Posts Tagged ‘Transmedia’
9th March 12
Posted in sxsw
As our herd of black sheep makes its way to Austin from various BBH offices in anticipation of some great events, it’s the other experiences we’re discovering that are especially interesting. When we heard about a particular transmedia experience that the folks at Hide & Seek created, we asked the founder of the UK games design studio to tell us a bit more about it. As it happens, engaging in the experience and utilizing Homeless Hotspots go hand-in-hand, one of many unexpected uses for our charitable innovation experiment.
This year at SXSW, we launch Would Anyone Miss You, a new live game we’ve developed to ensure that festival goers have conversations they’ve never had before, with people they’ve never met before.
The game begins when a stranger, somewhere in Austin, presses a sheet of stickers into your hand. You’ll be asked to seek out people of special and particular kinds – Your Newest Friend, maybe, or someone Tall Dark and Handsome – and ask them a question. Armed with this knowledge, you’ll interact with the game online and receive a personal reward. For those that play all the way to the end, there’s something a bit special.
We’re doing this to support Carol Morley’s incredible documentary, Dreams Of A Life, which receives its US premiere at SXSW on Saturday 10 March. Nobody noticed when thirty-eight year old Joyce Vincent died in her bedsit above a shopping mall in North London in 2003. When her skeleton was discovered three years later, her heating and her television were still on. Newspaper reports offered few details of Joyce’s life – not even a photograph. Who was Joyce Vincent? And how could this happen to someone in our day and age – the so-called age of communication? Dreams of a Life is Carol Morley’s quest to discover who Joyce was and how she came to be so forgotten.
So what’s the connection between our game and Carol’s film? My hope is that there’s an emotional one. Transmedia projects tend to extend the storyworld of a film – the characters, the history – into new platforms. With our work on this project (we also created a purely digital experience to accompany the UK release) we’ve taken the emotional impact of Joyce’s story as the starting point. Partly this is because Carol’s film is such a coherent, fully formed whole, and partly it’s because we wanted to do something with the feelings that Joyce’s story evokes – to make use of them.
SXSW is a crowded marketplace of ideas, powered by entrepreneurial zeal and hot air. Dreams of A Life is a a film about urban lives, contemporary life, and how, like Joyce, we are all different things to different people. It’s our belief that, for all the buzz, festivals can be pretty lonely places sometimes. We hope that our game will provoke moments of connection and reflection, and that in those moments, you’ll want to seek out the film that inspired them.
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.
16th July 10
Author: Ben Shaw, Strategist, BBH London
In the last of our blog posts with Dan Light we’ve saved the trickiest questions for last. What, if any, are the roles for brands in these transmedia extensions of the narrative? Can it ever get deeper than product placement and, if so, can brands ever make a legitimate contribution to the storytelling experience?
In the past decade we’ve seen that the music industry had to get screwed before it would change, the newspaper industry is struggling and the film industry is being forced to reinvent itself. Can entertainment industries transform themselves? Where do you see the film industry going?
I think the film industry is going to polarise. I think you’re going to have your Avatars – they will be big 3D events that will be 15-year projects and will command bigger and bigger sums of money.
At the other end will be the classic independent films, built around a good story but also written from the ground up, with a view to all the ways in which that story can be told, developed and audiences be found.
So brands need to find new ways to engage audiences and clearly sponsorship of this kind of content is a legitimate path, albeit it represents a fairly transactional relationship with the producer. Is this how you see the role of brands developing?
15th July 10
Author: Ben Shaw, Strategist, BBH Londonhttp://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.
14th July 10
Author: Ben Shaw (@BenShaw), Strategist, BBH London
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.
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.