ATL-PushPush Audience Engagement


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The second half of the Atlanta, PushPush weekend seminar was on audience engagement strategies. This includes everything from social media to transmedia and ended with a workshop on planning the distribution and outreach for six local films. I don't know why SlideShare duplicates the word distribution three times.....

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  • How do we avoid sudden death? the key is to focus on the audience
  • Mike Masnick of TechDirt has put all of this into a simple formula
  • There’s an old marketing theory that says people don’t go to store to buy a ¼” drill, but because they want a ¼” hole. don’t go to the store to buy a hammer. They go there because they want to hang a picture, to get something done, and the hammer just helps them do it.
  • I love seeing a movie in a theater, but let’s face it – that was a tool for Hollywood to pack as many people into one space and make money off their desire to escape. It was a tool to have a fun night out, but it was only one tool.
  • We now have new tools, and we can’t fight it, but need to embrace them to our benefit. The audience wants to build something – they can get your hammer for free, or you can give them a reason to buy it. They also want to interact with you in new ways, so use these tools to your advantage. People can collect around your film, watch it and interact with it in new ways now. And we have new ways of reaching them and engaging them. To do this, however, you have to understand internet culture, so let’s take a quick tour of relevant trends with examples.
  • First, this is all becoming more participatory, a conversation
  • we’ve all heard of social networking, of course, and the thousands if not millions of social networks
  • here’s an example of a filmmaker using it to their advantage - building community. note how they make it easy for people to take the content to other websites and blogs through widgets, etc. Notice how Vanishing of the Bees has a blog, a petition, twitter, facebook, etc. and a widget to take the content elsewhere.
  • the latest twitter stats
  • Importance of twitter (today) Fastest growing 1382% increase in one year, 42% over 35.
  • Zoe Keating has used it to amass an audience of over 1 million followers, and she now has a self-sustaining career. Notice here she is replying/thanking a fan who cued her in on how to watch some media. She’s not just working a one way street, she’s communicating with her audience.
  • zoe has built a fan base, that’s in constant dialogue with her. Because this should be your ultimate goal - not to think of building an audience for just one film, but for you, your career - people who will continue to follow you, be in dialogue with you and support your career.
  • Filmmakers are doing it on their own. Iron Sky example
  • Join community in multiple places, now have over 12K fans, and the movie isn’t even shot yet
  • also have people requesting the film through a Google Map mashup, and have over 7K requests before the movie is shot. On Monday, when I took this screen shot, the most recent request was from Downers Grove IL
  • and now you can too with crowdcontrols
  • Patronage – radiohead model, give it away but can donate to get more. Jill Sobule got her fans to donate to make her album - 95K
  • Here’s a blow-up of what you got for your donation
  • here’s a recent example of filmmakers doing this - cosmonaut example - one of the more clever uses of crowd-funding
  • cosmonaut example - here’s some of their merchandise, gives a broad range for support
  • Age of Stupid did this as well to much success and made a guide to it that anyone can download
  • and if you can’t build it yourself, you can use tools like these from IndieGogo
  • or from Kickstarter, where the Four Eyed Monsters folks are raising funds from their fans to build new tools for any filmmaker to crowdsource funding, screenings, audience building and more
  • Old fashioned crowd-funding - the house party
  • But the conversation isn’t just happening through text, twitter and marketing. the conversation is also done through video
  • Here’s one of the most popular videos from YouTube. A relatively amateur dancer that lasts about 6 minutes. 127 million views, but there are multiple versions, each downloaded over 100,000 times. And this doesn’t count how it has been virally spread and shared. 600K people have rated it, and 240K commented on this one posting. Thousands have posted video responses as well. Let’s put this in perspective.
  • Spiderman 3, most popular of 2007 – 56 million. Pirates of Carrib 2006 – 50 million, Batman – currently about 83 Million Avatar - may be north of 250 million tickets sold - but still Vs 100 million plus of the YouTube dancing video.
  • If we look at the lowest rated of the top 100 videos on YouTube, it had been seen about the same amount of times as most hollywood films in a week And Justin isn’t the most popular video online - this one is (trades places with Lady gaga daily) and that scares the bejesus out of hollywood
  • back to an old example - four-eyed monsters, they put out video and took it in as well - encouraging fans to upload video commentary
  • Here’s a recent mash-up of their video responses – they’ve built so many true fans that this video has been seen over 200K times, thousands of fans have added more footage and the phenomenon continues years after their screenings.
