The first notable case or example from SXSW that I would like to share with you in more detail is from the session “The Link Between Social Media and the Box Office“, presented by David Herrin, Head of Research at the United Talent Agency. Herrin and his team have developed a tool called “Preact” which allows them to monitor social media conversations surrounding an upcoming movie, up to 365 days in advance. Tracking Dimensions Preact doesn’t measure views but what UTA calls “engagement”, i.e. the volume of posts regarding the movie. The resulting hits are classified into positive and negative
Here comes part 3 of my SXSW14 re-caps: New Narratives: Building an Interactive Storyworld. For an overview of all SXSW14 re-caps, please click here. Panelists: Aina Abiodun, Founder, Storycode Karim Ahmad, Sr Digital Content Strategist, ITVS Mike Knowlton, Partner, Murmur Ted Hope, CEO, Fandor / Double Hope Films At the moment, most advertising remains very classic and in-your-face. However, the times of such advertising are over and it now needs greater sophistication. Your audience expects branded content rather than pure product placement, for example. Everything else – blatant „buy this!“, „buy that!“ is white noise. This is
I just got back from my very first SXSW conference in Austin, Texas, and it was simply amazing and invigorating. SXSW vibrated with great minds, great talents, great projects, and great conversations. This conference is where the good stuff happens, and where people do and think cutting-edge. If you’re interested in social and/or digital media, this is the conference you should attend. It’s not cheap, but it is absolutely worth its money! That being said, there is one tiny critique I have regarding this year’s SXSW. It was my first time attending this conference, of course, and
Yesterday I was interviewed by Vanessa Cornford. Vanessa is the Course Leader and a Lecturer of Acting & Contemporary Theatre Making at Northbrook College Sussex. She currently researches whether the trend towards transmedia requires a change in the way actors are trained. Given that relatively little has been said on how acting may be affected by transmedia, I’d like to share some of the points from my interview with you. No matter whether you’re a director, a producer, an actor or a writer – the following notes should be useful to everyone involved in a transmedia project when thinking
After attending last year’s amazing and truly impressive Storyworld 2011 Conference I was more than happy to be able to attend this year’s Storyworld in Hollywood as well. While it was great to see everybody again, the majority of the presentations and panels unfortunately had only very few new insights to offer. This may be due to a possible indecision among the organizers in terms of whether Storyworld should try to introduce transmedia as a concept to those who have heard little of it before, or whether it should foster a knowledge- and experience-exchange among the existing transmedia community. I
It certainly isn’t news to any of us that the media are changing, and very rapidly at that. The Internet allows us to access any type of medium and any type of content – be it legally or illegally – at any point in time; our media devices are merging into one, so that we no longer have to literally put down our book in order to start a computer game; and to top it all off, the tools of media creation and production not only become increasingly easy to use, but also a lot more affordable. It goes without
I have to admit that I’ve been avoiding the topic of participation in transmedia (or any media, really). The reason for this is simple; because I’m approaching transmedia from a business perspective in this blog, I mostly see problems of participation at the moment, and very few solutions. Even after thinking about the compatibility of participation and corporate interests for a long while now, I haven’t reached a conclusion on what the best way forward is. Consequently, I’d like to put this question out there to all of you, in the hopes that some of you might offer me perspectives
Looking at mine and others’ re-caps of the recent conferences, it occurred to me that a LOT of ground had been covered – almost too much to make sense of, at least through simple reading. In order to make things a bit easier, I’m going to summarize the main trends and themes that were not only a) repeatedly mentioned at the recent conferences, but are also b) extremely crucial for transmedia, and for this point in time.
DAY 2 – Morning Talk: It all started with a Mouse – Orrin Shively (Disney) in conversation with Alison Norrington Mickey’s 10 commandments (by Marty Sklar): Know your audience. Wear your guests’ shoes. Organize the flow of people and ideas. Create a weenie. Communicate with visual literacy.
In case you couldn’t make this year’s StoryWorld Conference in San Francisco, I’ll be offering a few short re-caps of key talks and themes throughout the next three days. Here we go. DAY 1 – Morning Key Themes: The story remains crucial to transmedia. A transmedia project should not originate from the desire to make use of new technology, but from the desire to tell a captivating story. After centuries of ‘broadcasting’ (radio, TV, film, publishing, etc. – offering mass content to isolated consumers) storytelling now returns to its social roots, particularly due to new media’s possibilities to share content.