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  • Archive for the ‘storytelling’ Category

    • Interview with Dan Light, Part II: the intricacies of creating transmedia content

      15th July 10

      Posted by Mel Exon

      Posted in creativity, storytelling

      Author: Ben Shaw, Strategist, BBH London

      http://www.vimeo.com/11229983

      Last time we left off talking to Dan about the role of transmedia in extending the relationship between entertainment properties and audiences. As expected we soon moved onto Dan’s favourite topic, creating transmedia content for today’s multimedia world. This was just after Dan managed to pour an entire cup of fresh coffee all over himself.

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    • Interview with Dan Light, Part I: engaging online communities

      14th July 10

      Posted by Mel Exon

      Posted in creativity, storytelling

      Author: Ben Shaw (@BenShaw), Strategist, BBH London

      Iron Man 2 transmedia marketing

      Dan Light’s profile description on Twitter (@danlight) reads: “Interactive marketer (and maker) of movies”. Although the bio may be short, his experience certainly is not. Dan has recently left Picture Production Company (PPC), where he led an award-winning interactive team producing some of the most innovative online marketing campaigns of recent times. In previous Labs posts we looked in more depth at the work they produced for Watchmen last year here and for Iron Man 2 here.

      Working primarily on blockbuster movie releases, PPC Interactive has produced a variety of transmedia marketing materials serving to promote and extend the narrative of the story beyond traditional media. Those who know Dan will know he can talk for Earth about any topic he’s passionate about. We’ve split the interview up across 3 different blog posts which we will publish across three consecutive days. We spoke to Dan about his thoughts on engaging online communities, his extensive knowledge of transmedia entertainment, and the potential role for brands in this space.

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    • A perfect storm: the social web, storytellers and brands

      13th July 10

      Posted by Mel Exon

      Posted in Brands, storytelling

      Entertainment brands.. showing us how transmedia is done

      Last week was Pixel Lab, Power to the Pixel‘s (@powertothepixel) cross-media workshop.

      I joined a group of tutors and producers, half with film/transmedia projects in development, half not, from around the world for the latter half of their week away in Wales.

      By way of introduction, Power to the Pixel are an organisation dedicated to supporting film and the wider media in its transition to a digital age. Ben and I are both lucky to be on their Advisory board.

      My brief was to shed some light on brands and cross-platform/transmedia storytelling, which, if I am honest, initially felt a little awkward. Brands and agencies may be embracing cross-platform creativity and integration per se, but true transmedia… not so much. The likes of Campfire with their Frenzied Waters work for the Discovery Channel’s Shark Week last year, Audi Art of the Heist and – back in the day – Beta 7 for Sega; as well as Ivan Askwith at Big Spaceship (who was generous and interested enough to chew the fat with me late one evening) are two, honourable exceptions.

      With this in mind, my presentation focused primarily on what brands and their agencies are learning about integration, interaction and new partnerships in the hypersocial environment we find ourselves in. I also attempted to explain why brands may be reticent about taking a step further into building deep, immersive, narrative worlds.  Along the way, telling the story of a (failed) BBH Labs joint venture and what we took from it… and finally, ending with a proposal.

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    • The PhoneBook – The future of interactive storytelling?

      16th November 09

      Posted by Ben Malbon

      Posted in mobile, storytelling

      This is so brilliantly simple, and hints at a very interesting emerging platform both for conventional storytelling (in this case, reading with kids) but also for new opportunities where print meets interactivity anywhere.

      YouTube Preview Image

      This is a mock-up, clearly, but @Schatz & I been trying to work out what technology would allow the iPhone (say) to know when the page was turned; this would ensure a more immersive & richer experience.

      Two thoughts come to mind:

      One, use headphones controls to hack some kind of next page function from the next track control.

      Two, shake and turn (bit random with kids in charge)

      Any other ideas?

      More details here: http://www.mobileart.jp/phonebook.html

      Thanks to Alex Rainert – @arainert – for the original link on his excellent blog: http://www.everydayux.com/

    • The Enduring Power of a Story Well Told: The Man Who Walked Around the World

      10th August 09

      We’re super proud of our friends at BBH London who’ve produced something very special for Johnnie Walker. “The Man Who Walked Around the World” is a six-minute piece of storytelling that features Robert Carlyle walking through the Scottish Highlands. Carlyle tells the story of the brand’s birth, growth and development via some dazzling copywriting from BBH’s Justin Moore. This alone is an achievement – to keep the viewer listening intently for six-and-a-half minutes in a world where 140 characters constitutes ‘engagement’. Clearly Carlyle plays a huge role here as well.

      What’s even more impressive, for us, is that this was all achieved in one take, with no editing done afterwards. Apparently there were 40 takes in total, and this was the last, completed at 8pm on the last day of the shoot. When you see how finely timed this is you’ll see why we’re in awe of the production.

      There’s a great interview with the Director, Jamie Rafn, on the Shots site which goes into detail about how the piece was shot and some of the considerations that affected how it turned out. Definitely worth checking this out. Rafn took on a challenge many others thought impossible. As Mick Mahoney, BBH London Creative Director of the project told us:

      “Every director we spoke to told us that it wasn’t possible to do what we wanted. That we would need concealed cuts and so on. Which would still have made a good film, but it’s the undertaking, the commitment, of doing it all in one take that makes it.  Jamie Rafn was the only director who felt the same. Getting Robert Carlyle to do it then just took it up a gear. He has exactly the screen persona that we wanted. Tough, uncompromising, enigmatic.”

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