Today I spent the day at the FMX Conference in Stuttgart where I’d been asked to introduce the keynote talk “Envisioning the Literary World of Cornelia Funke.” As you may know, Cornelia Funke is an international best-selling author who has penned Wild Chicks, The Thief Lord, the Inkwell series, and Dragon Rider, for example. In the past, Cornelia’s works have often been adapted to film, theater and computer games. However, after her works had been adapted, Cornelia often felt that they no longer matched the image and vision of the story as she saw it inside her head.
Yesterday afternoon I attended the ‘Storytelling Through Advanced Mobile Content’ panel at the CTIA Enterprise & Applications Conference in San Diego. The panel featured four case studies from Transmedia LA members and a ‘fire-side chat’ between Seth Shapiro, Principal at New Amsterdam Media and Partner at Media Valuation Partners, and Albert Cheng, Executive Vice President Digital and Chief Production Officer at Disney ABC Television Group. Needless to say, it is impossible to recount all presentations and discussions in their entirety, but I would like to highlight a few points I myself found the most relevant:
At last night’s Transmedia LA meetup, Kent Nichols, Partner Outreach at blip.tv, shared a few very important ground rules for producers trying to self-distribute online. Kent is a videomaker and producer himself, and some of his projects include the award-winning series Ask A Ninja as well as the all-new The Guilty Crafter. blip.tv specializes in serialized online content, and as Partner Outreach Kent helps producers (for free!) to identify the right set of practices to find an audience online, an more particularly, to find their critical mass.
Today I came across an article on The Next Great Generation that asked whether ‘social films’ are the next big thing. Social films are short webisodes distributed via social media platforms such as Facebook, Twitter, and Google+, and which require the viewer to take action in order to influence how the story will develop. The example discussed in the article is a collaborative project by Toshiba and Intel called Inside.
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.