Posts Tagged ‘Power to the Pixel’
30th June 11
Posted in Participation
Labs were lucky enough to be invited back to Power to the Pixel’s Pixel Lab held at Schwielowsee this week. The attendees – writers, filmmakers and producers among them – spent most of the week intensively workshopping their cross-media projects, punctuated by tutorials and talks from external experts.
Raising money in a still nascent format is always going to be challenging, so Pixel Lab participants were keen to know how brands and advertisers viewed transmedia storytelling as a platform and what approaches were likely to lead to successful fundraising.
Using the smart thinking from Metafilter forum user blue_beetle as the starting point I suggested that rather than try and sell a story to a brand, selling the audience might be a more productive approach. This is partly because it’s so noisy out there that a brand needs to work exceptionally hard to cut through with a story and also because increasingly brands see participation (through a variety of mechanics) as a good route to engaging an audience and building brand loyalty.
It wouldn’t be a Labs talk if we didn’t reference Kevin Kelly, and his ‘Six words for the modern internet‘ made for a useful primer on participation and behaviours. Taking each of the behaviours and looking at campaigns that had shone them through a branded lens I asked whether it was possible to extend the idea of audience as product and ask what they paid with for each form of participation.
With each of these costs of participating the audience clearly need to be rewarded and this reward will vary with the depth and type of participation. The reward might be a story or another form of transmedia experience but there are other rewards for participation and access and engagement might sometimes be reward enough.
The full presentation is below – let us know what you think in the comments.
29th October 10
Aside from the smart, engaged and talented colleagues here at BBH and likeminds the world over, at Labs we are lucky to be in close proximity (in the same office in fact) to the smart, engaged and forward-facing Power to the Pixel team. Their mission is to explore new ways of getting stories in front of increasingly fragmented audiences and support media producers wanting to make the sometimes difficult transition to digital and cross-media distribution.
Audiences no longer think in silos – the recent 2Screen evening demonstrated the power of creating compelling behaviour drivers and experiences across multiple platforms. Power to the Pixel’s recent centrepiece event, the Cross-Media Forum in London, brought together leading thinkers and pioneers from across the media industries who are instrumental in changing the way stories are conceived and are reaching audiences.
Below, PttP’s CEO Liz Rosenthal and COO Tishna Molla picks out some themes that are emerging from their work and, for anyone interested in new tools for storytellers, links to deeper thinking from the Pixel Report.
“The best storytelling devices are, and have always been, rooted in human behaviours and desires,” says Mike Monello, Founder of Campfire and Co-Creator of The Blair Witch Project. His keys to creating a successful story experience are;
- Communal experience
- Making it tangible
- Fostering discovery
- Making it personal
- Building a world larger than your characters
Story = brand
Whilst marketers have long been used to advertising products across multiple platforms, do they really understand how to keep audiences engaged? How do you begin to find your audience, let alone engage them? How do you decide which platforms to use to tell your story, let alone work out how to use them? Director Jon M Chu, is an expert in how to not only reach, but to sustain an audience. He conceived The Legion of Extraordinary Dancers (The LXD) – “a living, breathing comic book” – first and foremost as a brand, enabling connections with different audiences across multiple platforms.
Power lies with the audience
With the impact of new technologies has come a shift in authorship and access. Audiences have moved from passive viewer to active collaborator, stakeholder, co-creator, marketer, distributor, even financier. There’s a new breed of storyteller emerging, one that understands the new technologies, tools and services that are changing the way that stories are told, how and where audiences can interact with them and, as a result, the whole business of storytelling.
Lance Weiler (@lanceweiler), US filmmaker and story architect, grew his audience for Head Trauma - a fusion of feature film, live performance, mobile interaction, online gaming and remix – by allowing the audience to discover and expand elements of the story, moving them from one platform to the next in the process. Audience numbers grew in direct correlation to the number of access points made available to them.
Finnish director, Timo Vuorensola is an expert at collaborating and engaging with his audience throughout the development, production and distribution of his films. Crowd Controls is one great example of a tool that he uses to harness the power of the audience.
With technology advancing so rapidly, the possibilities for storytelling and audience interaction seem limitless or intimidating, depending on your point of view. No-one has all the answers anymore (if they ever did) which makes it essential now, more than ever, to share information and foster new networks, collaborations and partnerships. Which is what we do @powertothepixel.
15th October 10
Earlier this week @saneel and I were at Power to the Pixel’s Cross-Media Forum, contributing as part of a jury looking at 9 different projects competing for an ARTE Pixel Pitch Award (see who took part here). Whilst the talent and ideas were impressive, this post is to share something the founder of Arts Alliance, Thomas Hoegh, showed at the very start of the day. Thomas had just one slide, but it was killer. So simple and useful, we photographed it (badly) and then re-drew it for posterity:
We like the way it breaks down Jacob Nielsen’s 1:9:90 rule of participation inequality into something a little more chewy. The best bit about it? According to Thomas, this slide is 15 years old.
13th July 10
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.