This presentation aims to help IP owners assess how children of today want to experience heritage brands in the digital space. Using models developed by Dubit we look at how children are consuming heritage IPs and how this can influence digital adaptations.
The presentation was presented by Dubit in 2013 at the iKids conference in New York, Sheffield's Children's Media Conference and Digital Kids in San Francisco where we were joined by Brad Jashinsky, Director of Digital Media for Summertime Entertainment - the team behind the forthcoming film Legends of Oz: Dorothy's Return.
Good news for Oculus VR and Facebook! New research from Dubit shows kids not only love to use Oculus Rift but they want to see it used in schools and other areas outside of gaming.
This document is a summary of the findings from a series of focus groups conducted with children on their experiences and expectations for Oculus Rift and virtual reality.
Virtual Reality: Is this the final frontier for children's entertainment? | @...Dubit
Dubit's Bobby Thandi presented at the Bookseller Children’s Conference in London on 27th September 2016.
His talk was on "Virtual Reality: Is this the final frontier for children's entertainment?"
All You Really Need to Know About Users You Learned in High SchoolEva Willis
User research? A fad!
Personas? Like I don't know enough real people and have to make some up.
Usability? Hey, if that shopping cart was good enough for Amazon, I'm sure it'll work just fine for us.
Not everything requires user testing, okay? We learned plenty long before we read any of those fancy books or paid for conferences just to have late-night drunken conversations about taxonomies.In this presentation, we will revisit key lessons we learned back in the halcyon days of our early lives and trace the shocking relevance of what we already know to the 21st century's biggest user experience challenges.
Designing Successful Experiences for Bald ApesEva Willis
As we squint into a bright future, let’s first glance back at the user experience industry’s well-meaning, but mostly murky past. UX’s foundation is a sordid mix of lies, shams and idiocy: We never designed experiences and things like mobile have always been adjectives, no matter how many times we sold them as nouns. Now we’re hyperventilating about designing responsively across channels.
That might seem overwhelming, but it’s really just a more complex version of what we've always done: Help a bunch of bald apes do things.
The document discusses how consumer viewing habits are shifting from traditional TV to using second screens like mobile devices simultaneously. This is changing TV advertising strategies. Several TV-related mobile apps are described that aim to extend the viewing experience and create social interactions around shows. These include network, program-specific, sports, and check-in/social apps. Zeebox is discussed as an app that integrates program guides, extended content, social features, and e-commerce for shows. Both its strengths like cross-platform support and weaknesses like a confusing interface are noted.
The document discusses concepts related to hyperreality, simulation, and postmodern society. It provides examples to illustrate these concepts and discusses:
- How hyperreality is a state where reality and fiction are blended due to technology, making them indistinguishable. This allows mingling of physical/virtual realities and human/artificial intelligence.
- Examples of things considered "hypereal" including meticulously designed nature, films using special effects, artificial places like Dubai and Las Vegas, and products like sex dolls that simulate unrealistic standards.
- The difference between simulacrum, which is a representation without an original, and hyperreality, which is a condition where reality and its representation are blurred
Euro IA Closing Plenary - What I'm Curious About…Stephen Anderson
What are you curious about? What do you want to know more about by this time next year?
Here's my answer to that question (c. 2012) and why I believe Curiosity is core to everything we do as a profession.
This document discusses viewing one's career or work as a game to be played. It suggests adopting a playful mindset and explores concepts like player types, goals, and choosing how to play the game. The document provides tips on developing curiosity, self-awareness, critical thinking skills, and autonomy to help one approach their career in a more engaged and self-directed manner. Overall, it promotes finding joy and passion in one's work to make the job feel more like a fun game being played.
Good news for Oculus VR and Facebook! New research from Dubit shows kids not only love to use Oculus Rift but they want to see it used in schools and other areas outside of gaming.
This document is a summary of the findings from a series of focus groups conducted with children on their experiences and expectations for Oculus Rift and virtual reality.
Virtual Reality: Is this the final frontier for children's entertainment? | @...Dubit
Dubit's Bobby Thandi presented at the Bookseller Children’s Conference in London on 27th September 2016.
His talk was on "Virtual Reality: Is this the final frontier for children's entertainment?"
All You Really Need to Know About Users You Learned in High SchoolEva Willis
User research? A fad!
Personas? Like I don't know enough real people and have to make some up.
Usability? Hey, if that shopping cart was good enough for Amazon, I'm sure it'll work just fine for us.
Not everything requires user testing, okay? We learned plenty long before we read any of those fancy books or paid for conferences just to have late-night drunken conversations about taxonomies.In this presentation, we will revisit key lessons we learned back in the halcyon days of our early lives and trace the shocking relevance of what we already know to the 21st century's biggest user experience challenges.
Designing Successful Experiences for Bald ApesEva Willis
As we squint into a bright future, let’s first glance back at the user experience industry’s well-meaning, but mostly murky past. UX’s foundation is a sordid mix of lies, shams and idiocy: We never designed experiences and things like mobile have always been adjectives, no matter how many times we sold them as nouns. Now we’re hyperventilating about designing responsively across channels.
That might seem overwhelming, but it’s really just a more complex version of what we've always done: Help a bunch of bald apes do things.
The document discusses how consumer viewing habits are shifting from traditional TV to using second screens like mobile devices simultaneously. This is changing TV advertising strategies. Several TV-related mobile apps are described that aim to extend the viewing experience and create social interactions around shows. These include network, program-specific, sports, and check-in/social apps. Zeebox is discussed as an app that integrates program guides, extended content, social features, and e-commerce for shows. Both its strengths like cross-platform support and weaknesses like a confusing interface are noted.
The document discusses concepts related to hyperreality, simulation, and postmodern society. It provides examples to illustrate these concepts and discusses:
- How hyperreality is a state where reality and fiction are blended due to technology, making them indistinguishable. This allows mingling of physical/virtual realities and human/artificial intelligence.
- Examples of things considered "hypereal" including meticulously designed nature, films using special effects, artificial places like Dubai and Las Vegas, and products like sex dolls that simulate unrealistic standards.
- The difference between simulacrum, which is a representation without an original, and hyperreality, which is a condition where reality and its representation are blurred
Euro IA Closing Plenary - What I'm Curious About…Stephen Anderson
What are you curious about? What do you want to know more about by this time next year?
Here's my answer to that question (c. 2012) and why I believe Curiosity is core to everything we do as a profession.
This document discusses viewing one's career or work as a game to be played. It suggests adopting a playful mindset and explores concepts like player types, goals, and choosing how to play the game. The document provides tips on developing curiosity, self-awareness, critical thinking skills, and autonomy to help one approach their career in a more engaged and self-directed manner. Overall, it promotes finding joy and passion in one's work to make the job feel more like a fun game being played.
I am interested in developing executive training or professional development workshops that function as 'surprise' and 'mystery' tours and collective performance art.
I have brought a squash to the class last Friday (as a form of improvisation and surprise).
In particular, students like puzzles (the student who gets the answer first gets a dark chocolate).
If you view it as a slideshow and try to guess the answers to the puzzles, then the experience might be quite fun:)
You can find the description of this class below.
In this class that is designed as a collective performance art, we review some of the biggest names in the landscape of entertainment, creativity, and business. From space to magic, from basketball to fashion, from animation to computer games, from film music to architecture we have a trans-disciplinary tour of storytelling and creative careers. We have a series of exercises in asset creation and imagination. We have a lot of puzzles. We dream about the university of the future. However, the main actor in all of this experience (the connecting thread/anchor) is a squash.
What Board Games can Teach Us about Designing ExperiencesStephen Anderson
There’s a reason so many board gamers show up UX events. The same skills that make us great information wranglers are the same things that make board games like Catan, Pandemic and yes, even Exploding Kittens so appealing! It should come as no surprise that we’ve seen prominent UX leaders cross over into board game design (Matt Leacock, Dirk Knemeyer).
If we scratch beneath the surface, there’s a set of shared skills (and struggles) common to these different professions. Specifically: the spatial arrangement of information, visual encoding of information, creating designed spaces, a systems view, playtesting / user testing, competing tensions, triggering emotional responses, and many more.
