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HOW YOUNGER AUDIENCES REACT TO TRANSMEDIA CONTENT by Nuno Bernardo
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HOW YOUNGER AUDIENCES REACT TO TRANSMEDIA CONTENT
Nuno Bernardo, Ceo Beactive, Portugal
Nuno Bernardo is the creator of Sofia’s Diary, Aisling's Diary and Bia & Fred Around the World,
Transmedia properties that used a multiplicity of medias and platforms to engage an audience around
an entertainment brand. Adapted locally in 10 territories and the first on-line show to cross to TV in
EVENT PROGRAMME
14
15
the UK, Sofia’s Diary is a perfect example of how younger audiences respond to the new paradigm
of the entertainment industry: media is more social, fragmentation of audiences, multiple medias,
content distributed on-demand vs a traditional linear approach. We will focus on the importance of the
community and the perception of “content ownership” and “content sharing” by younger audiences.
Nuno will also show case some of his latest projects and share some success and failure stories about
how to use the Internet, games, social media and mobile devices in sync with a TV show to engage
younger audiences around an entertainment brand.

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HOW YOUNGER AUDIENCES REACT TO TRANSMEDIA CONTENT by Nuno Bernardo Presentation Transcript

  • 1. HOW  YOUNGER  AUDIENCES  REACT  TO   TRANSMEDIA  CONTENT  
  • 2. My  “Transmedia”  Background…  •  Published  my  first  short  story  at  age  of  8.  •  Studied  Computer  Technologies  in  Hi-­‐School.  •  Masters  in  Journalism.  •  Worked  in  the  adverCsing  industry.  •  Wrote  hundreds  of  arCcles  and  a  few  books   about  Internet  and  e-­‐Commerce.  •  Worked  for  Exponor,  an  event  organizer.  •  Worked  for  TVCabo/MicrosoL  in  the  MicrosoL   TV  interacCve  TV  plaMorm.  •  Set  up  beAcCve  in  2003.  
  • 3. MulE-­‐plaHorm  properEes  for  young  Audiences  
  • 4. MulE-­‐plaHorm  properEes  for  young  Audiences  •  Sofia’s  Diary  MulC-­‐plaMorm  show  (localized  in  +10  territories)  •  Sofia’s  Diary  Books  (Portugal,  UK  and  Brazil):  18  books.  •  Aisling’s  Diary  TV  Series  (Ireland,  Australia  and  Sweden)  •  Flatmates  MulC-­‐plaMorm  show  (Portugal,  Greece  and  Romania)  •  Bia  &  Fred  InteracCve  Adventures  •  Dark  Siege  Books+Game    
  • 5. My  influences…  •  “War  of  the  Worlds”  Radio  Show.  •  InteracCve  Adventure  books.  •  ZX  Spectrum  with  48k  of  memory.  •  “MajesCc”  from  EA.    
  • 6. My  influences…  •  “War  of  the  Worlds”     ⇒  Suspension  of  Disbelief  /  Immersion.  •  InteracCve  Adventure  books   ⇒  Make  my  own  story.  •  ZX  Spectrum  with  48k  of  memory   ⇒  Get  recogniEon  by  my  peers.  •  “MajesCc”  from  EA.   ⇒  Always  on.        
  • 7. The  Birth  of  Sofia  ⇒  Sofia  is  like  a  Virtual  friend.  ⇒  You  can  interact  with  the  story.  You   build  the  story.  You  own  the  story.  ⇒  A  community  is  built  so  your  voice  can   be  heard.  Also,  in  a  mulC-­‐plaMorm,  non-­‐ linear  world,  it  helps  to  “sync”   audience’s  experiences.  ⇒  Sofia  emails  and  text  you  during  the  day   and  appears  on  several  medias.  
  • 8. Sofia’s  Diary  “Sofia’s  Diary  helps  to  write  the  history  of  the  Television  in  the  UK”  Broadcast in  Broadcast,  Abril  2008  Thursday 17 April 2008Pg 1 of 2 o  beAcCve  started  Sofia’s  Diary  as  Web/Mobile   interacCve  Blog  in  January  2003  in  Portugal.   o  Sofia’s  Diary  extended  to  a  TV  Show,  Radio   Show,  Magazine,  Books,  DVDs  and  full  360   degrees  entertainment  brand.   o  In  the  last  5  years  was  already  adapted  as  a   Transmedia  format  in  10  territories  and   broadcasted  in  more  than  30  countries.     o  Sofia’s  Diary  UK  was  the  first  Web  based   series  to  be  transferred  to  TV.     o  It’s  owned  and  distributed  by  Sony  Pictures   Television  worldwide  since  2006.  
  • 9. Merchandising  
  • 10. InternaConal  Versions  
  • 11. The  different  medias  as  windows  to  the  Sofia’s  World  •  4.30pm: Daily SMS/MMS alerts sent by Sofia.•  8.30pm: Daily 4/5 minutes interactive TV episodes.•  8.35pm: Interactive voting service to decide next episode.•  8.35pm: Web content (text + pictures + video) published.•  8.35pm: Mobile VOD of 1 minute clips (the loosing option).•  7:50am: Radio soap (daily 2 minutes episodes).•  8:00am: Premium Call service - summary of daily episode.•  8:30am: Audio Podcast. @ Saturdays: Weekly 22 minutes episodes
  • 12. Content  as  a  communicaEon  tool  o  Sofia’s  behave  like  a  typical  teenager.  She  texts,  she   emails,  she  blogs  and  she  tweets.    o  She  communicates  with  her  friends,  the  audience.  o  During  the  day  she  texts  the  audience  alerCng  the   audience  for  events  that  happened  in  her  world.    o  The  episodes  show  the  events  menConed  in  SMSs.  o  Audience  is  part  of  the  storytelling  process.    o  Audience  communicates  and  gets  heard.  Audience’s   voice  impacts  the  community,  impacts  the  content.      o  InteracCve  voCng,  forums  and  commenCng  allow   audience  to  discuss  the  best  way  to  solve  her   dilemmas.    
