Transmedia Storytelling

1,016 views
948 views

Published on

Published in: Marketing, Business

Transmedia Storytelling

  1. 1. TRANSMEDIA STORYTELLING Gual Barwell - Head of Strategy, REBORN
  2. 2. What are we here for? CONTEXT
  3. 3. Change consumer behaviour by generating salience for our product and service through communications? POSIT
  4. 4. WHY TRANSMEDIA STORYTELLING? HOW? CHALLENGES OUTPUTS
  5. 5. AGENDA TODAY 1. Decision making and storytelling 2. Cultural trends 3. Brands response 4. Transmedia Storytelling A. Case Studies 5. Ideation a POV 6. Challenges 7. Key Takeouts
  6. 6. AND STORYTELLING 1. DECISION MAKING
  7. 7. Emotional campaigns = x2 ROI PLATFORM FOR EMOTIVE CAMPAIGN % Driving High Profit ROI Correlation with ‘Favourability’ Emotional Combined Rational Emotional Rational 31% 26% 16% 0.56 0.29
  8. 8. A Big Idea is a thought that keeps giving. It's a world you can occupy and keep drawing on. Tribal Worldwide Report - Create a World not an Ad , Chris Bayliss ECD, Tribal DDB Amsterdam
  9. 9. CREATIVITY PROVIDES GREATEST LEVERAGE OVER ROI IPSOS: Global Research Pool Contribution to sales effect - based of IPSOS Global Pool 70% 20% 10% Media Creative Other
  10. 10. 52% 13% CREATIVE CHANNEL Similarly, ComScore (2010) carried out a meta- analysis of all hundreds of different campaigns across different categories and found that 52% of shifts in brand sales (or market share) are attributable to the quality of creative, making creative the number one driver of sales changes.These findings demonstrate the importance of focusing on the quality of creative as part of the ad-planning process, and not just relying on media planning elements, which account for a combined 13% of the changes in a brand’s sales. This%has%been%corroborated%by%ComScore%3%% crea4ve%is%500%%greater%determinant%of%ROI% than%channel%op4misa4on%(13)% This had been corroborated by ComScore - creative is 500% greater determinant of ROI than channel optimisation Creative Channel
  11. 11. DESIGN
  12. 12. AND INTERCONNECTIVITY 2. MEDIA CONVERGENCE, INSTRUMENTALISATION
  13. 13. “We are entering an era where media will be everywhere, and we will use all kinds of media in relation to one another...” ! Henry Jenkins, Convergence? I Diverge, 2001 MEDIA CONVERGENCE What is ‘Convergence Culture’?
  14. 14. Source:(Google,(2013(( Majority of our daily media interactions are screen based 88% 12% 4.1 HOURS
  15. 15. DIGITAL NATIVES SWITCH MEDIA 27 TIMES PER HOUR
  16. 16. TIME SPENT PER MONTH (US) Traditional TV Using internet on a computer Watching Time shifted TV Watching Video on internet Using a gaming console Watching video via mobile Using DVD/BLU-RAY 148 HR, 3 MIN 28 HR, 58 MIN 11 HR, 30 MIN 6 HR, 59 MIN 6 HR, 38 MIN 5 HR, 25 MIN 5 HR, 17 MIN 0.9% 1.5% 6.0% 36.0% 3.2% 16.1%25.0% A65+ A18-26 A35-49 A18-24 T12-17 A18-24 K2-11
  17. 17. “81% of people use multiple screens sequentially to accomplish a task over time, 35% have watched online video across more than one device”
  18. 18. Source:(Google,(2013(( We also multi-screen by using more than one device simultaneously We use an average of three different screen combinations every day. 69% 53% 51% 44%
  19. 19. TV#got# Connected# TRADITIONALSMARTVIA CONSOLE OTHER 1.4B volume 96% penetration 10.2% penetration 17.1% penetration 19.3% penetration 13MM(AppleTVs)|5MM(Roku Players) volume TV GOT CONNECTED OTHER VIA SMART TRADITIONAL 17.1% penetration 19.3% penetration 10.2% penetration 96% penetration
  20. 20. “Some observers are predicting that by 2020 companies could manage 85% of their customer relationships without talking to a human being.” “We are looking at automating the transacting part of buying. At the moment we are focusing on television because that is the bulk of where time is spent.” An#increasingly#automated#process#(5/6)# “Some observers are predicting that by 2020 companies could manage 85% of their customer relationships without talking to a human being.” AN INCREASINGLY AUTOMATED PROCESS
