Enter into the Iron Sky’s world: a dark science fiction comedy that takes place in the year 2018, when the Nazis, who fled to the dark side of the Moon in 1945, return to claim the Earth. This Finnish-German-Australian co-production with a budget of 7.5 million Euros was created by the makers of Star Wreck, ( a Star Trek parody)
The Content 360 New Transmedia Concepts winner is Project Anarchy by Telfrance series #MIPCube http://t.co/gkJeqn6j (The Content 360 New Transmedia Concepts winner is Project Anarchy by Telfrance series #MIPCube http://t.co/gkJeqn6j...)...
As Peters and McHugh pointed out, transmedia is often confused with multi-platform. The first requires flow and a weaving of a trail through different channels: Content is contextual to the platform used. The second is usage of various channels, e.g. PR, web, advertising, social media, etc. for messaging.
Multi-platform movie promotion, for example, would use a mix of theatre trailers, media interviews, product collaborations, etc.
A transmedia campaign would be the year-long lead-up to the 1999 movie The Blair Witch Project. The blurring of fact and fiction on the website was unprecedented -- Out takes from 'discovered' film reels? Police reports? -- but the response was extraordinary. Fan pages, sequels, contrasting narratives cropped up and Blair Witch took on a life of its own. It's an early example of a transmedia experience where the film was a tiny part of what was going on.
The TEDEd initiative was announced to great fanfare at last year's TED, where Sal Khan of Khan Academy also spoke. Khan's online library of 3000+ short videos, combined with an adaptive learning platform, is enabling math and science teachers nationwide to "flip the classroom," asking students to watch the lectures at home while spending precious class time on personalized interactions. TEDEd's starter set of videos are another step forward in the death of the traditional lecture, with TED's trademark high production values. On the press call Chris Anderson, TED's curator, hinted at some interactive tools to come next month. In the meantime, teachers will no doubt continue to talk amongst themselves about the best ways to use TED videos in the classroom.
The Hindu5 book-to-screen adaptations hoping for 'Hunger Games' level of successTulsa WorldThe following books that are already planned as films are candidates that rival studios are banking on to become hits and hopefully franchises.
Back in 2008, Noah Brier, a digital strategist at Naked Communications, had an epiphany: Why not use the Web to get immediate feedback on how people really think of a brand? After all, a brand is what a company is in its consumers’ minds, not what the brand says about itself. The result was Brand Tags, a site that flashed brand names in front of people and asked them to choose the word that first sprung to mind. It then created a tag cloud of these tags. Wal-Mart’s cloud, for instance, was dominated by “cheap.”
Brand Tags captured that attention of many at the time, when the ad industry was waking up to the incredible changes digital empowerment was wreaking on brands. At just 26, Brier became something of an industry celebrity, landing on Fast Company’s list of the 10 most creative minds in advertising a year later, along with industry luminaries Dan Wieden, Jeff Goodby and Alex Bogusky.
Now Brier is out of the agency business but again trying to capture the marketing zeitgeist. The talk these days is less about consumer empowerment — that’s a given — but about how brands can act as publishers in their own right. Percolate, a publishing tool Brier built with co-founder James Gross, is his play at converting the world’s biggest brands over to the gospel of content curation
Tracking transmedia developments as they unfold will be complicated, in part because this new entertainment format covers so much ground.
It is a world "where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways," says USC professor Henry Jenkins in his book Convergence Culture.
"Isaac Newton didn't discover gravity, he just named it," one TV writer-producer quipped during a recent conversation about transmedia.
And so it would seem, despite a testy flame war over the term transmedia—or perhaps because of it—the transmedia movement is catching on across the media business.
"Transmedia" is shorthand for a grab bag of production and distribution practices and audience engagement techniques that have emerged over the past decade, and when taken together, promise a new kind of media experience.
Via Scoop.it – Monetizing The TV Everywhere (TVe) Experience The future of marketing isn’t social media in the the way we think social media is Facebook or Twitter. Elements of a Transmedia Story Why is Content Marketing important?
What We Cover: DEVELOPMENT – WRITING – PRODUCTION – DISTRIBUTION Transmedia Next isn’t about listening to people saying interesting things. It’s about equipping you to go out and make transmedia happen.
For those unfamiliar with “Once Upon a Time,” the series takes place in a fictional town where all the residents are regular people who at one point were fairy-tale characters, now trapped in our time...
This announcement underlines one of the nasty realities of transmedia marketing: there is no existing framework for transmedia marketing metrics. Ultimately, if we want to stop marketing in silos we need to stop measuring in silos. We need the ability to determine marketing costs and marketing effectiveness holistically across all media types and platforms.