Okay, so what? Sure, it’s kind of neat that we have so much in common. But how might this change what I do at $largecompany? Here’s the honest truth: The game design profession is just a little bit farther down the road than us, and we have a lot to learn from this group if we can look past the superficial differences. We talk about designing for emotions, but let’s face it, game designers are actually winning at this. Processes? We talk about lean and agile, but game designers have mastered playtesting (and the design to playtest ratio should make us embarrassed at how little we actually iterate with users). And there’s plenty more. I’m confident that if we can look our our own profession through the lens of game design, we’ll see plenty of glaring opportunities for improvement, and a few tricks we might pick up, as well.
Image is Everything: Exploring Visual Literacy for Critical Thinking EdTechTe...Amy Burvall
From cave walls to Facebook walls we have always embraced visual communication. Dual coding theory of cognition reiterates the importance of visual imagery in respect to our thinking processes - that in fact we need visual language in addition to verbal or text-based coding of stimuli. With the changing media landscape, our streams, memes, and zines have exploded with imagery, ushering in a need for visual literacy skills. We are quickly moving from images as decoration and augmentation to images as sole content and communication tool. We have some false beliefs about visual language - that it is equated with “art”, requiring “talent” from “creative types” - and therefore it is unfortunately often not overtly taught and practiced in schools. Technology has affected knowledge in such a way as to diminish the value of “raw” information and increase the value of sense-making, as well as chip away at attention spans, sparking a need for distillation of complex ideas. Images can essentialize the cumbersome in beautiful ways. They have a “stickiness” for the viewer and challenge the critical thinking of the creator.
**Please not videos will not play but they are located in respective categories on the G+ community
Workshop trailer: https://www.youtube.com/watch?v=BYNQ2hzbeQI
Workshop Resources: https://plus.google.com/u/1/communities/113762614515763343967
Virtual and augmented realities will continue to advance, allowing for more immersive experiences. Technologies like high resolution scanning, sophisticated virtual displays, and advanced artificial intelligence could enable the creation of highly realistic virtual humans and environments. However, issues around authenticity, data ownership, and the responsibilities of technology creators will need to be addressed as these virtual worlds become more integrated with physical reality. Future generations may experience reality in ways that are very different from today due to emerging technologies that continue to blur the lines between virtual and physical.
Don't Play Games With Me! Promises and Pitfalls of Gameful DesignSebastian Deterding
This document summarizes a talk given by Sebastian Deterding on gamification. It discusses how gamification aims to use elements from games like points, badges, and leaderboards in non-game contexts. However, Deterding argues that most current gamification fails to truly tap into what makes games fun and engaging. He draws on the work of philosophers like Roger Caillois and Raph Koster to argue that fun in games comes from mastery through interesting challenges, not just from extrinsic rewards. For gamification to mature, it needs to focus more on gameplay elements that foster creativity, play, and learning through problem-solving.
1) The document discusses exploring visual literacy and thinking through a workshop on drawing, sketchnoting, photography, and other visual arts.
2) It promotes developing visual vocabularies and using metaphorical and symbolic thinking to express complex ideas visually. Various apps and techniques for visual creation are presented.
3) The workshop encourages participants to think visually and see opportunities for visual expression, problem solving, and communication in all areas of life and learning.
For all of the hype around “user experience” it often feels like we struggle with what it means to actually craft an experience. We build and ship products that are perfectly fine. We make things that are usable, attractive, responsive, reliable and whatever else has come to be expected. And yet, there’s something missing. Something intangible. It’s not obvious what’s missing, until we contrast our own work against other mediums more established than our own: Film. Game design. Storytelling. Advertising… These mediums know how to make us feel, in deep and profound ways. So how do we do the same? Are there processes we can change, or things we can do to create memorable and meaningful experiences? And who has reached this level of emotional engagement? In this session, Stephen P. Anderson will explore the subtle, but critical ways we can level up our work, bringing a depth and richness to the experiences we shape.
That's Not A Gun, It's your Finger: It’s Your Finger! Improv, Play, and Colla...Refresh Baltimore
Catharine Robertson gives an entertaining talk about incorporating playfulness into our designs and camaraderie into our working and client relationships.
Image is Everything: Exploring Critical Thinking Through Visual Literacies BLC15Amy Burvall
***Please note videos will not play
From cave walls to Facebook walls we have always embraced visual communication. Dual coding theory of cognition (Paivio, 1971), reiterates the importance of visual imagery in respect to our thinking processes - that in fact we need visual language in addition to verbal or text-based coding of stimuli. With the changing media landscape, our streams, memes, and zines have exploded with imagery, ushering in a need for visual literacy skills. We are quickly moving from images as decoration and augmentation to images as sole content and communication tool. We have some false beliefs about visual language - that it is equated with “art”, requiring “talent” from “creative types” - and therefore it is unfortunately often not overtly taught and practiced in schools. Technology has affected knowledge in such a way as to diminish the value of “raw” information and increase the value of sense-making, as well as chip away at attention spans, sparking a need for distillation of complex ideas. Images can essentialize the cumbersome in beautiful ways. They have a “stickiness” for the viewer and challenge the critical thinking of the creator.
This hands-on session will explore the “Whys” of visual literacy and offer participants an opportunity to tinker and play with:
iconography and metaphorical thinking
pictograms, “Shortology”, emoji, meme stories, and gifs
graphic design, graphic facilitation, infographics and sketchnotes
photography, cinemagrams (moving photos)
icon-based annotations and marginalia
using images to leverage CVs, social media, and presentations
We’ll experiment with ways to use visual language for personal knowledge management, amplification of knowledge and creative work, critical thinking, social interaction (conversation), and other forms of creative and intellectual expression.
Google Tech Talk given on January 24, 2011 in Mountain View, CA on gamification and how to get three »missing ingredients« right: meaning, mastery, and autonomy.
Brett Somers, a former teacher, is now working in educational technology to develop tools to help current teachers. The document outlines teacher challenges in tracking student progress, adapting learning, and enabling student productivity. It also provides opportunities for developers to create tools that collect and report student data to teachers, use adaptive learning based on student performance, and foster collaborative learning through virtual environments. The goal is to disrupt education for the better by supporting teachers and students.
This document outlines a brand's mission to be the number one global kids brand for entertainment with substance by exciting and inspiring a new generation of explorers. It discusses using a "Weird But True" franchise across multiple platforms like apps and YouTube to engage kids throughout their learning life cycle in all things related to animals and the natural world. The goal is to reimagine traditional brands for today's digital natives.
Digital Kids Edu 2013: Thijs Bosma, Founder, TribePlayengagedigitalkids
TribePlay is a developer of educational games for kids ages 3 to 6 based in Chengdu, China with offices in Shanghai and Chengdu. They have developed 11 Dr. Panda games focused on life skills available on Apple and Android devices, which have been downloaded over 10 million times total since 2012, with 7 million in the last 6 months and recent titles reaching the top 50 rankings in the US.
Digital Kids Edu 2013: Stuart Drexler, Chief Product Officer, Tykoonengagedigitalkids
Tykoon is a financial services platform that aims to empower kids to make smart money decisions through real-world experiences. It works by setting up family accounts where kids can earn money from chores, save towards goals, and be encouraged by parents. Key features include a mobile app, social sharing abilities, a kid-safe online store, and educational games/quizzes to teach financial literacy in a fun way. The company hopes to partner with banks and retailers to help kids learn skills like spending, saving, giving, and delayed gratification through a virtual currency system combined with parental praise and oversight.
Digital Kids Summit 2013: Joby Otero, Former VP Art and Technology, Activisio...engagedigitalkids
The document discusses how to design products that people love by making them more human-centered. It argues that people are wired to respond to human qualities and interactions that trigger emotional responses in the brain. The document suggests focusing on a few key aspects to humanize products, like setting clear expectations and anthropomorphizing. It provides examples like the Roomba vacuum, Peggle video game, and Apple products to illustrate how focusing on humanity can make products people become attached to and enjoy using. The overall message is that products designed with humanity in mind are easier for people to love.
The document discusses an organization called The Whistle that aims to entertain, inspire, and equip kids with life skills through sports. It does this by reaching kids on screens where they spend 8 hours a day, leveraging sports as the top entertainment category and using pro athletes in a positive context. The Whistle challenges and rewards kids for healthy behaviors and involvement through TV shows, videos on demand, gaming consoles, mobile apps, and its website.
Digital Kids Summit 2013: Jason Morrell, Director of Sales, Games, Virtual Piggyengagedigitalkids
The document discusses how Virtual Piggy provides a solution for online shopping and payments for youth that is compliant with COPPA regulations. It allows parents to set up accounts and controls for their children, and enables children to safely shop at approved merchants using funds on their Virtual Piggy account. The document also outlines how Virtual Piggy partners with merchants to help drive user acquisition, transactions, and engagement with the under-18 demographic through integrated marketing campaigns.
