The Pixel Lab 2011-Nuno Bernardo How Transmedia Can Empower Producers
HOW TRANSMEDIA CAN EMPOWER PRODUCERS?
Nuno Bernardo • Founder and CEO of beAc1ve a mul1-‐pla7orm content produc1on company with opera1ons in Portugal, Ireland, UK and Brazil. • Creator and Producer of Soﬁa’s Diary, one of the world’s ﬁrst mul1-‐ pla7orm teen series. Adapted in 10 territories and sold to Sony Pictures Television in 2010. Produced in UK for BEBO/Five TV. • Creator and Producer of Flatmates, Beat Genera1on and DoYoubelieveme.com, Transmedia proper1es that were produced and adapted in Europe, Asia, North America and La1n America. • Writer/Producer of Final Punishment, 2010 Emmy and Rose D’Or nominee and MIPCOM Best Mul1-‐pla7orm Format winner. • Creator of Aisling’s Diary for RTE. Winner of a Kidscreen Award in 2010 and 2011, New York. • Author of the books “ The Producer’s Guide to Transmedia” (2011) e “Interac1ve TV Produc1on Guide” (2001).
My inﬂuences… • “War of the Worlds” Radio Show. • The Personal Computer. • “Majes1c” from EA.
Why Transmedia? • Transmedia answers the demands of today’s audiences lifestyles: content anywhere, on any device. • Audiences are becoming fragmented and choosing their content on-‐demand. • Transmedia makes content more immersive. • Entertainment becomes global social experience. • Transmedia allows audiences to have an ac1ve role in the storytelling process. • Allows audiences to be heard. • Allow audiences to “own” the content.
beAcCve’s Focus • Put the audience inside of the show. • Make the audience par1cipate, be part of it and decide the outcome. • Make it personal and immersive. • Use “all medias” to make it a truly 360 degrees show. The show becomes part of your day life. • Use the Internet, Social Media and Mobile phones to establish rela1onships and build communi1es. • Use push devices (Twiber, SMS alerts, etc) to bring audiences back to the content. • Use tradi1onal medias as TV and Radio and to bring the content to the mass market. • Use brands as sponsors and/or produce mobile and oﬀ-‐line products for mone1zing the content.
Our 3 Stage Plan The distribu1on strategy has to take account of three, broadly deﬁned, stages of the development of your product: • Developing the product and launching it as an online en1ty. • Growing the product, doing deals with other media partners and moving into oﬄine media in the form of brand extensions. • Finally the third stage that involves the greatest market visibility as you move the product into television, possibly a feature ﬁlm and the poten1al for licensing deals of products is realised.
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 mul1-‐pla7orm, non-‐ linear world, it helps to “sync” audience’s experiences. ⇒ Soﬁa emails and text you during the day and appears on several medias.
Soﬁa’s Diary “Soﬁa’s Diary helps to write the history of the Television in the UK” in Broadcast, Abril 2008 o beAc1ve started Soﬁa’s Diary as Web/Mobile interac1ve 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.
Content as a communicaCon 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 aler1ng the audience for events that happened in her world. o The TV episodes show the events men1oned in SMS. o Audience is part of the storytelling process. o Audience communicates and gets heard. Audience’s voice impacts the community, impacts the content. o Interac1ve vo1ng, forums and commen1ng allow audience to discuss the best way to solve her dilemmas.
Content Ownership o If the audience par1cipates 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 recogni1on. o Mash ups, parodies, fan ﬁlms, informal conven1ons, fan Web sites and blogs, dressing like your characters, it’s the ul1mate recogni1on of your work. o If it yours, you will defend it, promote it, recommend it, interact with it, abend events, etc.
Final Punishment: StarCng Point? • The Brieﬁng and the Challenge: • The FP Brieﬁng: Create a 3 window concept that could show OI Telecom services: Mobile, Digital TV and Internet Portal. • We had a script that we were unable to fund as no sponsor wants to be associated with “women gegng killed in a prison”. • The Challenge: how to make a story about “women gegng killed in a prison” relevant to an audience that reads a similar story in the newspapers, everyday. • The solu1on: make it personal => “You can save them!”. • The 2nd Problem: how make audiences like and care for women that were convicted for murder.
