Doug Scott, President, OgilvyEntertainment and Matt Doherty, Transmedia Architect, Ogilvy & Mather Worldwide presented The End of TV as We Know It & The Birth o
Margaret Doyle's insight:
I'm not sure Transmedia is being 'born' per se as it has always been in the awareness of storytellers to cross-pollinate and distribute in creative ways, but I would agree that digital media is allowing for a re-birth if you will of a new kind of storytelling that is very exciting. Transmedia practitioners and creators already working in the digital space will hopefully make their living with less struggle now as companies such as Olgivy bring awareness to what we do.
"I’ve long maintained that phenomena like “social media” are behaviors, more so than channels or applications or types of media inventory, what have you. There are extrinsic factors at play like market movements, various forms of scarcity, supply and demand levers, etc. and there are intrinsic factors like human emotion that are rarely, if ever, discussed when it comes to making investments in these types of ventures."
My colleague and fellow curator Jan L. Gordon originally shared this post and I thought it would be great to include here also.
Why? Because effective storytelling is about conveying emotions. Yet when we share our biz stories, what emotions should we be focusing on? It is easy to default to hope. Or confidence.
What I like about this chart and post is that it addresses the common emotions people experience as they interact and share online -- both positive and negative.
It seems logical to me that in knowing this information, we should be paying attention to whether the emotions we are conveying in our biz stories online are connecting with the emotional experiences of people. This chart can help us figure it out.
Now, I wouldn't want to be limited to slavishly sticking to this chart. But it is a good place to begin!
As the author, Gunther Sonnenfeld says, "I believe that any great technology venture (any great company, really) must provide doors to perception and discovery that look well beyond transactional or even relationship benefits to some degree." Yeah! Treating business storytelling as purely transactional or relational is only the first rung of effectiveness.
And don't forget to read the comments at the end of the post. They are chock full of great insights and discussion about online storytelling, branding, and emotion.
John Pavlus: "If Popcorn.js is the Final Cut Pro of online interactive video--a professional-grade tool for creating world-class multimedia experiences from scratch--Popcorn Maker is more like iMovie" ...
It was a treat to see Jeff Gomez unveil this at Storyworld 2012, really enjoyed some practical, relevant advice and insights from him that are equally useful to small businesses who work in the transmedia space but then again, Jeff just has an affinity for the underdog so I really appreciate all that he does because of that perspective.
iPad storyteller Joe Sabia introduces us to Lothar Meggendorfer, who created a bold technology for storytelling: the pop-up book. Sabia shows how new technology has always helped us tell our own stories, from the walls of caves to his own onstage iPad.
Joe Sabia investigates new ways to tell stories -- meshing viral video and new display technologies with old-fashioned narrative.
Cloud Chamber, an online, interactive mystery, will open this year’s New York Film Festival Convergence program. In this interview I speak with creator, Christian Fonnesbech who explains the process of getting a large scale project off the grou...
Convergence Culture FA 2012: "As the creative director of Louis Vuitton since 1997, Marc Jacobs, perhaps one of the most revolutionary fashion designers of our age, has been pinnacle to the luxury house's success utilizing a unique mix of technology, media, and art to generate interest and generate commercial revenue" ...
Yomi Ayeni: "I’m often asked what the interactive theatrical experience Clockwork Watch is, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years" ...
Ahead of this week’s Power To The Pixel Conference and Market in London, Screen looks at how Canada’s transmedia work is the envy of other nations.
While much of the world is still argues about what “transmedia” exactly means, some countries have been producing it in quantity for some time. One of the leaders among these is Canada. Since the 1990s, Canada’s government funding bodies have aggressively supported and promoted innovation in digital media, and the country is now the home of some of the top transmedia producers in the world.
As a result, Canadian speakers will feature prominently in London’s Power To The Pixel conference, running October 16-19. One of Power To The Pixel’s guest speakers will be Loc Dao [pictured], the head of digital content and strategy at the National Film Board of Canada’s Digital Studio. Dao has won dozens of awards for his digital media work, which include Bear 71, Gods Lake, Waterlife and The Test Tube With David Suzuki.
“We do get great feedback about our work here,” Dao says. “I hear people asking a lot if they can be Canadians and come work with us. We do think of ourselves as being somewhere in between the European and the American industry. We’re kind of a unique hybrid that you can’t really compare to either one. We’re very lucky in having this institution, the National Film Board of Canada, with our mandate and ability to produce these unique works.”..
Andra Sheffer, Bell Fund
Pierre-Mathieu Fortin, Head of Creation, Online Content, at Radio Canada