This document discusses using imagination and conversation to create characters and story arcs that build relationships and connections through conversation, taking advantage of current technology like the iPad to create suspension of disbelief and testing through something called The Winston Show.
PlayScience: 10 Things You Need to Know About Kids as Digital LearnersPlayScience
With the boundaries swiftly being erased between formal and informal learning, and digital devices increasingly migrating between home and school, what are educational media developers’ “must-know” statistics, trends, insights and innovations concerning kids, families and educators?
Digital Kids Summit 2013: Dylan Collins, CEO, SuperAwesomeengagedigitalkids
SuperAwesome is a digital discovery platform for kids and teens that reaches over 8 million children per month across its network. It includes the largest online kids ad network and mobile ad network in the UK and Europe. SuperAwesome also operates subscription and loyalty programs that have hundreds of thousands of members. The company provides marketing solutions for brands spending over $1 billion annually to reach kids and teens safely and effectively online.
The document provides technical information about components and schematics for Nokia mobile phone models NHM-5/UB 4 V09-V10. It includes diagrams of the radio frequency schematic, power levels and voltages for GSM 900 and 1800 bands. Tables list component locations on the printed circuit board by coordinates and component codes. The document is marked confidential and intended only for training and service purposes.
Retrobrands:Everything Old Is New AgainAyman Sarhan
The document discusses how retro brands from the past can stage successful revivals in modern times. It outlines four key elements for a successful retro brand revival: 1) Allowing for rediscovery across generations so each generation feels a connection to the brand in their own way, as seen in the example of Pabst Blue Ribbon beer. 2) Tapping nostalgia while bringing something new, as demonstrated by Transformers toys. 3) Maintaining brand essence while updating for modern times, like how Guess jeans achieved this. 4) Developing a consistent narrative that resonates across eras, exemplified by Star Wars. Successful retro revivals balance honoring the past with appealing to new audiences.
I am interested in developing executive training or professional development workshops that function as 'surprise' and 'mystery' tours and collective performance art.
I have brought a squash to the class last Friday (as a form of improvisation and surprise).
In particular, students like puzzles (the student who gets the answer first gets a dark chocolate).
If you view it as a slideshow and try to guess the answers to the puzzles, then the experience might be quite fun:)
You can find the description of this class below.
In this class that is designed as a collective performance art, we review some of the biggest names in the landscape of entertainment, creativity, and business. From space to magic, from basketball to fashion, from animation to computer games, from film music to architecture we have a trans-disciplinary tour of storytelling and creative careers. We have a series of exercises in asset creation and imagination. We have a lot of puzzles. We dream about the university of the future. However, the main actor in all of this experience (the connecting thread/anchor) is a squash.
What Board Games can Teach Us about Designing ExperiencesStephen Anderson
There’s a reason so many board gamers show up UX events. The same skills that make us great information wranglers are the same things that make board games like Catan, Pandemic and yes, even Exploding Kittens so appealing! It should come as no surprise that we’ve seen prominent UX leaders cross over into board game design (Matt Leacock, Dirk Knemeyer).
If we scratch beneath the surface, there’s a set of shared skills (and struggles) common to these different professions. Specifically: the spatial arrangement of information, visual encoding of information, creating designed spaces, a systems view, playtesting / user testing, competing tensions, triggering emotional responses, and many more.
Okay, so what? Sure, it’s kind of neat that we have so much in common. But how might this change what I do at $largecompany? Here’s the honest truth: The game design profession is just a little bit farther down the road than us, and we have a lot to learn from this group if we can look past the superficial differences. We talk about designing for emotions, but let’s face it, game designers are actually winning at this. Processes? We talk about lean and agile, but game designers have mastered playtesting (and the design to playtest ratio should make us embarrassed at how little we actually iterate with users). And there’s plenty more. I’m confident that if we can look our our own profession through the lens of game design, we’ll see plenty of glaring opportunities for improvement, and a few tricks we might pick up, as well.
Image is Everything: Exploring Visual Literacy for Critical Thinking EdTechTe...Amy Burvall
From cave walls to Facebook walls we have always embraced visual communication. Dual coding theory of cognition reiterates the importance of visual imagery in respect to our thinking processes - that in fact we need visual language in addition to verbal or text-based coding of stimuli. With the changing media landscape, our streams, memes, and zines have exploded with imagery, ushering in a need for visual literacy skills. We are quickly moving from images as decoration and augmentation to images as sole content and communication tool. We have some false beliefs about visual language - that it is equated with “art”, requiring “talent” from “creative types” - and therefore it is unfortunately often not overtly taught and practiced in schools. Technology has affected knowledge in such a way as to diminish the value of “raw” information and increase the value of sense-making, as well as chip away at attention spans, sparking a need for distillation of complex ideas. Images can essentialize the cumbersome in beautiful ways. They have a “stickiness” for the viewer and challenge the critical thinking of the creator.
**Please not videos will not play but they are located in respective categories on the G+ community
Workshop trailer: https://www.youtube.com/watch?v=BYNQ2hzbeQI
Workshop Resources: https://plus.google.com/u/1/communities/113762614515763343967
Virtual and augmented realities will continue to advance, allowing for more immersive experiences. Technologies like high resolution scanning, sophisticated virtual displays, and advanced artificial intelligence could enable the creation of highly realistic virtual humans and environments. However, issues around authenticity, data ownership, and the responsibilities of technology creators will need to be addressed as these virtual worlds become more integrated with physical reality. Future generations may experience reality in ways that are very different from today due to emerging technologies that continue to blur the lines between virtual and physical.
Don't Play Games With Me! Promises and Pitfalls of Gameful DesignSebastian Deterding
This document summarizes a talk given by Sebastian Deterding on gamification. It discusses how gamification aims to use elements from games like points, badges, and leaderboards in non-game contexts. However, Deterding argues that most current gamification fails to truly tap into what makes games fun and engaging. He draws on the work of philosophers like Roger Caillois and Raph Koster to argue that fun in games comes from mastery through interesting challenges, not just from extrinsic rewards. For gamification to mature, it needs to focus more on gameplay elements that foster creativity, play, and learning through problem-solving.
1) The document discusses exploring visual literacy and thinking through a workshop on drawing, sketchnoting, photography, and other visual arts.
2) It promotes developing visual vocabularies and using metaphorical and symbolic thinking to express complex ideas visually. Various apps and techniques for visual creation are presented.
3) The workshop encourages participants to think visually and see opportunities for visual expression, problem solving, and communication in all areas of life and learning.
For all of the hype around “user experience” it often feels like we struggle with what it means to actually craft an experience. We build and ship products that are perfectly fine. We make things that are usable, attractive, responsive, reliable and whatever else has come to be expected. And yet, there’s something missing. Something intangible. It’s not obvious what’s missing, until we contrast our own work against other mediums more established than our own: Film. Game design. Storytelling. Advertising… These mediums know how to make us feel, in deep and profound ways. So how do we do the same? Are there processes we can change, or things we can do to create memorable and meaningful experiences? And who has reached this level of emotional engagement? In this session, Stephen P. Anderson will explore the subtle, but critical ways we can level up our work, bringing a depth and richness to the experiences we shape.
That's Not A Gun, It's your Finger: It’s Your Finger! Improv, Play, and Colla...Refresh Baltimore
Catharine Robertson gives an entertaining talk about incorporating playfulness into our designs and camaraderie into our working and client relationships.
Image is Everything: Exploring Critical Thinking Through Visual Literacies BLC15Amy Burvall
***Please note videos will not play
From cave walls to Facebook walls we have always embraced visual communication. Dual coding theory of cognition (Paivio, 1971), reiterates the importance of visual imagery in respect to our thinking processes - that in fact we need visual language in addition to verbal or text-based coding of stimuli. With the changing media landscape, our streams, memes, and zines have exploded with imagery, ushering in a need for visual literacy skills. We are quickly moving from images as decoration and augmentation to images as sole content and communication tool. We have some false beliefs about visual language - that it is equated with “art”, requiring “talent” from “creative types” - and therefore it is unfortunately often not overtly taught and practiced in schools. Technology has affected knowledge in such a way as to diminish the value of “raw” information and increase the value of sense-making, as well as chip away at attention spans, sparking a need for distillation of complex ideas. Images can essentialize the cumbersome in beautiful ways. They have a “stickiness” for the viewer and challenge the critical thinking of the creator.
