Brands & Multi-platform Storytelling

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An Introduction to Multi-Platform Storytelling; and How this Entertainment Format can be Used …

An Introduction to Multi-Platform Storytelling; and How this Entertainment Format can be Used
to Benefit Brands.

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  • 1. An Introduction to Multi-Platform Storytelling; and How this Entertainment Format can be Used to Benefit Brands.
  • 2. Our Mission is ultimately to get more original Australian content made & distributed. New Funding and Revenue Models are being established as networks, content creators & brands get to grips with new technologies and ever evolving audience interaction across devices. Partnerships are Crucial for everyone to win in this game. We’re the best at what we do as long-form content creators... storytellers. We want to work with the best advertisers and their brands. BINGU
  • 3. 106 hours/month Ozzies spend on average in front of the box. No change in 5 years; 10% increase seen in US as a result of greater choice, technology and audiences enjoying interaction with other fans online; 3 in 5 or 61% of Australian internet users watch TV whilst online; 37% more viewers watching time-shifted programming from ‘08-’09; 10% internet users are streaming video. Comparatively 45.5% in US; 20% internet users are downloading content; YouTube more popular than Google as a Search Engine for teens online. VIDEO VIDEO VIDEO. ITS THE COMMUNICATIONS MEDIUM AUDIENCES EXPECT AND DEMAND ONLINE. WHICH RAISES THE QUESTION: HOW CAN BRANDS CREATE FILMED CONTENT DESIGNED SPECIFICALLY FOR MULTIPLE PLATFORMS?
  • 4. 80% agree B.E provides for alignment of brand with relevant content. 72% believe B.E. has the ability to make stronger emotional connections with the consumer. 72% believe B.E. builds brand affinity with a desired target group/demographic. 55% say B.E. is effective in avoidance of traditional consumer clutter. 48% says B.E. provides for protection from increased consumer control due to new technologies, i.e. TiVo. 10% thinks B.E. is a trendy, sexy, communication tool. (2009 M&V Survey respondents are marketers and members of the Association National Advertisers) SO BRANDED ENTERTAINMENT IS SEEN AS EFFECTIVE NOT NECESSARILY SEXY. THE QUESTION WE’RE SEEKING TO DRIVE A HIGH % RESULT FROM IS “DOES MULTI-PLATFORM MAKE A BRANDED ENTERTAINMENT STRATEGY MORE COMPELLING TO ADVERTISERS?”
  • 5. Multi-platform TV Show Format Social Networks Experience Website. Display Advertising. Blog. Social Network Sold by Network Channel. Key Media Partners Interactive Element iPod. Podcasts etc iPhone. Apps etc Network Brochure Page or Trailer site. Typically includes: Trailer, Cast & Crew, Program Synopsis IM. Twitter Realtime chat Set Top Box. DVR Real World Events. Inviting audiences Standard Mobile. WAP, txt away from the screen increases engagement by creating a sense of exclusivity. Subsequent WOM benefit.
  • 6. Therefore; TV Show + Multi-platform Experience = Larger, more engaged and conversational audience across media
  • 7. “...the most successful entertainment marketing is that which embraces fluidity, in the content itself, in the way it is distributed, and in the way it is promoted.” Contagious Magazine, Entertainment Marketing Special Report 2009
  • 8. Essential Media Case Study: Scorched The Partners: Nine Networks, Screen Australia, NSW Film & TV Office, Granada International, Sunday Night Movies, Goalpost Pictures, Firelight Productions, Essential – The Story: It’s 2012 and a drought ravaged Sydney is encircled by massive bushfires. But how do you fight fire if you have no water? Scorched is a revolutionary television event combining a 90 minute tele-feature and an extensive online component. features over 90 minutes of additional drama content that acts as a prequel and sequel to the gripping disaster tele-feature. The Platforms: TV, Website, Faux Websites, Fictitious News Network, Vlogs, Second Life Mashups, Mobile, Social Media, Print, Radio, MSN Messanger. The Results: 10% of Australian’s engaged with Scorched in 2008, Premiere was Highest Rating Primetime Show that Evening, 2009 Digital Emmy Award Winner.
  • 9. The Feds Case Study: Yes Coach The Partners: Optus Business, Switzer Group, M&C Saatchi, The Feds – The Story: The brief was to create an online experience that raised Optus Business brand awareness with small business owners. Our approach was to create an experience where Optus gave 3 businesses from around Australia free business coaching for twelve weeks, demonstrating how the training improved their business productivity. M&C engaged The feds at initial creative stage to assist in developing a 5-part reality TV series over the twelve-weeks. We also helped them come up with strategies to keep the audience engaged in between each videos release. The Platforms: Online Reality TV Show, Blog, Website, Live Event, In-Flight Entertainment. The Results: It reached 140% of the agencies set target. This included: 80,000 UVs, 5,000 Registered (non- compulsory), 45% of visitors viewed 2-10 pages, well above industry average. 1 in 5 users wanted to know more. 