  • And they want to mix it up, mash it together and sample it and share it like crazy
  • Make their own versions, commenting on it and trade those as well
  • thruyou
  • Rip – a film on remix culture (and girltalk) encourages mash-up and remixing
  • and this to me, is it’s ultimate usage - the remix reviews of the Phantom Menace - single-handedly created a new art form AND a new form of film criticism. Lucky for you, he’s speaking tomorrow.
  • Now, this is the next logical step - letting people actually be involved in the creation of new work
  • Back to Iron Sky - they are assigning tasks, for participatory filmmaking, and have over 1500 people helping with that - participatory means creation as well
  • Lest you think this is a weird Finnish thing - look at MassAnimation’s Live Music - 58K animators fro 101 countries made a join animated film
  • As mentioned earlier, people expect their content on multiple platforms, they want to see it when, where and how they want to see it and they wanted it yesterday
  • They want it when they want it, from whatever portal they like and on whatever device they like, and they want it yesterday They want to share it virally with their friends
  • and they may even still buy the film on a DVD or other method - but they want access to all of these platforms. Here’s one filmmaker who is using that to his advantage - Cory McAbee with Stingray Sam - offering easy ways to get it in multiple formats and with value added.
  • They’ll pay for limited editions, from the artist, with cool add-ons
  • and get it on mobile- one of the biggest trends recently and in coming years, which I’m not devoting enough time to today.
  • and they want it free, whether with ad support or through piracy
  • Patronage – “Steal this Film” donation model
  • Now has morphed into Vodo, to launch soon
  • Immediacy – get it now, early Personalized – to your rating Interpretation – free code, manual 10K – or gene understanding Authenticity – from the Dead Accessibility – someone else stores it for use anywhere – gmail Embodiment – Book is free, lecture with author costs Patronage – support the artist, radiohead Findability – finding it in the sea
  • and that’s the key to cross-media in this environment. It let’s the audience get involved across not just multiple platforms in terms of screens, but in terms of story access points. This is the next step in the evolution of content
  • Cross media allows them to become active participants in multiple parts of the story. It allows them to delve deeper into the experience if they so choose, or access it from their preferred medium. The idea is to expand the story line into multiple media. The Matrix is the most famous recent example
  • of course, Star Wars was doing it before
  • and their fans are legion, and very involved with every aspect of the story
  • The idea is to expand the story line into multiple media. having multiple story entry points. games, ARG, graphic novels, mobile, etc source of image: a big one here is gaming, which I’m also not devoting enough time to today
  • Definitions of transmedia and examples/things to think about
  • More to think about and experts.
  • Thomas Allen Harris and Through a Lens Darkly
  • Occupation Dreamland realized that their film wasn’t just about the Iraq war, but about recruitment. They found a scene where soldiers in the war are being asked to re-enlist, and one speaks up and says to the recruiter that he lied to him before and said he wouldn’t see action, wouldn’t see his friends die and he did. He calls him a liar. It’s powerful, so they made that clip available as a downloadable cell clip and gave it to anti-war activists on campuses, who could go up to recruiting stations and show it to potential recruits, to expose the lies. The point is, cross-media isn’t just flashy games, but engagement and impact.
  • summary
  • We’ll workshop each of these areas a bit and give ideas for each one and possible implementation
  • and tell me what you create, invent, discover or think about. Here’s my details
  • ATL-PushPush Audience Engagement

    1. 1. Engage 101: Audience Building & Distribution & Distribution & Distribution Part Three: Audience Engagement
    2. 2. Photo Credit: FFFFound
    3. 3. CwF + RtB = $$$ Mike Masnick, TechDirt
    4. 4. CwF + RtB = $$$ Mike Masnick, TechDirt Connect with fans, give them a reason to buy, and make money.
    5. 5. How?
    6. 9. Participatory Culture <ul><li>A Conversation </li></ul>
    7. 11. Langworthy & Henein Vanishing of the Bees
    8. 12. <ul><li>Twitter Stats (via Twitter) </li></ul><ul><li>105,779,710 registered users </li></ul><ul><li>1,500% growth over the last three years </li></ul><ul><li>300,000 new sign-ups per day </li></ul><ul><li>60% of new accounts were from outside the U.S. </li></ul><ul><li>600 million search queries per day </li></ul><ul><li>A NY Times story gets tweeted every 4 seconds </li></ul>
    9. 13. Usage by Age Group US Growth Twitter
    10. 14. Zoe Keating @ZoeCello 1.38 million followers on Twitter
    11. 15. Building Community <ul><li>Friends & Fans </li></ul>
    12. 16.