This hands-on session will explore the “Whys” of visual literacy and offer participants an opportunity to tinker and play with:
iconography and metaphorical thinking
pictograms, “Shortology”, emoji, meme stories, and gifs
graphic design, graphic facilitation, infographics and sketchnotes
photography, cinemagrams (moving photos)
icon-based annotations and marginalia
using images to leverage CVs, social media, and presentations
We’ll experiment with ways to use visual language for personal knowledge management, amplification of knowledge and creative work, critical thinking, social interaction (conversation), and other forms of creative and intellectual expression.
Google Tech Talk given on January 24, 2011 in Mountain View, CA on gamification and how to get three »missing ingredients« right: meaning, mastery, and autonomy.
Brett Somers, a former teacher, is now working in educational technology to develop tools to help current teachers. The document outlines teacher challenges in tracking student progress, adapting learning, and enabling student productivity. It also provides opportunities for developers to create tools that collect and report student data to teachers, use adaptive learning based on student performance, and foster collaborative learning through virtual environments. The goal is to disrupt education for the better by supporting teachers and students.
This document outlines a brand's mission to be the number one global kids brand for entertainment with substance by exciting and inspiring a new generation of explorers. It discusses using a "Weird But True" franchise across multiple platforms like apps and YouTube to engage kids throughout their learning life cycle in all things related to animals and the natural world. The goal is to reimagine traditional brands for today's digital natives.
Digital Kids Edu 2013: Thijs Bosma, Founder, TribePlayengagedigitalkids
TribePlay is a developer of educational games for kids ages 3 to 6 based in Chengdu, China with offices in Shanghai and Chengdu. They have developed 11 Dr. Panda games focused on life skills available on Apple and Android devices, which have been downloaded over 10 million times total since 2012, with 7 million in the last 6 months and recent titles reaching the top 50 rankings in the US.
Digital Kids Edu 2013: Stuart Drexler, Chief Product Officer, Tykoonengagedigitalkids
Tykoon is a financial services platform that aims to empower kids to make smart money decisions through real-world experiences. It works by setting up family accounts where kids can earn money from chores, save towards goals, and be encouraged by parents. Key features include a mobile app, social sharing abilities, a kid-safe online store, and educational games/quizzes to teach financial literacy in a fun way. The company hopes to partner with banks and retailers to help kids learn skills like spending, saving, giving, and delayed gratification through a virtual currency system combined with parental praise and oversight.
Digital Kids Summit 2013: Joby Otero, Former VP Art and Technology, Activisio...engagedigitalkids
The document discusses how to design products that people love by making them more human-centered. It argues that people are wired to respond to human qualities and interactions that trigger emotional responses in the brain. The document suggests focusing on a few key aspects to humanize products, like setting clear expectations and anthropomorphizing. It provides examples like the Roomba vacuum, Peggle video game, and Apple products to illustrate how focusing on humanity can make products people become attached to and enjoy using. The overall message is that products designed with humanity in mind are easier for people to love.
The document discusses an organization called The Whistle that aims to entertain, inspire, and equip kids with life skills through sports. It does this by reaching kids on screens where they spend 8 hours a day, leveraging sports as the top entertainment category and using pro athletes in a positive context. The Whistle challenges and rewards kids for healthy behaviors and involvement through TV shows, videos on demand, gaming consoles, mobile apps, and its website.
Digital Kids Summit 2013: Jason Morrell, Director of Sales, Games, Virtual Piggyengagedigitalkids
The document discusses how Virtual Piggy provides a solution for online shopping and payments for youth that is compliant with COPPA regulations. It allows parents to set up accounts and controls for their children, and enables children to safely shop at approved merchants using funds on their Virtual Piggy account. The document also outlines how Virtual Piggy partners with merchants to help drive user acquisition, transactions, and engagement with the under-18 demographic through integrated marketing campaigns.
This document discusses using imagination and conversation to create characters and story arcs that build relationships and connections through conversation, taking advantage of current technology like the iPad to create suspension of disbelief and testing through something called The Winston Show.
PlayScience: 10 Things You Need to Know About Kids as Digital LearnersPlayScience
With the boundaries swiftly being erased between formal and informal learning, and digital devices increasingly migrating between home and school, what are educational media developers’ “must-know” statistics, trends, insights and innovations concerning kids, families and educators?
Digital Kids Summit 2013: Dylan Collins, CEO, SuperAwesomeengagedigitalkids
SuperAwesome is a digital discovery platform for kids and teens that reaches over 8 million children per month across its network. It includes the largest online kids ad network and mobile ad network in the UK and Europe. SuperAwesome also operates subscription and loyalty programs that have hundreds of thousands of members. The company provides marketing solutions for brands spending over $1 billion annually to reach kids and teens safely and effectively online.
The document provides technical information about components and schematics for Nokia mobile phone models NHM-5/UB 4 V09-V10. It includes diagrams of the radio frequency schematic, power levels and voltages for GSM 900 and 1800 bands. Tables list component locations on the printed circuit board by coordinates and component codes. The document is marked confidential and intended only for training and service purposes.
Retrobrands:Everything Old Is New AgainAyman Sarhan
The document discusses how retro brands from the past can stage successful revivals in modern times. It outlines four key elements for a successful retro brand revival: 1) Allowing for rediscovery across generations so each generation feels a connection to the brand in their own way, as seen in the example of Pabst Blue Ribbon beer. 2) Tapping nostalgia while bringing something new, as demonstrated by Transformers toys. 3) Maintaining brand essence while updating for modern times, like how Guess jeans achieved this. 4) Developing a consistent narrative that resonates across eras, exemplified by Star Wars. Successful retro revivals balance honoring the past with appealing to new audiences.
Creation of a Heritage Brand- God’s Own Country: A Study Subhajit Majumdar
The project deals with studying and analyzing the reasons for the recent growth of the tourism sector of the state of Kerala and providing suggestions for further improvements of the same
The document discusses the product life cycle, which refers to the various phases a product goes through from development to withdrawal from the market. It identifies five main phases: 1) product development, 2) introduction, 3) growth, 4) maturity, and 5) decline. Each phase is characterized by different levels of sales, costs, and profits. The product life cycle model shows how a product evolves over time as it is commercialized, gains widespread adoption, and eventually is replaced in the market.
Digital Kids Summit 2013: Renee Weber, VP, Consumer Strategy and Research, Th...engagedigitalkids
This document summarizes a live kids panel discussion about digital technology at the Digital Kids Conference in San Francisco. The panel discusses popular apps like Subway Surfer, what makes compelling games, favorite websites and social media platforms. Kids share videos about their favorite digital activities. The panel aims to provide insight into how children engage with different digital devices, apps, websites and social media. Contact information is provided for those interested in learning more.
There have been some spectacular comebacks in the history of brands, think Apple, think Mini, think Old Spice. But there have been many, many more failures, Rover being a particularly bruising one for the British Automotive industry.
It's not difficult to find a struggling or dying brand using our proprietary tool - BrandAsset® Valuator (or BAV™), just watch for falling relevance and consequent falling consumption. That's nothing new, and there are many reasons for these issues. But is there something about certain brands that mean they stand a much better chance of staging a comeback?
We think so.
Using a combination of predictive brand metrics from BAV™, John Keaveney of our EMEA BAV team has identified three vital signs that reveal whether a brand has a good fighting chance of revival or not.
Sign 1: The brand is still remembered and known more than it is currently liked. (Knowledge is greater than Esteem in BAV.)
Sign 2: The brand is liked more than its current relevance and usage levels. (Esteem is greater than Relevance.)
Sign 3: Most importantly, the brand still possesses its unique point of difference or reason for being that once made it popular. (Strong Differentiation.)
If you combine these indicators with low relevance (and associated lower usage), you get a distinctive diagnostic 'Pillar Pattern' of a brand that has lost its way but is still capable of a comeback.
We have explored this phenomenon further in our presentation - Brand Revival, which potentially has profound implications for companies considering reviving historically successful brands, as well as a watch out call for brands that are losing their strength.
