Second Screen Production. Creating rich media experiences thorugh synchronous interplay between live TV, web and social media


Published on

Paper at the Nordmedia 2013 conference, Oslo Aug. 8th-10th

Published in: Business, Technology
  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Second Screen Production. Creating rich media experiences thorugh synchronous interplay between live TV, web and social media

  1. 1. Second Screen Production - creating rich media experiences through synchronous interplay between TV, web and social media Kjetil Sandvik (University of Copenhagen) Ditte Laursen (State and University Library, Denmark Nordmedia 2013
  2. 2. The project • 1 year project • Funded by the research section under the Ministry of Culture • Participants and partners: • Ditte Laursen, senior researcher, Danish State and University Library • Kjetil Sandvik (associated professor, University of Copenhagen, head of the Meaning Across Media project) – Niels Brügger, associate professor, Aesthetics and Communication, Aarhus University – Software developers at the State and University Library – DigiHumLab
  3. 3. Project’s double scope • Second Screen Production • creating rich media experiences through synchronous interplay between TV, web and social media • Methods of collecting Facebook data and their effects on later analyses • how methods of archiving data on social network sites such as Facebook necessarily reflect limitations (or selections) brought on by technical arrangements and theoretical interests.
  4. 4. • How is the transition from live internet to television and back again produced as a continuous communication sequence • How is this sequence transformed in the transit and adapted to the two different media’s affordances • How can we conceptualize the particular form of cross media communication that arises – when a product in one media is translated and incorporated into another media, and – when different media play different roles within a collective media expression, together and in real-time Research questions
  5. 5. Cross media communication • It is about getting through to the user • It is about giving the user a broader and richer media experience • It is about giving the user the possibility to get engaged and to be involved and to participate in the media experience on different levels and to various degrees
  6. 6. Cross media productions • Collaborative interplay between different media • Each media playing its specific role and delivering its part of the overall production • Putting to play the specific strengths of each media • Creating rich media uses and experiences
  7. 7. Second screen A specific kind of cross media production, , increasingly seen in new entertainment programme formats, where theres a live ‘here-and-now’ interplay between internet and television broadcasts.
  8. 8. Second screen • Second screen may refer to an additional media (e.g. tablet or smartphone) that allows a television audience to interact with the content they are consuming, such as TV shows. • The signifying feature in this kind of cross- media production is synchronicity and simultanaety: • The user engage in watching live TV shows and in live chats, posting Facebook-updates, tweets and so on, thus engaging both with the TV show as it airs and with other users.
  9. 9. Synchronicity and simultaneity • Synchronicity: the characteristic of the second screen cross-mediatic setup in which acts of communication are taking place in parallel in realtime. • Simultaneity: connected to the ways in which the communication between the production and its users takes place.
  10. 10. Viewers Website Social media: FB, YouTube Twitter Mobile phone TV-show X factor No synchronous interaction: -no intended second screen effect
  11. 11. Viewers Website Social media: Facebook, YouTube Twitter Second screen smartphone, tablet TV-show Voice First screen: TV-set
  12. 12. Second Screen rich media experiences • builds on augmentation of a specific media (the television set) • by implementing other media platforms and media services into the communication structure, • creating a realtime interplay between these media, • thus allowing different modes of user engagement: communication as collaboration; communication as participation; communication as co-creation and • positioning the TV viewer in a role as both user and producer.
  13. 13. In the production the use of second screen is supported: the show is produced on TV and on the Internet simultaneously
  14. 14. Method of analysis To map and analyze this conversational flow between parties present in the same mediated space-time continuum require simultaneous monitoring of 1) the live TV show showing the competing participants on stage, the coaches watching and commenting, and the back stage area with the participants before and after their performance, 2) the communication on the website(s) with postings of who is winning and who is losing, comments from the participants and the coaches, 3) the postings and ‘likes’ on the Facebook wall, and 4) the activity on the live-chat.
  15. 15. VOICE TV 2 facebook livechat facebook wall Interplay between realtime internet and live TV
  16. 16. Findings • What we find is an increasing activity as the show progresses, with growing numbers of ‘likes’ and comments as users’ favorites are either voted out or progressing towards the top. • These comments are not just on the posting by the show’s producers and participants, but also on other user comments, thus creating a huge web of conversational threads displayed both on Facebook and on the website.
  17. 17. Summing up • What we can see from our data is that this specific type of augmented TV shows with its possibility for synchronous and simultaneous communication between production and users is that it creates a moment (the time-span of the live broadcast) of communal engagement across media between dedicated users which is quite unprecedented.