[NB: While I’m talking specifically about the (US) TV industry in this post, the principle of direct global distribution to reach the global audience is applicable for pretty much any medium that can be digitized.] In this blog, I have again and again referred to a variety of trends that currently impact entertainment consumption around the world immensely. I will not go into detail on each of these because I have done so before, but I will compile them in a quick re-cap so we’re all on the same page:
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.
Needless to say, today’s workshops at DIYDays LA were filled to the brim with great speakers and innovative perspectives. For those that couldn’t attend today’s workshops, here’s a re-cap of the most important bits: Common Points There were a few common themes mentioned in almost every talk I attended, and they were all based on experiences (good and bad) from existing projects: 1. Your audience consists of three main groups: Casual consumers (around 70% of your audience), active consumers (25-30%) and enthusiasts (5-10%). Your transmedia strategy must try to lead your audience members from casual to active consumers, and ideally
As the concept of transmedia storytelling becomes increasingly mainstream it is important that we do not lose ourselves in continuous debates on what transmedia storytelling is and what it is not. It is relatively easy to theorize and predict with no end; what is considerably harder, however, is to turn all this transmedia theory into practical advice. Granted, we are still experimenting a lot with what works and what doesn’t, but I do believe that it is important to begin to compile transmedia successes, basic economic mechanisms, and common-sense into manuals, guide-books, and/or best-practice sets. What follows is my attempt
Today saw two very important and very similar announcements by two key players in the entertainment industry: YouTube announced the launch of Merch Store, a tool that allows artists sell their merchandise, concert tickets, and more, whilst Amazon declared that it will also start publishing – both digitally and physically – starting with 122 books coming this fall. These two revelations come only six months after Netflix announced its plan to enter the original content business, and less than two weeks after YouTube publicized its original content deal with Tony Hawk and Warner Bros., amongst others.
Last week I had a very interesting conversation with Kathy Franklin, President Franchise Development at Lightstorm Entertainment. Kathy has a long-standing background in franchising after having worked at Disney for almost eleven years and now heading the franchising efforts for James Cameron’s Avatar. During our chat, Kathy pointed out a very important challenge for traditional franchise development in the face of transmedia: Until recently, the goal of developing franchises was usually monetization through repurposing, whereas the concept of transmedia storytelling focuses primarily on the (more costly) expansion of the story itself. While this was, of course, no news to me,
You may already have come across the term ‘platform potency’ in the ‘Transmedia Defined‘ section of this website. Platform potency is a pretty big concept so I’d like to explain the term in a little more detail. Platform potency is a media platform’s ability to convey a certain narrative (or part thereof) to audiences in the most effective way possible. Platform potency is determined by each platform’s defining characteristics, mostly format (e.g. length, voice, narrative structure) and audience reach (e.g. mass vs. niche).
This is the fourth part of my ‘Why Transmedia?’ series. Please click to go to Part 1, Part 2, and Part 3. Finally: Transmedia has a Global Appeal We’re only two-thirds through 2011, and already we can see a definite trend, particularly in the movie industry: The international success of your franchise can make or break it. Unlike North America and Europe, states such as the BRIC (Brazil, Russia, India, and China) countries have entertainment markets that are still growing exponentially.
This is Part 3 of my ‘Why Transmedia’ series. Please click to go to Part 1, Part 2, and Part 4. Transmedia Possesses a Great Economic ROI Needless to say, transmedia universes harbor immense economic opportunities. Of course, as with all business enterprises, a certain amount of risk remains, but careful research, planning, and a great product offer just as much of an insurance against that in transmedia franchises as in other products. So far, the most visible transmedia storyworlds – Harry Potter, The Matrix, and Pirates of the Caribbean, for example – usually had as their driving platform