Nana Moore loves being creative.

However, her Ghanaian upbringing compelled her to do something more ‘traditional and stable’. Now as a CPA and professional finance director, her ‘traditional’ work couldn’t be further from creativity.

But once afflicted with the creative itch, it stays there, eager to resurface at the slightest opportunity. So it should come as no surprise that Nana found a way to channel her creative energy by starting her own enterprise. That  was a nerve-racking and scary decision for this thirty-something year-old sole proprietor.

 The Ops Collective, founded in 2016, is an online, virtual business management and marketing services company that helps build brands via the creation and management of high impact content for social media. Their specialty? Creating content and amplifying brands on Instagram and TikTok.  “Even though I have held big leadership roles for corporations, I’ve always been behind the scenes,” says Moore. Now that she has found an outlet for her creative energy, she feels more alive. Her own business allows her to socialize with others on a different level than in her current role as finance director.  Plus, creating virtual enterprise is relatively easy. “The Internet has changed the way you can build your business. “The internet has changed the way you can build your business. It’s no longer about just handing out flyers or posting random billboards. Businesses with a zero-marketing budget can now build an online following of loyal customers through social media and brand influencers.”

Minimum overheads, maximum reach

For Moore, keeping overheads down by designing and implementing a frictionless, flow-based business model and finding clients are critical factors for a successful business. Moore launched her virtual business management enterprise on Facebook and found it was a fast and easy way to line up clients and find exceptional contract talent, no matter where either lived in the world. ““Fortunately, an online service business doesn’t need much money upfront”, says Ms. Moore. “I’ve never taken out a loan or brought in investors. I’ve used the money earned from my corporate roles to fund my business and continually reinvest revenue generating back into the company.”

 The Ops Collective is based on horizontal leadership, empowered by the collective energies and talents of its core team. To ensure everyone operates on the same page, Moore makes sure they are clear on the mission, vision, operating values and work ethic expected of them. When there is a spike in the workload, she takes on additional operational, financial and leadership work.

Moore also reaches out to her peers for support. This includes participating in coffee chats with other online business managers, exchanging insider information about onboarding talent, setting up proposals and hiring business coaches.

Women helping women 

Moore works to provide income opportunities for other women whenever possible. She is clear in her definition of feminism—for me it’s about the ability to be financially independent. “I run my own business, many of my clients are women and I hire other women.” The majority of her women clients came to her through referrals. “When you do good work your clients will tell other people about you.” Moore also works with talented women lawyers who have introduced her to their networks, opening new doors for her. Her clientele is almost entirely based in the U.S.

Managing Growth

As the company took off, she realized early on that she was holding the company back because everything came back to her, slowing down the entire process. She was overwhelmed with client calls, strategizing, dealing with subcontractors and liaising with various people. She realized she needed to reassess how she wanted her business to run. So, she applied to-and was accepted-by Canada’s first feminist accelerator program for women in digital media operated by the Canadian Film Centre. Mentors at Fifth Wave helped her pivot to design a more sustainable model. She also focuses more on strategy and creative vision as a founder—no more micro-managing. “This year was all about spreading the autonomy, re-pivoting and changing the business model.”

Imagine this: It’s May 2020. You are in the middle of lockdowns and stay-at-home orders caused by the novel coronavirus. There is no vaccine yet, and much of your life is online — especially on Zoom. 

In one such Zoom meeting, you start seeing what speakers are saying appear at the bottom of the screen. They’re being typed by one of the participants in the call in real-time.

The text you are seeing is called a closed caption. Closed captions aren’t always typed out by volunteers. Sometimes it’s automatically generated and sometimes it’s done by artificial intelligence (AI), but the accuracy of such services vary. For real-time transcription, ideally these captions are created by employees of companies that provide closed captioning — companies like Closed Caption Services (CCS). 

CCS is a Canadian family-owned business whose mission, according to its president Brooke Woboditsch, is “to build better accessibility in media.”  

This mission has gained momentum over the past year and a half as around the world, organizations and communications have moved online during the global pandemic.