Relaunch of Nokia 3310 as Nokia-3310S (Smartphone Edition)Eisha Salim
This document presents a marketing plan for the re-launch of the Nokia 3310 as a smartphone called the Nokia 3310-S in Pakistan. It provides an introduction to Nokia's history and success with the original 3310 handset. A situation analysis covers market trends shifting to smartphones, and a PEST analysis of Pakistan. The marketing plan outlines product specifications, a competitive price point, distribution through major cities and mobile sellers, and a multi-phase promotion strategy including TV, print, outdoor, and digital ads. Key objectives are to leverage brand recognition and trigger nostalgia while positioning the 3310-S as a reliable and affordable smartphone.
Engaging Kids in Learning: game based learning and gamification in education Pierre Le Lann
Talk at Digital Kids Edu about engaging kids in learning using various forms of games: open ended play, game based learning and gamification
By Pierre Le Lann Co General Manager and Co founder, Tribal Nova, a Houghton Mifflin Harcourt company
This document provides guidance on harnessing the power of brand heritage in storytelling. It defines heritage as a connection to the people, places, and purpose from a brand's beginning. Brand heritage can strengthen emotional connections by re-establishing this link to the past. The document explores using personas from a brand's history, original purpose, or provenance to tell heritage stories. It provides best practices and cautionary tales, noting personas should authentically reflect a founder or mascot's history and avoid resurrecting them in inauthentic ways or using ones with negative associations. Cultural trends driving interest in heritage and case studies of heritage brands are also examined.
This document summarizes Fern Disney's evaluation of their media product "Dolls Domain". Some key points:
1) The product develops conventions of real horror media by featuring scary female characters and child-like elements like dolls, playing into stereotypes.
2) G.E.A.R.S (Gender, ethnicity, Age, Religion, Socio-economic) were considered to create an inclusive product without focusing on one group.
3) The intended audience is teenagers and horror fans aged 15+, as younger viewers may find it distressing.
4) Lessons were learned about editing techniques like manipulating frames and adding filters to achieve the desired atmosphere.
The document discusses the process of creating a children's fantasy film opening sequence for evaluation. Key points:
1) The group chose the fantasy genre to appeal to children, using conventions like talking animals (a burger) and magical elements.
2) They studied title sequences and included elements like opening credits, an upbeat theme song, and establishing shots.
3) The group worked on improving camerawork, editing, and use of software like Final Cut Express and GarageBand for sound.
FINAL Deliverable-Fantastic 5, Now 6-MKTG 3660Erika Cole
The Cabbage Patch Kids brand was popular in the 1980s but has since declined as it failed to evolve with its target audience. This document proposes repositioning the brand by modernizing its dolls and introducing an educational app. A new target audience of 3-6 year old girls and their parents is identified. The strategy involves using digital media like YouTube ads and in-app ads alongside traditional signage to promote the nostalgic aspect of the dolls while emphasizing their new educational benefits through the app. This aims to change perceptions of the brand from outdated toy to fun and engaging learning tool for children.
The document discusses the physical effects that can result from child abuse and neglect. It notes that child abuse affects victims beyond their childhood in both physical and psychological ways. Specifically, child abuse has been linked to issues like chronic pain, gastrointestinal problems, and cardiovascular disease in adulthood as the body bears the long-term effects of trauma experienced during developmental years. The long-term physical health impacts are a reminder that failing to protect children from abuse and neglect has consequences that can last a lifetime.
The document provides information about different types of research methods for creative media production. It discusses authority, tradition, common sense, media myths and personal experience as different types of research. It then gives an example of a media interview conducted by the author to learn about how teenagers use smartphones. The document defines open and closed questions, and qualitative and quantitative research. It concludes by comparing the accuracy, ease of use and speed of internet research versus book research.
This document summarizes an on-site licensing workshop held in August 2014. The workshop aimed to help make [name redacted] the number one destination for licensed goods by becoming a cultural leader both online and offline. Participants introduced themselves and brainstormed ideas for how their licenses could leverage cultural moments, behaviors, or insights. They identified potential barriers to success and discussed how to engage different audience segments like modern families and cultural leaders. The group will reconvene to further develop the brainstormed ideas and discuss overcoming the identified barriers.
This document summarizes Kaya Dalton's evaluation of their media project "Dolls Domain". It discusses how the project uses conventions of real horror media through tense music and editing effects. It represents females through its focus on dolls. The intended audience is ages 16 and up. An independent film company like BBC Films or Film4 may distribute it. Focus groups were used to learn what audiences prefer, and a Twitter and Instagram presence was created to promote it. Technological skills like sound recording were developed. Overall, learning audience preferences was a key lesson from the preliminary task.
This document discusses how authenticity and trust are built on the internet through things like personality, craftsmanship, transparency, and consistency. It provides examples of companies and organizations that have built trust by showing their humanity and processes, such as government websites openly sharing code on GitHub, Icelandic tourism campaigns run by locals on social media, and insurance companies directly interacting with customers on Twitter through named representatives. Authenticity comes from having a story, provenance, and avoiding facelessness, while trust develops over time through quality products, services, and interactions that feel genuine.
The document provides information about different types of research methods for creative media production. It discusses authority, tradition, common sense, and media myths as different types of research. It also provides an example of a media interview conducted by the author to learn about teenagers' use of smartphones. The document defines open and closed questions, and qualitative and quantitative research. It concludes that the internet provides more effective research than books because it is faster and can provide specific information.
Berry Gordy founded Motown Records in 1959 in Detroit, creating one of the most famous record labels. Motown helped promote Black music and the civil rights movement. Gordy established a quality control system where producers submitted songs weekly for voting, ensuring only the best music was released. Motown's upbeat sound appealed to both Black and white audiences, bringing people together through music regardless of race.
WebVisions 2010 - Developing for Digital KidsWebVisions
The document discusses best practices for creating digital experiences for kids. It provides an overview of Smashing Ideas, a digital media studio that creates interactive content for clients like Disney, Hasbro, and Nickelodeon. The document then covers considerations for usability, user testing, and examples of reward systems, collectibles, and taking experiences beyond the browser.
ZH Productions proposes to create a documentary titled "Are Children Growing Up Too Fast?" that investigates whether children are becoming older faster than in the past. They will split production roles evenly between themselves and aim to create a high quality product using their individual strengths. The documentary will take a poetic and investigative approach, using emotions and evidence to explore its topic and question. It will target 16-35 year olds and aims to appeal to audiences by posing an intriguing question and featuring relatable content through interviews and original footage.
The document describes a children's film called "Eric the Viking" that was created by the author's group. It represents young boys who bully a child with an imaginary friend, suggesting children have wild imaginations. The main character Eric is portrayed as a stereotypical child. Large movie studios like Disney or DreamWorks would be suitable distributors due to similar family-friendly films. The target audience is young kids and families, though some humor may appeal to teens. It attracts its audience through action, drama, and upbeat music from the start. Through making the film, the group learned video camera skills, editing software, and improved their camerawork and editing from the preliminary task.
This proposal outlines a project to create a trailer for a children's animated show about a bunny superhero. Research was conducted on the target audience of children aged 10, focusing on appealing to both genders. Animation techniques like walk cycles and lip syncing will be used. The 10-week schedule includes research, experiments, pre-production, production of animation and sounds, and evaluation. The goal is to create a bright, simple cartoon in the style of shows like My Little Pony to appeal to and entertain the target audience.
This document provides details about an animated short film being created by two students for children ages 4-12. It discusses the target audience, silent 2D animation style, delegation of roles between the two creators, original characters and story, copyright protection, and risk assessments. Research indicates that similar silent 2D animated shorts and children's TV channels featuring such animations are very popular and well-received by the target age group.
The document is a proposal for a children's animated trailer about a bunny superhero. It includes details on the intended audience of 5-7 year olds, with a focus on appealing to females. Research was conducted on the audience and similar shows. The proposal outlines a 10-week schedule for tasks like character design, animation, sound design, and evaluation. The trailer will feature the bunny hero saving the day with friends in a colorful, simple style.
The document is a proposal for an animated trailer for a children's TV show about a rabbit gaining superpowers after being hit by a meteor. The target audience is children ages 5-7, mainly middle-class females. Research was conducted on animation techniques, children's interests, and similar shows. The trailer concept involves introducing the rabbit's new powers and showing her battling villains and rescuing other rabbits, with text screens and voiceovers. Production will take place over 10 weeks, including drawing, animating, sound design, and evaluation.
CMC2016 - How To Become a Top 5 Global Kids BrandDubit
This presentation from Dubit focuses on how kids are consuming data.
With reference to case studies from Lego, Minecraft and Candy Crush, we look at the 3 commonalities that the top 5 kids brands share in generating content that connects multiple generations.
