My recent talk for the New York Foundation for the Arts - about using technology to connect with audiences and build a fan base. A little bit about where things are going with transmedia and how artists might use these techniques.
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.....
A talk I gave in Glasgow for BAFTA Scotland at the CCA - for Scottish Students on Screen. The attendees were mainly students graduating from University. This presentation combines a few things from other presentations, but I always upload them so people can follow links, etc. The end of this one is pretty new.
My presentation for Shooting People and DCTV on distribution and engaging audiences. A new presentation with some mixed older materials and some very new stuff summarizing how to think about transmedia.
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.....
A talk I gave in Glasgow for BAFTA Scotland at the CCA - for Scottish Students on Screen. The attendees were mainly students graduating from University. This presentation combines a few things from other presentations, but I always upload them so people can follow links, etc. The end of this one is pretty new.
My presentation for Shooting People and DCTV on distribution and engaging audiences. A new presentation with some mixed older materials and some very new stuff summarizing how to think about transmedia.
This week in TGIF: JFK tribute, Foot Locker's Week of Greatness, Coke Zero's sweater generator, Channing Tatum's splits, Jack Vale's social media experiment, Time Magazine, The Curse of Chucky, RSA's GTA-like ad and London Grammar's cover of Wicked Game by Chris Isaak)
DocAviv - Roadmap to the Future of DocsBrian Newman
Slides from my workshop at DocAviv with Hypermedia. A six hour, three part, workshop. Some new material here, but repeats some of my similar filmmaker workshops.
A talk I gave for the North American Veg Society on social gaming - a key trend in the internet world. Explains relationship between idea spread, behavior change and online gaming. Slides did not translate perfectly, but will give you an idea of concepts nonetheless.
This week in TGIF: JFK tribute, Foot Locker's Week of Greatness, Coke Zero's sweater generator, Channing Tatum's splits, Jack Vale's social media experiment, Time Magazine, The Curse of Chucky, RSA's GTA-like ad and London Grammar's cover of Wicked Game by Chris Isaak)
DocAviv - Roadmap to the Future of DocsBrian Newman
Slides from my workshop at DocAviv with Hypermedia. A six hour, three part, workshop. Some new material here, but repeats some of my similar filmmaker workshops.
A talk I gave for the North American Veg Society on social gaming - a key trend in the internet world. Explains relationship between idea spread, behavior change and online gaming. Slides did not translate perfectly, but will give you an idea of concepts nonetheless.
Social Media 101: Social Media 101: Discover the power of your voiceWunderman
From behavioral trends to the technology tools and the brands and people who are using social media, we invite you to become an active practitioner in this session.
From behavioral trends to the technology tools and the brands and people who are using social media, we invite you to become an active practitioner in this session.
Cultivating Your Twitter Following (Uris 141)
Fifty followers just won't cut it. How can you attract a large following on Twitter, and how does Twitter fit into your overall social media strategy?
Angel Aviles-Clinton, Co-Founder, BeScene Marketing
Joselin Mane, Co-Founder, BeScene Marketing
Making smart decision: Thornley Fallis whitepaper looks at important trends, metrics and benchmarks to inform digital communications strategies for 2014 and beyond.
We are in an era of chaos. Understanding how to harness the opportunities and bring delight to your consumer will be imperative to your brand's survival.
Forces of Change & The Importance of NarrativeOgilvy
OgilvyEntertainment creates compelling narratives that fuel deeper connections between brands and consumers.
In Forces of Change & The Importance of Narrative, President Doug Scott explores how disruptive innovation is driving new forms of content, creativity and engagement. While "storytelling" may be the latest trend, narratives have no limits in today's transmedia world. The state of play has shifted and the key is to activate deep content experiences driven by the power of NARRATIVE.
How NGOs can use social media to create impactJD Lasica
On Jan. 20, 2012, JD Lasica and Shonali Burke gave the following presentation to assembled NGOs at the United Nations. Campaigns and programs examined include charity: water, Send a Cow, WaterForward, Epic Change, Jolkona, mobile and more.
My recent panel presentation for the Sofia Film Fest Meetings. Not much new here if you've seen my other recent lectures, but many attendees wanted to have access to the slides.
DIY Days - Reclaiming DIY: it’s not JUST a business modelBrian Newman
My slides from DIY Days in NYC March, 2011. I have very minimal notes in these, but I think you can get the gist of the speech. The video will be online at my blog before too long.
My speech on innovating new business models for transmedia (and cross-platform, generally) as given at the Pixel Lab, Wales. Applies to media generally, I think.
Slides from my recent presentation in Chicago for the IFP Chicago Producers Series. Only a few new things for those of you who have seen me speak before, but I always upload the slides so attendees can get links, notes, etc.
A workshop on how to make a sustainable living as a filmmaker in today's marketplace, and in light of "free." Good for organizations and other artists, and not just about free, but about how to survive a bad marketplace using new tools. Some new stuff, some old
My very quick presentation at DIY Days Philly on how filmmakers and any other artist can make a living in a world where everything seems to be available for free.
How can filmmakers and other artists make a living in a world of free content? Some possibilities are explored in this presentation I gave at the Edinburgh Film Festival.
