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Dynamic Publishing, Transmedia & The Construct of Good_gs.pptx

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Deck of my keynote at Innotech/eMarketing Summit in PDX. A bunch of new material on publishing...

Deck of my keynote at Innotech/eMarketing Summit in PDX. A bunch of new material on publishing...

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  • 1. Keynote for InnoTech | Portland, OR Presented  by  Gunther  Sonnenfeld      05.06.2010   -­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐-­‐  
  • 2. Companies no longer own brands. People do. People have become media. Brands have become publishers. Agencies have become curators. Media companies are the facilitators.
  • 3. Our relationship to media.
  • 4. ©  Gunther  Sonnenfeld  &  Adam  Goldberg  2009  
  • 5. 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.
  • 6. ©  Gunther  Sonnenfeld  &  Adam  Goldberg  2009  
  • 7. Our relationship to content.
  • 8. “It’s not information overload (we suffer from), it’s filter failure.” - Clay Shirky
  • 9. Let’s be perfectly clear about one thing: Media isn’t fragmented. Content is. Source:  Columbia  University,  School  of  Media  Studies  
  • 10. Source:  Columbia  University,  School  of  Media  Studies  
  • 11. Why we “brand” content.
  • 12. “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  
  • 13. 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.
  • 14. Our relationship to technology.
  • 15. PEOPLE are loyal to INFORMATION, not places or_ destinations.
  • 16. 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].
  • 17. The Great Technology Paradigm… ©  Gunther  Sonnenfeld  2009  
  • 18. Our relationship to each other.
  • 19. This all tells us that, clearly, we need to change behavior, not just drive it.
  • 20. But first, we must get real about what our data tells us.
  • 21. So, (for example), we know that online video ad spends are on the rise…
  • 22. We also know that video is a better way to activate purchase intent…
  • 23. However, most of this content is created by labels, studios and publishers.
  • 24. 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.
  • 25. $   .00   The average CPM on YouTube. Two years ago, it was as high as $15 to $20 per. What does this tell us?
  • 26. PEOPLE are more valuable than INVENTORY. Just as the tagline suggests. How ironic.
  • 27. 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.
  • 28. 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…)
  • 29. The importance of storytelling.
  • 30. Mindshift: great content is borne out of platforms and experiences, not just campaigns or ad-like objects.
  • 31. 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.    
  • 32. By productizing stories. (as opposed to just creating stories out of, or for, products).
  • 33. Mindshare: captures the imagination of consumers as people and members of culture; media then adapts or assimilates to their behaviors, passions and desires.
  • 34. ‘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.
  • 35. WHAT TRANSMEDIA IS AND CAN BE…!
  • 36. “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    
  • 37. 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  
  • 38. REDEFINING THE PLANNING " " PROCESS!
  • 39. ©  Gunther  Sonnenfeld  2009  
  • 40. ©  Gunther  Sonnenfeld  2009  
  • 41. 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?  
  • 42. ©  Gunther  Sonnenfeld  2009  
  • 43. A new breed of storymaker & content curator .
  • 44. The new power of the individual (via one’s social graph).
  • 45. In case you didn’t get the memo, PEOPLE now have the ability to create their own MESSAGES. (Fathom that…)
  • 46. Value co-creation.
  • 47. Clearly, good content just isn’t good enough anymore. **This  secMon  co-­‐created  with  ScoU  Walker,   Principle  of  Brain  Candy,  LLC**  
  • 48. Copyright is an artificial boundary between creator and consumer. Creators   Creators  /  Consumers   Copyright   Consumers  
  • 49. 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)  
  • 50. 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  
  • 51. “Customers  play  an  acMve  role  in  co-­‐creaMng  value.”     Better Awesome C.K.  Prahalad  and  M.S.  Krishnan   The  New  Age  of  InnovaMon,  2008  
  • 52. 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  
  • 53. 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  
  • 54. Source:  Tony  Deifell’s  “ The  Big  Thaw”  
  • 55. Socializing commerce.
  • 56. Great experiences obviate the intent to purchase. Purchasing product is a state of mind. Purchases happen through sharing, NOT selling.
  • 57. A recent social experiment… (storymaking development)
  • 58. EXPERIENCE   story   story   SERVICE   CAUSE   PRODUCT   story   story   CONTENT  
  • 59. 1.  Contextualize 2.  Narrate 3.  Productize 4.  Deliver
  • 60. hp://www.youtube.com/watch?v=Tmf0ugQrDFk    
  • 61. UBIQUID.US
  • 62. “Content isn’t king, it’s now a Republic.”   - Faris Yakob, Chief Innovation Officer, MDC Partners
  • 63. THANK YOU FOR PARTICIPATING. (let’s make this happen…)