1) Determining costs across all media: the primary challenge is separating the cost of service from the cost of audience, and then creating a platform agnostic metric for “audience”.
> The cost of service can be anything from creative services to media buying to analysis. Transmedia marketing can spread the cost of service across multiple platforms, thereby reducing the cost of service for any single platform, but increasing the complexity of determining costs on a platform basis.
> The cost of audience requires the ability to attribute the qualities of audience across time, distraction and interest. An audience that that is exposed to a message for a long time with no distraction (e.g. a movie trailer in a darkened theater) is more valuable than an audience that is exposed briefly with multiple distractions (e.g., a billboard near a busy freeway). However, you must include the power of ”interest” to provide the appropriate weighting to the calculation. To build on the previous example: showing a movie trailer for a kids movie inside a theater preparing to show a sci-fi – slasher-thriller movie may be worth less than having a billboard for a kids movie by the freeway near Disneyland.
2) Determining effectiveness across all media. Ultimately, effectiveness is measured by audience “actions” ranging from remembering your product thru to purchasing your product. But the interesting measurements are those actions of “engagement” – reading, replying, playing, clicking, sharing, etc… And this is where transmedia marketing has the biggest impact: engagement.
Ultimately, it all comes down to eyeballs and actions, but I’ll save my viewpoint on the solution for another time.
Treasures follows a young woman named Dev and a group of adventurers as they try to unlock a mystery that has been planted on online maps, and end up part of a global treasure hunt that could change the course of civilization forever. As they unravel pieces of the puzzle, they’re forced to face their own hidden secrets, and the fact that someone else is after the treasures for reasons no one ever imagined. In addition to scripted dramatic content, audiences will participate in the unfolding of the treasure hunt through online and mobile video uploads, which will allow them to communicate with the characters and share information. Online and mobile map games and social media content will also lead to local treasure-hunting events as viewers work to actively solve the mystery themselves.
There's no question Starbucks is a forward-moving company. Most recently they've launched new digital payment options and a co-branded digital network. They continue to launch new products including an energy drink and juices while making great strides in sustainability and increasing their international expansion. The company is even making forays into alcohol, while continuing its inroads in grocery retail. These and other projects are helping Starbucks remain a bright spot on the stock market map, the company announcing last week a new record for 52-week stock value average.
But the coolest new things are coming out of the digital marketing department.
We recently spent time with Alex Wheeler, Starbucks' global head of digital marketing. She has, arguably, the most coveted job in digital: She's been hired to create unique, addictive campaigns for a market-leading brand. The easy access to vanilla lattes is also a plus. But the coolest part is how easy she makes her job look. She'd be the first to say it's a team effort.
But we were floored by some of the digital campaigns coming out of Starbucks.
Let’s review: Elan Lee has been one of the very few storytellers of the 21st century to use media as a collaborative, non-linear, cross-platform distribution mechanism, and make money doing it.
His strategy is simple: Use what works, and then go farther (but just a little bit beyond the boundaries of expectation).
His goal, even more so: Make each player/viewer/leader/lurker feel–in the 10 seconds, 10 minutes, or 10 months they spend in the story world–like a superhero; their contribution, however big or small, makes a difference in that world. [And maybe if people spend more time feeling super, they'll start to see how much difference they make in this world.]
A Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.
A Transmedia Producer credit is given to the person(s) responsible for a significant portion of a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and creation of original storylines for new platforms. Transmedia producers also create and implement interactive endeavors to unite the audience of the property with the canonical narrative and this element should be considered as valid qualification for credit as long as they are related directly to the narrative presentation of a project.
Transmedia Producers may originate with a project or be brought in at any time during the long-term rollout of a project in order to analyze, create or facilitate the life of that project and may be responsible for all or only part of the content of the project. Transmedia Producers may also be hired by or partner with companies or entities, which develop software and other technologies and who wish to showcase these inventions with compelling, immersive, multi-platform content.
To qualify for this credit, a Transmedia Producer may or may not be publicly credited as part of a larger institution or company, but a titled employee of said institution must be able to confirm that the individual was an integral part of the production team for the project.
Leading transmedia talent has emerged from a wide array of disciplines, including technology, indie film, fantasy games, marketing, comic books, videogames, advertising, brand advertising, television production, theme parks, academia, and, of course, the Internet.
What sets each apart is a willingness to embrace meaningful audience participation in the transmedia projects that capture their passion.
"I think that the idea of participation is one of the key things we are all wrestling with, both fans and authors, movie directors or whatever kind of creative person we’re talking about," says author Frank Rose. "Participation raises the question of whose story is it? And, the answer I think is, it’s all of ours. In order to really identify with the story, in some way we have to make it our own."
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