  • 13. Content  is  shared  o  If  it  affects  me  it  affects  my  world.  o  I  will  bring  my  friends  to  this  new  world.    o  The  more  I  interact,  the  more  recogniCon  I  have.  o  I’m  the  leader,  I’m  a  guardian  of  this  community.    o  I  want  my  friends  to  see  my  recogniCon.  o  So  I  share  the  content.    
  • 14. Content  Ownership  o  If  the  audience  parCcipates  and  helps  shapes  the   content,  they  feel  that  they  own  the  content.  o  In  a  book  signing  event,  a  Sofia’s  Diary  fan  was   upset  because  she  was  not  credited  in  the  book.    o  On  Virtual  worlds  like  Stardoll,  the  users  “own”   their  avatars,  dolls,  houses,  etc.    o  “Owning”  your  content  means  recogniCon.  o  Mash  ups,  parodies,  fan  films,  informal   convenCons,  fan  Web  sites  and  blogs,  dressing   like  your  characters,  it’s  the  ulCmate  recogniCon   of  your  work.    o  If  it  yours,  you  will  defend  it,  promote  it,   recommend  it,  interact  with  it,  akend  events,  etc.  
  • 15. What  is  different?  o  The  Cme  necessary  to  build  a  brand  and  a   community.    o  Angry  birds  become  a  pop  culture  reference  and  an   overnight  success  in  less  than  12  months.    o  Using  the  Internet,  Social  Media  and  digital  devices   communiCes  can  unite  fans  around  the  globe.    o  CommunicaCon  is  more  immediate.    o  Audience  can  get  instantaneous  response.    o  Producers  can  get  instantaneously  feedback  and   responses  from  audience.  o  Producers  can  follow  in  real  Cme  the  communiCes   and  what  fans  are  talking  about.    
  • 16. Young  Audiences  and  Transmedia   o  Producers  can’t  control  the  media  (and  pace)  where   content  is  consumed.  A  TV  episode  (or  Movie)  can  be   consumed  on  TV,  Computer,  Mobile,  On-­‐Demand,   DVD,  streamed,  etc.     o  From  a  “sync”  experience  –  all  kids  watch  the  same   episode  at  the  same  Cme,  each  kid  now  watches  a   show  and  episodes  at  their  own  rhythm.  Europe  has   more  than  35  kid  oriented  TV  Channels.  Each  episode   is  repeated  in  average  6  Cmes  a  week.     o  On-­‐line  communiCes  are  now  the  places  where  fans   can  “sync”  and  share  their  experiences.   o  Young  audiences  want  to  find  their  “familiar  faces”,   their  favourite  characters  when  they  “jump”  to  other   medias.    
  • 17. Why  Transmedia  is  Important?   o  Producers  can  now  control  the  way  story  is   developed,  consumed  by  their  audience  and  can   control  the  distribuCon  of  content.   o  Producers  can  contact  direct  with  the  audience,   learn  from  the  audience,  partner  with  the  audience,   someCmes  avoiding  tradiConal  gatekeepers.     o  Entertainment  brands  can  be  built  outside  the   tradiConal  media  outlets.  Club  Penguin,  Angry   Birds,  Stardoll,  etc.     o  Producers  can  control  their  own  IP  and  become  the     brand  managers  of  their  own  creaCons.  
  • 18. beAcEve’s  Stategy  •  Original  Transmedia  Franchises.  •  Our  projects  are  funded  by:   –  Ourselves  in  early  stages  of  development.   –  The  Market  (further  producCon).   •  AdverCsers  and  Brands.   •  Broadcasters  (commissions  or  TV  license)   •  TelecommunicaCon  companies.  •  Our  projects  follow  a  3  stage  deployment  strategy:   –  Web/incubaCon.   –  Off-­‐line  extensions  (Radio,  TV,  Magazines,  etc).   –  InternaConal  (Format),  Licensing  and  TV.      
  • 19. beAcEve’s  Transmedia  approach  •  We  put  the  audience  inside  the  show,  making  it  personal  and  immersive.  Use   “different  medias”  as  windows  to  the  story  world  to  make  it  a  truly  360º  show.    •  The  show  becomes  part  of  audience’s  day  life.  A  daily  schedule  of  events  and   content  release  is  a  subsCtute  to  endless  re-­‐runs  on  TV.  •  We  use  push  devices  (Twiker,  SMS  alerts,  etc)  to  bring  audiences  back  to  our   content.    •  We  promote  audience  parCcipaCon  (make  it  their  show):  voCng,  casCng,  forums,   live  chats,  live  events,  tours,  etc.      •  We  use  the  Internet,  Social  Media  and  Mobile  phones  to  establish  relaConships   and  build  communiCes.  •  We  use  tradiConal  medias  as  TV,  Radio  and  newspapers  to  bring  the  content  to   the  mass  market.    •  We  use  brands  as  sponsors  and/or  produce  mobile  and  off-­‐line  products  for   moneCzing  the  content  (Mobile  content,  Books,  DVDs,  licensed  products,  etc).    
  • 20. Contacts   Thank  You!       More  InformaCon:   Nuno  Bernardo   nmb@beacCve.pt  beAcCve,  Produções  InteracCvas,  S.A.   Av.  Duque  D’Ávila,  Nº  23,  1º  Dto   1000-­‐138  Lisboa     Portugal