The proposal is for an animated trailer for a children's TV show about a bunny superhero. Research was conducted on the target audience of children under 10, focusing on appealing to both genders. Animation techniques like walk cycles and lip syncing were researched as the creator had no prior experience. The 10-week schedule outlines research, experiments, pre-production, production, and evaluation. Production will include drawing characters, backgrounds, animating clips, adding sound effects and voices, and editing together. Evaluation will occur weekly and at the end to improve the work.
Dubit Trends: Five Things To Know - Spring 2018Dubit
The document discusses findings from the Dubit Trends survey. Some key points:
- Television remains the dominant device for children's media consumption, though smartphones have become the second most used device.
- Children are spending more time streaming video content and using smartphones compared to last year.
- The most popular brands across different media categories are now a mix of platforms and social media properties, rather than mainly originating from television.
- Television continues to be important for driving brand awareness, but online video, social media, and YouTube personalities are becoming more effective discovery channels for new content.
The Art of Discoverability (Peter Robinson, CMC 2017)Dubit
Content may be king – but what’s the key to the kingdom when there’s so much available to kids today, across a variety of platforms? Dubit research shows almost 80% of children have trouble finding what they want. They’re overwhelmed by options, without good tools for uncovering what they seek.
Global Head of Research Peter Robinson uses Dubit Trends and other of its quantitative and qualitative research, plus case studies, to look at how kids discover and adopt new content. He presents the "Fanatomy" model for encouraging users to deepen their engagement.
From the Children's Media Conference, Sheffield, UK, July 2017
Kids Can Handle the Truth: A Modest Proposal for the NY TimesDubit
On May 14, 2017, the New York Times ran a special, print-only children's news section, touting it as “kids take over the Times.” My problem with the section, and that claim, is that there was very little child-generated content, and a distinct lack of actual “news” or substantive content. Kids did seem to love the section, but was it a missed opportunity? How could a journalistic organization create an honest, ongoing and interactive relationship with young people, making them lifelong news consumers and contributors?
Dubit's Casual Connect Presentation: Kids and Virtual RealityDubit
An abridged version of Dubit's 'Casual Connect' presentation - "Immersed in Play and Learning: Kids and Virtual Reality."
For a copy of the full presentation, contact stephanie.whitley@dubitlimited.com
Viewing Trends: What Do Kids Want? (MIP Jr. 2015)Dubit
For MIP Jr. 2015, Dubit SVP of Global Trends David Kleeman reviewed trends in content themes, brand popularity and video source preferences for various devices. He finished with three of the primary challenges facing content creators and distributors, and recommendations for managing them.
For more information, contact: david.kleeman@dubitlimited.com
To find out more about Dubit Trends: adam.woodgate@dubitlimited.com
This document discusses content discovery for kids' digital entertainment. It notes that despite abundant content, kids often get frustrated finding something to watch. Four trends are affecting discovery: fragmented content, concentrated devices, "de-scheduling", and lower barriers to creation. The document provides data from surveys of families in the US, UK and other countries on kids' media usage and how they learn about new entertainment options. It discusses how different age groups and those in an "inner circle" of early adopters share new finds with friends using various online and offline methods.
We studied the Kids' section of the App Store to see which price points and monetisation strategies are the most successful. Do games have to be free to be a success?
How Young Early Adopters Find and Share new Entertainment (Children's Media C...Dubit
Our presentation from the 2014 Children's Media Conference looking at how young early adopters find and share new entertainment, with a focus on social media.
An Introduction to games research with children, looking at the theory, best practice, ethics, and putting it into practice.
Presented at UX Scotland 2014 by Claudio Franco (Senior Research Manager at Dubit) and Esther Stringer (CEO of Border Crossing Media).
UX for Gamer Acquisition, Retention and ConversionDubit
A presentation focused on the impact game design can have on the game acquisition, retention and conversion. Subjects covered include freemium design, barriers to acquisition, retention strategies, conversion/monetization tactics, and ethics of freemium design.
Presented at UX Scotland 2014 by Claudio Franco (Senior Research Manager at Dubit) and Esther Stringer (CEO of Border Crossing Media).
Dubit is a digital studio that has been creating kids entertainment like apps, games, and virtual worlds since 1999. They employ a team of 50 people across offices in the UK, US, and Australia. Dubit focuses on kid-centered design and involves children throughout the design process using in-house research techniques. They have experience designing for brands like Cartoon Network, creating virtual worlds and games. Dubit also has its own technology platform that allows games to be published across devices with features like avatars, leaderboards, and multiplayer support. The company emphasizes research and iterative testing to create engaging experiences for kids.
This document discusses kids' engagement with intellectual properties (IPs) across different media platforms. It finds that 86% of kids in the UK and USA engage with IPs across TV, books, toys, and games. TV is most likely to drive awareness of other formats like toys, books, and games. Data shows the level of exposure kids in the UK and USA have to popular brands across film, books, toys, games, and TV. The document also describes Dubit's services conducting research on kids brands and developing kids games, apps, and virtual worlds to help launch and promote IPs across media.
This document discusses kids' gaming preferences and Dubit, a company that conducts research and develops digital experiences for kids. It shows that the most popular gaming IPs for UK and US boys and girls aged 6-12 are Mario, Angry Birds, and Minecraft. Dubit provides market analysis, concept testing, IP identification, game design, app development, and launch support for kids brands. Some of their customers are also listed. Dubit is located in Leeds, UK and interested parties are encouraged to contact Matthew via email or visit the Dubit website for more information.
American kids and their gaming devices - from iPads to Gameboys Dubit
As part of a broader look into American children's online gaming habits, Dubit also investigated what devices they are using and to what extent they are used for gaming.
The document analyzes data from a survey of 1,261 young people aged 14-25 in Yorkshire & Humber to understand their attitudes towards entrepreneurship. Key findings include:
1) 6 out of 10 respondents have business ideas but only 3 out of 10 have sought information or support, showing untapped potential.
2) Segmentation based on an "Enterprise Potential" scale identified four groups with differing levels of entrepreneurial skills, aspirations, and engagement.
3) Exposure to enterprise education correlated with higher aspirations and business engagement among respondents.
4) Careers advisors and friends/family were most likely information sources for young people's business ideas, showing opportunities to better support advisors and leverage personal
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
The way we consume television has evolved dramatically over the past decade. Internet Protocol Television (IPTV) has emerged as a popular alternative to traditional cable and satellite TV, offering a wide range of channels and on-demand content via the internet. In Ireland, IPTV is rapidly gaining traction, with Xtreame HDTV being one of the prominent providers in the market. This comprehensive guide will delve into everything you need to know about IPTV Ireland, focusing on Xtreame HDTV, its features, benefits, and how it is revolutionizing TV viewing for Irish audiences.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
Christian Louboutin: Innovating with Red Solesget joys
Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
1. Taking Heritage
Brands Online
Dubit -
Taking Heritage Brands Online
Presentation takeouts:
- Which heritage IPs are most in demand
- How kids are consuming IPs across platforms
- How audience engagement informs the adaptations of heritage IPs
- An adaptaion model for de-risking the process and ensuring you meet audiences expecations
- Examples of how kids would adapt a number of heritage IPs in a way that would make them consider paying
- Including Brad’s experiences when designing both the digtial and non-digital elements of Summertime
Entertainment’s Oz franchise
Co-presentation:
Peter Robinson, Head of Research, Dubit
uk.linkedin.com/pub/peter-robinson/3/585/699/
@PeterRobinson81
Brad Jashinsky, Head of Digital, Summertime Entertainment
2. Questions we get asked
1. How do we find the new IP we should be investing in?
2. We have a series of IPs, which should we be investing in?
3. We are adapting a IP, how can it engage the audience?
Dubit -
Taking Heritage Brands Online
So let me start with some of the questions we get asked and I am sure many of you also ask or answer...
In no order of importance, but perhaps in an order of logic
How do we find Angry Birds before it becomes Angry Birds?
Which properties, that we own or are interested in owning, have the most potential to engage an audience
And once we have found or chosen that property how should we develop it in a way that most engages our target
audience
and of course...
3. Questions we get asked
1. How do we find the new IP we should be investing in?
...and how do we make money out of it
2. We have a series of IPs, which should we be investing in?
...and how do we make money out of it
3. We are adapting a IP, how can it engage the audience?
...and how do we make money out of it
Dubit -
Taking Heritage Brands Online
4. Questions we get asked
3. We are adapting a IP, how can it engage the audience?
How do you take a heritage IP online
Dubit -
Taking Heritage Brands Online
And today we wanted to focus on how to take a heritage IP online
5. He-ri-tage
“Something that is passed down from preceding
generations; a tradition.”
