“A linear story had a linear workflow, but now we’re in a nonlinear immersive space,” explained production designer Alex McDowell at a recent Flux 5D event titled “Digital Design and World-building in the Narrative Media Landscape” held at the...
Ford Motor Company has been quietly stepping into the transmedia arena as a producer, beginning in 2009 with the “Fiesta Moment” social media campaign, where 100 Ford Fiesta vehicles were given to non-professional spokespeople or marketers to use, drive and then comment on via Twitter and other social media outlets.
Possibly the greatest thing about the steampunk genre and aesthetic is that it pulls you in and almost forces you to interact and create. Exquisite craftsmanship or an outlandish device will catch your eye and often inspire you to put your own distinct spin on an idea. The Clockwork Watch does exactly this and to such a degree that seems insulting to simply be called "immersive".
Pat Mitchell: "There are epic, inspiring experiences of always bold, sometimes outrageous, entrepreneurs in remote and difficult places throughout the world, and these are stories optimally shared across many platforms."
I read an interesting article on the success story of Game of Thrones a couple of days ago, over at Lost Remote. GoT has been one of the transmedia marketing success stories I’ve pointed to in talks and articles over the past year, what with their ”Smells of Westeros” and ”Food of Westeros” campaigns.
Transmedia, however, is a paradigm shift for me and, I think, for my school. Teachers like to use tools to implement their content, they don’t really encourage students to consume and hunt for data across platforms. Nor would they encourage students to create a transmedia story as I think I understand it.
This panel-style blog post was spawned by my recent interest in the game Zombies, Run! As someone who is passionate about the Zombie genre, but not at all passionate about exercise, I was excited to find a fusion of mobile technology, storytelling, and real-world activity that would help gamify my healthy habits.
On a seemingly typical shooting day recently at a stage in El Segundo, a director in a baseball cap was hunched over video monitors, burly grips were moving lights, and the producers were arguing about just what it was they were making.
From Meetup.com: StoryCode’s Immersions are a “get your hands dirty” series of working sessions meant to educate and share knowledge. This session is geared towards cross-media storytellers and producers who are looking for new approaches to funding and guidance.
Today, though, transmedia finds itself charmed out of its cramped niche jar by a robotic melody made up entirely of buzzwords. Brand synchronicity. Facebook integration. IOS F2P FPS GPS. Many of these social extensions claim to be “casual” experiences to help ease in new players as well, but – as soon as they start hurling “unlock items in the PC/console game,” “download the app,” and “pester all your friends to procede more quickly” at folks who haven't touched a game since Tetris – the whole notion of simplicity explodes into a dusty haze of confusion.
Prashant Saxena, associate director of Agility Research & Strategy, draws a distinction between cross-media advertising and transmedia advertising—a more advanced technique that can help brands reach engagement-hungry consumers.
Let’s get this out of the way, now — this, like many/most of my other lists, could easily be called “25 Things I Think About Transmedia.” It does not attempt to purport concrete truths but rather, the things I believe about the subject at hand.
The latest StoryCode event had some good advice and some good links to follow up. A couple of things were missing though, if I look at it from my angle. The following couple of things need, in my book, to be taken into consideration if you want to raise funding for a transmedia project.
Interactive documentary storytelling covers all possible ways of telling a non-fiction story, which enable the recipient to gain experience not only from the perception and interpretation of the media message, ...
It’s a simple question, and one that drives a surprising number of people to this blog. Accordingly, I’m going to outline in basic terms the way that a Transmedia Producer can make a living, and the contractual possibilities that might lead to considerable growth in the future. As ever with articles in which I discuss legal relationships, I suggest hiring an experienced lawyer to work out the terms of your deals.
Transmedia Hollywood 3 just passed on Friday and like the two years previous, aimed to work out some of the prospects of the futures of entertainment. While many were looking for a singular vision of the future the general consensus from all four panels was that a unified business model to deal with the future of entertainment in a transmedia world is not probable. We are still in a stage where the successes in a contemporary entertainment world are happy accidents heavily contextualized in their own circumstances, only to be unsuccessfully copied by other stories.
Since its inception more than 40 years ago, public media has worked with visionaries like Jim Henson, Joan Ganz Cooney, and Fred Rogers to use the power of television to help America’s children learn, especially children living in poverty.