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Planning for Transmedia


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This was a presentation that I gave back in April. Since then we have done more advanced Transmedia work and I hope to share that case study soon when we get the full results. Sorry it took so long to upload this.

Planning for Transmedia

  1. 1. PLANNING FOR TRANSMEDIA Griffin Farley Hamburg, Germany APRIL 2012
  2. 2. WHAT YOU WILL TAKE AWAY FROM TODAYAn understanding of who I am and where I workHow I define Transmedia Planning2 Case Studies from the Entertainment SectorAn AXE Cross Media Case StudyAn AXE Trans Media Case StudyA deeper understanding of choreographing the narrative of a campaign
  3. 3. WHO I AM AND WHERE I WORKSo you can decide if I am complete bullshit or not.
  4. 4. GRIFFIN FARLEY Title: Strategy Director, Engagement Planning Lead Work: Bartle Bogle Hegarty in New York City Twitter: @griffinfarley Blog:
  5. 5. BBH NORTH AMERICA CLIENTS 5To understand who I am you need to understand where I work and what I work on. We typically get two types of fees from clients. One fee is to pay for the concepting and production ofcreative ideas that are reactive to business challenges. The other fee is to lead an inter-agency team that might include Public Relations, Experiential, Activation, Digital, Social, Hispanic,African American, Media, etc. To do transmedia planning you need the ability to impact multiple aspects of the campaign.
  6. 6. SOME RECENT ACCOLADES 2012 Agency of the Year. 2012 Webby’s Agency of the Year. Time Magazine: Top TV ad for 2011. 2011 A-List. 2011 Most Awarded Digital Agency of the Year. 2011 #1 Interactive Agency in the U.S. 6We are excited and humbled that we have been recognized by our peers. For transmedia planning to thrive you also need to work inside an agency that values interactive and integratedmarketing. Filming beautiful television spots isn’t enough.
  8. 8. WHY TRANSMEDIA? Account Planning inspire creative thinking (JWT, BMP) Connection Planning inspire media thinking Pre-1964 (Fallon, Chiat/Day) 1965 Field Services 1999 Propagation Planning 2006 inspire WOM thinking (Naked) Transmedia Planning inspire storytelling 2008 (MIT)In 2009 Connection Planning had been around for more than 10 years. I was working for a mid-size agency in Tampa Bay and wanted to be on the cutting edge of the next theory in planning.I started digging for things and found one post on the Tokyo Naked Blog about Propagation Planning by Ivan Pollard. It was the only thing I could find on the idea and so I dedicated my timeand energy to cultivate the theory and make it a true discipline.
  9. 9. WHAT IS TRANSMEDIA?The definition of Transmedia is one of the biggest debates around Transmedia. Until that becomes agreed upon we are all stumbling through this theory together. So I turned to the founder ofTransmedia: Henry Jenkins
  10. 10. HENRY JENKINS: THE GOD FATHER’m going to let Henry do the talking here.
  11. 11. HOW DO I SELL THIS IDEA TO MY CLIENT? (spoiler alert... it’s hard)I’m going to role play a scene between me and a fictional client. I will play the role of the Strategist and my co-star, the Client will be the Screen behind me.Transmedia planning is a communication model, derived from the ideas found in the book “Convergence Culture” that former MIT professor, now current Provost at USC, Henry Jenkinscoined.
  12. 12. (voice of a fictional client) THAT GUY SOUNDS SMART, I’M LISTENING.In this model, there will be an evolving non-linear brand narrative.
  13. 13. (voice of a fictional client) I SAW THE SHOW ‘LOST’ IT WAS HARD TO FOLLOWDifferent channels will be used to communicate different, self-contained elements of the brand narrative that build to create a larger brand world.
  14. 14. (voice of a fictional client) WORLD BUILDING SOUNDS EXPENSIVE...Consumers then pull different parts of the story together themselves.
  15. 15. (voice of a fictional client) COPY TESTING SHOWS CONSUMERS HATE COMPLEX STORY LINES...Since there would be more elements to the narrative than any single person could consume, people come together to share elements of the narrative – driving word of mouth and creatingcommunities.
  16. 16. (voice of a fictional client) GIVE CONTROL TO CONSUMERS... I’M NOT SURE ABOUT THISEND SCENE. You can see how easy it is to say no to Transmedia, but the clients that are saying yes are coming from the Entertainment sectors and what we have seen over the years isthat movie marketing has a way of changing how everyone does marketing over time.
  18. 18. DARK KNIGHT ARG Entertainment
  20. 20. BUILDING BRAND WORLDS TOGETHERThe fan base has a role to help make the world big. You as the client don’t have to do everything but you need to embrace consumer interpretation of the idea. I think consumers can handlemore than a single core idea. In fact, I think we are in an age where increasingly consumers control the media they consume, and we can no longer simply interrupt, entertain for 30 secondsand then sell them something, we have to offer them more than a core idea well told.
  22. 22. A ‘MATCHING LUGGAGE’ CAMPAIGN PAID PAID PAID PAID Cross Media PAID OWNED PAID OWNEDWhat most clients do is reproduce the same idea in different ways to match the specs of different channels. This makes it easy to test, it makes it easy to manage the brand and the commsbecause you know when it’s on campaign and off campaign.
  23. 23. AXE ANGELS CASE STUDY typically start with a strong TV spot and then extend that narrative idea into other media spaces. This is a great example of this model.
  24. 24. AXE ANGELS CASE STUDY the same narrative and plug it into every media space available. This is cross-media, not transmedia.
  25. 25. AXE ANGELS CASE STUDY the same narrative and plug it into every media space available. This is cross-media, not transmedia.
  26. 26. AXE ANGELS CASE STUDY the same narrative and plug it into every media space available. This is cross-media, not transmedia.
