Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

Keynote for InnoTech | Portland, OR Presented by Gunther Sonnenfeld 05.06.2010 -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐

Companies no longer own brands. People do. People have become media. Brands have become publishers. Agencies have become curators. Media companies are the facilitators.

Our relationship to media.

The >>>PULL market is creating new service layer BUNDLING in which publishers, networks and content portals are being forced into T-R-A-N-S-I-T-I-O-N as consolidated yet unacquainted entities, who retain different or conﬂicting agendas and most often operate against the tide of INVENTORY and DEMAND.

Our relationship to content.

“It’s not information overload (we suffer from), it’s ﬁlter failure.” - Clay Shirky

Let’s be perfectly clear about one thing: Media isn’t fragmented. Content is. Source: Columbia University, School of Media Studies

Source: Columbia University, School of Media Studies

Why we “brand” content.

“An interes*ng problem (we face) — some marketers aren’t interested in storytelling. Most storytellers aren’t interested in marke*ng.” -‐ Ivan Askwith, Director of Strategy, Big Spaceship

Yet storytelling is the very ﬁber of why we exist. And further, why we make purchases. Stories give us something to believe in, before and after a purchase is made. Or, when we simply can’t.

Our relationship to technology.

PEOPLE are loyal to INFORMATION, not places or_ destinations.

ADAPTATION: The ongoing effort to move with markets & behaviors. Adaptive technologies not only have the ability to harvest users, but empower their consumptive & shareable behaviors, as well as bridge the gaps between the two. Adaptive platforms look beyond designations such as “2.0” and “3.0”, and focus on cultural value, as well as earned media. DISRUPTION: The often successful attempt to grab A-T-T-E-N-T-I-O-N. Disruptive technologies have the ability to harvest users, but many times lack the ability to keep them engaged. Part of that is a human issue. The other part is the need to bundle paid media and follow inventory demand [or the lack thereof].

The Great Technology Paradigm… © Gunther Sonnenfeld 2009

Our relationship to each other.

This all tells us that, clearly, we need to change behavior, not just drive it.

But ﬁrst, we must get real about what our data tells us.

So, (for example), we know that online video ad spends are on the rise…

We also know that video is a better way to activate purchase intent…

However, most of this content is created by labels, studios and publishers.

And guess what? Search has become a social practice. It’s literally converging. Which means that all this “Hi-Fi” content on offer has less and less value.

$ .00 The average CPM on YouTube. Two years ago, it was as high as $15 to $20 per. What does this tell us?

PEOPLE are more valuable than INVENTORY. Just as the tagline suggests. How ironic.

The ... … is older than you think, AND… … doesn’t care where content comes from. … doesn’t want to be told where to consume it. … doesn’t need to know why it matters.

The larger takeaway is that media can no longer determine PAID its own value. But we can. [GAP] EARNED VALUE CREATION [GAP] OWNED (It’s all about bridging the gaps…)

The importance of storytelling.

Mindshift: great content is borne out of platforms and experiences, not just campaigns or ad-like objects.

IDEAS and messages, like content, can come from ANYWHERE. The key to their ADOPTION is in WHAT THEY actually DO, or, what they SUGGEST they can do, rather than just what they SAY.

By productizing stories. (as opposed to just creating stories out of, or for, products).

Mindshare: captures the imagination of consumers as people and members of culture; media then adapts or assimilates to their behaviors, passions and desires.

‘STORYMAKING’ VERSUS ‘STORYTELLING’ STORYMAKING STORYTELLING INVOLVES INVOLVES THE THE INTERPRETATION OF ACTIVATION OF LEGACY, THAT LEGACY WITHIN THE AND THE BIRTH OF AN CONTEXT OF EXPERIENCE. IDEA.

WHAT TRANSMEDIA IS AND CAN BE…!

“Transmedia stories are those which ‘unfold across mul*ple media plaRorms with each new text making a dis*nc*ve and valuable contribu*on to the whole.’” -‐Henry Jenkins, Father of Transmedia, Director of the MIT ComparaMve Studies Program "There are short stories and mul*-‐volume epics; transmedia narra*ve is a way of conveying messages, themes, and stories -‐-‐ a tool or methodology if you will. We try to dis*nguish transmedia narra*ve implementa*on from standard terminology such as adver*sing campaigns, although the two can co-‐exist or overlap." -‐ Jeﬀ Gomez, Transmedia Pioneer, CEO of Starlight Runner Entertainment

INTEGRATED MEDIA VERSUS TRANSMEDIA INTEGRATED (linear) < campaign/promoMon > channel TRANSMEDIA (non-‐linear) campaign/promoMon campaign/promoMon campaign/promoMon campaign/promoMon campaign/promoMon campaign/promoMon narra*ve

REDEFINING THE PLANNING " " PROCESS!

What if we no longer had to look at media ini*a*ves as separate from BUSINESS SOLUTIONS? Or be[er yet, separate from NEW BUSINESSES?

A new breed of storymaker & content curator .

The new power of the individual (via one’s social graph).

In case you didn’t get the memo, PEOPLE now have the ability to create their own MESSAGES. (Fathom that…)

Value co-creation.

Clearly, good content just isn’t good enough anymore. **This secMon co-‐created with ScoU Walker, Principle of Brain Candy, LLC**

Copyright is an artiﬁcial boundary between creator and consumer. Creators Creators / Consumers Copyright Consumers

PRODUSAGE MODEL (Passive) Consumption (Active) Usage (Creative) Produsage Produsage: “the collaboraMve and conMnuous building and extending of exisMng content in pursuit of further improvement.” Alex Bruns author, researcher (Blogs, Wikipedia, Second Life and Beyond, 2008)

CO-CREATING VALUE Value creation comes from personalized experiences, not products or product-based transactions. o  The individual consumer is at the heart of the experience o  Companies can no longer control/own all of the resources necessary to provide personalized experiences C.K. Prahalad and M.S. Krishnan The New Age of InnovaMon, 2008

“Customers play an acMve role in co-‐creaMng value.” Better Awesome C.K. Prahalad and M.S. Krishnan The New Age of InnovaMon, 2008

TRADITIONAL vs. COLLABORATIVE ENTERTAINMENT Traditional Model o  Serial o  Monologue o  Product-based Creator Content Consumer o  Passive Experiences Collaborative Model o  Parallel o  Dialogue Co-‐Creator Co-‐Creator o  Experience-based o  Active Co-‐Creator Co-‐Creator

Collaborative entertainment is more than just interacting with content. It’s remixing content, creating new experiences, and sharing them with others. Then baking the commerce elements into a social context. Engagement InteracMon ParMcipaMon CollaboraMon ContribuMon Value ConsumpMon Value Co-‐CreaMon

Source: Tony Deifell’s “ The Big Thaw”

Socializing commerce.

Great experiences obviate the intent to purchase. Purchasing product is a state of mind. Purchases happen through sharing, NOT selling.

A recent social experiment… (storymaking development)

EXPERIENCE story story SERVICE CAUSE PRODUCT story story CONTENT

1.  Contextualize 2.  Narrate 3.  Productize 4.  Deliver

hp://www.youtube.com/watch?v=Tmf0ugQrDFk

UBIQUID.US

“Content isn’t king, it’s now a Republic.” - Faris Yakob, Chief Innovation Ofﬁcer, MDC Partners

THANK YOU FOR PARTICIPATING. (let’s make this happen…)

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Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

by Gunther Sonnenfeld on May 05, 2010

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Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx — Presentation Transcript