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The End of TV as We Know It & The Birth of Transmedia

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Doug Scott, President, OgilvyEntertainment and Matt Doherty, Transmedia Architect, Ogilvy & Mather Worldwide presented The End of TV as We Know It & The Birth of Transmedia at the 21st Century …

Doug Scott, President, OgilvyEntertainment and Matt Doherty, Transmedia Architect, Ogilvy & Mather Worldwide presented The End of TV as We Know It & The Birth of Transmedia at the 21st Century Storytelling Conference: Content, Context and Conversations sponsored by Microsoft, Ogilvy & BrainJuicer on July 31, 2012 in Chicago.

Throughout history, we have told stories. Stories are what connect us across geographies, cultures and experiences; stories demonstrate that we share the same hope, dreams, fears, challenges and desires. Today's complex, digtally connected consumer universe makes brand storytelling more challenging, but also creates opportunities for brands to tell their stories in new ways.

Doug Scott and Matt Doherty discussed how the idea of TV might be a thing of the past, but the stories that drive our content will always be our constant. Our variable? Telling. Telling has evolved due to the primary role of digital in our lives and disruptive innovation which has given us the ability to craft transmedia experiences. Transmedia has brought about a new set of creative tools and narratives that are rooted in content, formed by context and crossed by all things culture. Are you a story? Or are you a teller?

Published in: Entertainment & Humor, Design
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  • Oh wow! This thing went off! Nice work. x
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  • A agree with Avinash! I'd also suggest this goes well beyond TV and embraces all forms of content...

    Welcome your feedback.
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  • This is an insightful and correct (in my opinion) few of what's to come!
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  • Great detailed work. Thanks for sharing.. www.lelaq.com
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  • Transmedia are not new concept. Strictly speaking, in the Stone Age too there were transmedia: pictograms + magician spells+tatu etc.

    Transmedia and now not news, especially for advertizing (for example, Сoca Cola in the newspaper, on the Internet, on TV, in social networks, at cinema etc.) or media business (for example, Harry Potter - books, cinema, TV, the Internet, toys, video games, souvenirs etc.).

    Transmedia are a tendency of distribution of a content more or less appreciable business, for small - is expensive.

    TV - changes the identity, as well as many other types of media. It is possible count not less than 10 significant trends.