  • 10. The Feds Case Study: Empire of the Sun The Partners: EMI, Empire of The Sun, Mathematics, The Feds – The Story: Has anybody heard of Empire of The Sun? The Feds worked closely with EMI in the interactive execution of the campaign surrounding one of Australia’s most popular bands. Our sister company, Mathematics, conceptualised the three clips, the virals and the video installations for the concerts. The video installations were launched at Parklife and now are part of their international tour. The Feds digital produced the iphone game from conception to completion. The ultimate experience: Great Band, Video and Gaming. The Platforms: Film clip, iPhone, online, viral video installation at live concerts. The Results: 300,000 Viral Video Views, “Walking the Dream” Clip 2.5mil Views, Winning an Aria at St Kilda Film Festival 2009 sellout out concerts, and work is being displayed at  Selfridges in the UK.
  • 11. The Feds Case Study: Gruen Transfer Mashup Tool The Partners: ABC, Zapreuduers Other Films, The Feds – The Story: Zupreuders other films, creators of The Gruen Transfer, wanted to create a premium online interactive experience that further explored the themes in the program. The ABC engaged The Feds to make a video mash up tool. The tool allowed viewers to create their own ads, the best ones being screened during the live broadcast. By directing audiences from the broadcast medium of television to the narrowcast arena of the internet audience maintained a connection between on-air episodes and beyond the series finale. The Platforms: TV Show, Website, User-Generated Content. The Results: 12,000 Clips Created, 20mins Avg / Clip, The Format incl. Mashup Tool Distributed to Other Markets, The Tool Continues to be Used Across Other ABC Shows.
  • 12. Alternate Reality Game: Routes The Partners: Channel 4, The Welcome Trust, Oil Productions, Minds Eye Media – The Story: Routes is an ARG taking participants on a journey that educates and raises awareness of genetics and bio-ethics amongst 14-19 year olds. A “shock” announcement is made at the launch party for the 8-part mini series, Professor Marcus Shoenberg, a scientist, absent from the launch, had been found dead. His niece, Rachel Burren, flees the scene in tears and the mystery to spark the ARG is launched. Embedded in the game, Katherine Ryan, award-winning comedian, explores her own genetic make-up, and tests her DNA to find out whether her genes or her environment define who she is. Can she blame genetic makeup on being a 2 beer drunk? The Platforms: TV Documentary, Websites, Events, Online Games, Social Media The Results: Games continue to be played, 700,000 UV’s, 300,000 video views, Minigames played 25mil times (40% in target market of UK teens), Cannel 4 Educations Biggest Ever Show.
  • 13. Multi-platform Campaign: Movie Launch The Partners: Laika Productions, Wieden+Kennedy, Nike – The Story: Campaign began with sending 50 hand made mystery boxes to creative influencer Blogs: NotCot, Coolhunting, Boing Boing. The boxes contained access codes to a website. ‘Coraline Keys’ were placed in public places, interactive shop windows positioned buttons on the eyes of passers by. Huge floating figures blew through the streets. Nike created the Coraline shoe. The website exploded with new games and interactivity, eventually opening to public access. Trailers were seeded across major sites. The Platforms: Animated Feature Film, Mystery Box DM, Apparel, Augmented Reality Installation, Website, Ourdoor Print, Giant Inflatable Figures. The Results: 845,000 UV’s before release, 30mil imps attributed directly to campaign, $16.8mil box office in 1st week ($9mil target), Titanium & Integrated Winner at Cannes.
  • 14. Working Together there are 2 ways we’d like to work with you: One if you have a branded entertainment, multi-platform or content idea that is beyond your own teams capability to deliver, we can partner with you from concept, through sell-in to client, then on to production. Two there are multi-platform entertainment concepts we have on our development slate, some commissioned to networks who are looking for us to find a sponsor, others that are simply ideas in the making. We’d like to brainstorm with you to see if any of these could be worked-up to fit your clients’ objectives. Then co-produce the ideas in partnership with you and your clients. The final entertainment property would be co-owned. If you’d like to chat about this further, you can contact Tim on: m - 0410624507 e - linkedin - twitter -
  • 15. Thank you!