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:
Tonight it was time for another ad-hoc Transmedia LA Meetup. This time the guest was Prof. Henry Jenkins, one of the earliest thought-leaders on transmedia and convergence culture. I am basing the following paragraphs solely on the notes I took during Henry’s talk, so they are no word-for-word transcription. As a matter of fact, I will be paraphrasing most of the time. If you see phrases or sentences in quotation marks, they denote a word-for-word citation, but everything else is just summing up Henry’s words.
Last night I attended the Transmedia Meetup here in LA. The guest speaker was George Ruiz, Head of New Media and Senior Vice-President Business Affairs at ICM. George did a great job at summarizing the current challenges and opportunities of transmedia, and I’d like to repeat them here in case you weren’t able to make last night’s meetup.
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
This is the second part in my ‘Why Transmedia’ series. Please click to go to Part 1, Part 3, and Part 4. Transmedia Offers Great Possibilities for Fans to Get Involved “It’s the time that you spent on your rose that makes your rose so important.” - The wolf in Saint-Exupéry’s The Little Prince I know that fan engagement is still a double-edged sword for many authors and entertainment executives. On the one hand, you want loyal fans who are deeply invested in your storyworld, and you probably also like the fact that they carry your story on to different media and
Why transmedia? (Note: This is the first part of my ‘Why Transmedia?’ series. Please click to access Part 2, Part 3, and Part 4.) Well, first of all, because it’s FUN. Depending on the type and intricacies of a transmedia universe, it can be one of the best puzzles you’ll ever solve. In a good story universe, you have an immense number of stories and characters inviting you to learn about them, and in a good transmedia universe, this learning happens on many different media platforms where the unique properties of each platform are deliberately used to allow the consumer