    All media, becoming digital, look for the new identity. Video becomes a leading option of all media.
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  • 1. THE END OF TV AS WE KNOW IT &THE BIRTH OF TRANS MEDIA
  • 2. FOLLOW US. @DougScottOGILVY @OgilvyEnt DOUG SCOTT, PRESIDENT, OGILVYENTERTAINMENT @TheMattDoh MATT DOHERTY, TRANSMEDIA ARCHITECT, OGILVY
  • 3. PART I.THE END OF TV AS WE KNOW IT
  • 4. LET’S GO WAY BACK.
  • 5. RADIO.
  • 6. WHAT WAS THE MESSAGE?
  • 7. WELL...
  • 8. TELEVISION.
  • 9. TELEVISION.
  • 10. “INTERACTIVE.”
  • 11. STORYTELLING YESTERDAY.
  • 12. STORYYESTERDAY. PASSIVE FIXED LIVING ROOM
  • 13. STORIES ARE EVOLVING.AND IT’S NOTHING NEW.
  • 14. THE RECORDING INDUSTRY.
  • 15. THE ARTIST THE LABEL THE ALBUM
  • 16. 8-TRACK CASSETTE CD MP3
  • 17. $0.99
  • 18. 12.5MM
  • 19. 12.5MM 6MMTHE SINGLE THE ALBUM
  • 20. DISRUPTIVE INNOVATIONCHANGED EVERYTHING.
  • 21. AND THIS SAME DISRUPTION...IS HAPPENING IN THETV INDUSTRY TOO.
  • 22. THE TV INDUSTRY.
  • 23. THE MEDIA THE NETWORK THE CHANNELCOMPANY
  • 24. TV SERIES HULU iTUNES
  • 25. AGAIN.DISRUPTIVE INNOVATION.CHANGED EVERYTHING.
  • 26. AND STORY IS WHAT HOLDSEVERYTHING TOGETHER.
  • 27. SO WHAT DOES THIS MEAN FORENTERTAINMENT TODAY?
  • 28. YESTERDAY TODAY STORY THE “SECOND” SCREEN PASSIVEFIXED LIVING ROOM
  • 29. YOU SAY SECOND SCREEN.
  • 30. I SAY FIRST
  • 31. STORYTODAY. DATA THE 1ST SCREEN ACTIVE ANYWHERE
  • 32. BUT ONE THING IS THE SAME...
  • 33. YESTERDAY TODAY STORY STORY DATA THE 1ST SCREEN PASSIVE ACTIVEFIXED LIVING ROOM ANYWHERE
  • 34. YESTERDAY TODAY STORY STORY DATA THE 1ST SCREEN PASSIVE ACTIVEFIXED LIVING ROOM ANYWHERE
  • 35. YESTERDAY TODAY STORY STORY DATA STORY STORY THE 1ST SCREEN PASSIVE ACTIVEFIXED LIVING ROOM ANYWHERE
  • 36. Ω λCHAITIN’S CONWAY’S π Pi φ GOLDEN STORY RATIO
  • 37. Y = MX + B
  • 38. AUDIENCE
  • 39. A = TORY
  • 40. A= + TELLING
  • 41. A= + DIGITAL
  • 42. DIGITAL IS THE VARIABLETHAT CAN...
  • 43. STATIC CONTENT PASSIVE AUDIENCEINFORMATIVE MESSAGE
  • 44. DYNAMIC CONTENTPATICIPATORY AUDIENCEINTERACTIVE MESSAGE
  • 45. DIGITAL IS ONLINE + OFFLINE.
  • 46. DIGITAL IS SHAPING AUDIENCEBEHAVIOR.
  • 47. DIGITAL IS SHAPING AUDIENCEBEHAVIOR. AUDIENCE BEHAVIORIS SHAPING DIGITAL.
  • 48. DIGITAL UNLOCKS THEPOTENTIAL TO ENTERTAIN &EMPOWER THE CONSUMER.
  • 49. TABLETSBy 2013, the number ofU.S. tablet users isexpected to reach99MM 11. eMarketer 2. Microsoft Advertising 3. Ericsson Consumer Lab 4. comScore
  • 50. MULTI-SCREEN33MM 2 Americanconsumers regularlyengage with multiplescreens simultaneously1. eMarketer 2. Microsoft Advertising 3. Ericsson Consumer Lab 4. comScore
  • 51. SOCIAL40%3 of consumers usesocial media whilewatching TV 1. eMarketer 2. Microsoft Advertising 3. Ericsson Consumer Lab 4. comScore
  • 52. GAMING68MM 4 mobile usersare playing games ontheir mobile andtablet devices1. eMarketer 2. Microsoft Advertising 3. Ericsson Consumer Lab 4. comScore
  • 53. AND DIGITAL IS CHALLENGINGOUR INDUSTRY IN WAYS WENEVER EVEN IMAGINED.
  • 54. ENTERTAINMENT ISIN ASTATE OFFLUX
  • 55. THE NEW REALITY FORENTERTAINMENT.
  • 56. NETWORK TVTHE TRADITIONAL NETWORK MODEL IS BECOMING EXTINCT,DIGITAL IS DISINTERMEDIATING THE BUSINESS MODELCONSUMERS FOR ALL TYPES OF CONTENTARE THE NEW CHANNELPRODUCERSWORLD FOR THE CONTENT TO LIVE INNEED TO PRODUCE APARTLY DUE TO...
  • 57. THERE’S AN AUTHORSHIP CRISIS .
  • 58. CONSUMERS AREIN CONTROL
  • 59. AUDIENCE AS CHARACTERSCHARACTERS AS AUDIENCE
  • 60. INDIVIDUALDUAL-CONTENT COMMUNAL
  • 61. YEAH, WHAT’S COMING UP NEXTPRETTY MUCH SUMS IT ALL UP.
  • 62. THEOPPORTUNITY
  • 63. PART II.THE BIRTH OF TRANSMEDIA