Says Woboditsch: “By the time fall 2020 came around, I would say we must’ve had over 30 new clients in those last six months … There was a massive rush for people to put their businesses online — especially a lot of businesses where there’s multimedia content [like] film festivals, educational institutions, artists’ presentations and talks, museum exhibits.”

Strengthening the Family Business

Woboditsch’s father Larry Gavin was a broadcaster, and Woboditsch grew up helping her dad in his work. 

In 1994, Gavin started Closed Caption Services (CCS), providing fast and reliable services in closed captioning, offline captioning, live captioning, web captioning and audio-described video.

CCS started by providing captioning services to the now-defunct Canadian media company CHUM Television’s new CityTv stations and network of ‘A Channels.’ CCS then began working with Rogers, CTV (now Bell), NewCap, S-Vox, Cogeco Television), Maple Leaf Sports and Entertainment, Pattison Group, TVO and more.

Woboditsch, who is Indigenous and was adopted at birth, also dabbled in television production in her late teens and early twenties. Working at the Aboriginal Peoples Television Network (APTN), she learned more about her Indigenous culture and history. 

She said it was “always the plan” to take over the company from her father one day. 

“We didn’t discuss transition or the future of the company. It was just that I was ‘the future’ and the company would go to me someday.” 

That day came in 2016. With the decline of her father’s health and after 10 years as the general manager, Woboditsch took over as president of CSS. 

Come 2020 Woboditsch would be called on once again to lead a company. Only this time, it would be in the middle of a pandemic while the world — still not accessible — was moving online.

The Business Case for Closed Captioning

Disabilities occur when people who have impairments confront inaccessible environments, prejudiced attitudes, or other situations where their needs for participation are not met. 

According to the Accessibility for Ontarians with Disabilities Act (AODA), different types of disabilities include but are not limited to mobility, vision, and hearing impairments, visible and invisible disabilities, episodic disabilities, intellectual and learning disabilities, neurodivergence, chronic illnesses, mental illnesses, and limb and facial differences.

According to a 2018 article by the Web Accessibility Initiative, at least one billion people, or 15 per cent of the world’s population, have a recognized disability. 

In Canada, a 2017 estimate by Statistics Canada found that 6.2 million Canadians have one or more disability, with disabilities related to pain, flexibility, mobility, and mental health being the most common disability types.

Captions play an important role in improving digital accessibility for people with disabilities and those who do not speak English as their first language or are not comfortable doing so. 

Captions refer to text on a television, video screen, or other visual display that transcribe oral speech or dialogue as well as capture background audio. Captioning increases the accessibility of media for a variety of people — including people with disabilities and people who speak different first languages — by communicating all audio sounds that may otherwise be missed by some viewers, including sound effects and other non-speech elements.

Along with helping businesses interact with existing customers who may be people with disabilities, Woboditsch says closed captioning in particular also helps businesses expand their audiences by capturing new customers. 

Disabled Canadians are estimated to control $6.9 trillion in annual disposable income and more than seven million Canadians report their mother tongue is neither English nor French. 

CCS believes that high-quality accessibility services help to increase the reach of your content to at least 10 per cent of your audience. 

An article from UK-based Zen Elements from earlier this year says that three in four disabled people and their families have walked away from a UK business citing poor accessibility and/or poor customer service. 

In a similar vein, a 2019 survey by Scope, a UK-based charity trying to improve digital accessibility, found that half of the people surveyed who experienced problems buying goods or services through a website, app, or in-store machine did not purchase the product. Another 48 per cent found a different provider and purchased their products elsewhere.

Captioning also helps businesses meet compliance standards like those put forth by the Canadian Radio‑television and Telecommunications Commission, which require that 100 per cent broadcast content must be captioned and that Primetime shows be audio described, and Bill C-81, which is an act to ensure a barrier-free Canada. 

The bottom line, Woboditsch says, is to normalize accessibility as an essential part of providing high-quality and equitable services to all audiences. 

”We want people to think of accessibility when they’re putting any content out there. If I’m going to have a meeting, if I’m going to sell a product — whatever my business is [doing] online.”