The ARG Started • Game against 1me to allow audience to save the 8 women. • Back-‐story was introduced in the form of blogs, photo albums, news ar1cles, etc to make women in prison more lovable. • Detec1ve based game to tease audience to ﬁnd out more about these women, what’s the connec1on between them and who’s killing them. • Audience need to collect 30 photos and a decoder that will allow them to ﬁnd the right code.
The Final Punishment ARG The Game Master The Journalist InMates Back-‐story Youtube/IG Video Channel Mobile Content
The Planning • 1/10/2009: Premiere on Rio Film Fes1val and event in the streets of Rio de Janeiro and Fes1val lounges. • 3/10/2009: Fake news about the “Prison” to be broadcasted in OI Radio and published as Ad News in several newspapers and blogs. • 7/10/2009: Partnerships with top Brazilian Blogs to ini1ate discussions about “Is this prison the solu1on for Brazil’s overcrowded prisons problems?”. • 9/10/2009: Blacklords hack the Web site. • 10/10/2009: First inmate dies – The game starts: you have 7 weeks to save the remaining 7 women. • 10/10/2009: Social media campaign starts with Adwords, Text Ads, Facebook Ads, Banners, and the support of some hired bloggers. • 15/10/2009: The ARG campaign starts.
The Planning • 15/10/2009: Ads in in Brazilian Websites to promote the ARG and create a Web based community to enable discussing and share hints and codes between users. • 17/10/2009: Youtube channel and IG.com.br Video Website set up with some “leaked” videos from the prison and inmates: surveillance cameras videos, prison psychologist tapes, etc. • Mid-‐November: ﬁrst users decode the password. Prison Web site shuts down. • December 2009: Broadcast of the 4-‐part mockumentary with the real truth about what happened in the Ivo Kermar1n Prison.
All the Content Produced • Cinema: 1 * 60m length CUT for Rio de Janeiro Film Fes1val. • TV: 4 part mockumentary, 1 making of TV show, 2 TV ads and 2 TV Teasers. • DVD: 1 90m Feature Film Cut + Extra material. • Web Video: 8 confessional videos, 8 lost tape videos and 4 addi1onal 22’ videos. • Mobile Video: 8 * 38s character presenta1on videos. • 2 Mobile (JAVA) games. • 2 Facebook/Orkut Applica1ons. • 3 Twiber Channels and 3 Facebook proﬁles and pages. • 3 Flickr channels: +100 photos were produced and/or edited. • 8 Blogspot blogs. • 45 diﬀerent banners. • +1000 tweets from the game. • 20 SMS alert messages + 1 WAP web site. • 1 IVR – Pre-‐recorded voice mail system.
What is diﬀerent? o The 1me necessary to build a brand and a community is becoming very short. 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 communi1es can unite fans around the globe. o Communica1on 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 1me the communi1es and what fans are talking about.
Audiences and Transmedia o Producers can’t impose 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 – a big chunk of the audience watch the same episode at the same 1me, audiences now watch a show at their own rhythm. o On-‐line communi1es are now the places where fans can “sync” and share their experiences.
Transmedia Challenges o Main mo1va1on should be tell a (beber) story. o TV shows & Feature Films have a pre-‐built audience; Transmedia content needs to ﬁght for an audience. Targe1ng audiences becomes much more important. o Who will interact? o How to reach that audience? o What’s audiences moCvaCon to interact? o What’s their reward? o Transmedia Storytelling needs to focus less on technology and more on entertaining an audience, in enhancing storytelling by the use of technology, in becoming an audience success, not a niche pleaser. Ar1sts and Filmmakers tell stories (don’t showcase technology). o Producers need to format Transmedia as a business and establish ways to sell Transmedia Shows on the Interna1onal market.
Why Transmedia is Important? o For the ﬁrst 1me, producers can directly connect with their audiences. o Producers can now control the way story is developed, consumed by their audience and can control the distribu1on of content. o Producers can contact direct with the audience, learn from the audience, partner with the audience, some1mes avoiding tradi1onal gatekeepers. o Entertainment brands can be built outside the tradi1onal media outlets. Club Penguin, Angry Birds, Stardoll, etc. o Producers can control their own IP and become the brand managers of their own crea1ons.
Path to Success 1. Tell a Story 2. Reach an Audience 3. Grow a community (your fan base)
Contacts Thank You! More Informa1on: Nuno Bernardo email@example.com beAc1ve, Produções Interac1vas, S.A. Av. Duque D’Ávila, Nº 23, 1º Dto 1000-‐138 Lisboa Portugal