This is the presentation I'm giving at the Open Video Conference at NYU. It's a very simplistic presentation and is missing many of my comments, but I added notes that give the general gist of what I'm talking about.
Tribeca All Access - Online Tools, making money and building audiences for filmBrian Newman
My presentation at the 2009 Tribeca All Access kick-off. I don't tend to use the notes, and just speak, so these notes don't show everything I say, but it gives you a sense. Also, most of the videos are linked, and I show one video in its entirety (Thru-You). I think I've given credit to all stats, sources, images and films but let me know if you see something missing. Also, this presentation assumes a mixed audience - some very tech, some not at all, so it will be basic stuff for those of you really into this arena.
Welcome to the Program Your Destiny course. In this course, we will be learning the technology of personal transformation, neuroassociative conditioning (NAC) as pioneered by Tony Robbins. NAC is used to deprogram negative neuroassociations that are causing approach avoidance and instead reprogram yourself with positive neuroassociations that lead to being approach automatic. In doing so, you change your destiny, moving towards unlocking the hypersocial self within, the true self free from fear and operating from a place of personal power and love.
https://bit.ly/BabeSideDoll4u Babeside is a company that specializes in creating handcrafted reborn dolls. These dolls are designed to be incredibly lifelike, with realistic skin tones and hair, and they have become increasingly popular among collectors and those who use them for therapeutic purposes. At Babeside, we believe that our reborn dolls can provide comfort and healing to anyone who needs it.
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2. 2
Disruptive Innovation
Disruptive technology and disruptive innovation are terms
used in business and technology literature to describe
innovations that improve a product or service in ways that
the market does not expect, typically by being lower priced
or designed for a different set of consumers.
Clayton Christensen via Wikipedia
3. It’s not until the tide goes out until you see
who’s wearing the swim trunks
- Warren Buffett
14. Twitter Stats (via Twitter)
•105,779,710 registered users
•1,500% growth over the last three years
•300,000 new sign-ups per day
•60% of new accounts were from outside
the U.S.
•600 million search queries per day
•A NY Times story gets tweeted every 4
seconds
24. • $10 - Unpolished Rock (but with potential) Level: A free digital download of the album,
when it's released.
• $25 - Polished Rock Level: An advance copy of the CD. Weeks before the masses.
• $2,500 - Emerald Level: Mentioned as an executive producer of the album -- whoop-
di-doo!
• $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.
• $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.
Details from Jill’s Next Record website
47. 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
48. 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...
51. Creating context is more important
than creating content.
The greatest creative and business
opportunities are everything
around the content
Taylor Davidson
Need to be clear upfront - I’m only going to touch on how this can be used in your creation of works - you are the artist, and there is such a broad spectrum of “the arts” that I can’t possibly cover all the things affecting painters or dancers, or composers in technology and how they are possibly using technology. I’ll touch on these things, but I’m speaking more about how artists can use all of “this stuff” to reach a broader audience and engage them in their work.
yet still, films were made. Well, the first thing you have to realize is that digital has been a disruptive innovation on the field. it completely transforms everything we do. music biz example, trouble embracing the new so lose out
It has rolled back the tide on many bad business models and changed them fundamentally. We can now speak to one another more easily and see just how poorly a gallery is paying or a distributor, etc. Also, these behaviors (online) aren’t new - these aren’t new behaviors but what people wanted to do all along
we can’t operate in an analogue world anymore - the single biggest problem facing the arts is that so many people want to think that his is a cycle that will pass, that things will go back to normal, that digital is the same as analogue and we can adapt it to our existing models
but it’s a fundamental shift and we’re ill-fitted to the task if we try to cram digital economies into our old way of thinking
we’re in a whole new paradigm and business models are changing overnight in every industry.think about it, newspaper advertising and classifieds were a multi billion dollar industry and craigslist came along and tidied that up into one profitable 100 million company. the changes here will be just as profound
But we need to step back and look at a 50,000 ft level at what has changed Indeed the very notion of value has changed.
in the old world, the business was built on scarcity, but today we have ubiquity - true obviously in film and music, but also in all other arts - you are now competing with a worldwide artist base, and the entire history of the arts. And audiences who want cultural entertainment (or enlightenment, or....) can get it from many new places.
what matters is my attention
and engaging me, and keeping me engaged, is ever more valuable
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 project, 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 28K fans, and the movie isn’t even shot yet
also have people requesting the film through a Google Map mashup, and have over 19K requests before the movie is shot.
and now you can too with crowdcontrols
We’re also seeing people turning the audiences into their funders
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
Kickstarter examples
a gallery using it
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
In B Flat - a collaborative, music/spoken word project - Darren Solomon
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
Rip – a film on remix culture (and girltalk) encourages mash-up and remixing
thruyou
it has to be convenient, immediate, because when I have things competing for my attention, I will move on. This means, people expect multi-platform
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.
multiple access points, transmedia -
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
Definitions of transmedia and examples/things to think about
More to think about and experts.
Thomas Allen Harris and Through a Lens Darkly
Thomas Allen Harris and Through a Lens Darkly
we like to say it’s all about content, but it’s really all about context - it’s about the context built around the content, the experiences I can share, the way it is placed, etc
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.
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.
these aren’t new behaviors but what people wanted to do all along
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.