Dubit -
Taking Heritage Brands Online
Before I start talking about heritage, how is it defined
It is traditions, stories, toys, films, books, TV shows, games that have been enjoyed by one generation and then past to
the next.
6. He-ri-tage
1989
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1937
2012
Taking Heritage Brands Online
In 1989 my brother and I began to read the Hobbit, which I received as a Christmas gift. The Hobbit is the christmas
gift I have owned the longest.
However this book is no longer in my book shelf, its in my 5 year old nieces who loves it, proven by her worryingly
accurate and scary Gollum impression
And its not just my niece, as part of most in-home immersions sessions we conduct with families we use the very
innocent sounding, but messy media sort.
We basically ask kids, before their parents stop us, to empty their book shelves, DVD collections, toy boxes - all over
the floor. Its a great way to allow them to control the discussion guide by allowing them to categorise entertainment in a
way that makes sense to them - not to us - and talk to us about what each category means to them.
And almost every time we conducted this process we found a special pile - this pile was the ‘classics’ pile. Famous
Five books, Thundercat DVD’s, original Star Wars toys, youtube videos of the Mysterious Cities of Gold - all of this
entertainment handed down from parents and grandparents
And without doubt this ‘self-defined category’ was the one that kids spoke and parents about with the most passion the characters, the theme tunes, the plot lines, the humour.
And that set us off on a mission. We wanted to explore what kids and parents thought of heritage IP’s and how those
stories could be told in the context of todays media experiences
So we asked kids what heritage brands they would enjoy and parents what heritage brands they would like their
children to enjoy.
7. Parents want for their kids
50%
38%
36%
25%
23%
23%
Inspector Gadget
Charlotte’s Web
21%
20%
Popeye
The Addams Family
13%
0%
The Jetsons
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Taking Heritage Brands Online
We gave parents and kids a long list of books, toys, films, TV and asked what brands they would like to
brought back.
The Flinstones was without doubt the most popular amongst kids and parents, but this list includes brands
that perhaps aren’t so mainstream today...
8. Top heritage for kids
50%
38%
25%
18%
13%
14%
0%
Charlie & The Choc FactoryCharlotte’s Web
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13%
13%
The Pink Panther
The Berenstain Bears
11%
The Jetsons
Taking Heritage Brands Online
and then we asked the kids what they would like brought back
So we know that heritage IPs are popular, but what can digital add in the telling of these stories...
9. 86% of kids have crossed platforms
200%
Film
Online
Book/Mag
TV
Toy
150%
100%
50%
0%
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Star Wars
Barbie
Harry Potter
Wimpy Kid
Lego Ninjago Lego Friends
LoTR
Club Penguin Peter Rabbit
Taking Heritage Brands Online
Kids are crossing platforms all the time, searching for content on their favourite IPs
They expect to access parts of the story immediately. One 10 year old boy in America who was reading
Oliver Twist, didn’t want to read Oliver Twist the Sequel - he wanted to know if British kids were treat that
badly. His narrative progression wasn’t linear, and where did he go for that content...online. And that’t the
important moment, how do you help a kid who’s imagination has been sparked, continue that journey without interrupting the book or film experience
Therefore when we talk about adapting a heritage IP we need to consider both traditional formats, but also
that kids and parents place a value on extending the story online.
Over the past two years, with the expansion of mobile and tablets, we are seeing younger and younger kids
have more control over their digital entertainment they find and engage with. Its easy to find and its
instant. The reason why heritage brands sit so well here is that they are trusted. Parents know what to
expect and it means that they don’t have to look over the shoulder if they recognise theme tunes, noises or
character art.
But lets be serious here, you wouldn’t just go online because your audience expected you to, there needs to
be a business model, a way to monetise it.
So we wanted to ask how kids and parents would adapt some of their favourite heritage brands onto a
digital platform, into a form that they would consider paying for.
10. Lenses
Brand
Source,
Adaptations,
Feasibility
Audience
Expectations,
Culture,
Consumption
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Technology
Gaming,
UGC, Social
Taking Heritage Brands Online
Whether we are researching, advising on or actually building the digital product we look at adaptations through three
different lenses - brand, audience and technology.
Firstly the brand, its tried and tested, but what is it about the original brand, any subsequent adaptations that made it
work and how feasible is to re-tell - for example do you own the rights to artwork and theme tunes
We then pass it through the audience lense, who are they, what do they enjoy and most importantly what are their
expectations of the brand
Once we have done this we need to understand what technology can do to enhance the brand - does this IP need
digital?
11. Brand wheel
Components
Personality
Essence
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Taking Heritage Brands Online
In order to look through these lenses we use a brand model to understand exactly how the brand should be treated for
this new audience on this new platform.
And to understand that we look at three elements
Firstly the components or DNA - this is all the detail that makes up that property. It is of course an almost infinite list,
but at this stage we want to filter what kids think are the strands that are important to that brand.
We then distill these, by focussing on those that are most important in the telling of the brand - the personality is the
brain, the parts of the IP that communicate most clearly what it is about.
12. Brand wheel
Components
Personality
Essence
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Taking Heritage Brands Online
Its essence we need to get to, this is the part of any story that needs to consistent in how its delivered. Its the
uniqueness that helps that brand retain an audience, even when the delivery changes
But what does essence mean.
13. The Essence of a Brand
The relationship between characters
Baloo - father figure, warmth
Shere Khan - enemy, fear
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Taking Heritage Brands Online
The type of essence is different for each type of property, but it is also different for segments of the audience, for
example some parts of the essence could be cultural or demographic
We find that there is nearly always an essence which universally binds, whether it be a character, a moment, a tone,
style or artwork.
Here is Baloo and Mowgli, stalked by Shere Khan. Now for kids the essence of the Jungle Book, isn’t the characters in
isolation, it is the relationships between those characters. The fatherly figure of Baloo, and the sinister Shere Khan
who evokes a feeling of on edge. Difficult characteristics to capture in a game maybe.
We spoke to some 9 year old girls suggested a solution. Rather than spend money developing a whole new game,
they invented a shovel wear solution, they wanted to place Jungle Book content into existing titles.
They enjoyed the ‘eeek’ feeling, the thought of being chased and potentially caught, This was the feeling they felt when
watching the Jungle Book and also when playing Temple Run - an obvious extension for them.
For the Baloo and Mowgli relationship, they thought of the singing and dancing and likened it to their own poor father
who was incessantly nagged to get involved with Just Dance, 1, 2, 3 and 4. Why not have a Mowgli, Baloo dance off,
with Mowgli’s bendy arms.
14. Today we will look at
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Taking Heritage Brands Online
So as part of our in-house research we looked at some of those loved brands that kids told us they wanted
to play as a game and we asked some superfans to help us think about what these would look like as
digital adaptations.
15. Components
Components
Personality
Essence
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Taking Heritage Brands Online
Firstly we wanted children to dissect the brand. They had time to watch, read and play with existing brand material and
we observed this.
We then brought them in to talk through what they had learnt by creating collages and mood boards. We want to
observe how they piece the brand together and then we ask prompted questions on parts of the story we think is
important.
At the end we have a mood board which shows all the important components, the visuals and any associated
descriptive words, categorised in a way that makes sense to the kids. Together we created their own paper prototypes.
17. Culture
Components
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Taking Heritage Brands Online
All of these are self explanatory except for maybe culture.
By culture we mean, what cultural elements need adapting from previous versions to make them relevant to today’s
audience.
Let us take a look at Swiss Family Robinson
18. Swiss Family Robinson
1812
2012
“Poor animals”
“The wife has no name, she’s called wife!”
“The pirates in the movie.... hardly Jack Sparrow”
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Taking Heritage Brands Online
The animals in both the movie and book were not treat in a way that younger kids find acceptable, in fact it was a
reason for why they would not recommend the story.
I’m also fairly sure Johann Wyss did not campaign for equality. The ‘wife’, actually called Elizabeth was rarely seen
from ‘wifely’ or ‘motherly’ duties. Not an acceptable representation for todays young people. The Disney movie went
some way into bringing in a fairly boisterous young girl, but even she was primarily used as a love interest.
Talking of the movie, the pirates were a welcome page to screen adaptation, but Jonny Depp has somewhat changed
todays expectations of a pirate.