  21. 21. AND THEIR RESPONSE 3. BRANDS
  22. 22. 71% of marketers stated that they would be increasing their content budgets in 2014 http://www.curata.com/resources/ebooks/content-marketing-tactics-2014/
  23. 23. • TEXT: • Infinite Monkey Theorem… INFINITE MONKEY THEORY
  24. 24. STORYTELLING 4. TRANSMEDIA
  25. 25. TRANSMEDIA STORYTELLING “A transmedia story unfolds across multiple media platforms, with each text making a distinctive and valuable contribution to the whole.” ! Henry Jenkins, Convergence? I Diverge, 2001 WHAT IS TRANSMEDIA
  26. 26. WHICH IS SOOOOO 2013 COMMS IDEA PR DM Staff Retail Interactive Experience Advertising INTEGRATED COMMUNICATIONS
  27. 27. THE STORY Observer Socially Engaged Active Contributors THE UNIVERSE IS THE CANVAS
  28. 28. STUDIES A. CASE
  29. 29. LEGO ONE PRODUCT, ONE BRAND, ONE PROMISE, AND MILLIONS OF STORIES
  30. 30. LEGO
  31. 31. SCREEN SHOT of: http://www.dayonestories.com/# DAY ONE STORIES
  32. 32. A POV 7. IDEATION
  33. 33. Think user first Developing stories that will tap into the emotional and behavioural drivers of your consumers. WHAT
  34. 34. Think user again HOW What tech are they using. How are they using it.
  35. 35. CHARACTER WHO Must be likeable But it is important to know the anthropomorphisation of your brand into resonant and relatable characters. This is subjective and it is incredibly important to be able to empathise with your consumer.
  36. 36. TO OVERCOME 5. CHALLENGES
  37. 37. We are obsessed with creating new stuff to address and array of brand and business challenges. Therefore, the prospect of creating a platform that dictates ALL of your communications is daunting. We are obsessed with creating new stuff to address an array of brand and business challenges. Therefore, the prospect of creating a platform that dictates ALL of your communications is daunting.
  38. 38. APPARENT COST (rather then numerous tactical executions)
  39. 39. • c. Collaboration (agencies still don’t really speak)COLLABORATION (agencies still don’t speak)
  40. 40. • Complexity (it is hard to execute) COMPLEXITY (it’s hard to execute!)
  41. 41. ASSUME INDIFFERENCE
  42. 42. Existing conventions of advertising (always think in 15, 30 sec slots)
  43. 43. • Attempting to achieve reciprocity with your brand opens you up to a personal critique of your own understanding of the people you are trying to connect with Attempting to achieve reciprocity with your brand opens you up to a personal critique of your own understanding of the people you are trying to connect with.
  44. 44. TAKEOUTS 9. KEY
  45. 45. DEVELOPING TRANSMEDIA ASSETS • Focus on less to do more. • Think about the stories your brand would be comfortable telling and the types of characters needed to convey the core attributes of your brand and products. • Develop franchises not campaigns. What is the extended narrative that you can tell around your brand and products? • Think user first, what is going to be resonant, don’t underestimate the indifference people have to what you want to say. KEY TAKEOUTS
  46. 46. DEVELOPING TRANSMEDIA ASSETS • Think about the instrumentalisation of your target, and how you can disseminate content and experiences to tap into their naturally occurring behaviour • Make your consumers a part of the stories that you tell. • Don’t be disparate, create continuity, coherence and depth. KEY TAKEOUTS
  47. 47. It is hard, but we hope we have given you the foundations,the rationale and the courage to tell your story.
  48. 48. QUESTIONS 10. THANKS
  49. 49. Gual Barwell HEAD OF STRATEGY REBORN First floor, 46 -52 Meagher Street, Chippendale, Sydney  NSW 2008  P  +61 2 8507 6895 / M  +61 410 927 617   E  gual@reborn.com.au

×