  27. 27. MEDIA NEUTRAL PLANNINGTake the same narrative and plug it into every media space available. This is cross-media, not transmedia.
  29. 29. HOW IS TRANSMEDIA DIFFERENT PAID UGC UGC PAID TransMedia OWNED UGC OWNED PAIDBuilding complexity into a range of communications, using channels to cultivate different ideas that build into a larger brand world, rather than reproducing the same idea in different ways. Forme its about building a world of references and images, held together by a value system and a narrative, communicating it in ways that respects that content and the fluidity of channels.
  30. 30. AXE ANARCHY: TEASER ADTeaser Ad was seeded with Bloggers. We have a more simple narrative to set up what is to come.
  31. 31. AXE ANARCHY: HERO SPOTThis ad was released in Cinema and television. We have a new epic narrative here that shows the sheer extent of this proposition.
  32. 32. AXE ANARCHY: ACTIVATIONRazorfish introduced new characters allowing real people to be written into the ongoing narrative. This was a better and richer storyline for digital and mobile.
  33. 33. AXE ANARCHY: ACTIVATIONThe Facebook App and YouTube Brand Page became portals into the story. As you engaged with the story you had a chance to be written into the final one.
  34. 34. HOW THIS GETS CLOSER TO TRANSMEDIA 1. Teaser Campaign around Cops and Robbers 2. Girls and Guys with the power of AXE create Anarchy3. Comic book narrative where consumers co-create the world However, it’s not so complex that they needed a community. This is an entry into transmedia but it didn’t fully embrace it.
  35. 35. EMBRACE COMPLEXITYThere is a book by Steven Johnson that explains How Today’s Popular Culture is actually making us Smarter. This was published in 2005, it is based upon Johnson’s theory that popularculture - in particular television shows and video games - have grown more complex and demanding over time and is improving the society within terms of intelligence and idea. He arguesthat the structure of video games uniquely invite exploration and stimulates the reward centers of the brain. He asserts that television is a “brilliant medium” for determining how skilled peopleare at understanding interpersonal connections, and that reality shows realistically display the complexity of “social network maps” in human relations, where a group of people have complexand intertwined engagement.
  36. 36. HOW TO START? To take advantage of To sell a campaign, To sell an ad, everything todays media you need a you need a story landscape has to offer character you need a world
  38. 38. KNOW HOW TO START A MOVEMENT The basis for Propagation PlanningThe best way to kick this off is with a TED talk about “how to start a movement.” They quickly frame up many key principles of Propagation Planning.So how do you do Propagation Planning, you start a movement. You act like a lone nut (why do you think viral videos go viral?) or you find a lone nut (Bloggers, Gamers, Fanboys) and workwith them to tell your story.
  39. 39. MARKETING MODELS OF PROPAGATION Awareness Funnel Propagation Megaphone (Paid Media) (Earned Media)Before I explain the Propagation models you need to know how media is typically viewed. Media agencies cast a wide net with lots of waste and trickle down to those that will consider andpurchase your product. This is typically called the Awareness Funnel. What we want to do is introduce a new shape into your media planning, this is the Propagation Megaphone. This startssmall and grows big over time.
  40. 40. ADOPTION CURVE WITHOUT PROPAGATION BROADCAST MEDIA Early Majority > < Late Majority (Most creative targets the mass majority) Early Adopters > < Laggards Innovators > TIME AND SALESIn this model the Innovators and Early Adopters don’t have a chance to break the news. They see communications the same time the majority can see them, which makes it less cool to talkabout because it’s not special or exclusive. Plus this creative has been copy tested against the majority. It has been watered down to be liked and revered by the greatest amount of peoplepossible. If you were a Blogger or a Journalist you would want to break the story, you wouldn’t want to just add your POV to it.
  41. 41. ADOPTION CURVE WITH PROPAGATION BROADCAST MEDIA Early Majority > < Late Majority Early Adopters > < Laggards Innovators > (This creative targets the influencers) PROPAGATION TIME AND SALES STIMULUSSo... what if we targeted influencers? This creative wouldn’t look like the creative we put into Broadcast Media, that’s too safe. This creative needs to be raw, perhaps unfinished so theinfluencers have a chance to affect and shape the creative. Perhaps they have a chance to become part of the story themselves? Perhaps they have a chance to invite their followers to become apart of the story? This happens a lot in good Movie campaigns.
  42. 42. ADOPTION CURVE WITH TRANSMEDIA BROADCAST MEDIA Early Majority > < Late Majority Early Adopters > < Laggards Innovators > (This creative targets the influencers) PROPAGATION TIME AND SALES STIMULUSNow that we layer Transmedia onto the Propagation Model you see multiple strands of activity that all have a chance to go big. The brand made a call to start the movement but now thecommunity has added their own interpretation to the narrative.
  44. 44. WHAT THIS MEANS FOR PLANNERS Understand the relationship between creative and media
  45. 45. WHAT THIS MEANS FOR STORYTELLING?Think about the myth that is the brand you are charged with building. Find the brand’s point of view, create the brand’s world. Don’t treat consumers like idiots. John talks about expectedendings. If we can predict the ending from the first chapter of the book it isn’t going to be an interesting read.
  46. 46. ADDITIONAL QUESTIONS TO ASK YOURSELF Can we create a Brand World?What are the mythology, challenges, rewards in this world? Who are the heroes and the villains?