And finally modern technology has made it kind of tough to get lost from society. In fact I would expect quite a few
people in this room would love the idea of being stuck on an island with no outside world contact.
We need to understand that from a cultural perspective if the story can be told and is relevant to the audience. All of
these cultural differences in fact offered enhancement opportunities.
21. Filter
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Taking Heritage Brands Online
Once we have all of the components we begin to look at how strong the influence each of these components have on
the overall telling of the story. For example how often does each component correlate with another component.
24. Things kids miss
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Taking Heritage Brands Online
For example one thing we missed when we were working with the BBC on developing Muddle Earth, a popular
animation series and book.
Was Dr Cuddles, he’s the little guy in the brown cloak, his cackle. His cackle made kids laugh every time and it would
have improved the gaming experience.
Which is why we work throughout with the creative team to ensure that not only do we have the audiences
imagination, but also the folk who actually know how to tell the story.
26. Swiss Family Robinson - Adaptation
1812
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2012
Taking Heritage Brands Online
So what did that mean for the Swiss Family Robinson. These girls saw it more as a Zelda style game, with Earnest as
the main character, completing missions that you could level up through skill based tasks you completed and the
assets you collected. You had to understand something to complete it, then that would allow you to further understand
and progress at something else. So if you wanted to eat you would go through a process of problems - you collect
wood, to start a fire, kindle and a magnifying glass to light it and then you could hunt, cook and eat.
Yes it would have to be modernised to the more swashbukling Disney adaptation, with Jack Sparrow, but the flow of
the original IP would for the most part remain the same. The mission, to be learning and become self sustained to
survive
So at the end of that process what did that mean for Thundercats and the Lion the Witch and Wardrobe...
27. Thundercats - Adaptation
Fun
Original artwork
Original theme tune
Good Vs. evil
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Taking Heritage Brands Online
Thundercats provides us of an example of an adaptation that at least in one kids mind was not quite right.
He had been given the original 36 episodes by his parents, who were big fans from their childhood. He took pride in
explaining that he watched all 6 series, 6 episodes per series, 30 minutes per episode, 1080 minutes of Thundercats....
all in one day - that doesn’t leave a lot of time for sleeping
A great indicator of his dedication to Thundercats. So he loved this, he connected with his parents he was part of a
‘club’. A club that his friends were not yet part of, but that didn’t matter.
What did matter is that once he’d finished the series, in record timing, he was hungry for more and not wanting to give
up his prized DVD collection, he told his friends to check out the new series and they reported back with disdain.
So he checked it out himself and boy was he disappointed when he found the new series. The artwork for a start was a
big step backwards for him, it had lost that feel. But most importantly for him it had made some faux pars, inaccuracies
and it was in the detail. The characters had guns, but to him that made no sense and his friends agreed. These were
cats, living in a forest, they didn’t need guns, the only characters in a forest that should have guns, were poachers and
these cats were no poachers.
28. Thundercats - Adaptation
Viral
Episodic
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Taking Heritage Brands Online
But there was one other fundamental point, there was now no-one to talk to it about, to share it with. So what does this
mean for how the show should be designed and most importantly how it could be shared.
For him the most important element was retaining the original content that had captured his imagination - that was the
the story arc and the artwork. He was passionate that that game follow the original series structure. In fact he designed
an episodic game, with each ‘episode’ following the same structure and characters as the animation series. He
suggested watching the episode, in conjunction with the game level. This episode would be the content he could share
with friends, probably through youtube.
Only once you had been taken through those 1080 minutes of gaming, would you be allowed to free-play in the
Thundercats world. This was a step from their other gaming influences such as Skyrim and Minecraft, which were very
much about free play and mastery. But for him what is critical is that the game tied in to the story, so his friends could
understand what was so great about the original Thundercats.
And once they’d mastered that, they would then be able to freeplay and create their own stories within the game world.
One more thing, it needed the original theme tune and opening scene. That created the buzz, perhaps the moment
they would share in the playground or on YouTube and for the parents the acknowledgement that their child was finally
playing something they understand.
29. Lion the Witch & the Wardrobe - Adaptation
Scale
Creepy creations
Exploration
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Taking Heritage Brands Online
But the richness of a cross platform extension isn’t always in replicating original content in another form, or re-living the
content. You can go beyond and add to the story or universe. Think about that kid who through Charles Dickens
became interested in how different it was to grow up in the UK.
The Lion the Witch and Wardrobe has been told recently through long films and for many children and parents in long
books also. Everyone knows the characters and narrative., but the essence was the vastness of the world and the
sheer variety of the characters within it. They suggested not playing as the core characters and re-creating the story
that has been made, but making their own story with the world.
Their solution was to play as the bad guys. Not only was the Witch and all her creations fun, their story had never
really been explored in the same way. They were looking for new parts of the story, a spin off, in which they could roam
the world and create their own adventures - in this case stop the good guys.
They begin to explore which parts of the story would be a great entrance point and much like Tom Stoppard’s Hamlet
extension Rosencrantz and Guildenstern are dead, began to turn minor characters and plotlines into the main focus of
their game.
A true trans media experience.
I am now going to pass over to Brad, who will recount his own experiences when working on another of the great
stories - the Legends of Oz
31. Legends of Oz Transmedia Franchise
•
•
•
•
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Continues the story of the Wizard of Oz with
Dorothy, Toto, Lion, Tin Man, and Scarecrow
Film: $70 million dollar animated feature film (May 9th, 2014)
Digital: Legends of Oz World Virtual World and mobile apps
Retail: Extensive international licensing and merchandise partners
Based on the books by Roger Baum, great grandson of L. Frank Baum
Taking Heritage Brands Online
32. The Big Question
Why are we using a heritage brand?
•
•
•
•
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Taking Heritage Brands Online
Built-in audience?
Great characters?
Unique story?
Interesting setting?
37. Questions
•
•
•
•
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Who is our target audience? Is there an audience outside that target?
What can we assume our audience knows about the brand?
Is there a new story to tell that can directly involve our audience?
Can we connect directly into the heritage of the brand?
Taking Heritage Brands Online
38. Don’t Assume
10%
Open Beta
Players
40%
Adult Women
Children
Other
50%
•
Our target audience for the franchise is 6-11 year olds, but 40% of players in our open beta were women
over 40
•
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Our target audience didn’t know the story, but they did know the characters
Taking Heritage Brands Online
39. To be remembered, tell a story
•
•
•
•
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Come up with a new story that preserves the essence of the brand
Create a story bible and have a writer turn that into an extensive script
Bring the characters to life using professional voice actors
Use music and sound effects to enhance the setting
Taking Heritage Brands Online
40. Capture Nostalgia
Can you quickly introduce the essence of the brand while
creating nostalgia for those familiar with it?
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Taking Heritage Brands Online
41. Our Takeaway
•
•
•
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Research and understand the heritage brand
Don’t assume the audience remembers everything or anything about the brand
Depending on the brand, focus on the characters, story, and/or settings
Taking Heritage Brands Online
42. Thank You
@peterrobinson81
@Dubit & @DubitGames
@bradjashinsky
Peter Robinson, Head of Research, Dubit Limited
Brad Jashinsky, Director of Digital Media, Summertime Entertainment
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Taking Heritage Brands Online
So my key takeouts are
Find the smart kids, and less of them, who really have a vested interest in what happens to your brand
Let them know what you are doing and why you need their support - its not about money, its about passion and
collaboration
Make sure that the research fits into the creative process and the audiences lives
Do develop heritage IPs online, kids and parents are crying out for it
Make sure it is authentic.
43. Dubit: Research, Build & Launch digital
experiences for kids brands
Kids Research
Kids Game Development
• Market analysis
• Prototype and concept testing
• Competitor analysis and market scoping
• IP / trend spotting
• Design & ideation
• Monetization strategies
• Ethical marketing
• Transmedia modeling
• Game design and ideation
• Character and brand design
• Game development
• Virtual Worlds and Casual MMOs
Kids Apps
• iOS and Android games
• Interactive storybooks
Launch
• Game promotion and player acquisition
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45. Dubit: Get in touch!
If you’d like to know more about what we do checkout our website dubitlimited.com or send Matthew an email:
matthew@dubitlimited.com. We love to talk!
Address
The Half Roundhouse
Wellington Road
Leeds
West Yorkshire
LS12 1DR
Phone
(+44) 113 3947 920
Email
matthew@dubitlimited.com
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