of disgruntled Instagram users, that is.
Dozens of other growth hacks are spread throughout the app, too, from multiple pushes to invite friends scattered throughout the app to a very Snapchatt-y “Top Poparazzi” section that will incentivize best friends to keep up their posting streaks.
It’s a clever bag of tricks. And though the app does not offer comments or followers counts, it isn’t being much of an “anti-Instagram” when it comes to chasing clout. The posts — which can turn into looping GIFs if you snap a few in a row — may be more “authentic” and unedited than those on Instagram; but Poparazzi users react to posts with a range of emojis and how many reactions a post receives is shown publicly.
For beta testers featured on the explore page, reactions can be in the hundreds or thousands — effectively establishing a bar for Pop influence.
Finally, users you follow have permission to post photos, but if you unfollow them — a sure sign that you no longer want them to be in your poparazzi squad — they can still post to your profile. As it turns out, your squad is managed under a separate setting under “Allow Pops From.” That could lead to trouble. At the very least, it would be nice to see the app asking users if they also want to remove the unfollowed account’s permission to post to your profile at the time of the unfollow.
Overall, the app can be fun — especially if you’re in the young, carefree demographic it caters to. Its friend-centric and ironically anti-glam stance is promising as well. But additional privacy controls and the ability to join the service in a way that offers far more granular control of your friend graph in order to boost anti-abuse protections would be welcome additions.
TechCrunch tried to reach Poparazzi’s team to gain their perspective on the app’s design and growth strategy, but did not hear back. (We understand they’re heads down for the time being.) We understand, per SignalFire’s Josh Constine and our own confirmation, that Floodgate has invested in the startup, as has former TechCrunch co-editor Alexia Bonatsos’ Dream Machine and Weekend Fund.
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