    13. 17.
    14. 18.
    15. 19.
    16. 20. CrowdSourcing <ul><li>Turning Community into Funders </li></ul>
    17. 22. <ul><li>$10 - Unpolished Rock (but with potential) Level: A free digital download of the album, when it's released. </li></ul><ul><li>$25 - Polished Rock Level : An advance copy of the CD. Weeks before the masses. </li></ul><ul><li>$2,500 - Emerald Level : Mentioned as an executive producer of the album -- whoop-di-doo! </li></ul><ul><li>$ 5,000 - Diamond Level : I will come and do a house concert for you. Invite your friends, serve some drinks, bring me out and I sing. Actually, this level is a smart choice economically. I've played many house concerts where the host has charged his guests and made his money back. I'd go for this if I were you. </li></ul><ul><li>$10,000 - Weapons-Grade Plutonium Level: You get to come and sing on my CD. Don't worry if you can't sing - we can fix that on our end. Also, you can always play the cowbell. </li></ul>Details from Jill’s Next Record website
    18. 23.
    19. 24.
    20. 25. TheAgeofStupid.Net
    21. 26.
    22. 27.
    23. 28. CrowdFunding <ul><li>The old fashioned way </li></ul>
    24. 30. Participatory II. <ul><li>A Viral Video Conversation </li></ul>
    25. 36. Remix Culture <ul><li>Mash-Ups and Sampling – Participatory Cinema </li></ul>
    26. 38. Kuitman: Thru-You
    27. 39. Gaylor: RIP! A Remix Manifesto
    28. 40. Red Letter Media , Mr. Plinkett: The Phantom Menace Review (s)
    29. 41. CrowdSourcing 2: <ul><li>Turning Community into Producers </li></ul>
    30. 42.
    31. 43.
    32. 44. Multi-Platform <ul><li>Agnostic, Viral & Mobile </li></ul>
    33. 46. McAbee: Stingray Sam
    34. 48. Sally Potter’s Rage First Movie Premiering Day/Date at a Festival and on Mobile
    35. 49. Free <ul><li>(Plus Fee) </li></ul>
    36. 52. Generatives <ul><li>Immediacy </li></ul><ul><ul><li>Give them something now </li></ul></ul><ul><li>Personalization </li></ul><ul><ul><li>To their needs </li></ul></ul><ul><li>Interpretation </li></ul><ul><ul><li>With study guide, or commentary </li></ul></ul><ul><li>Authenticity </li></ul><ul><ul><li>From you directly, signed by you </li></ul></ul><ul><li>Embodiment </li></ul><ul><li>Speaking fees </li></ul><ul><li>Patronage </li></ul><ul><li>Support the artist; Radiohead model </li></ul><ul><li>Accessibility </li></ul><ul><li>Make it easy to get; convenient </li></ul><ul><li>Findability </li></ul><ul><li>Work with partners who make you findable </li></ul>From Kevin Kelly’s: Better Than Free
    37. 53. Cross-Platform <ul><li>Cross-Media, Transmedia </li></ul>
    38. 58. Transmedia What it is: Types/examples: Develop the story across multiple entry points Events Multi-platform Games/ARG Audience can become immersed in experience Interactive components Deep audience engagement Graphic Novels Encourages participatory audiences Online & viral content Each element a distinctive experience Mobile Story flows & builds rev streams Think Outside the norms - experiences
    39. 59. Transmedia Quick thoughts: Some Experts: Keep a mind towards audience dev. components from the beginning Christy Dena Think beyond marketing Stephen Dinehart (coined) It’s not all about the film - extend the experience Jeff Gomez Think about impact & social change Henry Jenkins Not just games.... events, gallery shows, etc. Mike Monello Some projects may not need to be a film John Threat ...or can become one if successful Lance Weiler Transmedia can be simple Many more...
    40. 60. Thomas Allen Harris: Through a Lens Darkly
    41. 61. Olds & Scott: Occupation Dreamland
    42. 62. Quick Summary Identify Core audience & build fan base Use social media & new tools Engage in the conversation - make it participatory and real Start early - and have a team Build your Plan A CWF + RtB Engage audience - transmedia
    43. 63. Engage 101: Audience Building & Distribution & Distribution & Distribution Part Four: Pitch Session/Workshop
    44. 64. Fitting it Together
    45. 65. Blog: Email: Twitter: @bnewman01