  • 64. WHAT IS IT?
  • 65. TRANSMEDIA STORYTELLING.
  • 66. CONTEXTUALIZED CONTENT
  • 67. THE NEWECONOMIC DRIVER
  • 68. NO SCIENCE TO TRANSMEDIA
  • 69. IT’S A MINDSET
  • 70. A WAY TO RETHINK OUR STORIES
  • 71. THE MINDSET IN A NUTSHELL A STORYWORLD, NOT A STORYLINE MULTI-PLATFORM NOT CROSS-PLATFORM BLURRING ONLINE/OFFLINE THROUGH DIGITAL PARTICIPATORY EXPERIENCES BUILT-IN GAME MECHANICS AUDIENCE DRIVEN NARRATIVE NEW WAYS TO DISTRIBUTE STORIES
  • 72. CAMPAIGN COMPETITION MOVEMENT
  • 73. CULTURAL GAME NARRATIVE TRUTH MECHANICS DESIGN
  • 74. CULTURAL TRUTH • IDENTIFYING THE STORY’S BEST SELF • CREATING TENSION WITH & WITHIN CONTENT • UNDERSTANDING AUDIENCE’S ACCEPTANCE GAME MECHANICS NARRATIVE DESIGN• NOT GAMIFICATION, USING GAME MECH • BLENDING NARRATIVE TYPES• PLAY = STORY • ROLE OF STORY ELEMENTS• COLLABORATION + COMPETITION • INTERLINK, INTERTWINE STORIES• REWARDING EXPERIENCES • BUILDING IN PARTICIPATION
  • 75. CULTURAL TRUTH GAME NARRATIVEMECHANICS DESIGN
  • 76. CULTURAL TRUTH THE CONSTANT S T O RY TRANS MEDIA S T O RY GAME NARRATIVEMECHANICS DESIGN
  • 77. OUR VARIABLESSCREEN APPROACH GAMIFYING CAMPAIGN TACTICS DISTRIBUTION MULTI SCREEN ROLE-PLAYING TV SPOTS/CINEMA CROSS-CHANNEL COHERENCE TURNS PRINT ON-DEMANDSYNCHRONIZATION TIME RADIO OPEND-SOURCEDCOMPLEMENTARITY PUZZLES PR PAID SIMULTANEITY CATCH-UP DIRECT OWNER VICTORY/LOSS OOH EARNEDSTORY ELEMENTS OFFLINE ONLINE ROLE OF AUDIENCE LINEAR RETAIL SOCIAL PERSONALIZED NON-LINEAR LIVE EVENTS MOBILE CUSTOMIZED ARG THE “LIVING ROOM” ECOMMERCE OPEN-DIALOGUE MYTH-BUILDING MERCHANDISE DATA LEAN-FORWARDOBJECTS/ARTIFACTS ROLE OF ONLINE ROLE OF OFFLINE PARTICIPATION LEVEL CHARACTERS
  • 78. CULTURAL TRUTH THE VARIABLES S T O RY TRANS MEDIA S T O RY GAME NARRATIVEMECHANICS DESIGN
  • 79. CULTURAL TRUTH CAMPAIGN TACTICS DISTRI- BUTION ONLINE S T O RY SCREEN TRANS OFFLINE APPROACH MEDIA S T O RY STORY GAMIFYING ELEMENTS GAME ROLE OF NARRATIVEMECHANICS AUDIENCE DESIGN
  • 80. CULTURAL TRUTH CAMPAIGN TACTICS DISTRI- BUTION ONLINE S T O RY SCREEN TRANS OFFLINE APPROACH MEDIA S T O RY STORY GAMIFYING ELEMENTS GAME ROLE OF NARRATIVEMECHANICS AUDIENCE DESIGN
  • 81. BRANDS SHOULD BE THINKING...HOW TO CONTEXTUALIZE THEMSELVESMESH MEDIA TO INVITE THE CONSUMER INTO THE EXPERIENCECREATE ENTERTAINMENT VIA CO-CREATION OR ORIGINAL PRODUCTIONBUILD CULTURAL EQUITYPROVIDE UTILITYFACILITATE AUDIENCE DRIVEN NARRATIVESHAVE OWNERSHIP OF CONTENT
  • 82. PREDICTIONS
  • 83. THE TRADITIONAL MEDIA MODELWILL NO LONGER EXIST
  • 84. THERE WILL BEA PRICING MODEL BUILT ON AUDIENCE ENGAGEMENT
  • 85. PREMIUM CONTENTWILL BE PUSHED TO BRANDED APPLICATIONS RESIDING ACROSS ALL PERSONALIZED CONSUMER SCREENS
  • 86. WE WILL SEE THE RISE OF MICRO CONTENT...
  • 87. ...WHICH WILL BEEMBEDDED WITHIN VIDEO AND ACCESSIBLE TO CONSUMERS FOR A MICRO-COST
  • 88. UTILITY WILLREIGN ON THEVALUE CHAIN
  • 89. IT’S NOT ABOUT THE SECOND...
  • 90. IT’S ABOUT THE INSTANT
  • 91. PORTALS TO IMMERSIVESTORYWORLDS WILL QUESTIONWHAT IS REAL...
  • 92. WE WILL SEE CONTENT SHAPED BYTHE POWER OF HUMAN ALGORITHMS
  • 93. OURINTERACTIONSWILL BEBRANDED
  • 94. CREATIVE BOUNDARIESWILL PUSH TECH-PLOITATION
  • 95. STORY IS OUR CONSTANT.TELLING IS OUR VARIABLE.
  • 96. ENABLED BY DISRUPTIVEINNOVATION, PROVIDING USWITH A NEW SET OFCREATIVE TOOLS.
  • 97. AND THE FIRST SCREENPROVIDES A PARTICIPATORYEXPERIENCE THAT BECOMESA PART OF US ALL.
  • 98. RU A STORY?OR A TELLER?
  • 99. TELL US. @DougScottOGILVY @OgilvyEnt DOUG SCOTT, PRESIDENT, OGILVYENTERTAINMENT @TheMattDoh MATT DOHERTY, TRANSMEDIA ARCHITECT, OGILVY

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